The Wolf of Wall Street

Cast of Characters:

Jordan Belfort - Leonardo DiCaprio

Donnie Azoff - Jonah Hill

Naomi Lapaglia - Margot Robbie

Mark Hanna - Matthew McConaughey

Patrick Denham - Kyle Chandler

Max Belfort - Rob Reiner

Brad Bodnick - Jon Bernthal

Manny Riskin - Jon Favreau

Jean-Jacques Saurel - Jean Dujardin

Director - Martin Scorsese

Screenplay - Terence Winter

Based on the memoir The Wolf of Wall Street by Jordan Belfort

Rated R for sequences of strong sexual content, graphic nudity, drug use and language throughout, and for some violence

      Academy Award nominees Leonardo DiCaprio and Jonah Hill, Margot Robbie, Matthew McConaughey and Academy Award winner Jean Dujardin star in the legendary Oscar winning director Martin Scorsese's The Wolf of Wall Street.

      In 1987, Jordan Belfort (Leonardo DiCaprio) became a Wall Street stockbroker under the tutelage of the lavish and charismatic Mark Hanna (Matthew McConaughey). To those that know their history, October 19, 1987, was a bad time for Belfort when the stock market experienced its worst crash since the Great Depression, known as "Black Monday". Needing to find work fast, Belfort lands back on his feet working for a low-level investor center that sells penny stocks. With his ability to aggressively sell hard and fast, Belfort becomes an instantaneous success within the company.

      Now back on his feet, Jordan befriends Donnie Azoff (Jonah Hill) and together they create Stratton Oakmont. Soon a billion dollar company, Belfort has it all but lacks the discipline to handle it as he winds up addicted to cocaine and Quaaludes, committing adultery and securities fraud, the latter of which attracts the attention of FBI Agent Patrick Denham (Kyle Chandler).

      Based on the real-life Jordan Belfort's memoir of the same name, The Wolf of Wall Street was one of my most anticipated films of the year for two obvious reasons: Martin Scorsese and Leonardo DiCaprio. Whether it's Gangs of New York (which should've won Best Picture), The Aviator or The Departed, you can almost never go wrong with those two. I say almost 'cause Shutter Island wasn't good, but even the greatest filmmakers have a flop once in a while. This film is sexual, crazy, funny, satirical, chaotic, out of control and gradually gets darker and darker as the film progresses. It's easily the closest we'll ever see to Martin Scorsese filming a movie like Spring Breakers. At running just a minute shy of three hours, Scorsese keeps the ball rolling at a fast pace, never slowing down a single moment. Three hours might seem like an eternity for some moviegoers, but believe me when I say I was never bored. That's Scorsese for you, though. I don't think I've ever watched a movie of his that felt like it dragged. Following his snubbed performance as the charming yet loathsome Calvin J. Candie, DiCaprio within no time made me forget that he was in that crap pile known as The Great Gatsby earlier this year (he wasn't the reason for it being horrible though). DiCaprio does what he does best. He's likeable, vulnerable, complex and at times acts like an undisciplined child in a grown man's body. He'll also once again probably get snubbed by the Academy again, and then finally win one for supporting actor in one of those "and Leonardo DiCaprio" type roles years down the road when he's like 76 and they feel "he's finally due"... but I digress. It's not just DiCaprio that sells it either. It's the entire cast. When you sign on for a film by one of the greatest, if not the greatest filmmaker ever, you better bring your A-game. Jonah Hill is knee-slapping hysterical as Belfort's crazy, drug addled stock partner Donnie Azoff. I still remember watching that God awful Accepted movie with him and Justin Long, thinking just how annoying Hill was and it took a few movies later (small roles in Knocked Up  and Funny People) to where he started to grow on me. Then I saw Moneyball, where I finally realized this man can act. Now having a Scorsese film under his belt, I really hope to see Hill continue this trend. Matthew McConaughey continues his award worthy year with what is essentially an extended cameo, but boy does he sell the hell out of it in the few scenes he's in. The great film director Rob "Meathead" Reiner shows up as Leo's dad in a couple of scenes. Jon Bernthal is very effective in a smaller supporting role that makes me believe he can have a very solid film career following The Walking Dead. Kyle Chandler and Oscar winner Jean Dujardin pop up as the FBI Agent tracking Belfort and Belfort's Swiss banker respectively, and then there's Margot Robbie. Up until this movie, she was only in two other films. Very little experience, but I was impressed with how well she stood her own up against DiCaprio (who, even at just under 40, is the film's "veteran presence"). It's not just a pretty face that strips down and gets all the boys in the theater room excited. She's sexy for sure, but also fiercely independent and there's one funny scene in particular where she shows just how much she's got Belfort wrapped around her finger like it's nothing.

      Some might be turned off by the excessive nature of the film and the running time, but there wasn't a single moment that ever felt out of place and you can only wonder what this film would've looked like if Scorsese lost his battle with the studio who wanted him to cut the running time down. I'm glad he won though 'cause I absolutely loved every single second of this 179 minute film. It's not Scorsese's best film. He'll have to move heaven and earth practically to ever outdo Raging Bull. It's certainly his wildest though, the most entertaining time I've had at the movies this year, depicting the dangers of excess in a satirical and stylistic manner we haven't seen from him before. I give The Wolf of Wall Street an A+ (★★★★).

      Starting in January 2014, my reviews will now be at my new site, silverscreenfanatic.com. I encourage anyone to stop by and check it out, the first post coming on the 1st of the month. I can't thank enough those of you around the world who stopped by to read my reviews throughout this year. I'm looking forward to this new site (this blog will still remain open to read), and to another great year in film. Hope you all have a safe and happy new year. I'll see you in 2014!

Grudge Match

Cast of Characters:
Billy "The Kid" McDonnen - Robert De Niro
Henry "Razor" Sharp - Sylvester Stallone
Dante Slate, Jr. - Kevin Hart
Lightning - Alan Arkin
Sally Rose - Kim Basinger
B.J. - Jon Bernthal

Director - Peter Segal
Screenplay - Doug Ellin, Tim Kelleher & Rodney Rothman
Rated PG-13 for sports action violence, sexual content and language

      It's Rocky vs. Raging Bull! Academy Award winner Robert De Niro and Academy Award nominee Sylvester Stallone finally face off in Grudge Match.

      Back in their heyday, Billy "The Kid" McDonnen (Robert De Niro) and Henry "Razor" Sharp (Sylvester Stallone) were bitter boxing rivals that each won a head to head match against each other. Although a tie-breaking grudge match was planned, Razor stunned the boxing world by announcing an early retirement from pro boxing.

      Thirty years later, both McDonnen and Sharp have moved on from the sport. McDonnen is running a bar and car dealership and Sharp, having gone into debt, has gone back to working at the local steel mill. After an attempt by their late manager's son Dante Slate, Jr. (Kevin Hart) to get the two to participate in the making of a video game leads to a fight between Razor and Kid, the demand to reunite these two boxers to settle the score after all those years rises.

      Just like the pairing of Stallone and Schwarzenegger earlier this fall was a marketer's wet dream, you can imagine how they must've jumped at the chance to promote a "Rocky" fights "Raging Bull" film. There's no question that both Stallone and De Niro had their career defining and most critically acclaimed moments (De Niro obviously has had much more success though) as Rocky Balboa and Jake LaMotta respectively. It earned Stallone two Oscar nominations (Best Actor and Best Original Screenplay) and De Niro his second Oscar win, his first for Best Actor. That said, I wasn't expecting this to be as good as either movie. Hell, no, not even close. Not even in the same ballpark, league, or galaxy for that matter. This movie is essentially one 100 minute long wink at the audience while three Oscar winners and a nominee dance their way to the bank. That's all. However, despite going in with low expectations, I gotta say I didn't have a bad time with this. I laughed. They mostly came from Alan Arkin (who plays cranky old bastard better than anyone else these days) and Kevin Hart, but I laughed anyway. It's highly predictable and a two year toddler could connect the dots between every "De Niro and Stallone are old", "Kevin Hart is short" joke and setup from beginning to end. We get the long, lost son by Shane from Walking Dead who reconnects with De Niro and somehow makes him a better man. We get the situation were the kid gains enough trust with his reconnected father and then the father does something stupid to screw it all up, but then within the next three scenes they have that touching moment where we get the "I know I wasn't there for you, but... I'm sorry." speech. Basinger shows up as the obligatory love interest that's the driving force of rivalry and hatred between the two men, and the climatic fight is a bit corny and far fetched. Oh, and of course, you know both De Niro and Stallone are gonna have their poke fun at their legendary roles moment (to those that have seen either Rocky or Raging Bull, you'll know it when you see it). If you were expecting anything more than that, though, you'll be disappointed. Very disappointed. Speaking of Basinger. She hasn't done anything noteworthy in years, and it unfortunately shows here. I was never a huge fan of hers, but I never thought of her as being a bad actress and she was certainly great in L.A. Confidential (Where she won her only Oscar for Best Supporting Actress). She's fairly stale and wooden here. Once again, it's not like I was hoping for Oscar gold, but everyone else does a serviceable job phoning it in, so she sticks out.

