White House Down

Cast of Characters:
John Cale - Channing Tatum
President James W. Sawyer - Jamie Foxx
Carol Finnerty - Maggie Gyllenhaal
Emil Stenz - Jason Clarke
Speaker of the House Eli Raphelson - Richard Jenkins
Emily Cale - Joey King
Martin Walker - James Woods

Director - Roland Emmerich
Screenplay - James Vanderbilt
Rated PG-13 for prolonged sequences of action and violence including intense gunfire and explosions, some language and a brief sexual image

      Channing Tatum, Jason Clarke, Academy Award winner Jamie Foxx and Academy Award nominees Maggie Gyllenhaal, Richard Jenkins and James Woods star in the new action thriller from Roland Emmerich, White House Down.

      US Capitol Police officer John Cale (Channing Tatum) is an Afghanistan vet as well as a divorce. Despite his military service, his overall lackluster resume results in him not being recommended for the US president’s secret service detail by Secret Service Agent Carol Finnerty (Maggie Gyllenhaal). On that same day, he manages to score White House tour passes through a friend that works there, which he feels will score him major brownie points with his daughter Emily (Joey King) - a child political junkie.

      Meanwhile, President James W. Sawyer (Jamie Foxx) is trying to get a Middle East peace plan passed. While discussing the matter with Speaker of the House Eli Raphelson (Richard Jenkins), a group of domestic terrorists led by Emil Stenz (Jason Clarke) take over the White House, kidnaping Emily in the process. That’s when John flips the switch and turns into “John McClane” mode, risking life and limb to save not only his daughter but the president himself.

      Roland Emmerich has directed and co-written some greatly entertaining films during the 90's such as Independence Day, The Patriot, and so sue me if I’m the only one who enjoyed Stargate and Godzilla. However with the exception of The Patriot (2000), the 21st century has not been as kind to him. The Day After Tomorrow was too preachy. 10,000 BC was too cheesy and contained some surprisingly horrible special effects for an Emmerich film. Anonymous was as preposterous of a story as one could get, and 2012, despite the amazing visual effects, took itself too seriously (Woody Harrelson was perfect for his role, though). So could Emmerich bounce back here? The answer is no... no, no, no, no, no. You could call this Olympus Has Fallen: Part II, but despite Olympus Has Fallen not being all that good, compared to this film, I'm almost willing to nominate it for a Best Picture Oscar. Not only does White House Down not provide Emmerich with the “springboard” film he needs, I believe this to be his worst film ever. It’s almost a marvel at how screenwriter James Vanderbilt could cram as many dumb characters into one story setting as he does here. I’m rather flabbergasted that this is the same writer that penned Zodiac - one of David Fincher’s best films and one of the best crime thrillers of the past 10 years. In White House Down everyone is at best a moron. The terrorists are able to sneak into the White House with such ease I actually started thinking maybe we don’t fund Homeland Security enough. I find it hard to believe any 10-12 year old child would have the balls big enough to stand up to the terrorists like Joey King does here. For being such a pacifistic president, Jamie Foxx changes from John Lennon to John Rambo rather quickly, and if anything, Jason Clarke, who gave an Oscar worthy performance in last year's Zero Dark Thirty, has his talent wasted playing such a cardboard cutout villain. Any attempt at humor falls flat quicker than the joke can even be sputtered out. The supposed "twists" I could see coming from miles and miles and miles away, and for such a talented cast plus Channing Tatum, the acting's somewhat bad. A part of me wonders how many takes it took for them to get their scenes done 'cause it seems impossible to me that they could've held a straight face for as long as they did.

      I'm just gonna say it. I think Roland Emmerich needs to team back up with former co-writer/producer Dean Devlin. I think it's more than coincidence that ever since Emmerich started doing films without Devlin on board they've progressively gotten worse and worse. Emmerich is certainly a talented filmmaker as far as directing is concerned. The stories are just weak, and in this case, it's garbage. Honestly, though, I feel like I'm doing a huge disservice to garbage by comparing it to this film. I give White House Down a D- (½★).

REVIEWS COMING LATER NEXT WEEK...

What the Hell Were They Thinking?!

Benjamin's Stash: Video Pick of the Week

Top 50 Movies of All-Time: Part I

The Reluctant Fundamentalist

The Lone Ranger

The Heat

Cast of Characters:
FBI Special Agent Sarah Ashburn - Sandra Bullock
Detective Shannon Mullins - Melissa McCarthy
Hale - Demian Bichir
Levy - Marlon Wayans
Jason Mullins - Michael Rapaport

Director - Paul Feig
Screenplay - Katie Dippold
Rated R for pervasive language, strong crude content and some violence

      Academy Award winner Sandra Bullock and Academy Award nominee Melissa McCarthy pair up with Bridesmaids director Paul Feig in the buddy cop comedy The Heat.

      Sarah Ashburn (Sandra Bullock) is an FBI Special Agent who, due to her rigid "by the books" adherence to the Bureau's policies and procedures, always seems to get on the nerves of every one of her colleagues. As for her personal life, as one fellow agent sarcastically states, "Hard to believe she's single." Hell, even the cat she has keep her company belongs to her neighbor. Her boss Hale (Demian Bichir) gives her a case on a Boston drug kingpin to work on. In return, he'll possibly consider her for a promotion position she's been eying.

      Once in Boston, she gets settled in with the help of fellow FBI agent Levy (Marlon Wayans). While interrogating a perpetrator, she is introduced to Detective Shannon Mullins (Melissa McCarthy), a foul mouthed cop who's not so keen on the FBI coming into her territory and taking matters into their own hands. Being as polar opposite from each other as they could possibly be, both Mullins and Ashburn are naturally turned off by each other. That obviously means they'll soon be partnered up to track down the kingpin they're after.

      Like Ashburn's by the books nature within the FBI, this film is a by the books buddy cop comedy. From 48 Hrs. to Lethal Weapon to Stakeout and Rush Hour, we know how the formula works. One cop is straitlaced and by the book and the other is a loose cannon. They partner up, initially annoy the hell out of each other, but then gradually come to rely on the other. They botch up the case, get removed from the case, but then by the end of the film, they solve everything. Been there, done that. All that being said, this is a laugh after laugh after laugh type of comedy bolstered by two great female leads. Melissa McCarthy is a true comical gem. After stealing the show in Bridesmaids, a film I found to be a terrific surprise, McCarthy delivers the goods once again. From the moment she pops up on screen, she has us laughing hysterically and refuses to take her foot off the gas. Now to be honest, the concern for me was Sandra Bullock. Bullock's certainly a fine actress, but she doesn't exactly have the best resume in terms of comedy (Forces of Nature, Miss Congeniality, All About Steve, The Proposal). The Heat proves that given the right script, Bullock can turn in a fine comedic performance. It's not a scene stealing performance, but knowing her character, it's not meant to be. Pair her up with McCarthy and you have some finely tuned comic chemistry.

      With perfect comic timing from the two leads, a solid supporting cast, and a sharp script from debut film screenwriter Katie Dippold (although, I have to believe at least some of the moments were still ad-libbed), The Heat is the type of film McCarthy's comedy earlier this year Identity Thief wishes it could be. Don't go in expecting fresh originality. You'll be disappointed if you do. However, go in knowing what to expect and watch two great comic performances play off each other and you'll have just as great a time as I did. I give The Heat an A- (★★★½).

Redemption

Cast of Characters:

Joseph Jones - Jason Statham

Sister Cristina - Agata Buzek

Director - Steven Knight

Screenplay - Steven Knight

Rated R for strong brutal violence, graphic nudity and language

      Jason Statham stars in the directorial debut of Academy Award nominated screenwriter Steven Knight, Redemption (aka Hummingbird in the United Kingdom).

      Following a traumatic tour of duty in Afghanistan, ex-Royal Marine Joseph Jones (Jason Statham) returns to his home in Great Britain. Unable to get his life back on track, he winds up broken down and homeless. After receiving a beatdown by a group of thugs, Jones makes an attempt to reinvent himself. He breaks into another man's apartment, assuming his identity, then seeks the aid of Sister Cristina (Agata Buzek), a young nun working at an inner-city parish.

      It's not too long after that Joseph's military training comes in handy down in London's criminal underworld, playing the enforcer for a Chinese mobster. Upon learning that his missing girlfriend was murdered, he takes it upon himself to avenge her death, hoping that it can offer him one last chance to redeem himself.

      Upon seeing an advertisement for this film, I was looking forward to seeing this. Any film that doesn't require Statham to hide behind a number of stunts, in my mind, is a movie worth checking out. The problem though is that this film doesn't add up to much. There's not enough in the story for the viewer to invest in, and the characters aren't fleshed out enough to where we can really care about the situations they find themselves in. Any moments that do verge on being inspired (for instance, Jones trying to reconnect with his young daughter) are few and far between. This reminded me a lot of last year's disappointing Killing Them Softly with Brad Pitt. For every scene that bordered on greatness, it was followed by one that lagged and ultimately fell flat. What's most disappointing about this script is that it was written by Steven Knight, who wrote two fantastic films prior to this, Dirty Pretty Things (for which he received an Oscar nomination) and Eastern Promises.

