The Way, Way Back

Cast of Characters:
Trent - Steve Carell
Pam - Toni Collette
Betty - Allison Janney
Susanna - AnnaSophia Robb
Owen - Sam Rockwell
Caitlyn - Maya Rudolph
Kip - Rob Corddry
Joan - Amanda Peet
Duncan - Liam James

Director - Nat Faxon & Jim Rash
Screenplay - Nat Faxon & Jim Rash
Rated PG-13 for thematic elements, language, some sexual content and brief drug material

      Steve Carell, Allison Janney, AnnaSophia Robb, Sam Rockwell, Maya Rudolph, Liam James and Academy Award nominee Toni Collette star together in the directorial debut of Academy Award winning screenwriters Nat Faxon and Jim Rash's The Way, Way Back. That kid just does not look happy.

      Duncan (Liam James) is an unhappy 14 year old child of Pam (Toni Collette). Together they are vacationing for the summer at the East Coast beach house of Pam's boyfriend Trent (Steve Carell). Both Pam and Trent encourage Duncan to get out and mingle with some new friends, but for most of the time, all Liam wants to do is lie on top of Trent's car, close his eyes and belt out REO Speedwagon hits (very much out of tune too, by the way). He does gradually manage to strike up a friendship - although awkward at first - with Susanna (AnnaSophia Robb), the daughter of Trent's neighbor Betty (Allison Janney).

      One day, when venturing over to the local water part, Water Wizz, Duncan meets the eccentric Owen (Sam Rockwell), who owns the joint. The two bond well and form a friendship - once again, awkward at first (seriously, this kid needs to get out more) - and Owen even offers Duncan a job at the park. Duncan, always feeling left out and uncomfortable back at the beach house, takes the job.

      Judging from the trailers of this film, they were clearly trying to market this as another Little Miss Sunshine (hell, just look at the top of the poster). It's no Little Miss Sunshine, but I still really enjoyed this film. Nat Faxon and Jim Rash (who both won an Adapted Screenplay Oscar along with Alexander Payne for the terrific film The Descendants in 2012) still have yet to prove themselves as directors, but they deliver some witty writing that while not as sharp as The Descendants is still effective. Liam James perfectly captures the angst and bitterness of the typical teenager of divorced parents and it's the relationships he forms with AnnaSophia Robb (who when 10 years ago everyone was screaming Dakota Fanning this and Dakota Fanning that, I said no and pointed to Robb) and Sam Rockwell (it wouldn't surprise me to find out some of his scenes were improvised) that really shine the brightest here. It's Robb's Susanna and Rockwell's Owen that really help crack Duncan's awkward shell, the latter even acting as a bit of a role model he, quite frankly, can't get back at home. Then we have Steve Carell, and seeing him play a bit of a dick was kinda refreshing. Normally, for most of his career, Carell has always played nice guys and even when they're a bit off-putting it's typically due to some form of childlike ignorance (Michael Scott from The Office is the best example). Here he comes off like a jackass right from the opening scene, but he plays it just right without going overboard. There's also a few solid scenes from Allison Janney as that annoying lush neighbor that I myself have encountered at a few of my family's New Years Eve parties.

      The Way, Way Back doesn't break any new ground by any means. The ending is certainly a bit on the cutesy side, but I still found this to be an effective and charming comedy. The cast is uniformly solid (Rockwell in particular) and the writing gives us some great laughs. It's not perfect, but it still works, and I look forward to what Faxon and Rash give us next. I give The Way, Way Back a B+ (★★★½).

Only God Forgives

Cast of Characters:
Julian Thompson - Ryan Gosling
Crystal Thompson - Kristin Scott Thomas
Lt. Chang - Vithaya Pansringarm
Mai - Rhatha Phongam
Gordon - Gordon Brown
Billy Thompson - Tom Burke

Director - Nicolas Winding Refn
Screenplay - Nicolas Winding Refn
Rated R for strong bloody violence including grisly images, sexual content and language

      Academy Award nominees Ryan Gosling and Kristin Scott Thomas star together in Nicolas Winding Refn's Only God Forgives. This is Gosling's second project with Refn following 2011's Drive. Will this film be just as successful? Little known fact: I typed more words in just this paragraph than Gosling utters in the entire film.

      Julian Thompson (Ryan Gosling) is a US expatriate living in Bangkok, Thailand who runs a boxing club, which is actually a front for a massive drug smuggling operation. One night, his older brother Billy (Tom Burke) brutally rapes and kills an underage prostitute before surrendering to the Thai police. Lt. Chang (Vithaya Pansringarm) - known as the "Angel of Vengeance" - arrives on the scene before informing the girl's father. Chang allows the father to beat Billy to death, but cuts off the man's arm for allowing his young daughter to remain in the business of prostitution.

      Julian and his crew confront the father about his part in Billy's murder. He reveals that he was forced to kill Billy by the "Angel of Vengeance", and, by having his arm cut off, has paid the price for his crime. Julian, mesmerized by the Angel of Vengeance, spares the man's life. This comes at much unpleasant dismay to Julian's mother, Crystal (Kristin Scott Thomas), who has arrived in Bangkok to identify Billy's corpse. Crystal implores Julian to find the men who killed Billy, but he refuses, believing that Billy deserved what he got.

      At first, I was looking forward to this. Drive was one of the best films of 2011, so to see Gosling and Refn team up again was something to look forward to. Although the poor reviews it received got me a bit discouraged, I was still gonna go in watching this with an open mind. Despite the story element clearly not being the film's biggest strength, this is still one hell of a stylized film. I've only seen two Refn films now with this and Drive, but I can definitely conclude this man has quite a unique style. Borrowing story elements taken out of various Greek tragedies (there's definitely somewhat of a Oedipal complex going on here) with certain directing touches obviously influenced by the likes of Tarantino, David Lynch and the late great Stanley Kubrick, Only God Forgives is technically a revenge thriller, but focuses more on the effects of it rather than the actual act. While Gosling is given top billing, his character's purpose is set up more for other performers such as Kristin Scott Thomas (not winning "Mother of the Year" any time soon in this bitch of a villainous role) and Vithaya Pansringarm (who's one cop I'd never wanna be on the wrong side of the law with) to deliver the acting goods. The strength of this film though lies in none other than writer/director Refn. The technical aspects of this film are simply amazing and are what really drew me into the film. The tone and mood he sets is excellent. The lighting, color and cinematography by Larry Smith is flat out hypnotic and the score fits the setting perfectly. There's also a martial arts fight scene, midway through the film, between Gosling and Pansringarm that's beautifully shot and executed.

      I will say this. If you're not into artistic films filled with symbolism as well as a brutal edge to them, just don't bother here. As divisive as this film appears to be, you're either gonna love it or hate it. The narrative isn't as strong as Drive, but I still found the key characters of Julian and Lt. Chang and their seeking out vengeance from differing perspectives rather appealing. Refn could've easily made a mainstream pile of crap given the success he received from Drive. Instead, he decided to take an even bigger film risk that, in my opinion, pays off. I give Only God Forgives an A- (★★★½).

Top 50 Movies of All-Time: Part V

      Okay, readers, we've finally reached the finale here with Part V of the greatest movies ever made. So here we go with the top 10, quintessential films ever in the history of cinema. You'll probably disagree with some of them, but then again, this is my list. Here we go, starting with...

10) Fargo (Gramercy Pictures)

      1996 - This clip isn't the best or flashiest of the film, but it's certainly one of the most important when you think about how it sets the rest of the story in motion. Winning two Oscars at the 1997 Academy Awards (Best Actress and Best Original Screenplay), Fargo - written, produced and directed by the great Coen brothers - should be seen by anyone interested in either screenwriting, directing, and (or) even cinematography. That moment you see in the clip when Jerry walks to his car, surrounded by nothing but snow, captures the isolation and harsh reality of his life beautifully. Throw in a first rate cast and one a script that would make Alfred Hitchcock himself proud, and you have one of the greatest, if not the greatest, murder mystery ever.

9) Close Encounters of the Third Kind (Columbia Pictures)

      1977 - No alien invasion film will ever touch the greatness of this Spielberg classic. Instead of a special effects, action packed bonanza (although there still are some superb visuals here, one being the iconic child abduction scene), Spielberg focuses more on the narrative of Roy Neary (Richard Dreyfuss) and his obsession with tracking down the images that haunt him following a UFO encounter one night. He's desperate to find out what it is he saw, even if it comes at the expense of whether or not his family stays together. The performances are excellent. The cinematography is brilliant, and the ending provides us with a unique, different take on the alien encounter moment.