      Director Peter Segal has made a few comedy gems before, but has mostly been hit or miss with me and was never on a comedy directing level as say Harold Ramis, Mel Brooks or Judd Apatow. With Grudge Match, he makes a sporadically funny comedy that aims to be more comedy with a heart than all-out goofy and winds up being okay, which is a lot more than I was expecting to say. If you plan on watching this, leave your critic's brain at the door and just take this for what it is - two actors from two of the most iconic and critically acclaimed boxing movies ever having fun and making a lot of money doing so. I give Grudge Match a C (★★½). 

47 Ronin

Cast of Characters:

Kai - Keanu Reeves

Kuranosuke Oishi - Hiroyuki Sanada

Lord Kira - Tadanobu Asano

Mizuki - Rinko Kikuchi

Mika - Kou Shibasaki

The Shogun - Cary-Hiroyuki Tagawa

Director - Carl Rinsch

Screenplay - Chris Morgan & Walter Hamada

Rated PG-13 for intense sequences of violence and action, some disturbing images and thematic elements

      Keanu Reeves, Hiroyuki Sanada and Academy Award nominee Rinko Kikuchi star in 47 Ronin. It's Neo meets The Last Samurai.

      When we're first introduced to Kai, he's a young abandoned boy found by a group of samurai. Considering he's an illegitimate child of a British sailor and Japanese peasant girl, he's looked down up by some of the samurai as a "half breed".

      Years later, after their master is put to death by the evil Lord Kira (Tadanobu Asano) and his witch Mizuki (Rinko Kikuchi), the samurai now turned Ronin (leaderless samurai), led by Kuranosuke Oishi (Hiroyuki Sanada), are banished from their society. Vowing vengeance, even if it means death for themselves, the Ronin embark on a journey to avenge the death of their slain master. Along with them is that "half breed" Kai (Keanu Reeves), now grown up, who sets out to prove to them he is also worthy of the title of samurai.

      To those that don't know the story of the Forty-seven Ronin, it is - to this day - an immensely revered and respected fable from Japan that tells of a real-life account in 18th century Japan where a group Ronin avenged the death of their fallen leader. Some Japanese consider it their "national legend". If done right, a feature film on this tale could be a riveting, emotional and profound experience that explores such themes as loyalty, code, honor and sacrifice. What we get isn't the case. Now, don't get me wrong. I wasn't expecting much from this, particularly when "Ted Logan" is front and center. The film though tries to have its cake and eat it too, which is its biggest problem - aside from the poorly edited fight sequences which rely too much on closeups and quick cuts. It wants to be both a serious homage to the tale of the Ronin while also being the mystical box office blockbuster we've seen advertised through the trailers, which is unnecessary. There's a great story to be told with the 47 Ronin as is, and throwing in all the CGI (some of which is impressive, while some is also cheesy) and the creatures and whatnot really distracts the viewer from what the main focal point of the story should be: these 47 men willing to sacrifice their lives in order to avenge the death of their master. Speaking of those 47 men, we also have the problems with the character development. Although the film is titled 47 Ronin, it might as well have been called 2 Ronin, 'cause Reeves's Kai and Sanada's Oishi are the only ones we really get to know out of these men. Of course, you can't give detailed development of all the men. The film would be six hours long if you did, but at least developing a few more other than just showing us a couple outside of the main two by way of, "Here they are... and now let's kill them off." would've been better. It's a shame 'cause this features a talented Japanese cast and their talents are wasted on characters they can't really get much out of. Even Rinko Kikuchi, who I'm a big fan of, can't do much with her villain role. She looks like she's having fun with it, or at least as much fun as she can, and I can understand why, after playing mostly empathetic and (or) likeable characters, she'd wanna sink her teeth into a villain part. There's not much there for her to chew on though. Of course, we also get a forced love interest between Kai and Mika that is introduced and then pushed aside.

      Overall, I can't say I hated this film like others seem to feel about it. 47 Ronin has its entertaining moments, and the supporting cast does the best they can with the poor material they're given, but it's a missed opportunity. I don't even blame Keanu Reeves either, and actually he's not really that bad here, keeping his performance within his limits. I blame the writing and the direction for wanting this to be some sort of holiday blockbuster, CGI fantasy epic when the story doesn't need that. Fans wanting lots of action will probably be bored by the lack of it and those wanting a character driven fable will be disappointed as well. I'd love to see a well written and directed take on this story, and maybe someday they might give it another shot and do it right. I give 47 Ronin a C- (★★).

The Secret Life of Walter Mitty

Cast of Characters:

Walter Mitty - Ben Stiller

Cheryl Melhoff - Kristen Wiig

Edna Mitty - Shirley MacLaine

Ted Hendricks - Adam Scott

Odessa Mitty - Kathryn Hahn

Sean O'Connell - Sean Penn

Director - Ben Stiller

Screenplay - Steve Conrad

Based on the short story The Secret Life of Walter Mitty by James Thurber

Rated PG for some crude comments, language and action violence

      Ben Stiller, Academy Award nominee Kristen Wiig and Academy Award winners Shirley MacLaine and Sean Penn star in The Secret Life of Walter Mitty. Ben, now you can finally ask him why he went full retard in I Am Sam.

      Walter Mitty (Ben Stiller) is a mild-mannered negative analyst for Life Magazine that always appears to be stuck in a "zoned out" daydream, particularly one involving his coworker crush Cheryl Melhoff (Kristen Wiig). When Life decides to stop publishing magazines for print and focus on an online publication led by Ted Hendricks (Adam Scott), Walter is given the task of prepping the cover photo for the final magazine by the legendary photographer Sean O'Connell (Sean Penn). The problem is Walter can't find the negative - negative 25, Sean's "Quintessence of Life".

      With the deadline approaching and being harassed and humiliated by his boss Hendricks, Mitty takes it upon himself to travel abroad in order to find that mysterious negative 25.

      The Secret Life of Walter Mitty was actually in development for nearly two decades. Sam Goldwyn, Jr. (whose father produced the original starring Danny Kaye in 1947) originally wanted Jim Carrey for the lead role and Disney was set to purchase the remake rights. After years and years in development hell, Stiller was finally picked for both lead actor and director of the film and we finally have what we see right now. After all those years of trying to get this movie pushed into being remade and after finally seeing the very effective marketing trailers, it's unfortunate how underwhelming the film was at times. While there are some impressive visual sequences and genuinely funny moments, the film overall felt lacking. The problem may be that Stiller's direction often times comes off as a little too self-indulgent, leaving very little room for any development for the supporting work, in particular the wonderful Kristen Wiig. Mitty is a likeable enough character, enough to where you wouldn't hate seeing him finally get the girl at the end, yet we don't get as much from Wiig as we should to where we'd be rooting for them to meet up at the end. In fact, at times I felt her talents was somewhat wasted. I get it. It's called The Secret Life of Walter Mitty, not The Secret Life of Walter Mitty's Supporting Cast, but if one of the subplots is Walter trying to pursue this girl - and, in a way, it technically is the main driving point of the film - you need to bring something out of both characters to where we're happy to see them end up together. Wiig's a likeable screen presence, but here she came off bland. Even with Stiller's lead as Walter Mitty, we're barely introduced to the meek and mild-mannered Mitty before we plunge head first into one of his "Mitty the hero" daydreams. Had we have gotten to know the normal Mitty a bit more beforehand, it would've made those daydreams something more than just being visually stylish and impressive - it would've gotten us to feel for Mitty much more. Plus, despite Sean Penn delivering a solid and funny extended cameo, there's so much excitement over this missing photo, but when we finally see just what exactly the photo is, it's kinda corny and - well, see my point about Stiller's self-indulgence.