      Jason Statham, more often than not, tends to get typecast in mindless action flicks that amount to nothing (Death Race, The Transporter films, Crank). It's really a shame considering if you've ever seen Lock, Stock and Two Smoking Barrels, Snatch, and the terribly underrated The Bank Job, you know how great of an actor Statham can be. Even The Expendables films were great entertainment. I gotta say, in spite of the weak script, here he's actually quite good. The weakness lies in the script, and I expected better from a writer like Knight. I wanna recommend this, but at the end of the day, I can't quite do that other than maybe say wait for a rental. Throw in The Bank Job too if you do so. Seriously, if you haven't seen that film, definitely check it out. I give Redemption a C (★★½).     

2013 Mid-Year Recap

      Okay, readers, here is my mid-year recap on film for 2013. I'll give my recommendations for films still in theaters to see if you haven't, as well as movies just released on DVD or already out. Then I'll finish it off with my top 5 best and worst of the year so far.

Rating System:
A to A+ : ★★★★
B+ to A- : ★★★½
B- to B: ★★★
C to C+ : ★★½
C- : ★★
D+ : ★½
D : ★
D- : ½★
F: 0 stars

Films Still in Theaters:
This Is the End: A (★★★★)
      * Comedy: Rated R for crude and sexual content throughout, brief graphic nudity, pervasive language, drug use and some violence
Man of Steel: A (★★★★)
      * Science Fiction/Action/Comic book: Rated PG-13 for intense sequences of sci-fi violence, action and destruction and for some language
Iron Man 3: A (★★★★)
      * Science Fiction/Action/Comic book: Rated PG-13 for intense sequences of sci-fi action and violence throughout and brief suggestive content
Monsters University: A- (★★★½)
      * Animated/Family: Rated G for general audiences
The Hangover Part III: A- (★★★½)
      * Comedy: Rated R for pervasive language including sexual references, some violence and drug content and brief graphic nudity
Star Trek Into Darkness: B+ (★★★½)
      * Science Fiction: Rated PG-13 for intense sequences of sci-fi action and violence
The Internship: B+ (★★★½)
      * Comedy: Rated PG-13 for sexuality, some crude humor, partying and language

Movies Out on DVD:
Warm Bodies: A- (★★★½)
      * Romantic Comedy/Horror: Rated PG-13 for zombie violence and some language
Stoker: A- (★★★½)
      * Psychological Thriller: Rated R for disturbing violent and sexual content
Oz the Great and Powerful: A- (★★★½)
      * Fantasy/Adventure/Family: Rated PG for sequences of action and scary images and brief mild language
Jack the Giant Slayer: A- (★★★½)
      * Fantasy/Adventure: Rated PG-13 for intense scenes of fantasy action violence, some frightening images and brief language
Mama: B+ (★★★½)
      * Horror: Rated PG-13 for violence and terror, some disturbing images and thematic elements
Snitch: B+ (★★★½)
      * Crime/Drama: Rated PG-13 for drug content and sequences of violence
Side Effects: B+ (★★★½)
      * Psychological Thriller: Rated R for sexuality, nudity, violence and language

      Okay, so those are my picks for what's in theater and what's out on DVD. Granted, some movies that I've strongly recommended didn't make the list simply 'cause they're kinda in "limbo" - not in theaters and not yet on DVD. Anyway, here are my top 5 best and worst films of the year so far.

Top 5 Worst Films of 2013
5) Evil Dead: D- (½★)
      Do I hate all remakes? No. The Ring, The Thing (with Kurt Russell, not the recent "prequel" they did), Ocean's 11, and The Fly are just to name a few that I love. I do hate poorly made remakes though. The characters are thinly written and so dumb I'm surprised some were able to survive for the whole hour and a half of the film. The biggest crime is completely sucking out all of the witty and dark humor that made the original so great.
4) Safe Haven: D- (½★)
      Safe Haven is overly cute and sappy to the point you wanna punch a puppy in the face. The townsfolk are almost too quaint and helpful, and of course, this is a Nicholas Sparks novel, meaning at some point a lovestruck couple will end up kissing in the rain. In spite of its "Choke on all the warm fuzziness!" demeanor,  this had the potential to at least avoid not just this list, but even the "D" rating section... Then that big reveal during the ending reared its ugly head and actually had me say out loud, "You gotta be fucking kidding." I'm almost tempted to tell you to rent it just so you can see for yourself... Nah, you better not.
3) 21 & Over: D- (½★)
      This has to be one of the dumbest storylines I've seen in years. How exactly, even at your drunkest, do you manage to forget where one of your friends lives? That doesn't make great comedy. That makes the main characters really shitty friends. The only reason it avoids being the worst is that at one point I laughed. That might have been a sneeze though. 
2) The Last Exorcism Part II: F (0 stars)
      Oddly named title aside, it's rare for a horror film - even a shitty one - to put me to sleep. There are no scares, no thrills, no creeps, hell, you start to wonder if the film even has a pulse. I'm all for horror films that can show restraint. I love horror films that can show restraint, but at least build up to a thrilling climax. The first film was a pleasant surprise for me. This film, however, is completely unnecessary.
1) Scary Movie V: F (0 stars)
      Do I need to say anything here? Just watch the film trailer. That's all you need to see to realize how much of a crime against humanity this film really is. I laughed more through Schindler's List. Case closed.

Top 5 Best Films of 2013
5) The Place Beyond the Pines: A (★★★★)
      With gorgeous, Oscar worthy cinematography, superb performances, brilliant direction and a beautiful score, The Place Beyond the Pines had me engaged in its story from beginning to end. Ryan Gosling's never been better. Bradley Cooper continues to grow, and although I'm not the biggest Eva Mendes fan, she still gives one of her finest performances ever.
4) Sightseers: A (★★★★)
      I'm a big fan of dry, British humor and this film had me laughing non-stop throughout its dark and twisted tale of a couple that clearly reaches their breaking point during a vacation. I had no idea who director Ben Wheatley was before this film. Now that I've seen Sightseers, it has definitely got me interested in seeing some of his previous efforts.
3) Man of Steel: A (★★★★)
      No, it's not the best film of the year, but like I was gonna be, "Best film of the year or bust!". Besides, is the third best spot really all that bad? Featuring a uniformly gifted cast (kudos to casting directors Kristy Carlson and Lora Kennedy), a mesmerizing score by Hans Zimmer and an origin story (Which Superman Returns should've done, yet failed to do) that showcases Snyder's visual pizazz and Goyer's beautifully moving story, Man of Steel is the best Superman film since 1981's Superman II.
2) This Is the End: A (★★★★)
      Hands down the funniest movie of 2013, I literally laughed from the opening scene to the end credits. Not one single star is off limits from having their persona torn to shreds. There's at least a dozen different cameo appearances, and I certainly won't be able to watch Hermione from the Harry Potter series the same ever again.
1) Mud: A+ (★★★★)
      Matthew McConaughey could possibly - and deservedly so - earn a Best Actor Oscar nomination for his heartfelt performance in the year's best film so far. Set along the Mississippi River Mud centers on two young boys who discover a man in the woods who simply calls himself "Mud". Despite finding out that Mud once killed a man to protect a woman he loves and is on the run from the law, the boys go out of their way to help him escape. It's both moving and sentimental, yet never even comes close to being sappy. The performances are fantastic. McConaughey and Tye Sheridan - as the young boy Ellis - have a great chemistry together. The cinematography is exquisite, and Jeff Nichols's story and direction are perfect. If it is still playing at a theater near you, I can't recommend this film enough.

      Well, that's all for my mid-year recap. There's still have half a year left, so those top best and worst lists can certainly change by then. Here's to a great remainder of the year for film.

Benjamin's Stash: Video Pick of the Week

      Hello, readers. I was able to get a second viewing of Man of Steel today, and I gotta say it definitely holds up a second time around. There were a few moments peppered throughout I didn't catch the first time (a Lana Lang reference that somehow went by me the first time, for example). That out of the way, with Roland Emmerich's White House Down opening this Friday, I'm devoting this week's video pick to one of the most entertaining summer flicks of the 90's, co-written and directed by Mr. Emmerich himself.

      "Welcome to Urf!" Independence Day begins on July 2 when an alien mothership enters Earth's orbit, deploying several destroyer spacecraft, each about 15 miles in diameter. David Levinson (Jeff Goldblum), an MIT graduate working for a New York City cable company, discovers a hidden satellite transmission which he believes is a countdown to a coordinated attack by the aliens. After warning President Thomas J. Whitmore (Bill Pullman) of the coming attack, the president orders mass evacuations of all the major cities being targeted. Despite these efforts, the aliens are successful in destroying the cites resulting in a counter-attack by the Americans led by Marine Corps Captain Steven Hiller (Will Smith).