8) Gone With the Wind (Metro-Goldwyn-Mayer)

      1939 - One of two movies in this top 10 to be nominated for Best Picture at the 1940 Oscars, Gone With the Wind took home eight of them including Best Picture. Both a Civil War epic and a romantic tale centering on the greatest Hypochondriac in the universe, the spoiled Scarlett O'Hara (Vivien Leigh), Gone With the Wind's greatest achievement is the fact that at nearly a four hour running time, this film somehow manages to hold the viewer's attention for all of it. Whether it's the beautiful costumes or the magnificent set designs, this film is in fact epic in every aspect. Plus, the ending is the greatest middle finger moment in the history of film. Rhett Butler (Clark Gable), you not only remind me somewhat of my Grandpa Marlatt, you're my personal hero, but I'm fairly certain you don't give a damn. Shockingly enough, this film wouldn't have been my pick for Best Picture. You'll soon find out why.

7) Raging Bull (United Artists)

      1980 - This is, without a doubt, director Martin Scorsese's greatest film, and when you look at his entire body of work, that's not an easy task to accomplish. This is also Robert De Niro's greatest performance ever. At times Raging Bull is not easy to watch, but both Scorsese and De Niro paint a searing portrait of the rise and heartbreaking downfall of middleweight boxer Jake La Motta with uncompromising perfection. De Niro along with Joe Pesci and Cathy Moriarty are phenomenal in the three primary roles, and Scorsese's decision to film this in black and white adds so much more to this gripping film.

6) Casablanca (Warner Bros.)

      1943 - In my opinion, the greatest romantic film ever made, Casablanca tells the story of Rick Blaine (Humphrey Bogart) who runs a nightclub in Casablanca around the beginnings of World War II. Upon being reunited with an old flame, his one true love Ilsa Lund (Ingrid Bergman), Blaine must make the tough decision of whether or not to rekindle that flame or help her and her new husband Victor Laszlo (Paul Henreid) escape back to America. The chemistry between Bogart and the gorgeous Bergman is downright electrifying and that alone is more than worth the watch. As far as onscreen couple chemistry goes, it's hard for me to believe it'll ever get better than those two, and that final scene between the two of them is by far one of the most beautiful yet bittersweet moments ever caught on film. If you've seen this movie, you know it's not the ending we'd all like... but it's the ending that had to happen or else we'd regret it... Maybe not today... Maybe not tomorrow... but soon and for the rest of our lives. "Here's looking at you, kid."

5) Pulp Fiction (Miramax Films)

      1994 - This is the final film of the three nominated for Best Picture in 1995, and with all due respect to both Forrest Gump and The Shawshank Redemption (two films worthy of "Best Picture" status; otherwise, they wouldn't have made this list), this film should've won Best Picture. This film turned Quentin Tarantino into a household name. This film revitalized John Travolta's floundering career. This film made Samuel L. Jackson (as great as Martin Landau was in Ed Wood, Jackson should've won Best Supporting Actor) into the superstar we know of today, and most importantly, this film is what got me interested in writing (I actually looked up the script online). Starring a plethora of talent too long to even list, Pulp Fiction is complex, convoluted and will certainly take more than one viewing to get the big picture. Ultimately, this is a film about redemption, and with every time I watched it, I always took away something new with each viewing. The characters are vibrant and full of life and I can't stress enough about the dialogue. It's violent, vulgar, exciting, rude, crude and one of the most original movies ever made.

      SPOILER ALERT: In the highly unlikely - I'm hoping - event you have not seen the original Star Wars trilogy, the next clip contains some major plot spoilers within the dialogue.

4) Star Wars: Episode V - The Empire Strikes Back (20th Century Fox)

      1980 - Very few scenes contain the impact as this one. When I first saw it, my mouth hit the floor and for some reason, every time I watch it afterward I still act like Luke Skywalker when it happens. "That's impossible!" George Lucas, who honestly isn't much of a screenwriter, handed over the writing responsibilities to Lawrence Kasdan. The result is the greatest sci-fi epic ever made. The story is darker, more sinister and certainly more involved than it's predecessor, A New Hope. What makes this film the greatest out of all the Star Wars films is that by this one, we've come to care about these characters so much, when Darth Vader drops a verbal atom bomb like he does we can feel Luke's pain and despair upon finding out the truth. It's films like these that prove sci-fi films don't have to be just mindless action. It can also contain an enthralling and thought provoking story.

3) Jaws (Universal Pictures)

      1975 - This is the fifth, count it, fifth film of Steven Spielberg's to make this series.  A film like Jaws proves my theory that you can scare the living shit out of people without having to show the monster involved hardly at all. The end of that clip with the mother looking for her son is a perfect example. We see no monster but an empty swim toy torn to shreds wash up on shore. That is all you need to strike fear in the hearts of the audience. Although technically a "monster flick", this film is more than that. It's about the three central characters: Chief Brody (Roy Scheider), Matt Hooper (Richard Dreyfuss), and Quint (Robert Shaw). Their chemistry together is as good as it gets and Shaw's performance in particular was deserving of a Best Supporting Actor nomination for his speech on the USS Indianapolis (completely improvised, by the way) alone. Plus, John Williams's (Is there really anyone better?) score during the opening credits sets the tone for the entirety of this film in just the first measure. We rarely see the shark, but it's the fear of what we cannot see, yet it's most certainly out there that makes this film a truly frightening and entertaining time.

2) The Wizard of Oz (Metro-Goldwyn-Mayer)

      1939 - With all due respect to Gone With the Wind (just a few spots back), this film should've won Best Picture. Appealing to all ages, The Wizard of Oz is more than just a magical story. It's a technological marvel. The clip posted above, where it transitions so seamlessly from black and white to vibrant color, is so beautifully done. That would be difficult to pull off just right today. This was 1939 though! Every character here is full of imagination and life. Margaret Hamilton (who cracked the top 10 in my greatest villains post as well) is superbly cast as the Wicked Witch, and I don't care how many times they remake or reboot this film. No one, and I mean NO ONE - and I say that as obstinately and adamantly and dogmatically as I can get - will ever capture the sweet innocence of Dorothy Gale better than Judy Garland.

      Well, we've finally reached the top spot after five weeks. Here it is, the number one film of all time. Drum roll, please... White Chicks... Wait a minute. That can't be right. Let's try it again. Drum roll, please...

1) The Godfather (Paramount Pictures)

      1972 - Did you really think this film was gonna miss out on the top 50? Where to begin? The Oscar level cast (Along with Marlon Brando winning Best Actor, Al Pacino, Robert Duvall, and James Caan were all nominated for Best Supporting Actor)? Coppola's Oscar worthy direction (to be fair, he ending up winning Best Director for Part II)? Mario Puzo and Coppola's Oscar winning script? The cinematography? The score? The editing? This is the masterpiece of all masterpieces, and is the ultimate portrayal of innocence destroyed through Michael Corleone (Al Pacino). The hearts of men truly are corrupted. At the beginning of the film Michael's an honorable, decorated war veteran who tells his girlfriend Kay Adams (Diane Keaton) in reference to his family's mob dealings, "That's my family, Kay... That's not me." At the middle of the film, we see Michael hesitantly getting his feet wet in the family business at that restaurant. He says nothing, but you can tell by his perfectly acted expressions he's thinking, "What am I getting myself into?". By the end of the film and from there on out, Michael's gone all in. This is storytelling excellence and it is this film that is responsible for shaping my thinking on not just film, but story and direction as well.

      There you have it, the top 50 movies of all-time. If there is any film out of the entire 50 that you haven't seen that somehow sparked your interest in seeing it, I've clearly done my job here. Whether it's Inigo Montoya fighting Count Rugen, Andy Dufresne standing jubilantly in the rain as a free man, Superman and Lois flying across Metropolis, Chief Brody witnessing the shark for the first time, Dorothy entering the Land of Oz, or Vito Corleone uttering the line, "I'm gonna make him an offer he can't refuse.", great films offer a great escape from the doldrums of everyday life. That is what I love most about film. Feel free to comment on what you think is the greatest movie ever. Also, and I'm not sure why I waited this long to bring it up, but tell your friends about this site. It's free, and I welcome differing opinions. Another great aspect of film is that it's all subjective. Until next time, here's to great films!

Benjamin's Stash: Video Pick of the Week

      Hello, readers. Normally, as you've been seeing since Man of Steel, my "Benjamin's Stash" or even my "What the Hell Were They Thinking?!" pick coincides with one of the new films to be released later in the week. This week, with the passing of Dennis Farina last week, I'm gonna pay my respects to the late great character actor. I've already done one "Benjamin's Stash" pick of his with You Kill Me. Here is one more.

 

      Snatch focuses on three groups of characters intent on retrieving an elusive 86-carat diamond, which has been stolen from an Antwerp jeweler. The first group are friends and business partners Turkish (Jason Statham) and Tommy (Stephen Graham), who join up with Mickey (Brad Pitt), an Irish gypsy boxer. Turkish and Tommy make arrangements with Mickey to take a fall in a match setup by lunatic gang leader Brick Top (Alan Ford). In the second group resides equally loony Russian gangster Boris the Blade (Rade Sherbedgia), who has asked Jewish gangster Franky Four Fingers (Benicio del Toro) to place a bet on the match for him. Boris is also scheming to have Sol (Lennie James), the owner of a pawn shop, rob the place with a couple of not so bright partners. Meanwhile, "Cousin Avi" (Dennis Farina), who has just arrived in London from New York, hires Bullet Tooth Tony (Vinnie Jones) to find Franky when he goes missing.