      I don't want it to seem like I'm hating on the movie. It's not bad, but it's not what I was hoping it to be. Stiller has proven himself to be a solid director before with the cult comedy classics such as Reality Bites, The Cable Guy and the hilarious Tropic Thunder. Here, he's trying to bite off more than he can chew. There's a lot of style and some solid performances, but very little substance, marking this one of 2013's disappointments for me. I give The Secret Life of Walter Mitty a C (★★½).     

Mandela: Long Walk to Freedom

Cast of Characters:

Nelson Mandela - Idris Elba

Winnie Madikizela-Mandela - Naomie Harris

Walter Sisulu - Tony Kgoroge

Director - Justin Chadwick

Screenplay - William Nicholson

Based on the autobiography Long Walk to Freedom by Nelson Mandela

Rated PG-13 for some intense sequences of violence and disturbing images, sexual content and brief strong language

      Idris Elba and Naomie Harris star in Mandela: Long Walk to Freedom, based on Mandela's 1995 autobiography.

      As a young lawyer in South Africa, Nelson Mandela (Idris Elba) is attempting to petition the government for equality. After one of his friends gets drunk and is beaten by law enforcement officials, Mandela helps form the African National Congress (ANC) to protest the mistreatment of the black Africans.

      Following the bombing of a political office by the ANC, Mandela is sent to trial and faces the possibility of the death penalty, but is instead sentenced to life in prison. He was released 27 years later.

      For the past ten or so years, Idris Elba has proven himself to be a more than dependable screen presence. Despite starring in a few clunkers (Takers, The Losers, The Reaping, and that God awful Ghost Rider film), Elba has delivered solid supporting work whether it was Pacific Rim earlier this year, last year's Prometheus, the two Thor films, 28 Weeks Later, being a foil for Steve Carell in The Office, or getting his brains blown out by Denzel Washington in American Gangster. Like Chiwetel Ejiofor in 12 Years a Slave last month, though, Elba should finally get noticed for his work here in Mandela: Long Walk to Freedom. While not someone I'd initially have imagined playing the former South African leader, Elba sells the performance in ways sure to garner awards consideration. Equally impressive is Naomie Harris as Winnie Mandela. Like her costar, Harris has popped up in a number of films in the past decade, but never really got an opportunity to show what she's capable of like she gets here. While the story takes us through decade to decade of Nelson and Winnie's struggles that are harrowing and powerful at times, or at least as harrowing as PG-13 will allow, at times director Justin Chadwick and screenwriter William Nicholson get a little too ambitious with the storytelling, which details the events of Mandela's life from his time as a young lawyer up until when he was elected president in 1994. It's never an easy task to write a film that spans at least three to four decades and while the film clocks in at almost two and a half hours, there were moments here and there that felt a bit rushed in order to fit as many life events as they could. We also get a scene near the beginning with Mandela having an affair that seemed slightly unnecessary. I can certainly understand why the filmmakers chose to show that, wanting an unbiased, balanced portrayal of Mandela as a flawed human, which - like everyone else - he was. However, the moment felt forced in there for the sake of showing us he wasn't perfect. Flaws and all considered, this is still an effective biopic based on the powerful performances of the two leads. If the story doesn't have your attention at times, Elba's stirring delivery, whether it's him standing trial or addressing the nation, will.

      It's not a perfect film. The narrative could've been polished some and better editing choices could've been made, but this is far from a bad film. Idris Elba and Naomie Harris's award worthy performances carry this film from beginning to end are enough to make this a worthwhile watch. Here's hoping Elba gets more lead opportunities 'cause he shows he's got what it takes. I give Mandela: Long Walk to Freedom a B+ (★★★½).

Saving Mr. Banks

Cast of Characters:

P. L. Travers - Emma Thompson

Walt Disney - Tom Hanks

Ralph - Paul Giamatti

Richard M. Sherman - Jason Schwartzman

Don DaGradi - Bradley Whitford

Travers Robert Goff - Colin Farrell

Director - John Lee Hancock

Screenplay - Kelly Marcel & Sue Smith

Rated PG-13 for thematic elements including some unsettling images

      Academy Award winners Emma Thompson and Tom Hanks star as the iconic figures P. L. Travers and Walt Disney respectively in the making of one the most beloved Disney classics, Saving Mr. Banks.

      P. L. Travers (Emma Thompson) is widely known for being the author of the literary classic Mary Poppins. For nearly 20 years, Walt Disney (Tom Hanks) had been trying to earn the rights to her book in order to make a film adaptation - a promise he once made to his daughters. It turns out to be rather difficult as the stubborn Travers refuses to have her story turned into what she believes will be people prancing around in another one of Disney's musicals.

      Now after all these years, with no more book royalties coming her way and needing to keep her house, Travers gives in and flies to California for Disney's "last stand" to make one final effort to win over those rights. In doing so, Disney manages to find out the true meaning behind what the story was all about.

      Mary Poppins is considered by many, me included, to be one of the greatest Disney film classics, not only for it's heartwarming story, but also from a technical standpoint it was revolutionary in terms of combining animation with live action film. It also took home five Academy Awards, one of which was Best Actress for Julie Andrews. What many people might not know is how painstakingly difficult it was for Mr. Disney to get the rights from Travers to make Marry Poppins into a movie. The film does take a few liberties with what really happened. The real life Travers actually hated the movie, when it finally came out, so much she made sure no one involved with the film production had anything to do with the stage musical that was made years later. She also claimed to have been mistreated during the production. Of course, this movie is brought to you by Disney, so it's not like they're gonna move away from the opportunity to make this a feel good story in order to tell you the "hard facts". Despite the liberties they do take, I still found this to be an enjoyable experience. Director John Lee Hancock presents us with a beautiful stylized 60's L.A. setting that offers an insightful look at the way film studios often have to bang their head against a wall in dealing with the foot planted stubbornness of the authors, but also takes us back in time to Australia when Travers was a child. It's those latter moments with her father (played by Colin Farrell in one of his best performances), where she would eventually become inspired to create the character of Mary Poppins. I won't spoil the details of what happens during her childhood, but once you see it, you'll realize exactly why Travers was so stubbornly protective of the character she brought to life. Emma Thompson does a superb job as Travers in a performance that very well grant her a Best Actress nomination. No one can play proper, snooty, stubborn with a little dash of humanity better than Thompson. When it comes to Disney, who better than Hanks? Having already moved me earlier this year with his terrific performance in Captain Phillips, Hanks once again shows why he's one of the best, not just of today, not just of the past ten to fifteen years, but of all-time. It's not a full blown caricature impersonation of Disney in any way, but he still manages to embody the nature of Disney both as the lighthearted storyteller the fans knew him as, but also as the shrewd and ruthless businessman he had to be at times to get what he wanted (See if you can spot the map of Florida in his office with Orlando circled). Plus, as the story unfolds you'll come to find he and Travers weren't that different in terms of their upbringings. Along with Thompson and Hanks, we're also treated to a gifted supporting cast that features the likes of underrated character actor Bradley Whitford, Jason Schwartzman, B. J. Novak, Kathy Baker and a wonderful performance from Paul Giamatti as Travers's chauffeur.

      Like I said, it does take some liberties with what may or may not have happened, and there are moments where it clearly wants to play it "feel good" safe. That said, I still thoroughly enjoyed this "making of" film led by two terrific performances from Thompson and Hanks. It's not perfect, but it still offers a entertaining and heartwarming time that the whole family can enjoy this weekend. I give Saving Mr. Banks an A- (★★★½).