      Come with me, children. Put your 10,000 BC DVD down and let me take you back to a time and place when Roland Emmerich films were good. This is an example of a popcorn flick done right. You have a great all-star cast featuring Will Smith, Jeff Goldblum, Bill Pullman, Randy Quaid (quite possibly playing himself as crazy as he appears here), Robert Loggia, Mary McDonnell, Harvey Fierstein and Judd Hirsch. You have exciting action packed moments featuring a terrifically shot sequence of cites being blasted away to Kingdom come. Most importantly, you have a self-aware script by producer Dean Devlin and Roland Emmerich that knows when to not take itself so seriously. It almost makes me forget the two hour preaching beatdown I suffered while sitting through The Day After Tomorrow. Credit also Emmerich for certainly delivering the action packed goods, but not venturing into Michael Bay territory by raping our senses (Do I need to bring up Armageddon or the Transformers trilogy?). It's not perfect. It's not original. Then again, it doesn't try to be either. Yeah, Pullman's "Today we celebrate our Independence Day!" is beyond cheesy. That doesn't stop this film from still being a damn good time, though, offering two and half hours of good performances, visual entertainment, spectacular set pieces and humor that works.

What the Hell Were They Thinking?!

      Hello, readers. This week I'll have my 2013 mid-year recap, giving you my recommendations on what to see in theaters, what to check out on DVD, as well as my top 5 best and worst films of the year so far. Right now, though, it's time for "What the Hell Were They Thinking?!" This week's pick stars a man that has done some great work before, but is definitely no stranger to headlining a steaming pile of crap.

      Jack and Jill stars Adam Sandler as twins Jack and Jill. Jack is a successful advertising executive in Los Angeles. His sister Jill decides to fly over from the Bronx for the Thanksgiving holiday. Since her plane ticket is open ended, and since the filmmakers probably thought the film's viewers would be masochistic enough to wanna sit through an hour more of this, she decides to stay 'til the end of Hanukkah. Hooray for Jack... Hooray for us. While on vacation she meets Al Pacino (playing himself... That was not a typo) at a basketball game. Pacino (No, seriously, it really is him) develops a crush on Jill and makes a proposition with Jack. He'll be willing to do a commercial Jack's company has been dying for Pacino (I know you think I'm still messing with you, but trust me, it really is him!) to do if Jack can set him up with his sister. Oh, boy! A love interest!

      Well, look what we got here. Another film vehicle for Sandler to use that stupid nasally voice that sounds like his noise was smashed in repeatedly. Don't get me wrong. Sandler's done some great work before - Punch-Drunk Love, Spanglish, Funny People (Arguably his best performance, in my opinion), and even Anger Management (mainly due to the back and forth between Sandler and Jack Nicholson). However, more often than not he's done some bad, and I mean really, really, really bad films. I get it. He's got that one stupid voice for about 50 million different characters. Way to mix it up. Seriously, I get it. I got it the first time and it wasn't funny then. Somehow, halfway through the film, Johnny Depp shows up as himself in a cameo scene. Either they gave him a billion dollar salary or he was completely oblivious to the fact that they were filming him. Those are the only two possible scenarios I can run through my head as to why he'd be in this film. Speaking of why the hell are they here, let's get to Al Pacino. I'll give him credit. He gives his all here in this performance... then again it's like pissing in the wind. You'll know exactly what I mean if you see this. Plus, by the end of the film, I started thinking maybe it shouldn't have been Fredo that got shot. Seriously, Al... WHAT THE FUCK ARE YOU DOING HERE IN THIS MOVIE?! The most awkward moment though is near the end when Jack and Jill have their "moment" and make up. They do this weird "goo-goo, ga-ga" gibberish language that's apparently their twin talk. It tries to be all heartfelt and sentimental... then you realize it's just Sandler basically talking drunk with... well, himself. Also, if you think you're hallucinating by the time Pacino shows up in the scene dressed as the Man of La Mancha... Yeah, you're not. I started thinking I was, but then I realized I was 100% sober. For this segment, you normally will not be seeing comedies here. For the most part, if a comedy is bad it's 'cause it's not funny. Most of the films you've seen in these segments are at least unintentionally funny. I mean, what other reason would I recommend you sit through a garbage film? I'm gonna make this a rare exception 'cause this film is so bad, and is easily Sandler's worst film - and it was going up against some pretty strong competition, mind you - you really have to witness this train wreck for yourselves. I sat there thinking how the hell could any studio head have thought to themselves, "... Hmm... Yeah, it seems like a good movie. Here's a shit ton of money!" Although I didn't have to pay to see this movie since I watched it on the Starz Channel, that still didn't stop me from contemplating whether I should call AT&T and demand to be comped. During the end credits, the film has footage of various real-life twin siblings sharing life stories. I was kinda hoping at least one of them would man up and say, "This film makes me regret not swallowing my other half whole in the womb, 'cause I don't think I could ever feel more ashamed to be a twin right now." At the very least, you can watch Al Pacino and run the sage Proverb of King David lamenting over the death of his predecessor through your head. "How the mighty have fallen!"

World War Z

Cast of Characters:
Gerry Lane - Brad Pitt
Karin Lane - Mireille Enos
Captain Speke - James Badge Dale
U.S. Navy Parajumper - Matthew Fox

Director - Marc Forster
Screenplay - Matthew Michael Carnahan, Drew Goddard & Damon Lindelof
Based on the novel "World War Z" by Max Brooks
Rated PG-13 for intense frightening zombie sequences, violence and disturbing images


      Academy Award nominee Brad Pitt gets chased down by a zombie breakout on speed in the film adaptation of World War Z. What's not to like with that scenario?

      Former UN employee Gerry Lane (Brad Pitt) is driving through Philadelphia with his wife Karin (Mireille Enos) and their two children when the car radio reports of a rabies outbreak spreading internationally. They are then surprised by a horde of zombies running wild through the streets, chasing down live humans. Through an old colleague of his, Gerry is able to escape with his family to a U.S. Naval Ship off the coast of New York. On board the ship, the military personnel are hopeful Gerry - with his past expertise as a UN investigator - is willing to help them figure out what, how, when, and why all this carnage is happening around them. If he is willing to help them, his family can stay on board, protected from the outbreak.

      The military sends Gerry, along with a team of U.S. SEALS and a young virologist who may be the key to figuring out the origin of this plague, to South Korea. It is there where the term "zombie" was first used in reference to the current outbreak. Gerry and the team sent with him must find any clue or source to the virus's origin in order to create a vaccine that can help prevent the plague from spreading further.

      Max Brooks's novel "World War Z" attracted a huge following, selling at least a million copies and spending four weeks on the New York Times Best Seller list. That said, I have not read the novel, so I went in planning to review this solely as a movie. This film is certainly not without flaws. The ending is a bit underwhelming, and the way the writers resolved the conflict seemed a little too easy. Judging from the final line of dialogue, there may be a sequel in the works. That could possibly explain the lackluster ending, but I kept thinking a rewrite really wouldn't have hurt. To it's credit, we don't get bogged down with the token "This is how it came about..." speech, and in spite of the flaws, this is still an entertaining flick. What could've been just another run of the mill zombie movie is elevated by Brad Pitt and director Marc Forster. Over the past ten years, Forster has strung together hit after hit with Monster's Ball, Finding Neverland, Stay, Stranger Than Fiction, The Kite Runner, Quantum of Solace (the least of the Daniel Craig Bond films, but still one I enjoyed), and Machine Gun Preacher. Here he brings a nice, delicate balance between zombie horror (the gore is a bit more on the mild side, being rated PG-13) and suspense thriller, never letting one side completely take over the other. Utilizing a wide array of fantastic set pieces and stringing together a thrilling flight sequence along with some other effective zombie horde shots (the wall scaling scene, for example), Forster proves once again to be a unique and versatile talent.

      Rumor has it that the film has deviated quite a bit from the novel, so to the fanboys, you've been warned. While the weak ending and resolution holds the film back from being as good as it could've been, Brad Pitt as well as the supporting cast, and Marc Forster elevate the film with performances that deliver and sharp direction. It's not what I'd call a film you have to rush out and see, but I also feel your time won't be wasted if you do. If you plan on waiting to rent it, throw in Danny Boyle's 28 Days Later and George A. Romero's Night of the Living Dead along with it and make it a zombie night. I give World War Z a B (★★★).

REVIEWS COMING LATER NEXT WEEK...

What the Hell Were They Thinking?!