      Like other Guy Ritchie films, the story is rather busy as it interweaves in and out of a variety of characters that intersect within each other's lives. While the story is certainly busy, it never gets out of hand or hard to follow. As in its predecessor, Lock, Stock and Two Smoking Barrels, the success of this film hinges on the characters and dialogue - both of which Ritchie excels at. The cast - featuring everyone from Academy Award winner Benicio del Toro, Academy Award nominee Brad Pitt, Jason Statham and underrated characters such as Rade Sherbedgia and Dennis Farina - is first rate and everyone fits their respective roles just right. Pitt, who obviously has his heartthrob appeal for the ladies, plays against type here in a rather loony, indecipherable yet likeable role. Jason Statham's bread and butter has clearly been dumbed down action flicks, but it's film like these that really showcase his talent as an actor. Alan Ford is pitch perfect as the vicious mob leader, and Farina, Sherbedgia and Vinnie Jones provide some hilarious comical moments. There's a shootout scene between Sherbedgia and Jones in particular that's downright hysterical. Ritchie doesn't break any new ground here following Lock, Stock and Two Smoking Barrels. That being said, the dialogue is fresh and snappy, the comedy is dark and just right for the setting, and the performances are great. It's not quite as good as its predecessor, but this is still one hell of an entertaining time. 

      With the passing of Dennis Farina, the film world lost a great character actor and a great man in general. He served his country for three years in the Army and served his city in the Chicago Police Department for 18 years. He was never what you would call a "scene stealer", but he was never the type of guy that demanded it either. His performances - be it Manhunter, Midnight Run, Get Shorty, Out of Sight, Snatch, or You Kill Me - were always memorable though, and he will be missed. RIP, Dennis Farina.

What the Hell Were They Thinking?!

      Hello, readers. It'll be another packed week here for posts, but first let's begin with my weekly ode to cinematic trash. This week's pick is another crappy shark film from Syfy... What a shocker.

     Sharktopus aka... yeah, I got nothing.  Sharktopus centers on this creature, created by Dr. Nathan Sands (Eric Roberts) through the Navy, that's part Shark and part Octopus. I don't know of too many Octopi that actually come equipped with razor sharp knives at the end of their arms though. Is there a reason for them? Well, who gives a shit? Designed at first to be a "super weapon" for the military, the Sharktopus, or S-11 as it's called, goes rogue after the device that controls it is damaged during an impromptu demonstration. That means a lot of people are gonna die at the hands of an extremely poor visual effect, but not before putting their skills at horrible overacting on display for us.

      If only I could've sat through the pitch for this at Syfy headquarters. I wonder if it went something like this. "Okay, what do you think of this? It's half Shark and half Octopus with knives." "Hmm... It seems promising..." "Wait! It gets better! So this creature is like created by this scientist through the military, but then it breaks free and then kills a lot of people." "Oooh! Now we're talking. It's like all that science stuff will legitimize this film. Make it almost as good as Jaws... Can we have lots of scantily clad girls in bikinis run around beaches too?" "I personally wouldn't see it any other way... and then we can kill them." " Yes. Yes. Yes! I love it! Who can get we get to star in it?" "Well, I posted up a casting call ad at the Dollar General down the street." "Well, you do know, per the Syfy Channel bylaws, we have to have at least one actor from the 80's whose career has gotten to the point they'll star in anything." "How 'bout Eric Roberts? He's an Academy Award nominee." "Hell, yes! I love it! Love it! That gives us the Oscar pedigree no one ever gives us the much deserved credit for. We can plaster 'Starring Academy Award nominee Eric Roberts' all over the poster!" "Wait. Wait a minute. Just wait... What do you think of this? 'Starring Academy Award winner Julia Roberts's brother, Academy Award nominee Eric Roberts'." "That... is... EPIC!!!! Here's a shit ton of money I was just gonna set on fire in the trash can anyway. Make this happen!" "Will do!" "Keep in mind most of that money is for Mr. Roberts. That leaves you about $2.24 for the special effects budget." "Isn't that normally what we run for a special effects budget?" "You know, I think we got something special here. If people don't take us seriously as a legitimate film business following this... I'm gonna take a gun... and then I'm gonna blow my brains out." "As will I... As will I." Yeah, that seems about right. The horrible acting (and I mean so horrible it'll make you grind your teeth into dust) and the very, very, very, very bad CGI job on the Sharktopus creature are enough to merit this a watch. Just go to that $5 bargain bin you see at Wal-Mart... and then take a left and look in the trash can next to it. You'll probably find a ton of copies there.

The Wolverine

Cast of Characters:

Logan/Wolverine - Hugh Jackman
Ichiro Yashida - Haruhiko Yamanouchi

Mariko Yashida - Tao Okamoto
Yukio - Rila Fukushima
Shingen Yashida - Hiroyuki Sanada
Jean Grey - Famke Janssen
Viper - Svetlana Khodchenkova

Director - James Mangold
Screenplay - Christopher McQuarrie, Mark Bomback & Scott Frank
Based on the series Wolverine by Chris Claremont & Frank Miller
Rated PG-13 for sequences of intense sci-fi action and violence, some sexuality and language


      Academy Award nominee Hugh Jackman dons the claws and sports the mutton chops once again for the role that made him into the A-lister he is now in The Wolverine. If you've seen X-Men Origins: Wolverine you know you can only go up from rock bottom, but does this film manage to do so?

     Following the events of X-Men: The Last Stand, Logan aka "Wolverine" (Hugh Jackman) seems to have given up on fighting for the X-Men. He has moved to an isolated forest outside a Yukon town, and continues to have nightmares concerning what he once had to do with his old love Jean Grey (Famke Janssen). While in town he is met by a Japanese woman by the name of Yukio (Rila Fukushima) who tells Logan that the man she works for, Ichiro Yashida (Haruhiko Yamanouchi), is close to death but wants to thank and repay him for what he did years ago. At the beginning of the film, we see that way back during World War II, while a prisoner of the Japanese in Nagasaki, Logan saved Yashida's life when the second atomic bomb attack occurred. Logan at first is stubborn and has no interest in going with Yukio to Japan, but eventually gives in.

      Once in Japan, Logan meets the dying man he once saved who is now the powerful leader of a technological corporation. Yashida offers him a gift no once could ever give him before: a chance to become mortal. Is giving up such a bitchin' immune system such a good idea though? At first, Logan feels this is impossible and as he says, "What they did to me can't be undone.", but after an encounter with Viper (Svetlana Khodchenkova), he begins to experience some changes. Following Yashida's funeral, Logan - granting a dying wish from Yashida - looks after Mariko Yashida (Tao Okamoto), Yashida's granddaughter, who may or may not have corrupt forces coming after her.

      When I first heard about his film I kinda groaned and snickered a bit. Then I remembered how much fun X-Men: First Class was and thought, okay, maybe there's hope. When I heard it was being directed by James Mangold, then I was sold. There are a few gripes that I have. For starters, I wish the key villain Viper was a little more well developed than she was here.  It's not a bad performance from Khodchenkova by any means. I just would've liked to have seen the character a bit more fleshed out. Also, the final fight sequence, although very entertaining, falls into the typical action climax territory... but this is still miles and away a huge improvement over X-Men Origins: Wolverine. The key factor here I believe is director James Mangold. Mangold is such an underrated director and while not all his films were good (Knight and Day), he did direct the beautiful biopic Walk the Line as well as the both criminally underrated Cop Land and Identity. The vision he brings here really strikes the right balance between intense action and dark character study that we really haven't seen focused on an X-Men character before. One of the big failures of X-Men Origins: Wolverine was its constant churning out character cameo after cameo as if hinting, "Hey, one of these may be the next origin story!" That really stunted the development of any character in the film. Learning from its mistakes from the past, the story here is more self-contained and doesn't fall prey to character overkill. Plus, the relationship that gradually develops between Logan and Mariko is rather strong.

      Fans of the comic series will certainly love the various imagery Mangold pulls from the story. That being said, even if you're not a fan of the comics this film will still provide you with an entertaining time while never going over your head or leaving you confused. While not as good as X2: X-Men United or X-Men: First Class, this is a big step up from X-Men Origins: Wolverine and just as good as the first X-Men. The performances are strong. Mangold's direction is just right for this film. The story is one of the better, if not the best, representations of Wolverine out of the entire series, and the cinematography, capturing the Japanese landscape, is quite beautiful. Also, not giving anything away, stay for the end credits. About halfway through, there's a final scene that I, as well as everyone else with me in the theater, got a big kick out of. I give The Wolverine a B+ (★★★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 V

Only God Forgives

The Way, Way Back

2 Guns

Killing Season

Cast of Characters:
Emil Kovac - John Travolta
Benjamin Ford - Robert De Niro
Chris Ford - Milo Ventimiglia
Sarah Ford - Elizabeth Olin

Director - Mark Steven Johnson
Screenplay - Evan Daugherty
Rated R for strong violence, some torture, and language including some sexual references


      Academy Award nominee John Travolta and Academy Award winner Robert De Niro take up arms and go head to head in Killing Season.