REVIEWS COMING LATER NEXT WEEK...

Mandela: Long Walk to Freedom
The Secret Life of Walter Mitty

47 Ronin

Grudge Match

The Wolf of Wall Street  

American Hustle

Cast of Characters:

Irving Rosenfeld - Christian Bale

Agent Richie DiMaso - Bradley Cooper

Mayor Carmine Polito - Jeremy Renner

Sydney Prosser - Amy Adams

Rosalyn Rosenfeld - Jennifer Lawrence

Stoddard Thorsen - Louis C.K.

Paco Hernandez - Michael Pena

Anthony Amado - Alessandro Nivola

Director - David O. Russell

Screenplay - Eric Warren Singer & David O. Russell

Rated R for pervasive language, some sexual content and brief violence

      Academy Award winners Christian Bale and Jennifer Lawrence and Oscar nominees Bradley Cooper, Amy Adams and Jeremy Renner star in Oscar nominated director David O. Russell's American Hustle. Boy, I really hope this inexperienced cast can pull it off.

      Sweet mother of God, Batman really let himself go after retirement. Irving Rosenfeld (Christian Bale) is a brilliant conman who, along with his partner Sydney Prosser (Amy Adams), is forced into working with FBI Agent Richie DiMaso (Bradley Cooper). If Rosenfeld is willing to cooperate, DiMaso won't charge him and Prosser for the crimes they committed.

      Now thrust into the world of corrupt politicians, Jersey powerbrokers and the mob, Irving must bring his A-game to sell the con, all the while keeping his unstable wife Rosalyn (Jennifer Lawrence) from derailing the whole operation.

      While David O. Russell has never been known for his direction like Spielberg, Scorsese, Tarantino, Nolan, etc., there's no denying Russell has always been a marvelous storyteller with the way he creates richly complex characters and sharp, witty dialogue. Clearly influenced by Scorsese and a little bit of the Coen brothers as well, American Hustle may not be Russell's best film, but it's pretty close and it's his best directing effort as he takes us into the world of a 70's con gone awry where not every character is as black and white as you might initially think they are. Christian Bale once again disappears into another phenomenal performance as beer-bellied, comb-over from hell Irving Rosenfeld. This guy looks like a complete joke, but looks prove to be deceiving in some cases. "Who's the master: the painter... or the forger?", he states. It's another great turn from Bale, who my thoughts of were blurted out by the guy sitting across from me at the end of the movie. "Man, I can't believe he was..." - well, I was gonna say in Newsies... but you could also say Batman. Amy Adams - this generation's Kate Winslet: four Oscar nominations so far, no wins - is equally terrific in a turn that may earn her a fifth nomination. In one of the more empathetic roles of the film, Jeremy Renner shows why I'll take his dramatic work over "Renner the action star" any time of day. Hey, sure, he did a solid job as the least memorable character in The Avengers, but come on. Compared to what he did in The Hurt Locker, The Town and now here? Bradley Cooper, by far and away, is the scene stealer here. When you stack him up next to just how great Bale and Adams are in this film, and take into account that he's stealing the show in every scene he's in, it just shows you how far as an actor he's finally come. As DiMaso, Cooper's funny, intimidating, driven, yet at times also insecure and vulnerable. I just wish we could get a bit more of the All About Steve Bradley Cooper. Ha-ha. I'm just kidding. That film was crap. Following his Oscar nominated turn in Silver Linings Playbook, this year's The Place Beyond the Pines and now another strong turn here, Cooper's becoming the type of talented actor I would've never expected after seeing The Wedding Crashers for the first time. Then we have the lovely Katniss, Miss Jennifer Lawrence, who - as much as I hate to admit it - is the film's one, small weakness. Don't get me wrong, Lawrence gives a strong performance. Hell, she somehow made The Bill Engvall Show just barely watchable (I could just picture Engvall watching last year's Oscars at home going, "Yup, I taught her everything she knows. Heeeeeeeeeeeeeeeeeeeeeere's your sign!"). The problem is she's only 23, playing a character that seemed more fit for someone a bit older and experienced. It's like she's playing dress up and acting more "grown up" than she is in order to fit in with the rest of the cast. I wish it wasn't the case. I adore Lawrence and I would rush out to see her in Jennifer Lawrence Eats at Denny's. That's not a metaphorical artsy take either. I would watch a literal take of Lawrence eating at Denny's. For a complete performance, though, I believe there are two components: the individual giving the performance, and the individual fitting the character. She pulls of the performance easily, she just doesn't fit the character, so overall it's an unfortunate mixed bag of goods with her for me. It doesn't take much if anything from the movie though, considering she's not the main character or even the second or third main character in the film.

      I don't want it to seem like I'm bagging on the movie 'cause of that one nitpicky weakness I saw. This is still one of the most entertaining films of the year. Between the costumes, superb writing, strong direction, electrifying lead performances, sizzling score featuring the likes of Steely Dan, Wings, Elton John, and America, and a smaller yet very effective supporting turn from Louis C.K. (who shares some of the film's best and funniest moments with Cooper), this is an exciting, hilarious and sometimes suspenseful character driven con-story that is pure fun from beginning to end. Plus, winning a free American Hustle T-shirt during a pre-film contest didn't hurt either (Seriously, I was probably one of the youngest people in the audience and I still was somehow the only one that knew the Bee Gee's released Spirits Having Flown in 1979?). I give American Hustle an A (★★★★).

Anchorman 2: The Legend Continues

Cast of Characters:

Ron Burgundy - Will Ferrell

Brick Tamland - Steve Carell

Brian Fantana - Paul Rudd

Champ Kind - David Koechner

Veronica Corningstone-Burgundy - Christina Applegate

Director - Adam McKay

Screenplay - Adam McKay & Will Ferrell

Rated PG-13 for drug use, crude and sexual content, comic violence and language

      The news team is back! After nearly ten years, Will Ferrell, Steve Carell, Paul Rudd and David Koechner reunite again in Anchorman 2: The Legend Continues.

      After losing his job and his wife/co-anchor Veronica Corningstone (Christina Applegate), Ron Burgundy (Will Ferrell) seems to have hit rock bottom. A second chance for him arrives, though, when he is offered a spot on a new 24 hour news circuit. He jumps at the chance at gathers his old gang back - Brian (Paul Rudd), Champ (David Koechner) and, of course, Brick (Steve Carell).

      With a not so prime spot delivering the news during the 2-5 AM slot, and a few rivals standing in the way, Ron Burgundy stands determined to reignite the legend that made him so great in San Diego.

      Unlike a good many others in the world, I've always found Will Ferrell overrated. Yeah, I said it. Films that have taken Ferrell out of his comfort zone such as Stranger Than Fiction and Everything Must Go aside, most of what he's done had him playing annoying characters that either bored me or wore on my nerves (mostly those "insert Ferrell into this sport here" films). Anchorman: The Legend of Ron Burgundy was one of those rare exceptions of his. The first film was dumb and knew it, but it was funny. Ron Burgundy was an idiot, didn't know it, but there something so vulnerable yet likeable in his absurdity that I saw in him. That and the talented supporting cast helping Ferrell is what made the first film such a pleasant surprise for me. With Anchorman 2, we get mostly the same once again with a few familiar faces - outside of Ron's news team - popping up every now and then. There's not much else to say 'cause this film follows the same formula of the first down to the same climatic news anchor showdown featuring a number of new cameo appearances I'll keep silent on (I will say this one may be better than the one in the first since it's much more outrageous). I'd be lying, though, if I said I didn't laugh quite a bit still at the mostly scripted, but - I'm assuming - sometimes improvised humor. It doesn't try to be anything more than it is: a dumb comedy that aims to make you laugh, and unlike a number of other stupid comedies today, succeeds in doing so. Rudd, Carell, Koechner and Applegate all return to their respective roles and although Rudd and Carell, in particular, have gone on to do bigger and better things with their careers (of which, they can thank the first Anchorman for possibly allowing) it was great seeing them back once again as Brian and Brick, the latter being so inept, clueless and stupid, yet so well-meaning and loveable you just wanna hug him. Some of the laughs don't work and fall into the "Okay, I get it already." category. Kristen Wiig pops up as the new love interest for Brick which has its moments, but overall didn't do much for me. Wiig certainly is talented both as a comic actress and writer as well, but it just seemed like she was in the film solely for the sake of giving Brick something to do in the film. That I can understand and I'm all for Brick being onscreen as much as possible, but the love interest didn't do much for me considering she was essentially a female carbon-copy of Brick. Having her play the character normally to play up the "What exactly does she see in him?" angle might've worked better. That said, it's not a major component of the film, so it certainly doesn't ruin it or anything. Plus, when the laughs worked, and they did mostly, I had a blast, particularly during a dinner scene with Ron and his black girlfriend's family that is so politically incorrect, yet so damn funny. "Am I right? Say whaaaaat?!"