Benjamin's Stash: Video Pick of the Week

2013 Mid-Year Recap

The Heat

Redemption

White House Down 

Monsters University

Cast of Characters:

Mike Wazowski - voiced by Billy Crystal

James P. "Sulley" Sullivan - voiced by John Goodman

Randall "Randy" Boggs - voiced by Steve Buscemi

Johnny Worthington - voiced by Nathan Fillion

Professor Knight - voiced by Alfred Molina

Dean Hardscrabble - voiced by Helen Mirren

Director - Dan Scanlon

Screenplay - Daniel Gearson, Robert L. Baird & Dan Scanlon

Rated G for general audiences

      In 2001, Pixar's Monsters, Inc. was released, becoming both a financial and critical hit. Come on, it's Pixar. Twelve years later, this summer, we go back in time and see how Mike and Sulley first met in the Pixar prequel Monsters University.

      The film takes place roughly ten years prior to the events in Monsters, Inc. Mike Wazowski (voiced by Billy Crystal) is seventeen years old and excited to finally be enrolled in the prestigious Monsters University, majoring in scaring. On his first day, he befriends his shy and nerdy new roommate Randall "Randy" Boggs (voiced by Steve Buscemi). While studying one night, Mike meets James P. Sullivan aka "Sulley" (voiced by John Goodman), who accidentally breaks into Mike's dorm while pulling a prank on the rival college Fear Tech. Sulley, who comes from a prestigious scaring family known throughout the college, skates through his studies without a care in the world. Why should he? He's big, frightening, and carries a roar that could create a faultline. 

      Over time, Sulley gets the attention of the big man on campus, Johnny Worthington (voiced by Nathan Fillion) of Roar Omega Roar. Mike is also interested in joining, but due to his small size, Johnny's unable to take him seriously. This sentiment is also shared by Dean Hardscrabble (voiced by Helen Mirren), the no bull, take no prisoners head of the University. Seeing that Sulley has the potential to be scary yet wastes it by coasting on his name alone and Mike knows every textbook answer of the what and how to be scary yet isn't scary in any way, Hardscrabble threatens to remove them from the program. However, if they and their new fraternity can win MU's Scare Games, she'll allow them both back into the program. When you see Mike and Sulley's fellow frat mates though, you'll see that's easier said than done.

      Rather than go the sequel route like Pixar has done with Cars 2 and Toy Story 3, Monsters University goes in the opposite direction by being a prequel, which is a wise move. As great as Monsters, Inc. was (a top five Pixar film for me), it'd almost be too predictable and kinda "what's the point?" to go with the "let's see what they're up to so many years from now. It's far more interesting to back in time and see how Mike and Sulley first met and got to where they are in the first film. Like you'd expect with a Pixar film the animation is as perfect as perfect can get. The monster characters are rich in color and imagination, and the voice-over performances are terrific. We know what we're gonna get from actors such as Crystal, Goodman, and Buscemi considering they're reprising their roles from the original film. There's some dependably funny supporting voice-over work from Joel Murray (Yes, Bill's brother), Dave Foley, Sean Hayes and Charlie Day. You know at some point Pixar regular John Ratzenberger will show up, and Academy Award winner Helen Mirren does an outstanding job as Dean Hardscrabble. On the outside she appears cold and demanding, but over time you realize it's her way of bringing the best out of her students. It's through her that Sulley realizes he can't simply skate on through his classes and expect to get by all 'cause he's got an intimidating roar and appearance. Opening a book every now and then would help. Likewise, Mike realizes you can be as book smart as they come, sometimes the best and genuine scares come from the gut though. It's those two key differences between Mike and Sulley that bring them together as friends and adds that element of heart to the film.

      Of course the film is a tad predictable. It's a prequel. We already know most of the characters, and where the story may be leading to, so you certainly can't fault it for that. Plus, in spite of its predictability, the final thirty minutes are a fantastic surprise. There's also a blink and you'll miss it Monsters, Inc. reference around the beginning of the film featuring a "Motivational Poster" on Boggs's wall that I got a kick out of seeing. Is it the best Pixar film ever? No, but it's certainly the best family oriented film out there right now. If you have little ones too young to see say Man of Steel or Iron Man 3, they'll have a great time here, and like all things Pixar, adults like me will enjoy it just as much. I give Monsters University an A- (★★★½).

Stoker

Cast of Characters:

India Stoker - Mia Wasikowska

Charlie Stoker - Matthew Goode

Richard Stoker - Dermot Mulroney

Aunt Gwendolyn "Gin" Stoker - Jacki Weaver

Evelyn Stoker - Nicole Kidman

Director - Park Chan-wook

Screenplay - Wentworth Miller

Rated R for disturbing violent and sexual content

      Mia Wasikowska, Matthew Goode and Academy Award winner Nicole Kidman team up with South Korean director Park Chan-wook in the psychological thriller Stoker.

      On her 18th birthday, India Stoker's (Mia Wasikowska) life is turned upside down after the death of her father Richard (Dermot Mulroney) in a car accident. This leaves India with only her estranged, unstable mother Evelyn (Nicole Kidman). At Richard's funeral, both India and Evelyn are introduced to Richard's extremely charming brother Charlie (Matthew Goode), who has spent most of his life as a world traveler. Seeing that India and Evelyn are need of support following this family tragedy of theirs, Charlie decides to move in with them. Although this is met with much delight from Evelyn, India has her doubts.

      India's suspicion about her Uncle Charlie remains following the disappearance of her caretaker. Her suspicions are also shared by Great Aunt Gwendolyn (Jacki Weaver), a visiting relative who's more than skeptical about Charlie's so called "world travels".

      This movie actually opened up earlier in the year around February-March, and it was on my radar of films I really wanted to see. Celebration Cinema nearby, however, clearly felt G.I. Joe: Retaliation was more deserving of three individual screens. That being said, this film was clearly worth the wait as this is one dark and twisted thriller. Director Park Chan-wook is clearly a talented filmmaker bringing enough stylish chills and visual spark to this maddening story by Wentworth Miller of murder. While some may feel the two are glamorizing violence, I feel this is simply a stylish look at how the dark side of human nature can take over one's life, and it's executed brilliantly. Mia Wasikowska continues to grow as a young actress in quiet and chilling role. Nicole Kidman gives one of her best performances that I've seen from her in years, and Matthew Goode shows once again why he's one of the most criminally underrated actors today. I felt his performance in the excellent film The Lookout was worthy of a supporting actor Oscar nomination, and here he delivers another stellar performance.

      All things considered, the story arc concerning Aunt Gwendolyn seemed out of place. That is in no way a reflection of Jacki Weaver who's a fantastic actress (she was wonderful in her Oscar nominated role in Silver Lining's Playbook). I just felt even without that story angle, the film still could've flowed together smoothly, and the character really wasn't all that needed. In spite of that minor flaw which does keep it from achieving perfection, this is still a great and unforgettable psychological thriller in the vein of Hitchcock. The film just came out on DVD this week. I strongly recommend you look it up. I give Stoker an A- (★★★½).

Benjamin's Stash: Video Pick of the Week

      Hello, readers. Today's segment is a day late. I was watching the NBA Finals last night and as a die-hard Orlando Magic fan, I would love nothing more than the abyss to open up and swallow the Miami Heat and all their bandwagon fans whole... or at least see the Spurs beat them. Naturally, seeing Miami win the way they did, I'm surprised I didn't receive a noise complaint from the cops last night due to the excessive volume and creativity of all the profanity flying out of my mouth... hence this post being a day late. Rant aside, with World War Z opening this week, it seems right to recommend a Brad Pitt film for you. It also should come as no surprise that I'm in a dark, serial killer mood right now for the pick.

      First time I saw this film, that moment with the "sloth" waking up made me shit myself. In Seven aka Se7en, Det. William Somerset (Morgan Freeman) is a homicide detective, soon to be retiring, but not before getting partnered up with the young and hot tempered Det. David Mills (Brad Pitt). Together, the two investigate a series of murders, each relating to one of the "seven deadly sins" (wrath, greed, sloth, pride, lust, envy and gluttony). Using library records, Somerset and Mills are able to track down a man simply known as John Doe, who has frequently been checking out books relating to the deadly sins.

      There's a lot to the story I kept out, particularly involving Dave's wife wonderfully played by Gwyneth Paltrow. Reasons for doing so are that if you haven't seen Seven (It's widely regarded as one of the best films of the 90s, so I'm assuming you have, but I could be wrong), watching it unfold before your eyes for the first time will prove to be a terrifyingly great time. Plus, I gave you the gist of the story anyway. David Fincher is one of the most unique directors around in terms of style and story. Look at his body of work - Zodiac (His best film, in my opinion), Fight Club, The Social Network, The Curious Case of Benjamin Button, Panic Room, and I could care less if I'm the only defender of Alien 3 on the planet. I loved the vision and vibe he brought to that film. Seven is no different. Both Freeman and Pitt play off each other very well. I've said it before, when isn't Freeman great? That could've backfired even for actors of their caliber considering the back and forth between the laid back cop who has seen it all vs. the hotheaded one who better fasten his seat belt for what he's in store for is definitely a "been there, done that" scenario. Certainly we've seen "whodunit" crime thrillers like this before. Certainly we've seen character profiles like this before. It's director Fincher and writer Andrew Kevin Walker - who captures the mythology behind the sins so well - along with the terrific performances, that elevate what could've been a generic thriller up to greatness. Fincher and Walker are not trying to entertain the viewer like most cheap thrillers would set out to do. They aim to appall the viewer without dwelling excessively on the horrific nature of the crimes like a Hostel film. By the time the ending shows up - and boy, is it a great one - you know they succeeded.