      The film opens on a flashback sequence of American soldiers executing their Serbian captives during the Bosnian War. One of those soldiers is former NATO operative Colonel Benjamin Ford (Robert De Niro). The captive in front of him is Serbian soldier Emil Kovac (John Travolta).

      We then fast forward to present day. Ford has now fled to  a cabin retreat somewhere in the Appalachian Mountains, hoping to forget the painful memories of the Bosnian War. Either he was a terrible shot or he had an instant moment of conscience, whatever, 'cause Kovac, intent on revenge against Ford for his actions during the war, poses off as a European tourist visiting Tennessee and gets the opportunity to repair Ford's broken Land Rover. From that moment, the two men strike a friendly acquaintance. When Kovac reveals his true identity though, after attacking Ford during a game hunting session, they become enemies and what follows is a deadly game of cat-and-mouse.

      Right off the bat, I had a few questions run through my head while watching this. For starters, how is it Ford is unable to tell that the man he came close to executing back during the war is standing right in front of him? No question, though, was more glaring than this. At what point did the casting director here believe John Travolta would make a credible Serbian? Seriously, how is that? It doesn't even sound right on paper. There have been certain performances in entertaining films where the accents were subpar yet forgivable. Sean Connery in The Untouchables (for which he won a Best Supporting Actor Oscar) and John Lithgow in Cliffhanger are two in particular. Can't say the same here 'cause Travolta wishes his accent could be considered subpar. That would actually be a step up... a mile high step up. Hearing him go, "Iz goz huntzing babushka kushka hushka vodka!" with that forced Serbian dialect sounded as bad as hearing two stray cats mating all night while Bob Dylan sings folk versions of Lady Gaga tunes to the right of them and to the left is Nicki Minaj reading War and Peace. No matter how much he tried, it still sounded like the "Sandy! Oh my Gowd! I feel so egg-zited!!!!" Travolta. Then we have the story, and wow, what a slow paced, monotonous mess. It was just an hour of watching Travolta and De Niro take turns torturing each other... and the viewer. Plus, the first time Travolta has De Niro in his sight, ready to take the shot and boom it's all over... No, he wants to talk. He wants his confession. What is it with killers in film where they feel they have to have their "big speech". Boom! End it already! Then De Niro gets his turn, and you'd think, okay, this guy just got tortured from the worst sounding Eastern European ever. He ain't taking no shit from anyone anymore. It ends right now! Well, no 'cause then De Niro wants his turn to talk, and we rinse and repeat again with Travolta. Then by the end of the movie when De Niro has Travolta down and it fades to black, you're thinking, okay someone has to pull that fucking trigger or else I will... on the both of them... Hey, look at that, it fades back in with Travolta alive and well... 'cause De Niro still wants to talk!!!! What the hell?! These people don't wanna kill each other. Why the hell is this called Killing Season? It should've been called Two Guys Air Out Their Bottled Up Inside, Repressed Memories About Each Other for Roughly Ninety Minutes. The final scene between the two features a rather anti-climatic joke told by De Niro that has Travolta going, "Iz don'tz getz itz... but I still feel so egg-zited!!" Yeah, you don't get it. That sums up my thoughts on Killing Season, but the anti-climatic aspect is rather fitting.

      Let me just say that both Travolta and De Niro are fantastic actors, yet here their talents are wasted on a terrible script. For most of the movie we get a back and forth torture fest like some Hostel film, but then by the end we get the token message on "Why are we doing this?" Yes, good question. Why are you doing this? I will admit the cinematography by Peter Menzies, Jr. is rather spectacular at times, but like Travolta and De Niro, it's just more talent wasted. I give Killing Season a D (★).

The Conjuring

Cast of Characters:
Lorraine Warren - Vera Farmiga
Ed Warren - Patrick Wilson
Roger Perron - Ron Livingston
Carolyn Perron - Lili Taylor

Director - James Wan
Screenplay - Chad Hayes & Carey W. Hayes
Rated R for sequences of disturbing violence and terror

      Academy Award nominee Vera Farmiga, Patrick Wilson, Ron Livingston and Lili Taylor star in Saw and Insidious director James Wan's The Conjuring. It's been getting rave reviews for how scary it is, but is it really?

      JUST LEAVE THE DAMN HOUSE ALREADY!!!! Based on real events and real people, The Conjuring takes place in the 1970's with Roger (Ron Livingston) and Carolyn Perron (Lili Taylor), along with their five children, moving into their new farmhouse in Harrisville, Rhode Island. It doesn't take long before creepy things start to happen. The family dog is killed. Mysterious knocks on the walls are heard, and of course, the youngest child seems to have made a new, imaginary friend. Or is he really all that imaginary? Seriously, just leave the house.

      Enter Lorraine (Vera Farmiga) and Ed Warren (Patrick Wilson), two paranormal investigators (or "kooks" as they jokingly refer to themselves at a class presentation) that have been asked by the Perron family to look into the disturbances occurring at their house. The Warrens conduct an initial investigation that leads them to believe the house may need an exorcism. For God's sakes, what the hell will it take to get you out of that house?

      As a filmmaker, James Wan has been on and off for me. On the one hand, Saw (despite the number of crappy, pointless sequels it spawned) was an entertainingly clever time for me. On the other hand, though, Dead Silence was just okay and Death Sentence was another bland, "I'm gonna avenge my son's death myself", Death Wish ripoff. Insidious is the one film of his I have not seen yet, but have heard arguments for and against it. Here Wan gets back on track with a terrifically haunting film that's sure to scare. You read up above all the little "get out of the house" jokes, and to its credit, that question is actually brought up to the Perron family. Along with the first rate performances by a uniformly talented cast, we also get some cleverly shot camera work, and at times some gorgeous cinematography. What I loved most about this film though is the reliance on genuine tension building scares instead of cliche jump scenes. I've always felt the jump scene is the horror film equivalent to a fart/poop joke in a comedy. It's just a cheap thrill. To be fair, this movie does throw in a jump scare every now and then, but more often than not the scares (like the clip posted above) are effective at creating a tense and suspenseful environment.

      Today, when horror films are more about how much they can up the ante in terms of blood and gore or how many jump thrills can be crammed into one scene, it is such a breath of fresh air to get a good ole fashioned ghost story. Like Mama earlier this year, this film knows it's gonna break a few horror cliches every now and then, but that doesn't deter it from its mission to scare you witless. A sequel has already been planned, and considering the Warrens obviously have done more than one investigation, this has the potential to be an effectively creepy film franchise without falling into "needless sequel" territory. I will gripe about the R rating. Seriously, come on. There's no sex/nudity, harsh language, and the blood and gore, if any, is minimal. I wouldn't take children to see this, but 12 on up seems okay if you wanna take your kids. Regardless of the rating, this is an entertaining time, and I myself had a blast watching it. I give The Conjuring an A- (★★★½).

Before Midnight

Cast of Characters:

Jesse Wallace - Ethan Hawke

Celine - Julie Delpy

Director - Richard Linklater

Screenplay - Richard Linklater, Julie Delpy & Ethan Hawke

Rated R for sexual content/nudity and language

      Academy Award nominee Ethan Hawke and Julie Delpy pair up once again for a third time in Academy Award nominee Richard Linklater's Before Midnight.

      Nine years after the events that took place in Before Sunset (eighteen for Before Sunrise), Jesse (Ethan Hawke) and Celine (Julie Delpy) are now a couple and parents to twin girls conceived when they got together for the second time. Jesse is also struggling to maintain his relationship with his teenage son Hank, who lives in Chicago with Jesse's ex-wife. At the beginning of the film, after spending the summer with Jesse and Celine on the Greek Peloponnese peninsula, Hank is being dropped off at the airport to fly home. Jesse has continued to find success as a novelist, while Celine is at a career crossroads, considering a job in the government.

      After dropping Hank off at the airport, the couple discuss their worries about Hank having a healthy childhood and Celine deciding what to do with her career. Jesse, feeling he dropped the ball on being a good father, would like to be more present in Hank's life. This creates somewhat of a dilemma for both Jesse and Celine as she would rather further her career than consider moving back to the States. They soon return to the house of their Greek friend Patrick. Over dinner they discuss ideas about love and life, and the other people staying with them buy Jesse and Celine a hotel room for that night so they can have some time alone. While walking to the hotel, the couple reminisce about how they met and how their lives have changed since then.