      Some might not see a point to this as it's a sequel that follows the same formula of its predecessor. You could also say that about a number of other sequels, some that work and some that don't. It certainly doesn't have as much of that "Wow, that surprised me!" factor like I got with the first one, but overall, I walked through the theater doors expecting one thing from this film: make me laugh and make me laugh hard, which it did. Like its predecessor, it's dumb, it's self-aware of that fact (although there are some fairly witty jabs at the culture of the media and how it runs), and the number of cameos by various A-listers looking to cut loose for once in a goofy film like this made this a fun time for me. I give Anchorman 2: The Legend Continues a B+ (★★★½).

The Hobbit: The Desolation of Smaug

Cast of Characters:

Ian McKellen - Gandalf the Grey

Bilbo Baggins - Martin Freeman

Thorin Oakenshield - Richard Armitage

Smaug - Benedict Cumberbatch

Tauriel - Evangeline Lilly

Thranduil - Lee Pace

Bard the Bowman - Luke Evans

Balin - Ken Stott

Bofur - James Nesbitt

Legolas - Orlando Bloom

Director - Peter Jackson

Screenplay - Fran Walsh, Philippa Boyens, Peter Jackson & Guillermo del Toro

Based on the novel The Hobbit by J.R.R. Tolkien

Rated PG-13 for extended sequences of intense fantasy action violence and frightening images

      Bilbo and the gang are back to fight Orcs and dragons and make New Line Cinema and Warner Bros. billions of dollars in the second installment of J.R.R. Tolkien's beloved literary classic, The Hobbit: The Desolation of Smaug.

      Following the events that took place in the first film last year, Bilbo Baggins (Martin Freeman), Gandalf the Grey (Ian McKellen) and the company of dwarves - led by Thorin Oakenshield (Richard Armitage) - are continuing their quest to reclaim the Lonely Mountain, the dwarves once great homeland. Standing in their way of course are the army of Orcs and the Sindar Elves, who aren't enemies per se, just very reluctant to help the dwarves considering the pasts between the two.

      Their biggest challenge though is the one who now inhabits the Lonely Mountain - Smaug (Benedict Cumberbatch), the last great dragon of Middle-earth. Inside the Lonely Mountain is the dwarves's coveted Arkenstone and it'll be up to Bilbo, the "burglar" hired by the dwarves, to take back the Arkenstone from the feared Smaug.

      Despite making more money than either the first or second Lord of the Rings installments, The Hobbit: An Unexpected Journey wasn't as well received as the original trilogy (although The Hobbit isn't a prequel, it was actually the first book written in the series, but hey, that's the Tolkien nerd in me talking). Although I enjoyed the first installment for this trilogy, my initial complaint was why make it a trilogy when it's the shortest book out of the four. A part of me feels, making just one three hour movie or even just two instead of three would've been better. In the end, whatever, it is what it is and honestly if I was the studio head here I would've probably stretched it to twelve films and watched it rain dollas making me holla in my office. That said, The Hobbit: The Desolation of Smaug is slightly better than the first. More often than not, for any film franchise, that's not the case, but it's always the trajectory studios wanna see. While the first film had some pacing issues and the scenes with the elves (who really have just a minor part in the book) went on longer than they should, Jackson keeps the ball rolling here at a better pace, which includes a barrel riding sword and arrow fighting sequence that is one of the most exciting and terrifically choreographed action sequences in film this year. While most of the cast are those we were already introduced to in the first film, we are introduced to some new ones. Evangeline Lilly is quite a badass as Tauriel. She's certainly a chick I would never wanna cross like some Orcs are foolish enough to do. We're introduced to Beorn in a small scene, but I only bring him up 'cause he's one of my favorite characters from the story. Orlando Bloom returns as Legolas, the role that put him on the map. At first, the Tolkien nerd burst out of me when I heard he'd appear in the film, ("He's not even in the book!!!!") but it was nice seeing him again onscreen, particularly considering, aside from the Pirates movies, he hasn't been in much else worth seeing. Richard Armitage once again is terrific as Thorin (a perfect casting choice, in my opinion). We don't get as much Bilbo as we could and, who are we kidding, as we should, but Freeman still embodies the role quite well, and of course, when he isn't sharing a love-hate relationship with Professor X, it's always great to see McKellen don the wizard robe as Gandalf. Like the title states, we are finally introduced to Smaug and who better to voice him than vocally gifted Benedict Cumberbatch, who appears to have starred in every other film that came out this year. Cumberbatch (who, like Andy Serkis with Gollum, also provided the motion capture for the character) provides the devious Smaug with all the fear, menace and fury that those of you, like me, who loved the dragon in the book will wanna see. It's the part of the film I was most looking forward to, and it's the strongest of the film. Cumberbatch and Freeman in no way dissapoint.

      There are moments, like the first, where it feels just a bit more stretched out than it needs to be. That also could've been maybe due to the fact that I finished my soda early, so by the 140 minute mark I was crossing my legs and holding my bladder going, "Come on, just bring the dragon down already, Bilbo!" Nitpicks aside, the story picks up from the first in a slightly more exciting fashion. Although some will gripe about the abrupt ending, here's hoping the third installment finishes the story off right. I give The Hobbit: The Desolation of Smaug an A- (★★★½).

REVIEWS COMING LATER NEXT WEEK...

Anchorman 2: The Legend Continues

American Hustle

Saving Mr. Banks

Hours

 

Cast of Characters:

Nolan Hayes - Paul Walker

Abigail Hayes - Genesis Rodriguez

Director - Eric Heisserer

Screenplay - Eric Heisserer

Rated PG-13 for thematic elements including some unsettling images

      Paul Walker and Genesis Rodriguez star in the Hurricane Katrina drama-thriller Hours, the last completed film of Walker's career.

      Keep in mind, there are a few minor spoilers that I do have to reveal for this brief synopsis. In 2005, at the onset of Hurricane Katrina, Nolan Hayes (Paul Walker) receives the exciting news that his wife Abigail (Genesis Rodriguez) just gave birth to their baby daughter. What should be a joyous occasion for him is ruined by grief when he is also told that his wife died from complications during the labor process. His newborn daughter, born prematurely, has been placed in a neonatal incubator to help her breathe properly.

      With Katrina growing stronger, the hospital loses power and the people are forced to relocate, leaving Nolan and his baby behind. With no one coming back to help, Nolan must do what he can to ensure that both he and his baby survive.

      Like Tom Hanks in Cast Away, Will Smith in I Am Legend, and Robert Redford in All Is Lost (of which I still have not seen, thank you Kalamazoo theaters), Paul Walker performs most of the scenes by himself, a task nowhere near as easy as some might think it is. While Walker didn't blow me away, he still manages to pull off a fine, solid performance that required him to act a lot more than any of the action heavy films he was mostly known for ever asked of him. The problem is not Walker, it's writer/director Eric Heisserer. Prior to Hours, Heisserer was known for co-writing the A Nightmare on Elm Street remake (one of the worst remakes I've ever seen) and Final Destination 5, which - whatever. With this film being his first directorial effort, Heisserer makes the mistake of relying more on emotional manipulation to move the viewer. This is no more clearly evident than when we get the obligatory "flashback ghost appearance" from Rodriguez who quietly and sweetly reminds Walker that she'll always be with him and he'll be a good father. Sure, in a fantasy film that could work, but this is film supposedly set in real-life Hurricane Katrina era with a baby hooked up to an incubator running on a generator with a low battery recharge and every minute counts. That's a gold wrapped gift of a story setup for any filmmaker. We don't need cheesy pull on the heartstrings moments like what I just mentioned. Plus, unless your name is Obi-Wan Kenobi, force ghosts tend to be unnecessary anyway. We do get some solidly tense moments such as the ingenious ways Walker keeps having to come up with to keep his baby's generator going and the scenes between him and his daughter work and are the strongest of the film. However, it's a shame that the film falls back too much on sappy, pull on your heartstrings moments, and in the hands of a more experienced writer or director, Walker could've had much more to work with.