What the Hell Were They Thinking?!

      Hello, readers. On this week's edition of "What the Hell Were They Thinking?!" I thought I could just continue you the trend DC Comics style following last week's Superman IV: The Quest for Peace. To my cousin, Brian Smoot, this one's for you.

      Holy shit, Batman! Chris O'Donnell turned down Men in Black to star in this?! Batman on Ice aka Batman: The Death of a Franchise aka Batman & Robin aka Pure Dog Shit opens with Batman (George Clooney) and his sidekick Robin (Chris O'Donnell) once again throwing out one-liners with Robin bitching like a girl about how he wants a car like Batman 'cause chicks dig the car. Batman then bitches back, "This is why Superman works alone." (Hey, let's kill off another DC Comics franchise. Why not?) Meanwhile, Alfred mutters something about cancelling the pizzas. I'm not sure. I don't really care. Yes, it only took that short of a time for me to realize this film getting the green light is proof that life isn't fair. Batman and Robin then run off to fight Mr. Freeze (Arnold Schwarzenegger) on skates. Mr. Freeze is apparently collecting a bunch of diamonds which powers his suit, and he's gonna freeze Gotham, holding it for a billion dollar ransom to fund a cure for his wife. All this, despite the fact he probably has a billion dollars worth of diamonds stashed away in his collection anyway. Then Poison Ivy (Uma Thurman) shows up with Nacho Libre on steroids, better known as Bane. Both Batman and Robin get a hard-on for her due to some pheromone dust she blows at them. Alfred's dying (or, judging from this film, at least wishes he could), and hey, Batgirl (Alicia Silverstone) shows up! "Suit me up, Uncle Alfred!" I'm thinking the filmmakers thought, hey, we've already killed Batman. Let's have the girl from Clueless show up and keep on kicking him while he's down... and dead.

      After watching this and Batman Forever, I am convinced that Warner Bros. needs to issue a restraining order on Joel Schumacher requiring him to be at least 500 yards away from any Batman related screenplay. You don't even need to drop acid to make yourself question if you have a drug habit after witnessing the over-bloated production design throughout this mess. It's like everyone involved consumed a bag of shrooms and then went, "... Okay, now we're ready to film." Batman Forever wasn't good; in fact, it was pretty bad. However, it was more on par with a train wreck that critically injures a majority of the passengers. Batman & Robin, on the other hand, is like a train wreck that kills every possible living organism on board. Where to begin? How 'bout the casting? I've given credit to casting directors before in my reviews. I think they have just as difficult a job in the filmmaking process as anyone else, considering one or two or more miscasting jobs can either take away from a movie's potential to be great, if not flat out derail the film. That being said, if you give them credit for the good, you also have to hold them accountable for the bad. At what point did casting director Mali Finn ever think George Clooney would make a believable Batman? Don't get me wrong. Clooney's a fantastic actor. I can at least think of five movies of his instantly off the top of my head that I own. Let's be real here though. George Clooney as Batman doesn't even look good on paper. How 'bout the villains next? They're essential to any comic book film adaptation's greatness (or lack thereof). "Batman" is known for a number of diverse, well written and complex villains - Joker, Penguin, Riddler, Two-Face, Scarecrow, Ra's al Ghul, Mad Hatter, Bane, and one of my personal favorites as a kid, Harley Quinn. Two-Face and Riddler were horribly portrayed in Batman Forever, but at least when done right (2008's The Dark Knight, for example) they are great villains with a great story and personality to them. Mr. Freeze and Poison Ivy, who are we kidding? They're two of the shittiest villains in the series, be it the comic book series, the animated series, or the film series. Jack Nicholson's Joker in Tim Burton's Batman was overall entertaining, but still frightening, particularly during his "In order to make an omelet, you gotta crack a few eggs!" speech. Heath Ledger's Joker had me right from the first teaser trailer with his "Starting tonight... people will die" voice-over moment. Tom Hardy's Bane was eloquent and menacing all rolled into one. What do we get here? The Terminator unleashing an arsenal of "freeze" and "ice" one-liners (To be fair, we do get some educational pointers, such as finding out it was the Ice Age that killed the dinosaurs) and Uma Thurman going on about bat nipples. Thank you, Mr. Schumacher, and more importantly, screenwriter Akiva Goldsman. Yeah, you're not getting off the hook either. The both of you together did more damage to Batman than Bane could've ever dreamed of doing. Schwarzenegger was actually paid $25 million for this film. That's $25 million... $25 million... $25 MILLION!!!! Just imagine all the more substantial things the studio heads could've done with that money: finding a cure for cancer, or wiping their ass with it and flushing it down a toilet, or just setting it on fire. Little known fact - if you listen closely half-way through the film, somewhere in a galaxy far, far away you can hear Princess Leia go, "Help us, Christopher Nolan, you're our only hope."

Man of Steel

Cast of Characters:
Kal-El/Clark Kent - Henry Cavill
Lois Lane - Amy Adams
General Zod - Michael Shannon
Jonathan Kent - Kevin Costner
Martha Kent - Diane Lane
Perry White - Laurence Fishburne
Faora-Ul - Antje Traue
Lara Lor-Van - Ayelet Zurer
Jor-El - Russell Crowe

Director - Zack Snyder
Screenplay - David S. Goyer
Based upon “Superman” characters created by Jerry Siegel & Joe Shuster
Rated PG-13 for intense sequences of sci-fi violence, action and destruction and for some language

      June 14 has arrived and that means the most anticipated blockbuster film of 2013 is finally here! Henry Cavill headlines an all-star talented cast featuring Academy Award nominees Amy Adams, Michael Shannon, Diane Lane, Laurence Fishburne and Academy Award winners Kevin Costner and Russell Crowe in a film featuring the most beloved American superhero icon of all-time (Holy heresy, Batman! Did he say what I think he said?!), Man of Steel. It's really a shame movies with Christopher Nolan's name attached to it can never attract anyone talented.

      Come to me, son of Jor-El! Kneel before Zod! This will be a spoiler free review to those concerned about me giving anything away. To those that have read the "Superman" comics, seen any of the TV series be it Adventures of Superman, Lois and Clark: The New Adventures of Superman (Yes, I was hesitant to add it to the list), or Smallville, Richard Donner's 1978 Superman, or more importantly - above all else - read this week's "Benjamin's Stash: Video Pick of the Week", you are more than familiar with the origin story of Kal-El. Man of Steel opens on Planet Krypton with the birth of Kal-El to the parents of Jor-El (Russell Crowe) and Lara Lor-Van (Ayelet Zurer), the first natural birth in Krypton for centuries. Following the birth, Jor-El addresses the Kryptonian Council on the impending destruction of the planet due to an unstable planetary core. His address is soon interrupted by General Zod (Michael Shannon) who, along with his associate Faora-Ul (Antje Traue), is leading a rebellion against the Council in order to take over the planet. Fearing not only imminent planetary destruction, but a breakout of Civil War, both Jor-El and Lara save the life of their child by launching a ship containing Kal-El to Earth. Meanwhile, General Zod and his army have been arrested, tried, and finally sentenced to the Phantom Zone for 300 cycles, but not before he adamantly declares to Kal-El's family that he will one day find him.

      Fast forward to 30 years later. Kal-El has been living on Earth, switching jobs frequently under different identities out of fear his true self would expose his powers to the world. Through flashbacks, we come to find that the boy was renamed Clark Kent, adopted by Jonathan (Kevin Costner) and Martha Kent (Diane Lane) who found the child's crash-landed ship outside their farm. Now a grown man, Clark's mysterious identity catches the eye and fascination of ambitious Daily Planet reporter Lois Lane (Amy Adams), despite objections from her boss Perry White (Laurence Fishburne) to pursue this story. Despite being raised by his adoptive father to keep his true identity a secret in order to protect him, Clark faces a dire ultimatum when Earth is invaded by General Zod and his army. They offer Kal-El a choice: surrender himself or witness the destruction of the human race.