      I was hoping to see this when it first came out, but once again Celebration Cinema nearby, in their infinite wisdom, felt if they're gonna show an Ethan Hawke movie, it should be The Purge. This movie like its predecessors Before Sunrise and Before Sunset is comprised of a series of long, single-shot takes driven by dialogue. It's always a risky move to go that route and there are only a handful of screenwriters capable of pulling it off. Quentin Tarantino and David Mamet are two that come to mind. Richard Linklater is another. The dialogue here is so fresh and genuine and natural it just draws you in and never lets go. Like the two films before it, which I loved, I sat there in front of the screen, completely engaged with every second that passed by. If finding it fascinating watching two people talk through one extended, single shot doesn't show you the strength of the writing, I don't know what else will. Two scenes in particular really stood out to me. One was Jesse and Celine surrounded by their friends eating dinner at the table. Two were an elderly couple, four were two middle-aged couples (of which Jesse and Celine were one), and the last two were a young couple. The scene is just one long, beautifully written moment with each of the three generations offering their own unique perspective on love and relationships. The second, and this is a bit of a spoiler, is an argument that happens later on in the film between Jesse and Celine concerning Jesse's son and whether or not they should move back to the States to be closer to Hank. There are certain argument scenes you see in some movies where it just feels contrived or forced or emotionally manipulative. Here it's such a genuinely powerful argument that seems so real, and by now, since it's the third film, we've (that is, if you've seen the past two films) become so involved with these characters that we feel a natural care about what happens to them and whether or not they stay together. It's moving, sad and even funny at times. Isn't that how arguments go in real life anyway?

      This, in my opinion, is the best of the "Before" trilogy, and the way it ends is the perfect dose of heart and humor. The weight of time and age has started to show on Jesse and Celine. Although at times they show signs of the young, ambitious, early twenty-somethings they once were, their characters, along with the story, have matured and grown older over the past eighteen years. The writing clearly reflects that. We see it in Jesse and Celine's expressions and hear it in their dialogue. If you haven't seen the first two, I strongly recommend renting them before seeing this, particularly since the story gets stronger and stronger as it moves along each film. It's always a joy for me to be able to see a film that's solely about the characters and dialogue. This film excels at both and is not only one of the year's best, it also earns my highest grade. I give Before Midnight an A+ (★★★★).     

Top 50 Movies of All-Time: Part IV

      Hello, once again, readers. We've reached the top 20 now with the second to last entry of the greatest movies ever to hit the big screen. Let's kick things off with...

20) To Kill a Mockingbird (Universal Pictures)

      1962 - Gregory Peck deservedly won a Best Actor Academy Award for his portrayal of the iconic literary character Atticus Finch. Based on the acclaimed novel by Harper Lee, To Kill a Mockingbird tells the story of Finch, a small Alabama town lawyer, who puts his career on the line to represent Tom Robinson (Brock Peters), a black man accused of rape. The true gem of this story lies not in Finch, but through the eyes of his children, daughter Scout (Mary Badham) and her older brother Jem (Philip Alford), as they witness the events surrounding the trial. Badham was nominated for Best Supporting Actress Oscar and this also marked the film debut of Robert Duvall as the iconic recluse Boo Radley. While still a riveting courtroom drama, it's the strong relationships outside the courtroom that really make this film such a joy to watch. 

19) The Deer Hunter (Universal Pictures)

      1978 - It sucks that all the clips of this film on youtube had the embedding function disabled. What we have instead is a typical 1970's trailer, which basically gives away the entire plot. Regardless, The Deer Hunter is still one of the most emotionally heart-wrenching depictions of the Vietnam War. Centering on the lives of four men - Mike (Robert De Niro), Nick (Christopher Walken), Stan (John Cazale) and Steve (John Savage) - right before they head off to Vietnam, this is a sobering tale of the effects war can have on a man emotionally and psychologically. Christopher Walken wound up winning the Best Supporting Actor Oscar for his powerful performance of the broken and scarred Nick, which culminates in one of the most heartbreaking moments in film. This was also the late John Cazale's last film who succumbed to cancer before the filming of this even ended.

18) 2001: A Space Odyssey (Warner Bros.)

      1968 - You already know that Hal 9000 was given the top spot on my 50 greatest villains series, and it's this clip here that really shows you why. The idea of a inanimate machine becoming sentient was a frightening one to say the least back in the late 60's. The movie as a whole, though, is more than just a film with a great villain. It's a haunting, beautiful and visually stunning sci-fi epic. This certainly isn't for everyone. I could most definitely see those with ADHD throwing fits trying to watch this. I, on the other hand, marvel at this grand achievement, not just in visual effects (which once again, for the time, was groundbreaking) but also in narrative as it explores the imagination, ingenuity and also the folly of mankind.

17) Psycho (Paramount Pictures)
      1960 - Extremely controversial at the time, Psycho is now a film I would strongly recommend to anyone wanting to get into horror filming. The use of the camera here is genius whether it's focusing on the water beading down from the shower head, the blood trickling down the drain, or the zooming out while focusing on Marion Crane's lifeless expression. Masterful director Alfred Hitchcock did more than just create another "horror classic". With Psycho, he legitimized the horror film franchise and revolutionized the way horror, suspense thrillers and mysteries would be handled in the future. With great performances from Anthony Perkins, Vera Miles, Martin Balsam and original Scream Queen Janet Leigh (who's daughter Jamie Lee Curtis would become another Scream Queen in 1978's Halloween), pitch perfect direction from Hitchcock, and one of the best, most ominous musical score ever by Bernard Herrmann, Psycho is more than just a phenomenal horror film. It's a phenomenal film. Hitchcock's created more than his share of great movies. Psycho, though, remains the best.

16) E.T. the Extra-Terrestrial (Universal Pictures)

      1982 - Hey, look, another Spielberg flick! Able to touch the hearts of both adults and children, E.T. the Extra-Terrestrial centers on Elliott (Henry Thomas), a young boy raised by his single mother Mary (Dee Wallace) along with his older brother Michael (Robert MacNaughton) and younger sister Gertie (Drew Barrymore). Upon finding an aging alien botanist mistakenly left behind, Elliott gradually befriends the "little squashy guy". While it's definitely an entertaining sci-fi adventure, E.T. delivers more than that. What it also brings is a beautifully moving portrait of childhood and friendship, and I dare you not to at least choke up in the final scene when E.T. points to Elliott's head and says, "I'll... be... right... here." Full disclosure - I balled my eyes out every time as a kid during that scene... Dammit! Not again! Where's the tissues?

15) The Exorcist (Warner Bros.)

      1973 - It's grotesque, frightening, vile, and that little girl said what? As a horror film, we witness innocence lost through the adorable twelve year old Regan MacNeil (Linda Blair) as she is possessed by the demon Pazuzu. This is more than a horror film though. It's about the characters and how one event through that little girl changes their lives. Whether it's Chris MacNeil (Ellen Burstyn), an atheist that seeks the aid and help of a priest after witnessing things happen to her daughter that she cannot possibly explain, or Father Damien Karras, the priest Chris consults who's in the middle of losing his own faith following the death of his mother, these are characters we genuinely care about. In a day and age today where people want their horror films to be about how gory you can get or how many jump scares you can cram into one scene, I look back on this film and realize a true horror film begins with characters you can empathize with.

14) Snow White and the Seven Dwarfs (Walt Disney Pictures)

      1937 - All it takes is one look at just how gosh darn loveable Snow White is to realize just how big of bitch the Queen is. I've said it before on here that I'm not ashamed to admit how much I love Disney's animated films. Snow White and the Seven Dwarfs stands above them all as the greatest. The animation, for 1937, is as vibrant and colorful as anything they can put out today. The characters are full of life and heart, and the story, for being a children's film, is rather sobering. You'd expect nothing less from a Grimm's Fairy Tale, but seriously, the Queen is really - she's just a bitch. It's ironic that at the time this was referred to as "Disney's folly". The naysayers thought this would never be successful. $416 million box office dollars later as well as an earned status as one of the greatest animated films ever, I'm sure those naysayers changed their tune rather quickly.

13) It's a Wonderful Life (RKO Radio Pictures)

      1946 - The ultimate Christmas movie, It's a Wonderful Life could get a dead man to gain a lump in his throat by the end of the movie. While the first half gives us one of the greatest romantic pairings ever with Jimmy Stewart and Donna Reed, it's the second half's "no man's an island" tale that makes this film as great as it is. We've all wondered at some point what life would be like if we didn't exist. I'd like to think the people in my life would be downright devastated if not flat out suicidal if I never existed. It's that moment when the angel Clarence tells George, "You've been given a great gift, George - a chance to see what the world would be like without you.", and then all the moments that follow when George sees how much different life would be without him. Bedford Falls is now named Pottersville. Bailey Park is just an old cemetery. His children don't exist. His wife has no idea who he is, and his brother - since he was never born and wasn't there to save his life like he does in the beginning - died at a young age. The message is both timeless and universal, and no matter how many times I watch this film, it never gets old.