      As mentioned above, this was the last completed film of the late Paul Walker's career, who tragically died in a car accident this past Thanksgiving weekend. It would be disingenuous and insulting to say that I was a fan of his and that he gave an Oscar worthy performance in Hours. Walker gives a good performance - I'll admit, one of his best - in an okay film with flawed writing and direction. Although Walker has had smaller roles in great films such as Pleasantville and Flags of Our Fathers, I was never a fan of his work, most of which was the Fast and the Furious franchise. However, regardless of whether I was admirer of his or not, Walker was a man that had no regrets and was immensely proud of the work he did and was always grateful for his fanbase, and that is something I can admire about him. I give Hours a C+ (★★½).

Twice Born

Cast of Characters:

Gemma - Penelope Cruz

Diego - Emile Hirsch

Gojko - Adnan Haskovic

Aska - Saadat Aksoy

Pietro - Pietro Castellitto

Armando - Luca De Filippo

Psychologist - Jane Birkin

Director - Sergio Castellitto

Screenplay - Margaret Mazzantini & Sergio Castellitto

Based on the novel Venuto al mondo by Margaret Mazzantini

Rated R for violence including a rape scene, sexuality/nudity, language and some drug content

      Academy Award winner Penelope Cruz and Emile Hirsch star in romantic war drama Twice Born, based on the novel by Margaret Mazzantini.

      Gemma (Penelope Cruz) has returned to Sarajevo with her son Pietro (Pietro Castellitto), sixteen years after the city was torn apart by war. Pietro's father Diego (Emile Hirsch) died years before during the Bosnian conflict.

      We then flashback to all those years ago, where a younger Gemma first meets the idealistic photographer Diego. The two fall in love, yet unfortunately Gemma is unable to conceive a child. Despite pushing Diego into the arms of surrogate Aska (Saadat Aksoy), through which a child is conceived, Gemma is overcome with guilt and jealousy.

      Twice Born is your typical war-drama-romance kind of film that breaks a number of the mandatory cliches we normally see in films like this while also containing a few third act twists. Of all the war periods portrayed in film, the conflict that took place in Bosnia is one of the few that is rarely visited, so it's a bit of a shame that the tragedies that took place take a back seat to the sweeping melodrama that we see here. We do, every now and then, get a grim portrait provided by Italian director/co-writer Sergio Castellitto of the horrors that took place, but there's not as much as we should get. That said, in spite of the weaknesses of the story, the film is elevated by a mesmerizing performance from Penelope Cruz. What an amazing turn from Penelope. Whether she's playing the lively, younger Gemma, the middle-aged Gemma filled with heartbreak over the fact she can never conceive a child, or the older Gemma reflecting back on the decisions she made that brought her back to where it all began, Cruz hits all the right notes and conveys every emotion of her character perfectly. If the story doesn't move you, Cruz and her character will. Emile Hirsch is a fine actor and has turned in two great performances already this year with Prince Avalanche and The Motel Life, but here he seems a bit over-the-top. Playing someone so young, idealistic and full of himself, yeah, you can maybe forgive that, but he didn't bring any believability to the romance with Cruz (you also have to wonder if Gemma would even bother with someone like Diego) and just seemed to lay it on tad bit too thick with her. Then again, Penelope Cruz ages like a fine wine and will still be rockin' it at the age of 156. If I was in her presence and had a chance to win her over, I would lay it on like molasses too, so who am I to talk?

      The story is not entirely without its strengths. There are a few genuinely moving moments where the melodrama steps aside and Sergio Castellitto does a solid job at constructing the way the film flows through present day to flashback. I just wish the film contained a little less melodrama. At the end of the day though, this is Penelope Cruz's film and despite the flaws that it contains, she carries this film with an effortlessly terrific performance. Her performance alone is reason enough to still watch this film. It's one of her best. I give Twice Born a B (★★★).

Out of the Furnace

Cast of Characters:

Russell Baze - Christian Bale

Harlan DeGroat - Woody Harrelson

Rodney Baze, Jr. - Casey Affleck

Chief Wesley Barnes - Forest Whitaker

John Petty - Willem Dafoe

Lena Taylor - Zoe Saldana

Red - Sam Shepard

Director - Scott Cooper

Screenplay - Brad Ingelsby & Scott Cooper

Rated R for strong violence, language and drug content

      Academy Award winners Christian Bale and Forest Whitaker, Zoe Saldana and Academy Award nominees Woody Harrelson, Casey Affleck, Willem Dafoe and Sam Shepard star in Scott Cooper's Out of the Furnace.

      Russell Baze (Christian Bale) has had a rough life. He's working a dead-end job at the local steel mill that will soon be shut down, he's caring for his terminally ill father and he's also served time for a car accident that resulted in the death of a child, which resulted in his girlfriend Lena Taylor (Zoe Saldana) leaving him.

      Now out of prison, Russell is reunited with his brother Rodney (Casey Affleck), who's back home from serving multiple tours of duty in Iraq. Rodney is deep in debt and earns what he can doing bare-knuckle fist fighting in various parts of the town, which leads him to Harlan DeGroat (Woody Harrelson), a vicious backwoods redneck that runs his own fighting ring. With Rodney falling deeper into debt and trouble with DeGroat and local police chief Wesley Barnes (Forest Whitaker) having his hands tied behind his back due to jurisdiction issues, Russell takes it upon himself to right a wrong with his brother.

      Average moviegoers might still see Christian Bale as Batman, and okay, deservedly so. The man played a great Caped Crusader. If you've never seen his Oscar winning turn in The Fighter, though, do so. That there showcased a turn that many thought was his movie more than the top billed Mark Wahlberg's. If The Fighter doesn't get you to believe Bale has the talent to escape the shadow of The Dark Knight trilogy, his Oscar worthy turn in Out of the Furnace will (he also has another anticipated movie, American Hustle, coming out in a few weeks as well). There's a scene between him and Zoe Saldana on a bridge that'll rip your heart right out of your chest, and never in a manipulative way. This is raw, genuine emotion emoting from both Bale and Saldana that has to be witnessed rather than me tell you. For a man who comes off so tough, this is when we see him at his most vulnerable and helpless state. As far as current actors go, no one can transition so seamlessly from smug, penthouse billionaires to flawed, down-to-earth, middle men with a heart like Bale can. Woody Harrelson plays his most ruthless and heartless character since Natural Born Killers and Casey Affleck turns in, what I believe, is one of his best performances to date. Along with those three, we get some strong turns from the veteran acting presences of Oscar winner Forest Whitaker and Oscar nominees Willem Dafoe and Sam Shepard. This is one hell of a cast, people! With only two films under his belt, following Crazy Heart, director Scott Cooper (who also co-wrote the film) is no stranger to crafting flawed individuals trying to set themselves back on the straight and narrow. This a bleak, gritty world with characters that have hit rock bottom, but will do anything to make things right. With Masanobu Takayanagi's cinematography and the score from both Dickon Hinchliffe and Eddie Vedder, Cooper makes all the right choices and sets all the right tones in this dark, "Rust Belt of America" world he's created.

      Some may find themselves underwhelmed by the ending. That's understandable. I myself felt a bit that way too. There are certainly moments where it appears to be style over substance, but I applaud Cooper for going against the grain, and that final shot of Bale stuck with me. Regardless of a few nitpicks, this is still a memorable film with some superb performances from the entire cast. It may be only Cooper's second film, but it marks another strong effort from a director on the rise. I give Out of the Furnace an A (★★★★).