      A film with this much anticipation built up leads to overwhelming expectations, especially after we've seen the gradual build up through the 50 million different trailers and TV spots (excellently marketed by Warner Bros. Studios, by the way). I myself have been a huge fan of the Superman story since a little kid - as I previously mentioned on the last "Benjamin's Stash" segment. Superman I and II  were both magical films, yet since then we've gotten Superman III, IV, and Returns, which were horrible. Consider them the Joel Schumacher Batman equivalent of the Man of Steel. Anyway, I remember back in April I said Scary Movie 5 was the worst film of the year and that despite only being four months into 2013, there won't be a worse film released this year... and I just wanna say it still is, just to reiterate that fact. What did you think I was going to say? Anyway, I loved this movie. Now to those expecting this to be a "dark and brooding" film in the vein of Nolan's Batman trilogy, think again. There are certainly dark circumstances (Particularly, one climatic choice Kal-El has to make. Won't say anything else) in a story grounded in realism as much as it can be. You'll definitely find traces of Christopher Nolan here; however, this is not Nolan's film. This is Zack Snyder and David S. Goyer's film, and as much as some may want this to be realism, realism, realism, at the end of the day we're still talking about an alien being getting shipped off to Earth. Snyder certainly knows how to string together enough visual crackle to make your head spin (300, Watchmen, Sucker Punch), and the visual effects are phenomenal here. Just seeing the opening story arc of Planet Krypton is enough to keep your eyes glued to the screen. The fact that Snyder shot everything himself is all the more impressive. The real strength of the film though - not to take anything away from Snyder - is Goyer's storytelling. There's so much depth here with the character and upbringing of Clark whether it's the fear and confusion he feels as a child when discovering these powers he doesn't understand, or leaning on the guidance of his parents Jonathan and Martha. The non-linear structure is a bit different from most origin stories, but the way it's handled is beautifully executed and at times adds a greater context and purpose to moments later on in the film. The performances are what you'd expect from a cast like this. Henry Cavill obviously had big shoes to fill in taking a role like this, but gives a performance worthy of the role. Amy Adams and Laurence Fishburne are both solid as Lois Lane and Perry White respectively. Russell Crowe is perfectly cast as Superman's father Jor-El (Who, to those wondering, has more than just a cameo role like Brando kind of had). Both Kevin Costner and Diane Lane are absolutely wonderful as Clark's adoptive parents - my favorite moments of the film. The lovely Antje Traue is beautiful, feisty and a cold hearted bitch all rolled into one, and Michael Shannon gives a terrifying and complex performance as General Zod that even Terence Stamp would be proud of. This is not a one dimensional type of comic book villain. Zod here is clearly motivated by a reason beyond just revenge. If there's any gripe I did have about the film - other than one spoiler shot I found unnecessary, but whatever - it's that they kinda shoehorned the Superman/Lois Lane love interest angle, although they do share a great moment together when she first interviews him (the "It's not an S." moment you've seen in the trailer). I just wish if they were going for the love interest angle, that maybe they should've held off 'til the sequel (which has already been confirmed), and develop their relationship a bit more.

      As far as the compare game goes, I don't even bother. I didn't do it with Nolan's Batman trilogy to Burton's first two films (both completely different, yet great versions). I didn't do it with J. J. Abrams's Star Trek films to the original film series, and I won't do it here. Being a completely different take on the story, it's not fair to those involved here, and quite frankly it's not fair to those involved with the first two Superman films (especially given the special effects advantage Man of Steel clearly has). That being said, I will say compared to Parts III, IV, and Returns, Man of Steel could've just had Henry Cavill taking a dump in the Fortress of Solitude for two and a half hours, and I still would've loved it more than the other three films. The effects are amazing. Hans Zimmer's score is once again perfect. The final showdown between Kal-El and Gen. Zod was exhilarating, and above all else, the dual relationship of father and son between Kal-El/Clark Kent and Jor-El/Jonathan Kent adds a beautiful and moving layer of much needed humanity that I haven't seen in a Superman film for quite some time. Also, if you can't see the Messianic allegory Goyer has going on here, you're clearly blind 'cause it's fairly obvious. Surprisingly, critics may be on the thumbs down side of this film, but unlike them, I was able to pull the stick out my ass before watching it. It's not the best film this year. It's not the perfect A+ I'd like to have given it, but for me, outside a few minor issues, my expectations were met anyway. Plus, I'd be lying if I said I didn't feel like that happy little three year old kid I once was when Kal-El steps out of the ship finally dressed as Superman. Welcome back, son of Jor-El! I give Man of Steel an A (★★★★).

REVIEWS COMING LATER NEXT WEEK...

What the Hell Were They Thinking?!

Benjamin's Stash: Video Pick of the Week

Stoker

Monsters University

World War Z

This Is the End

Cast of Characters:

James Franco - Himself

Jonah Hill - Himself

Seth Rogen - Himself

Jay Baruchel - Himself

Danny McBride - Himself

Craig Robinson - Himself

Michael Cera - Himself

Emma Watson - Herself

Director - Seth Rogen & Evan Goldberg

Screenplay - Seth Rogen & Evan Goldberg

Rated R for crude and sexual content throughout, brief graphic nudity, pervasive language, drug use and some violence

      Academy Award nominees James Franco and Jonah Hill head an all-star cast of Judd Apatow alumni including Seth Rogen, Jay Baruchel, Danny McBride and Craig Robinson in the slacker/stoner/foul mouthed/apocalyptic comedy This Is the End.

      The film opens with Jay Baruchel arriving in Los Angeles to spend some time with his friend Seth Rogen, hoping for a weekend of video games, 3D TV watching, and pot smoking. Seth, planning on attending a housewarming party for James Franco, invites Jay along too considering a number of other friends of theirs will be there as well. Jay, feeling Franco barely knows him and that he doesn't really get along with his old pals as much anymore, is hesitant to go. Seth manages to convince him though.

      Upon arriving at Franco's house, the party is in full swing - sex, drugs, you name it - and is literally a "Hey, look, it's insert graduate from the school of Apatow star here" crowd... and Harry Potter's Emma Watson. Baruchel, not really fitting in with the party scene, has Seth accompany him to a convenient store to pick up some cigarettes. While at the store, Jay and Seth witness the most bizarre abduction of  L.A. residents as they are sucked up by a "blue light" and taken up into the sky. They both race back to Franco's house, puzzled out of their mind as to what has happened. Things get even worse when a giant sinkhole opens up right in Franco's front yard, leading to what appears to be a fiery inferno. It manages to swallow whole many of the party guests; however, Seth, Jay and James, along with Jonah Hill, Craig Robinson, and a passed out in the bathtub Danny McBride are able to barricade themselves inside Franco's home as they wait out what looks to be the Apocalypse.

      I was definitely looking forward to seeing this film, and I'm just gonna tell you right now that I was not disappointed in the slightest. This could very well be the funniest and certainly the most outrageously crude and crass comedy of the year. Not a single of the lead stars are off limits here as all of them are poked fun at to no extent whether it's James Franco's "uber-artsy" personality, Jonah Hill's pretentious attitude or Jay Baruchel's self-righteousness, as well as poking fun at everything from The Green Hornet and Spider-Man 3 to Your Highness and a hilarious homemade Pineapple Express sequel. Michael Cera has has a few offensively hilarious moments that, despite playing himself, are sure to shed a little bit of that shy, awkward boy image of his, and an axe-wielding Emma Watson proves she can move past the Harry Potter franchise. Along with the top-notch comic cast, we're treated to a number of cameo appearances such as Paul Rudd, Jason Segel, Mindy Kaling, Aziz Ansari, Rihanna, Martin Starr, Kevin Hart, Christopher Mintz-Plasse, David Krumholtz, and a surprise cameo near the end no one saw coming. Despite the extended red-band trailer the studios released, what you see in either the edited or unedited trailers doesn't even scratch the surface. There are at least a dozens worth of laugh out loud moments here. In particular, there's an argumentative rant between Franco and McBride that for the sake of not spoiling it for you, and more importantly the content of it, I'll say nothing more other than it had me literally laugh myself to tears.

      As crude, crass and self-deprecating as they humor may be, the film offers a lot more than just that. Credit both co-screenwriters/directors Seth Rogen and Evan Goldberg for showing themselves to be competent filmmakers here by also giving us witty insights to the Hollywood lifestyle and culture as well as faith. The character deaths are over the top and for a comedy the set pieces are terrific. Plus, I guarantee you I give this a second watch, I'll laugh just as hard. That's the mark of an excellent comedy. Will it be one of the years top 10 best? Can't say yet, but it definitely has a good shot. I give This Is the End an A (★★★★).

Benjamin's Stash: Video Pick of the Week

      Hello again, readers. Continuing Man of Steel week here with the weekly segments I have today's recommended video pick. It should be no surprise it'll be coming down to either the first or second film, and I decided to go with the one that started it all.