12) Schindler's List (Universal Pictures)

      1993 - While Apocalypse Now captured the "horror" of war better than most movies, it was more kinda like a nightmare unfolding before our eyes. Schindler's List captured the horror and stark reality of war, specifically the Holocaust, better than any other film of its kind. With Academy Award winner Steve Spielberg's masterful direction combined with Academy Award winner Steven Zaillian's powerfully emotional screenplay, and three superb performances from Academy Award nominees Liam Neeson, Ralph Fiennes, and Academy Award winner Ben Kingsley, this is a film that in no way holds back on the grim reality of the Holocaust. Ultimately, the silver lining in this story is the character of Oskar Schindler, who in the midst of literal and moral black and white is the gray center. He's a man that at the beginning of the film sees hiring Jews to operate his business as a way of running cheap labor. By the end of the film though, when he sees the result of the 1,100 lives he saved 'cause of this, he realizes the difference he really made in just one quote mentioned by Kingsley's Itzhak Stern: "Whoever saves one life saves the world entire."

11) Citizen Kane (RKO Radio Pictures)

      1941 - Now before any of you run a stake through my heart as to why this isn't in the top 3, or top 5, or even top 10, consider this. Is the 11th spot out of the top 50 greatest movies ever out of every single movie ever made really that bad? Orson Welles directed, co-wrote, produced and starred in this masterpiece of the rise and fall of publishing tycoon Charles Foster Kane, based on the American newspaper magnate William Randolph Hearst. It's a truly haunting portrayal by Welles, and the fact that this was also his directorial debut is all the more impressive. The use of lighting and cinematography is exquisite and the writing by both Welles and Herman J. Mankiewicz is simple yet profound. By the way, you'll definitely find out what "Rosebud" is, but what it means is still open for debate. 

      Well, only 10 more to go. Next week I'll have the ultimate, quintessential top 10 greatest movies ever made. Will Rob Schneider's The Hot Chick make the cut? You'll have to find out next week.

Benjamin's Stash: Video Pick of the Week

      Hello, readers. The Wolverine opens up everywhere later this week, so this week's recommended viewing pick will be devoted to a Hugh Jackman film out of my collection. I'll give you a hint. It's not Deception.

      Those of you that have either read the Marvel Comics or, like me, watched the animated TV series already have at least a decent bit of knowledge beforehand about X-Men. The film begins with Senator Robert Kelly (Bruce Davison) attempting to pass the "Mutant Registration Act" through Congress. This act would force all mutants to publicly reveal their identities and abilities. Present at this legislation hearing are Professor Charles Xavier (Patrick Stewart) and Erik Lehnsherr aka Magneto (Ian McKellen). Both Charles and Erik, while differing on whether humans and mutants can coexist, have a history together, even as friends at one point. Professor Xavier leads a school of skilled mutants called X-Men, a peacekeeping force setup to safeguard the world against a race of genetically mutated humans known as Homo Sapiens Superior. They include Dr. Jean Grey (Famke Janssen), Scott Summers aka Cyclops (James Marsden) and Ororo Munroe aka Storm (Halle Berry). However, Magneto has also begun to organize a team of his to strike first against what he believes to be a threat from humanity. When he kidnaps Marie aka Rogue (Anna Paquin) from the X-Men's compound, Xavier and his forces must rescue her. On top of that, they also continue to vie with Magneto for the fearsomely strong mutant battler Logan aka Wolverine (Hugh Jackman). 

      While I never read much of the X-Men comics, as a kid - like I stated above - I did watch the cartoon series, so I had a general idea of what to expect. Not that knowing very little if any would have any negative effect on your viewing experience. Director Bryan Singer and writer David Hayter do a great job of balancing the story and characters with action packed moments. The key aspect about this film that I loved is the moral ambiguity of the characters. It's not black and white, "good guys vs. the bad guys". Logan's a stubborn dickhead and Rogue's a bit moody. Then again, you kinda forgive her. You would too probably if your first kiss put the guy you were with into a coma. On the flip side is the central villain Magneto. He's cold and diabolical, yet there's a reason for why he completely distrusts anyone that isn't a mutant. On top of that, his backstory, along with his complicated relationship with Charles Xavier, is what really adds a layer of empathy to his character. While some of the mutant characters such as Storm aren't as well developed as others like Logan and Rogue, and the villains Toad and Sabretooth aren't as interesting as Magneto or Mystique, this is still an entertaining comic book film. My favorite of the series is still X2: X-Men United, but X-Men is still a solidly entertaining first edition that won't disappoint. 

What the Hell Were They Thinking?!

      Hello, readers. It'll be a busy week here.  I have four movie reviews coming including the new Hugh Jackman film The Wolverine. I'll also have Part IV to my "Top 50 Movies of All-Time" series up tomorrow. First, though, it's time for "What the Hell Were They Thinking?!" This week's a good one. I just heard about it from a coworker last week and decided to look it up On Demand. Lo and behold, there it was. Syfy channel has pulled through once again!

      Sharknado aka Twister Meets Jaws aka Syfy's Really Scraping the Bottom of the Barrel Now stars Ian Ziering (aka curly hair/mulleted guy from Beverly Hills, 90210) as this guy that owns a bar in Los Angeles. He's got this hot chick as a waitress 'cause films like these require at least one hot chick that runs around saving the day. Plus Kevin McCallister's dad (John Heard) is a loyal customer (aka a drunk), despite actually living miles away from the place (that's dedication). So all of a sudden these waterspouts start forming nearby and hey, look at that, they're picking up sharks and just flinging them across the boardwalk. Naturally, people will die 'cause of this. Not taking any shit from these sharks, curly hair/mulleted guy from 90210, hot chick who's name I don't know and don't really care, Kevin McCallister's dad (the quintessential trifecta of any film like this: former hit TV star, that one guy in many huge-hit movies from the late 80's and early 90's... and the hot chick), plus another unknown guy (they're usually in there solely to be the guy that sacrifices his life for the rest of the crew) rise up... look death square in the eye... and pick up Tara Reid? Seriously, out of all the people you could save, you go for this whiny bitch?

      Obviously, I can't beat this film over the head too much. I think even Syfy knew they had a giant piece of crap in their hands (they either never watch any of their movies or they're that ignorant if they don't). A film like this is guaranteed to deliver another trifecta: horrible acting, horrible special effects... and a story written by a twelve year old with Down Syndrome (see last week's Snake Island post). I actually think John Heard wasn't acting, but was really drunk in his scenes. Maybe his own way of drowning out any thoughts like, "How the hell did I go from such big hits like Big, Home Alone, Awakenings, and The Pelican Brief... to this?" Tara Reid is obviously horrible here. I will give her credit though. She went the entire duration of a movie without once asking for a drink. "Like, oh my God, my tongue is like - you know - so like thirsty. I like need like some like booze!" Oh, how could I forget the token "dickhead new boyfriend"? You know, the one that right from his very first line of overacted, spoken dialogue you're thinking, "Oh, yeah... this guy's gonna die in... T-minus ten seconds." The plot holes are so big you could drive a Boeing 747 carrying a space shuttle... carrying an 18 wheeler... dragging an earth mover through it. The acting is bad and in Tara Reid's case like nails on a chalkboard. My respect for the Coen brothers increased even more than what it was already at. How they were able to make her look good in The Big Lebowski is downright miraculous. The special effects are horrible, but you'll get more than a good laugh out of them. It's already been confirmed that a sequel is in the works. Hey, when you have a working budget of only 15-20 bucks, why the hell not?    

Red 2

Cast of Characters:

Frank Moses - Bruce Willis

Marvin Boggs - John Malkovich

Sarah Ross - Mary-Louise Parker

Dr. Edward Bailey - Anthony Hopkins

Victoria Winters - Helen Mirren

Katya - Catherine Zeta-Jones

Han Jo-Bae - Byung-hun Lee

Ivan Simanov - Brian Cox

Jack Horton - Neal McDonough

Director - Dean Parisot

Screenplay - Jon Hoeber & Erich Hoeber

Based on Red characters created by Warren Ellis & Cully Hamner

Rated PG-13 for pervasive action and violence including frenetic gun play, and for some language and drug material

      Bruce Willis, Academy Award nominee John Malkovich, Mary Louise-Parker and Academy Award winner Helen Mirren team up again for the sequel to 2010 hit comic book adaptation, Red 2.