REVIEWS COMING LATER NEXT WEEK...

Twice Born

Hours

The Hobbit: The Desolation of Smaug

The Last Days on Mars

Cast of Characters:

Vincent Campbell - Liev Schrieber

Charles Brunel - Elias Koteas

Rebecca Lane - Romola Garai

Marko Petrovic - Goran Kostic

Robert Irwin - Johnny Harris

Richard Harrington - Tom Cullen

Lauren Dalby - Yusra Warsama

Kim Aldrich - Olivia Williams

Director - Ruairi Robinson

Screenplay - Clive Dawson

Based on the short story The Animators by Sydney J. Bounds

Rated R violence and language

      It's Gravity meets 28 Days Later as Liev Schrieber, Elias Koteas, Romola Garai and Olivia Williams star in the outer space thriller The Last Days on Mars.

      Eight members of a research crew manning the Tantalus Base outpost on Mars are just 19 hours away from finishing their mission. They're led by Charles Brunel (Elias Koteas) and Vincent Campbell (Liev Schrieber). With so little time left before their mission ends and being that they're in outer space, something bad happening is inevitable.

      That something bad occurs when two of the members, scientist Marko Petrovic (Goran Kostic) and his crewmate Richard Harrington (Tom Cullen), devise a ruse that enables them to escape a mandatory exit briefing so that Petrovic can capture more samples of what he believes is life on another planet. The life they find though winds up being much more deadly than anyone could have anticipated.

      In the tradition of other sci-fi films such as 2001: A Space Odyssey, Alien, Red Planet and last year's Prometheus, this is another space expedition gone awry type of film. This is more akin to Red Planet though than the aforementioned greater sci-fi flicks in that it's slow paced, tedious and the characters are thinly written. We don't get much motivation out of any of the characters, and before we can maybe hope to see exactly what type of "life" it is they found, the film devolves into another "zombie-turning virus" movie. That would be all fine and dandy if it could at least provide some suspense and thrills to entertain the viewer. It provides neither. What it does provide is set pieces and effects that look like they belong in a made-for-TV movie (maybe slightly better though) and a talented cast that, due to the weak script, is given very little to work with. Liev Schrieber is a great actor and for a number of years he's turned in some fine supporting work. This is really the first film I've seen of his where he's handling the responsibility of the lead. I don't blame his performance. He does the best he can with what's given him. I do believe he has what it takes to be a lead actor, this film ain't it though. The biggest problem I found with the film is first-time director Ruairi Robinson's tone. This film doesn't know whether it wants to be original and minimalist like Moon or just another B-movie monster flick. Robinson tries to have it both ways and to be fair, the first 20-25 minutes or so had my attention. Once it finally turns course and heads into zombies attacking humans territory, I lost interest 'cause it lacked the fun and the suspense of what Ridley Scott brought to Alien and Prometheus or what John Carpenter brought to The Thing.

     I can't say it's a horrible film, but it falls in a category far worse than being horrible: forgettably mediocre. There are a few standout moments of suspense and while the film does feature a talented cast, they're really grasping at straws when it comes to the bland script they're working with. Not knowing what type of film it wants to be doesn't help either. I give The Last Days on Mars a C- (★★).     

Homefront

Cast of Characters:

Phil Broker - Jason Statham

Morgan "Gator" Bodine - James Franco

Sheryl Gott - Winona Ryder

Cassie Klum - Kate Bosworth

Susan Hatch - Rachelle Lefevre

Cyrus Hanks - Frank Grillo

Sheriff Keith Rodriguez - Clancy Brown

Maddy Broker - Izabela Vidovic

Director - Gary Fleder

Screenplay - Sylvester Stallone

Based on the novel Homefront by Chuck Logan

Rated R for strong violence, pervasive language, drug content and brief sexuality

      Jason Statham is back to kicking everyone's ass with Kate Bosworth, Frank Grillo and Academy Award nominees Winona Ryder and James Franco in Homefront. Think Taken meets Breaking Bad meets Lizard Lick Towing meets Duck Dynasty.

      Phil Broker (Jason Statham) is a widowed, ex-undercover DEA Agent who has now moved down south with his daughter Maddy (Izabela Vidovic). It's a small, quaint town, almost too quaint. That means we're gonna get that one law enforcement official (Clancy Brown) that seems to be the only one on duty throughout the entire film, the one attractive local (Rachelle Lefevre) Statham takes a liking too (much to his daughter's pleasure), and of course, the number of yokels that don't take too kindly to Statham being all up in their neck of the woods.

      Following a school playground skirmish between Maddy and one of the kid bullies, Broker finds himself in deep when the kid's mother, Cassie Klum (Kate Bosworth), asks her meth making brother Morgan "Gator" Bodine (James Franco) and his white-trash girlfriend Sheryl Gott (Winona Ryder) to scare Statham and his little girl off. As Seinfeld would say, "Well... good luck with aaaaall that."

      So much for this week of film batting 1.000 for me. There's really not much to expect here. It comes off as a film you would've seen back in the 80's and 90's. Knowing that Sly Stallone himself wrote the script, that makes sense. I can't knock Sly too hard. The man did write Rocky... but he also wrote Staying Alive, Rhinestone, Cobra, Over the Top, Rocky III, Rocky IV, Rocky V, and Driven. The problem here is that he takes the material too seriously. Yeah, I know, you can't make light of child abduction, but as the storyline progresses, it just gets more and more ridiculous. Gary Fleder hasn't had the illustrious career all directors dream of having (he did direct Don't Say a Word which I enjoyed), but he does his best at putting together a well-made action film with some effective editing. Although there was an unnecessary sex scene between Franco and Ryder that literally looked like it was photoshop, copy and pasted into the film.  Like I said, it's a predictable, you get what you pay for film. The only surprise here are a few of the casting choices. When I first saw the trailer in theaters, they concealed the bad guy's face until Bosworth walks up to ask him for a favor. That's when they revealed him - wait for it... wait for it! Oh, hey, look, it's a meth-head James Franco as not Gator Bodine, but "Gaaaturrrr Bodiiiine!" and his shit eating grin (the theater broke out into snickers when they finally showed him during the trailer). Franco's a fantastic actor and considering he's more known for his "artsy-fartsy" persona, you can understand why he'd wanna take a break, stretch outside his comfort zone and sink his teeth into a greasy, white-trash part like this. The problem is he's not really all that intimidating and you're trying to pair him (and Ryder too) up against Jason Statham, who next to Chuck Norris, is the last guy I'd ever wanna criticize and believe me, I'm doing my best to tread lightly here. Seriously, a Statham vs. Franco and Ryder fight would last probably three seconds and that's if Mr. Statham was being generous. It's just not a believable conflict and even with half a functioning brain you'd still know full well that Statham could roundhouse kick Franco and Ryder into the next century like it's a snap of the finger. It was great to see Ryder back onscreen again though. Remember when she was big back in the late 80's to 90's? Yeah, I blame Saks. Who is believable and works terrifically here is Kate Bosworth as Franco's skin-and-bones, crack smoking sister. She's actually fantastic and I've never really been much a fan of hers (She still has a long, long, long way to go before I forgive her for her awful take on Lois Lane in the stinker Superman Returns), but it's a believable performance that makes me wonder if the filmmakers really had her smoking crack. Hey, method acting works. Just ask Daniel Day-Lewis.

      There's not much to say here. It's not like I was expecting Oscar gold and was absolutely let down. Statham is a great actor and has done some great films before, but it's all relative to my past beef with McConaughey. With him you had a great actor wasting his talent on dopey chick flicks, and with Statham, after you watch films like Lock, Stock and Two Smoking Barrels, Snatch, and The Bank Job, you're also left wondering why he resorts to doing harmless, yet still dopey films like these. While he certainly has a lot of charisma and works really well with newcomer Izabela Vidovic, it's still just another textbook character out of the Statham playbook that we've seen him do time and time again. It's not a horrible film, so I won't be scratching my head in confusion if you rent it. Just go into it expecting exactly what it is and you'll be fine. I give Homefront a C (★★½).

REVIEWS COMING LATER NEXT WEEK...