      To those that know the origin of Kal-El aka "Superman" the film's story should be fairly familiar. The film opens with scientist Jor-El (Marlon Brando), along with the Ruling Council of Planet Krypton sentencing three attempted insurrectionists - Ursa (Sarah Douglas), Non (Jack O'Halloran), and insurrection leader General Zod (Terence Stamp) - to "eternal living death" within the Phantom Zone. Despite Jor-El's prominent stature within the council, the evidence he provides that proves Krypton will soon explode falls on deaf ears. Seeing this as a situation he can't win, Jor-El - along with his wife Lara (Susannah York) - launches a spacecraft containing his infant child Kal-El toward planet Earth. Earth would provide an atmosphere suitable for survival, and due to the dense molecular structure of Kryptonians the planet would also provide the child with superhuman powers. Three years later, the ship crash lands in Smallville where it is found by Jonathan (Glenn Ford) and Martha Kent (Phyllis Thaxter). They adopt the child, fully aware of his "uniqueness". As Kal-El, renamed Clark by the Kent family, grows up, he too becomes aware of the powers he is capable of; however, his adopted father Jonathan gives him structure and guidance in this matter, telling Clark he believes he is here for a reason, and that whatever reason it may be it's up to Clark to figure out what it is. Following the death of Jonathan, Clark feels a "call" coming from the barn. He finds a glowing green crystal in the remains of the ship that leads him to the Arctic. The crystal that he holds forms the Fortress of Solitude. It is there that Clark learns his true origin and identity from a vision of his biological father Jor-El. Now a grown man with his powers fully developed, Clark Kent (Christopher Reeve) moves to Metropolis and becomes a reporter for the Daily Planet. There he meets Lois Lane (Margot Kidder), a young and ambitious reporter that he develops feelings for. Clark's reason for being here soon becomes more clear with the emergence of criminal mastermind Lex Luthor (Gene Hackman).

      This movie is an absolute treasure. The performances for what is essentially a comic book film from 1978 are top notch. When you look at the cast though, should you really be surprised? Academy Award winners Marlon Brando and Gene Hackman, Academy Award nominee Ned Beatty, Christopher Reeve, Margot Kidder, Jackie Cooper, Glenn Ford, and Terence Stamp; this is a first rate cast. Director Richard Donner is no stranger to creating film classics be it The Omen, The Goonies, and the Lethal Weapon series. Here is no exception. Donner - along with a strong writing team led by Mario Puzo, who won two screenwriting Academy Awards for both The Godfather Part I & II, and Tom Mankiewicz - is able to blend a perfectly concocted balance of heart pounding excitement, genuine laughs, and heartfelt emotion. In spite of all the exciting action-packed moments, the real gem of this film is the humanity and emotion behind it all. Whether it's the sweet and perfect chemistry between Superman and Lois Lane, the touching moments between Kal-El and his father Jor-El, or the life lesson given by Jonathan Kent, this film has a big heart. The most touching scene, both heartfelt and heartbreaking at once, occurs with Clark and his adoptive mother Martha at Jonathan's funeral. Clark, while grieving, simply states, "All these powers, and I couldn't even save him." Finally, no other movie I know of is capable of bringing the inner child out of me better than Superman. I can still remember as a three year old watching this for the first time. Seeing Kal-El finally dressed up in his suit and taking flight left me awestruck. I'd even pretend to fly around the room - that is when not ghost-busting for the Sanford, FL community. Despite that dream coming to a crashing halt with reality three years later when I jumped off a swing and didn't fly, but broke my wrist instead, I still enjoy every aspect of this film to this very day. The direction is perfect, the effects (for 1978, mind you) are spectacular. The performances are great, and the great John Williams's brilliant score only adds to the entertainment as it rumbles in the background. Being one of the first, if not the first, big budget superhero blockbusters to be made, this film first set the bar for subsequent superhero films to come.

What the Hell Were They Thinking?!

      Hello, readers. This week marks the release of a small budget, indie film called Man of Steel. You may or may not have heard of it considering it's been under the radar for the past year or so. Being that I'm a big Superman fan and have been one since a little kid, I decided I would devote both opening week segments of "What the Hell Were They Thinking" and "Benjamin's Stash: Video Pick of the Week" to a particular Superman film. Out of the entire film franchise, there's at least one that deservedly belongs in each segment, and here's the stinker.

      Don't worry, Superman. Nuclear Man said he'd hurt people, but then proceeded to focus his blonde, bouffant-mulleted wrath on objects such as cars, vendor stands, and fire hydrants. Superman IV: The Quest for Peace once again brings back arch-nemesis Lex Luthor (Gene Hackman) back to wreak havoc on the citizens of Metropolis. Freed from a prison chain gang by his nephew Lenny (Jon Cryer), Luthor manages to find a strand of Kal-El's hair, used to hold a half ton wrecking ball in a weight demonstration, at a museum. Using the strand of hair, he's able to clone a supervillain in the same genetic mold as Superman. Lex then attaches the genetic matrix to a nuclear missile about to used in a test launch. After the missile is launched, Superman intercepts it and launches it into the sun. This brings about an energy discharge from the sun, which in turn creates Nuclear Man (Mark Pillow). According to Luthor, the energy from the sun gives Nuclear Man immense superpowers like Kal-El, but he deactivates if there is no sunlight. Meanwhile, Clark Kent (Christopher Reeve) is struggling with issues of his own. For one, the newspaper organization he works for, the Daily Planet, has been taken over by a tabloid tycoon who has fired beloved chief editor Perry White (Jackie Cooper). On top of that, Clark is also thrown in the midst of a love triangle between Lois Lane (Margot Kidder) and Lacy Warfield (Mariel Hemingway), the tycoons daughter. Following the creation of Nuclear Man and the increasing threat of a possible nuclear war between the Soviet Union and America, Clark's alter-ego Superman faces the tough choice of whether he should intervene in the affairs of the humans.

      In essence, Superman IV: The Quest for Peace is the Batman & Robin of the Superman film franchise. Yes, it's that bad. Did you not see the clip? I don't even know where to begin. The filmmakers pulled off quite a feat by making the special effects in this 1987 entry absolutely horrendous. 1978's Superman, while not in the same league in terms of effects in today's CGI dominated era, still utilized groundbreaking visuals and effects for that time, and compared to this movie, it's like a J. J. Abrams film. Even the opening credits to the first film, combined with John Williams's energetic and rousing score, was visually wonderful. Here you'd swear they just ran it off Corel Presentations. The acting is atrocious. The legendary Oscar winner Gene Hackman hams it up and phones in the entirety of his performance. There's one scene in particular where he's counting a mountain of cash possibly in the billions. There's no doubt in my mind a similar occurrence took place at Warner Bros. Studios. Mark Pillow as Nuclear Man looks like the frontman for a Cinderella cover band more than a menacing villain ("I will hurt people!"). Jon Cryer, who at the time was probably best known as Phil "Duckie" Dale in Pretty in Pink, couldn't be any more wasted on a superfluous character than he is here. Any attempt at humor, which worked in the first two films partly due to Richard Donner's direction and Mario Puzo's writing, here falls completely flat. Finally, and most importantly, any connection between Reeve and Kidder is gone as they are given nothing to work with. One of the great elements of the first two Superman films was the charming and sweet chemistry between Reeve's Clark Kent/Superman and Kidder's Lois Lane. We didn't get that in Superman III. We didn't get it in Bryan Singer's Superman Returns in 2006, and we definitely don't get it here. The extended flying scene together alone in Superman had more heart in it than the entirety of all three of those previously mentioned films combined. Oh, and need I mention the scene in which Nuclear Man takes Lacy into space and she can somehow still breath? I've debated with people before on the scene in Superman where Kal-El turns back time. I'm fully aware in reality that could not take place, but compared to a HUMAN BEING ABLE TO BREATH IN OUTER SPACE it's not only a credible story line, it's almost as credible as Newton's Law of Universal Gravitation. Hell, even as a little kid I was left wondering why Lacy didn't have a spacesuit on. Take notes, Zack Snyder. The bar has been set this low. You'll find it. It's right next to Joel Schumacher. I bet you, Goyer, and Nolan could've filmed Man of Steel entirely blindfold with arms tied behind back, and still produce a more entertaining and worthwhile film.

The Purge

Cast of Characters:
James Sandin - Ethan Hawke
Mary Sandin - Lena Headey
Charlie Sandin - Max Burkholder
Zoey Sandin - Adelaide Kane
Bloody Stranger - Edwin Hodge
Polite Stranger - Rhys Wakefield

Director - James DeMonaco
Screenplay - James DeMonaco
Rated R for strong disturbing violence and some language

      Academy Award nominee Ethan Hawke reunites with James DeMonaco, director of the 2005 remake of John Carpenter's Assault on Precinct 13, in the sci-fi thriller The Purge.

      The year is 2022. America is a nation reborn, established by a new group of Founding Fathers who have managed to bring the unemployment down to 1% and crime to an all-time low. To achieve such a feat, the government has implemented what is known as "The Purge". One day each year, for a twelve hour period, all crime - even murder - is legalized. During that time all emergency operators are closed down. There are a few rules though, such as all government officials are granted immunity and any form of weaponry listed above a "Class 4" is prohibited.

      James Sandin (Ethan Hawke) has earned quite the successful living for both him and his family selling hi-tech security lockdown systems for those in his neighborhood. While everyone else takes part in the seemingly cathartic release of The Purge, Sandin, along with his wife Mary (Lena Headey) and two children Zoey (Adelaide Kane) and Charlie (Max Burkholder) choose to stay home under lockdown. As James tells Charlie, they don't feel the need to act on their so called "urges".