       While trying to lead a normal life with his girlfriend Sarah Ross (Mary Louise-Parker), Frank Moses (Bruce Willis) is approached by Marvin Boggs (John Malkovich), who is afraid that there are people after them. Frank shrugs him off, and continues to do so, despite a second appeal from Marvin. Marvin doesn't sound so crazy once Frank is taken in to be interrogated at a Yankee White Facility. It is there that government agent Jack Horton (Neal McDonough) tells Frank that he will torture Sarah in order to get information out of him. Frank manages to escape with the help of Marvin and they go on the run with Sarah. Marvin explains that he and Frank were being hunted down because they were listed as participants in a secret operation codenamed Nightshade. The operation was conducted during the Cold War in order to smuggle a nuclear weapon into Russia piece by piece. Meanwhile, Victoria Winters calls Frank to tell him she has accepted a contract from MI6 to kill him. She'll have to get in line as top contract killer Han Jo-Bae (Byung-hun Lee) has also been given a contract by Horton to kill Frank as well.

      Frank, Marvin, and Sarah then travel to Paris to track down a man nicknamed "The Frog". The Frog possesses a key to a secuirty box which may or may not contain documents pointing to a Dr. Edward Bailey (Anthony Hopkins), a brilliant physicist and creator of the bomb involved with Operation Nightshade. As they arrive in Paris, they are stopped by Katya (Catherine Zeta-Jones), a Russian secret agent who Frank had a relationship with earlier in his career. Katya is in search of Nightshade as well, and teams up with them to find The Frog, which comes at much obvious displeasure to Sarah.

      You could say I was looking forward to this. I really enjoyed Red in all its witty ridiculousness, and the cast that was involved made it even better. Then I finally watched Red 2, and damn it all, it's just meh. The performances are there, and of course, Malkovich once again proves to be the scene stealer. I was kinda hoping Hopkins would play his role a bit more over the top. The story certainly would've allowed for it, but he kinda plays it more and more straight as the film goes along. The problem here is that there isn't much going on, even during the action packed moments. In fact, oddly enough, it's the action packed moments that seem to be the most lifeless. I just sat there and wondered why is it when the guns are going down in a blaze of glory, I'm the most bored? There really was no thought or creativity put into any of the action sequences. All the goofy fun (save Malkovich and Parker) that we saw in Red is mostly gone, and overall I found they tried to cram too much story and too many characters into the film. One moment we're in Russia, then in London, then in Paris, then back to Russia, and then back in the States. Even at just under a two hour running time, it felt like there was way too much going on and at times the pacing just lagged. Plus, Costco must love the advertising spot; especially the part when a car explodes in their parking lot. That's right, folks. Come on down to Costco! We're blowing up prices... and your car.

      It's really a shame. I enjoyed Red and was hoping this would add on to what could be an entertaining film franchise. Unfortunately, the end result is nothing more than a tedious, obligatory sequel. Red 2 is not horrible by any means, nor is it good. It certainly has its moments, but not enough to where I can recommend seeing it. Instead, look up the first film, Red. I give Red 2 a C- (★★).

REVIEWS COMING LATER THIS WEEK...

What the Hell Were They Thinking?!
Benjamin's Stash: Video Pick of the Week
Top 50 Movies of All-Time: Part IV
Before Midnight
The Conjuring
Killing Season
The Wolverine     

R.I.P.D.

Cast of Characters:
Roy Pulsipher - Jeff Bridges
Nick Walker - Ryan Reynolds
Bobby Hayes - Kevin Bacon
Mildred Proctor - Mary-Louise Parker
Julia Walker - Stephanie Szostak

Director - Robert Schwentke
Screenplay - Phil Hay & Matt Manfredi
Rated PG-13 for violence, sci-fi/fantasy action, some sensuality and language including sex references

      Academy Award winner Jeff Bridges and Ryan Reynolds team up together in the buddy sci-fi/action flick, R.I.P.D. Is it just me, or are any of you experiencing some deja vu right now?

      Nick Walker (Ryan Reynolds) is a Boston cop who is killed by his long-time partner Bobby Hayes (Kevin Bacon) during a drug bust. Upon entering the afterlife, he is greeted by Mildred Proctor (Mary-Louis Parker) who - due to Nick's skills - offers him a position in the Rest in Peace Department (R.I.P.D.). The job of those in the R.I.P.D. is to capture ghosts that have escaped to earth disguised as humans (aka Dead-ohs) and return them back to judgment. At first, Nick is naturally befuddled by all this, but given the choice between the R.I.P.D. or face judgment himself, he chooses the former.

      Despite his fifteen years in the Boston Police Force, Nick's now a rookie in the afterlife. Mildred pairs him up with Roy Pulsipher (Jeff Bridges), a crusty old gunslinger from the 1800's. Roy adamantly states he works solo, but reluctantly takes Nick under his wing.

      At the beginning, I mentioned deja vu. I swear I've experienced this before. Young, hotshot cop that thinks he knows everything, but is soon introduced to a crime fighting force he never knew existed. He's then partnered up with a surly son of a bitch as they take down creatures blending in with humans. Hmm... Where have I seen that before? Maybe it was - I think it starred Will Smith... Oh, yeah, Men in Black. That's right. This movie is essentially a ripoff of the 1997 sci-fi/comedy. In fact, I think screenwriters Phil Hay and Matt Manfredi just printed out the script to Men in Black, and inserted a cowboy hat for Tommy Lee Jones's character and wherever an alien was mentioned they scribbled in "ghost". The writing is weak, lazy, and half-assed. While I'm at it, I'll also mention it rips off of Ghostbusters. Kevin Bacon is certainly a terrific actor, but he's given very little to do here. Plus, I could see the so called "twist" concerning him from a mile away. The direction is really nothing special, and the CGI effects are uninspired and at best mediocre. One bright spot though: Mary-Louise Parker. She was good here... not that it mattered.

      Obviously, Jeff Bridges is a treasure of an actor. I can think of at least a dozen movies of his that are well worth your time. Here, other than a few inspired moments, it clearly seems like he's thinking, "Yeah, I'll just phone it in for the whole ninety minutes... So, yeah, where's my paycheck?" Ryan Reynolds has the talent to be a great actor. Unfortunately, more often than not, he's starred in crap. If I were him, I'd fire my agent. The fact that both he and Bridges really have little to no chemistry together doesn't help either. Bottom line is, this is just a poor man's Men in Black, and by poor, I mean food stamps poor. I give R.I.P.D. a D+ (★½). 

Turbo

Cast of Characters:

Theo/Turbo - voiced by Ryan Reynolds

Chet - voiced by Paul Giamatti

Tito - voiced by Michael Pena

Smoove Move - voiced by Snoop Dogg

Burn - voiced by Maya Rudolph

Paz - voiced by Michelle Rodriguez

Guy Gagne - voiced by Bill Hader

Whiplash - voiced by Samuel L. Jackson

Director - David Soren

Screenplay - David Soren, Darren Lemke & Robert Siegel

Rated PG for some mild action and thematic elements

      Ryan Reynolds, Michael Pena, Snoop Dogg, Maya Rudolph, Michelle Rodriguez, Bill Hader, and Academy Award nominees Paul Giamatti and Samuel L. Jackson lend their voice talents to the second DreamWorks Animation picture of 2013, Turbo.

      Theo (voiced by Ryan Reynolds) is your everyday average garden snail who dreams of being the greatest racer in the world, just like his hero, Indy 500 champion Guy Gagne (voiced by Bill Hader). His brother Chet (voiced by Paul Giamatti) constantly reminds him that he's just a snail, and that he should concern his life with things that concern snails, not things that are meant for humans and cars.

      Following an event that crushes his spirit, Theo wanders over to a freeway to watch the traffic. By accident, he's blown on top of a drag racer and sucked into its supercharger. When the driver activates the Nitrous Oxide it fuses with Theo's DNA, giving Theo the power of incredible speed and accuracy. Despite his new powers, Theo's brother Chet keeps telling him that he could never race in the Indy 500 'cause he's still a snail. Things change, though when they both are captured by Tito (voiced by Michael Pena), a taco truck driver for his brother's restaurant. They are then introduced to a group of other snails used in races by Tito and his friends. They're led by Whiplash (voiced by Samuel L. Jackson) and also include Smoove Move (voiced by Snoop Dogg) and Burn (voiced by Maya Rudolph). At first, they view Theo as nothing special, just an average garden snail. When they, including Tito, witnesses what he's capable of though, they realize Theo - now named "Turbo" - clearly has "the skills to pay the bills".

        I was looking forward to this film. When I first saw the trailer, I at least found it intriguing. Plus, after The Croods, a film I wasn't expecting to like but was pleasantly surprised, I thought maybe DreamWorks could deliver again. The problem's that the story is fairly generic. Yeah, it's about a snail given the gift of speed which is kinda clever. Overall, though, it boils down to a main character having to overcome his obstacles against all odds. Been there, done that. That said, the voice talents are all uniformly well cast. I certainly got a kick out of Whiplash and his racing crew. Bill Hader certainly has a voice perfect for animated films, but here he seems a little bit too textbook villain. The animation is not quite as colorful as The Croods, but it's still well done, and to the credit of the filmmakers, the film moves along at a nice, brisk pace. I also liked the parallel storylines between Theo/Chet and Tito and his brother, which was a nice mirror image touch. I was just hoping for something more unique instead of the old "prove them all wrong with grit and determination" storyline.