The Last Days on Mars

Out of the Furnace  

The Book Thief

Cast of Characters:

Hans Hubermann - Geoffrey Rush

Rosa Hubermann - Emily Watson

Liesel Meminger - Sophie Nelisse

Max Vandenburg - Ben Schnetzer

Director - Brian Percival

Screenplay - Michael Petroni

Based on the novel The Book Thief by Markus Zusak

Rated PG-13 for some violence and intense depiction of thematic material

      Academy Award winner Geoffrey Rush, Academy Award nominee Emily Watson and newcomer Sophie Nelisse star in Brian Percival's film adaptation, The Book Thief.

      Following the death of her younger brother, Liesel Meminger (Sophie Nelisse) is sent by her mother to live with a foster family, Hans (Geoffrey Rush) and Rosa Hubermann (Emily Watson), in WWII Germany. Rosa comes off as the strict headmaster of the household, while Hans takes an immediate and affectionate liking to Liesel. Having brought with her a book of her brother's that was left by his graveside, she becomes intrigued by reading, despite not being able to read, and begins to collect books that she finds.

      With Nazi Germany rearing its ugly head in the background, Liesel makes a new friend with Max Vandenburg (Ben Schnetzer), a runaway Jewish boy who the Hubermann's are hiding and protecting in their basement.

      When I first saw the preview for this, I wasn't turned off by it in any way, but I was somewhat a bit "Really?" with the way the marketed it, having the voice-over narration play out like some cheesy made-for-TV Hallmark film. Having now seen The Book Thief, thankfully previews aren't the judge with the final say on how a film will turn out. This is one of the year's best films. It's never easy combining fable-like, heartwarming moments with a horrific backdrop, particularly one as tragic as the Holocaust. Thanks to director Brian Percival and screenwriter Michael Petroni, though, the two have crafted together a moving and respectful tale that balances the lighthearted moments perfectly with the darker tones of the film while never once taking the subject of Nazi Germany lightly either. Aside from a few moments, we don't get too deep into the tragedy of the Holocaust, but this isn't Schindler's List. This is a story of a family brought together through extremely tragic circumstances, yet they are still able to find joy in the smaller moments that life provides them. Some may find the tone to be off-putting, but I wouldn't have it any other way. We already know of the atrocities caused by Hitler. Spielberg perfectly captured it in the aforementioned Schindler's List. How often do we get a film that - yes, is set amidst the backdrop of one of history's greatest sins - but is about the everyday good German folk that despite the hardships they faced, still tried to rise above it all? French-Canadian actress Sophie Nelisse has done a few things back up in Canada, but for me she's a newcomer and it's quite a wonderful entrance for her. She is absolutely magnificent as the young, vulnerable yet still fiercely strong Liesel. When a certain Hitler Youth student taunts her to read and calls her a "dummkopf" (German for stupid), she has no problem putting him in his place with a good bitch slap. As she becomes more and more attached to her adoptive family and Max, she fights to keep them, having already lost her mother and brother. I look forward to seeing more from this girl. Both Geoffrey Rush (who rarely - that is, if ever - fails) and Emily Watson are terrific as the two adoptive parents that take Liesel in and do what they can to shelter her what is taken place in the country and what is yet to come. Watson's Rosa, in particular, is the type of woman you'd never wanna cross, but like any well written character, there are moments where the humanity within her comes out.

      While the events of Nazi Germany and the Holocaust aren't in full display, we still are reminded every now and then throughout the film of the evil Hitler brought upon his country. Yet, this is not a movie about heartbreak and tragedy. Yes, we do get those moments, but overall this is an uplifting film of courage and hope, featuring a final ten minutes that moved even a cynic like me. With strong direction and writing, performances that could move a solid stone wall to tears, and some perfectly fit story narration by "death" that captures the fable-like mood of this film, this is certainly one of the year's best movies, and although it faces some very strong competition, it could be a dark horse contender in the Best Picture field. I give The Book Thief an A+ (★★★★).

Dallas Buyers Club

Cast of Characters:
Ron Woodroof - Matthew McConaughey
Dr. Eve Saks - Jennifer Garner
Rayon - Jared Leto

Director - Jean-Marc Vallee
Screenplay - Craig Borten & Melisa Wallack
Rated R for pervasive language, some strong sexual content, nudity and drug use


      The McConaughsance continues and its Oscar buzz is heating up. Jennifer Garner and Jared Leto costar with Matthew McConaughey in the true life story of Ron Woodroof, Dallas Buyers Club.

 

      Ron Woodroof (Matthew McConaughey) is a drug addicted, rodeo cowboy sleaze who, after his rather loose ways, is diagnosed HIV positive and is told he has only 30 days left to live. While he does take the FDA approved AZT drug, this only helps bring him closer to the brink of death. To survive, Woodroof begins to smuggle FDA unapproved anti-viral medications.

      Soon after, other AIDS patients begin to seek out his medications. With the help of his doctor, Eve Saks (Jennifer Garner) and fellow patient Rayon (Jared Leto), Ron creates the Dallas Buyers Club. As expected, the club keeps growing in numbers, which alert the FDA and other pharmaceutical companies who are determined to put an end to Woodroof's operation.

      It's always a challenge for any screenwriter - hell, any writer - to present us an unlikeable character that, as the movie progresses, we find ourselves caring for and by the end of the movie has won our hearts over. Craig Borten and Melisa Wallack have written an excellent screenplay that's so good, it's easy to look over a few of the cliche secondary characters that pop up every now and then. I mean, the movie's not about them anyway. Together with director Jean-Marc Vallee, the three plunge the viewers back to a time when AIDS was scaring the shit out of everyone. All the little stylistic touches Vallee provides us with paints a nightmarish picture for Ron Woodroof as he finds himself in the most desperate of desperate situations and dives head first into desperate measures to handle them. Ron makes it easy to not like him. He's a coke snorting, booze drinking, sex crazed, womanizing ass and that we find ourselves slowly but surely sympathizing not just with his situation, but with the man himself shows just how powerful the writing and directing here is. Performing alongside McConaughey are two stellar supporting performances from Jennifer Garner and Jared Leto (who like McConaughey, also lost a considerable amount of weight for his role). Leto's film career hasn't always been consistent, but he has delivered gem performances before in Darren Aronofsky's Requiem for a Dream and also in the very underrated Chapter 27 (another film where he drastically altered his appearance by gaining weight to play Mark David Chapman, John Lennon's killer). Here he gives a performance that's bound to garner him a Best Supporting Actor nomination. Jennifer Garner has never been my cup of tea for actresses, but is absolutely wonderful here as the doctor with a conscience. Yes, of course, the obligatory doctor with a conscience, but by God, she sure sells it. Overall though, all of that is secondary to one man - Matthew McConaughey. This is his movie and it rests solely on a career best performance from him that not only has a shot at earning a Best Actor nomination, but also could very well win (Chiwetel Ejiofor might have something to say about that, though). Having reportedly shed fifty pounds to play the real life Ron Woodroof, McConaughey disappears into the role. This is not the charming, smirking, "Ooh, another opportunity for me to whip my shirt off" McConaughey we knew of ten years ago. This is a sad, emotional, desperate performance of a man that at the beginning brags, "Nothing can kill off Ron Woodroof!", but when we look past the facade, we see a man told he only has 30 days left to live, then ostracized by his friends, with no one else to turn to other than his doctor and a fellow AIDS patient. It's a complex performance that never once panders for our pity, but we find ourselves feeling for him as the story progresses.

      Following Mud earlier this year and with Scorsese's The Wolf of Wall Street just around the corner, 2013 is the year of McConaughey. Ten - well not even ten years back, just five years back, if you asked me if I'd be taking McConaughey seriously as an actor I would've told you at the beginning of his career, yes, but now, not so much. I've been proven wrong. I've always known McConaughey had the talent to be a great actor and we saw that early on in films such as Amistad and Contact. After years and years of seeing him waste it in chick flick hell, we finally get a superb performance from him that reminds us of what he has always been capable of. If Mud somehow didn't do it for you, this film certainly will. I give Dallas Buyers Club an A (★★★★).