      Things take a turn for the worse though when after The Purge has started, Charlie lets in a bloody stranger (Edwin Hodge) out of sympathy for the man's desperate cries for help from the outside. That's when the Sandin family are greeted by a group of masked college students led by a man simply known as "Polite Stranger" (Rhys Wakefield), who have all been hunting down the bloody stranger. They give James an ultimatum - release the man to them before they bring in reinforcements capable of breaking into their home, or have both him and his family die together with the man.

      When I first saw the trailer for this film I didn't have too much in terms of expectations for it, but I found the premise intriguing. Now after seeing it, I view this film in the exact same way I viewed Justin Timberlake's film In Time - an intriguing story utterly wasted by a weak script with crap dialogue. It's really a shame and not just considering the story, but also 'cause Ethan Hawke and Lena Headey are two terrific performers essentially given very little to nothing to work with here. In particular with Ethan Hawke, I was pleasantly surprised by last year's horror film Sinister, but this film just goes to show that even good actors can't do much when the script ain't there. Rhys Wakefield is nothing more than a cartoonishly horrible villain ("Just let us purge!"). His performance is neither threatening, menacing, or chilling. On the other hand, it is garbage. The neighbors come off as too robotic, and at times I was wondering if they were going for a Pleasantville, The Truman Show, or The Stepford Wives angle, but in the end you could probably chalk it up to just flat performances.

      Any intriguing premise has the potential to pose thought provoking questions for the viewer. If all crime were legalized for a certain amount of time, could we really bring ourselves to committing one? How would we personally feel after each Purge event has ended? Could we trust even our own friends and loved ones? Instead of delving deep into answering those questions, and despite a few effectively chilling shots, writer/director James DeMonaco settles for giving us just another tired and mindlessly violent showdown between the Sandin family and those smug, pretentious college kids. James even utters, "This is our house!" Wow, how often have we heard that line before, Kevin McCallister? Once it heads into lazy slasher film territory you're left thinking what's the point of the opening, high-concept premise now? They don't go in depth at all into any other crimes other than murder, hence why you're left with just a slasher film. We get a few cheapened speeches here and there in the beginning about the importance of The Purge, but then it slowly devolves into a mess, and quite frankly, by the time it was all said and done, I didn't really give a shit who survived. Plus, despite being under an hour and a half, this film seemed to drag on for an eternity. Instead of wasting your time with this film, check out 1971's Straw Dogs with Dustin Hoffman and Alfred Hitchcock's underrated Rope with the great Jimmy Stewart. Both films, while not like The Purge, deal with similar aspects and are much superior films. I give The Purge a D (★).

REVIEWS COMING LATER NEXT WEEK...

What the Hell Were They Thinking?!

Benjamin's Stash: Video Pick of the Week

This Is the End

Man of Steel

The Internship

Cast of Characters:

Billy McMahon - Vince Vaughn

Nick Campbell - Owen Wilson

Dana - Rose Byrne

Graham Hawtrey - Max Minghella

Director - Shawn Levy

Screenplay - Vince Vaughn & Jared Stern

Rated PG-13 for sexuality, some crude humor, partying and language

      In 2005, both Owen Wilson and Vince Vaughn starred together in the hilarious comedy Wedding Crashers, which proved to be a mega-hit both critically and financially. Fast forward eight years later, Wilson and Vaughn have teamed up again in The Internship.

      Billy McMahon (Vince Vaughn) and Nick Campbell (Owen Wilson) are salesmen that have been given a reality check upon finding out that the company they work for has been closed down. Being that in today's business world everything is computerized, the fact that they're both essentially door to door salesmen makes them - as their boss delicately puts it - dinosaurs. Now out of work, Nick finds himself working a dead end job at his sister's boyfriend's mattress company, and Billy - still unemployed - is threatened with both home foreclosure and his girlfriend leaving him. It appears he may have found a light at the end of the tunnel when he's able to land what he refers to as "an interview that may lead to an internship that may possibly end up leading to a job" at Google for both him and Nick.

      While at Google, both Billy and Nick are like fish out of water, which is an understatement. These two seem like they could barely sign into Hotmail let alone be even adequate at coding or debugging. They're immediately snubbed by the snobbish, hotshot intern Graham Hawtrey (Max Minghella), and windup being teamed with what everyone refers to as the "leftovers". The overall goal of each team is to win as many series of challenges as they can. The winning team will be given a job at Google, but only one team can win.

      This is clearly a formulaic and by the books comedy. We get the textbook group of kids within Vaughn and Wilson's team: the quirky nerd leader, the intelligent, attractive girl with self-esteem issues, the quiet introvert, and the smart ass loner who thinks he's too good for the team he's in. We know the token snob's team is gonna lose and Billy and Nick's team will win by the end of the film, and we know single man Nick's gonna get the girl as well. All things considered though, Wedding Crashers was formulaic too, and damn it if I didn't laugh as much as I did here. I've said it before. If you're gonna be a formulaic horror film, then at least scare me to death. Likewise, if you're gonna be a formulaic comedy, you can still succeed by making me laugh as much as possible. Like in Wedding Crashers, both Vaughn and Wilson prove once again they make a dynamic comic duo, yet although they do display a great deal of comic chemistry together, I found the more effective comic moments were actually between either of them with the college intern teammates. A majority of the humor takes advantage of the generation rift between the pre-internet dominated era Vaughn and Wilson and the iPhone obsessed, technology addicted kids. There's also a hilarious middle segment involving a Quidditch match (From the "Harry Potter" series) challenge with Vaughn and Wilson being completely overwhelmed by not just the game, but also the Potter lingo thrown at them by their team leader Lyle when he explains the rules. In particular, Wilson's reaction to when the "Golden Snitch" shows up is priceless. Comedies like this always run the risk of showing all the funny parts in the trailer. Many films have fallen prey to that trap; however, that's not the case here.

      It's no surprise Max Minghella's (son of the late, great Oscar winning director Anthony Minghella) character is a little bit too snobbish to where it's at times a bit cardboard cutout. It's the same type of character that we've seen a number of times before. Bradley Cooper in Wedding Crashers is an appropriate example. That being said, this film set out to make me laugh, and I did. Vaughn - following last year's God awful The Watch - delivers his trademark ranting with the typical zest and quickness he does best. The beautiful Rose Byrne (who up until this film, I had no idea was Australian), despite playing the cliche "love interest", displays some effective chemistry with Owen Wilson. Aasif Mandvi from The Daily Show has a few solid scenes as the head of the internship, and there's also some fine cameo appearances from John Goodman, Will Ferrell, and B.J. Novak. Finally, it seems like forever since I've seen anything with Wilson in it worth my time and money. I give The Internship a B+ (★★★½).

Benjamin's Stash: Video Pick of the Week

      Hello, readers. It's time for my video pick of the week. This week's pick is one of my childhood favorites that still entertains me to this very day. Featuring a talented and funny cast, this film also made one of Hollywood's most eccentric directors into the hit filmmaker we know of today.

      Beetlejuice begins with Adam (Alec Baldwin) and Barbara Maitland (Geena Davis), a couple from New England. While coming back home one day from town, Barbara swerves to avoid a dog wandering in the road and crashes through a covered bridge, plunging into the river. When both Adam and Barbara reach home, upon discovery of a book titled "Handbook for the Recently Deceased", they realize they may be dead. Things take an even bigger turn for the worse when their house is sold to an obnoxious family, former real estate developer Charles Deetz (Jeffrey Jones), his second wife Delia (Catherine O'Hara) and his daughter Lydia (Winona Ryder). Wanting to be rid of the new residents, they try to scare them away, but being the cute and quaint couple they are, it's nearly impossible for them to do so. That's when they reach out to Beetlejuice (Michael Keaton), a freelance "bio-exorcist" ghost who's willing to do the job for the Maitlands.

      For such a relatively simple story, Beetlejuice is wonderfully original and creative. You tend to expect nothing less from Tim Burton. The set design and makeup effects are first rate, the latter of which won the Academy Award for its category in 1989. The great Danny Elfman's score (a common staple for Burton films) is both lively and haunting all at the same time, and the cast is uniformly hilarious. Michael Keaton, caked under a truckload's worth of makeup, is perfectly cast in the title role and displays just the right amount of crazy which contrasts very effectively against Baldwin and Davis's straitlaced couple. Winona Ryder, in her first breakout role, is terrific as the goth child Lydia that takes a liking to the Maitland couple, and no one, and I mean no one, can play smug and bitchy better than Catherine O'Hara. Over the top and bizarre, Beetlejuice is a film that relishes in its lunacy (the waiting room for the afterlife scene being similar to waiting tediously at the doctor's office is a great example). It's not Citizen Kane, nor does it try to be. It knows what it is, and succeeds in doing so, providing a perfect balance of comedy and horror that proves to be an entertaining and fun time.