      All things considered, while not the surprise that The Croods was for me, this is still a perfectly harmless film. It's not bad by any stretch, but it's not great either. It just lies there in the middle at good. It is a cute little film, and kids will certainly get a kick out of it. Unlike Pixar, and even other DreamWorks Animation pictures, the jokes and references for adults are MIA. This is mostly a movie for children, so if you have them and wanna do something with the family, I can justify a matinee showing. Particularly since there isn't much out there specifically for kids right now. I give Turbo a B- (★★★).

Top 50 Movies of All-Time: Part III

      Hello, readers. We're two parts down in this top 50 movies series, and now have Part III. I'll spare you the small talk and just kick of the next ten starting with...

30) Butch Cassidy and the Sundance Kid (20th Century Fox)

      1969 - Oh, so that's where the film festival gets its name from. The chemistry between Academy Award winners Paul Newman and Robert Redford's as actors was so electric that they've made the list twice, each in the same two movies. Centered on the two robbers - Butch being the affable, clever one and Sundance being the good shot - this is part western, part comedy, part adventure, with a bit of a romantic interest on the side. The intro set in the saloon starts the movie off with bang and ends with one of the best cinematic shootouts ever. Butch Cassidy and the Sundance Kid also paved the way for future buddy films such as 48 Hrs. and Lethal Weapon.

29) Some Like It Hot (United Artists)

      1959 - Screwball comedy at its best, Billy Wilder's Some Like It Hot stars Tony Curtis and Academy Award winner Jack Lemmon as two Chicago musicians who disguise themselves as women after witnessing the St. Valentine's Massacre. The two together with the late Marilyn Monroe is comedy gold as they both vie for her affection, while maintaining their disguises. The chemistry between the three is some of the best in film, and the final scene remains one of the funniest closing moments in any comedy. Hey, nobody's perfect.

28) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Columbia Pictures)

      1964 - This is the first, and certainly not the last, film of the late great Stanley Kubrick to appear on this list. A satirical take on the attitudes surrounding the Cold War, Dr. Strangelove, you could argue, was one of the first films to deal with people not trying to be funny, but delivering humor in a serious manner. The late great, Academy Award winning George C. Scott steals every single scene that he is in. Peter Sellers never has to prove that he's a comedic genius... but he does here anyway. Keenan Wynn gives an understated yet hilarious performance, playing off Peter Sellers's Captain Mandrake ("You'll have to answer to the Coca-Cola Company."), and how can you possibly forget Slim Pickens riding the nuclear bomb back to Earth?

27) Apocalypse Now (United Artists)

      1979 - The only thing more chaotic than the scenario this film was set in, was the turmoil that took place behind the scenes. Nevertheless, it's hard for me to imagine a film that depicts exactly what the horrors of war can due to a man's psychosis better than Apocalypse Now. Featuring an stellar all-star cast and a director (Francis Ford Coppola) who - well, yeah, he's no slouch, this film centers on US Army Captain Benjamin Willard (Martin Sheen) as he has been given orders to terminate the now mysterious Walter E. Kurtz (Marlon Brando) - a former US Colonel turned insane and now leading his own cult-like army. It's dark, horrific, oddly funny at times, and downright insane. I'd also have it no other way. The fact that it's rumored Brando improvised all of his scenes shows that man knew his craft and knew it well.

26) Ghostbusters (Columbia Pictures)

      1984 - One of the few films that makes me feel like a little kid again no matter how many times I watch it, Ghostbusters, along with Back to the Future, was one of the most groundbreaking comedies of the 80's. Starring Bill Murray, Dan Aykroyd, Sigourney Weaver, Rick Moranis, Harold Ramis and Ernie Hudson (Who, as long as there's a steady paycheck in it, will believe anything you say) was one of the first films to successfully combine blockbuster special effects and gut busting laughs. Despite coming a long way in terms of visual effects since 1984, the effects used at the time were nothing to scoff at back then. With a smart and witty script from both Aykroyd and Ramis that provided laughs for both adults and the little ones, enough one-liners to make a book out of, and comedy directing mastermind Ivan Reitman at the helm, this is a comedy gem that never disappoints. On a side note, if you do watch this, I strongly recommend listening along to the filmmakers commentary. It's surprisingly informative and quite funny as well.

25) Young Frankenstein (20th Century Fox)

      1974 - "What knockers!" "Ooh... Zank you, doctor." Mel Brooks's personal best film is also the greatest comedic satire of all-time. Young Frankenstein spoofed the story of the iconic seven foot monster to perfection. Feature a wonderfully funny cast that includes Gene Wilder, Peter Boyle Teri Garr, Academy Award winner Cloris Leachman, Marty Feldman, Academy Award nominee Madeline Kahn and a hilarious cameo appearance by Academy Award winner Gene Hackman, this is one of the most quoted ("The name... is Frahn-ken-steen!) and endearing comedies that to this day stands above the rest. Little known fact: if you're wondering where the legendary rock band Aerosmith came up with the idea for "Walk This Way", look no further than this film.

24) Network (United Artists)

      1976 - Before there was Heath Ledger, there was Peter Finch, who unfortunately died of a heart attack before winning his much earned Best Actor Oscar at the 1977 Academy Awards. A savage and satirical take on the media, Network is funny and rings more than true - even to this day. What's even more special are the relationships involved - be it in the workplace or at home - at the center of the film. The cast ranging from Academy Award winners Faye Dunaway, William Holden, Peter Finch, Robert Duvall and Beatrice Straight (whose performance here, at just five minutes and forty seconds, is the shortest performance to win an Oscar) as well as Academy Award nominee Ned Beatty is brilliant. Paddy Chayefsky's writing is intelligent, witty and sarcastic, and do I really need to mention how great of a director Sidney Lumet is? Even before this film the man already had a stacked resume.

23) Superman (Warner Bros.)

      1978 - Before all you Christopher Nolan fanboys crucify me, hear me out. There's no doubt Nolan resurrected the Batman franchise after Joel Schumacher raped and left it for dead, and as a whole (keeping in mind, the Christopher Reeve era Superman franchise unfortunately does contain Superman III and IV) the trilogy is easily the most consistently great superhero series in film. That being said, Richard Donner's Superman set the bar for future comic book films to come. The cast is magnificent. John Williams's score gets my heart racing right from the opening credits. Richard Donner's ability to blend humor with humanity is one of the best, and the first forty-five or so minutes of the film contains one of the most beautifully told origin stories in film. Despite Superman III, IV, and hey, while we're at it let's toss Returns into the mix as well, tarnishing the overall legacy of the Superman film series, that doesn't change the fact that Superman paved the way for future superhero movies. 

22) The Sting (Universal Pictures)

      1973 - The second of the Newman/Redford films to appear on this list, The Sting is extremely stylish and incredibly complex, but the way it unfolds is so fun to watch. Having three acting legends take center stage (Newman, Redford, and Robert Shaw) doesn't hurt either. After Johnny Hooker's (Robert Redford) friend is murdered by racketeer/gambler Doyle Lonnegan (Robert Shaw), Hooker plans to take Lonnegan down through a "sting" operation. To do so, he enlists the help of Henry Gondorff (Paul Newman), "the greatest con-artist of them all". It would take me literally the length of a novel to explain all the motives here (or would it?), but director George Roy Hill and writer David S. Hill do such a superb job at never letting the story run away from them and keeping the film straight. Their efforts in doing so is one reason why they both took home the Best Director and Best Original Screenplay Oscars respectively.

21) Indiana Jones and the Raiders of the Lost Ark (Paramount Pictures)

      1981 - You know, I figured, maybe I could possibly squeeze in a Steven Spielberg picture. Why not? He seems decent enough. I could watch that opening scene posted above a million times back to back and still be on the edge of my seat for each and every time. Giving the viewer everything from great iconic action packed moments to the great humor the Fedora wearing Dr. Jones is known for, Raiders of the Lost Ark will have your eyes glued from the very beginning and you'll simply refuse to look away (although both Indy and Marion were smart to look away, if you know what I mean) until the end credits start to roll. Harrison Ford and Karen Allen are absolutely perfect together and their little "get under each other's skin" love/hate relationship which gradually builds to something more is one of the greatest love interests in film. Paul Freeman plays a terrifically charming villain and John Rhys-Davies is the perfect compliment to Ford as his likeable sidekick Sallah. Add a smart script from the great Lawrence Kasdan along with Spielberg's direction - who I'm told seemed to have a steady career before and after this - and you have one of the most exciting cinematic experiences of all-time. By the way, it should be no surprise that this won't be the only iconic role of Harrison Ford to make this list.

      Well, there you go, readers. Three parts down, two more to go. I'll have Part IV up next week, and then the week after I'll have the quintessential top 10 greatest films of all-time. Feel free to take a stab at that number one spot. I'll give you a hint. It's not The Adventures of Pluto Nash. It was so close though.