Homefront

Cast of Characters:

Phil Broker - Jason Statham

Morgan "Gator" Bodine - James Franco

Sheryl Gott - Winona Ryder

Cassie Klum - Kate Bosworth

Susan Hatch - Rachelle Lefevre

Cyrus Hanks - Frank Grillo

Sheriff Keith Rodriguez - Clancy Brown

Maddy Broker - Izabela Vidovic

Director - Gary Fleder

Screenplay - Sylvester Stallone

Based on the novel Homefront by Chuck Logan

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

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

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

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

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

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

REVIEWS COMING LATER NEXT WEEK...

The Last Days on Mars

Out of the Furnace  

The Book Thief

Cast of Characters:

Hans Hubermann - Geoffrey Rush

Rosa Hubermann - Emily Watson

Liesel Meminger - Sophie Nelisse

Max Vandenburg - Ben Schnetzer

Director - Brian Percival

Screenplay - Michael Petroni

Based on the novel The Book Thief by Markus Zusak

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

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

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

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

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

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

Dallas Buyers Club

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

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


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

 

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

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

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

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

Frozen

Cast of Characters:
Anna - voiced by Kristen Bell
Elsa - voiced by Idina Menzel
Kristoff - voiced by Jonathan Groff
Olaf - voiced by Josh Gad

Hans - voiced by Santino Fontana
Duke of Weselton - voiced by Alan Tudyk

Pabbie the Troll King - voiced by Ciaran Hinds

Director - Chris Buck & Jennifer Lee
Screenplay - Chris Buck, Jennifer Lee & Shane Morris
Based on the fairy tale The Snow Queen by Hans Christian Andersen
Rated PG for some action and mild rude humor


      Kristen Bell, Idina Menzel and Josh Gad lend their voices to Disney's return to magical singing princesses in Frozen, from the creators of Wreck-It Ralph. Get ready, readers. I just may break out into song at any moment in the review.

      In the kingdom of Arendelle, there are two princesses, Anna (voiced by Kristen Bell) and Elsa (voiced by Idina Menzel), who's next in line to be queen. Although Elsa has the power to create snow and ice, she has supressed these powers following an incident with his sister when they were children. Following an moment that goes out of hand at her coronation, Elsa goes into hiding, but those suppressed feelings trigger her powers into freezing the entire kingdom.

      With the devious Duke of Weselton (voiced by Alan Tudyk) plotting to turn everyone against Elsa, it'll be up to Anna, with the help of mountain man Kristoff (voiced by Jonathan Groff), his trusty reindeer sidekick Sven and Olaf (voiced by Josh Gad), an oddball snowman who longs to experience summer, to find her sister and set things right within the kingdom.

      Disney should get on its knees and kiss Pixar's butt 'cause since the mid-90's, their own animated features were all a craptastic bore. Sure, Disney hit it big and deservedly so with Wreck-It Ralph last year (which, as much I really enjoyed Pixar's Brave, deserved Best Animated Feature at the Oscars), but when we're talking about the pure Disney animated films of the past (big doe-eyed, vocally gifted princesses, wildlife with an exceptional skill at household chores, African feline creatures that apparently can't wait to be king, etc.) Disney hasn't made a film worth your viewing pleasure since The Lion King. Frozen, based on a Hans Christian Andersen fable, is a much needed return to form for Mickey and Co. Not only that, this is hands down, the best animated film of 2013. Granted, aside from Pixar's prequel Monsters University, the competition this year has been fairly thin for animated films. The animation here is exquisite, the songs are catchy and range from moving ("Do You Want to Build a Snowman?") to hilarious ("In Summer"). Like any great animated film, casting is important, even when it's just for voice-over work. Both Kristen Bell and Idina Menzel are terrific as the two sisters who share a strained relationship, despite that they wish it was otherwise, due to Elsa's gift (or curse?). Jonathan Groff is solid as the mountain man Kristoff, who has that typical Disney handsome male protagonist look but is a bit of a goof as well. The scene stealer here in this movie, though, is without a doubt Josh Gad as the snowman Olaf. Disney has had a rich tradition of many comic relief sidekicks in previous films such as Rowan Atkinson's Zazu, Samuel E. Wright's Sebastian, Cliff Edwards's Jiminy Cricket and of course, Robin Williams's Genie. Gad continues that tradition with a character that provides humor both kids and adults will get a kick out of. The writing is smart, the characters are well written and the humor contains both slapstick for the kids and some cleverness too for the adults. Directors Chris Buck and Jennifer Lee (who also co-wrote the script) have created a visually gorgeous fairytale world that combines elements of both tragedy, humor and heart. The heart of this story is two sisters that love each other, yet unfortunate circumstances concerning one and who she really is drive them apart. Yeah, it's a familiar storyline, but it's executed effectively here, and a few twists near the end add some spice into this traditional fairytale mix.

      Sure, you have to wonder why Elsa just doesn't explain to her sister her ordeal before things really go haywire and there were a few moments in the third act where it felt a bit rushed, but that doesn't take away anything from this film being the best animated musical Disney has released in years. It's a top contender for Best Animated Feature at next year's Oscars and I guarantee you at least one of the songs will be nominated as well. With the holiday weekend arriving in just a couple days, this is a wonderfully made animated film for the whole family to enjoy. It's hard to believe this film was in development as far back as Walt Disney himself trying to work The Snow Queen into a film. I'd like to think he'd be satisfied with the end result. I give Frozen an A (★★★★).

Delivery Man

Cast of Characters:

David Wozniak - Vince Vaughn

Brett - Chris Pratt

Emma - Cobie Smulders

Director - Ken Scott

Screenplay - Ken Scott

Based on the original screenplay Starbuck by Ken Scott & Martin Petit

Rated PG-13 for thematic elements, sexual content, some drug material, brief violence and language

      Vince Vaughn stars in the American remake of the French-Canadian original film Starbuck, Delivery Man... This man anonymously sired 533 children. Can you "job security", Maury Povich?

      David Wozniak (Vince Vaughn) is your typical middle-aged loser. He's an inept delivery driver for his father's meat company, constantly getting parking tickets. His girlfriend Emma (Cobie Smulders) is pregnant with their children, yet she wants to go through it solo 'cause she feels David's uncommitted and irresponsible and he's also a hundred grand in debt to loan sharks.

      David's life grows more complicated when he's told by a fertility clinic's attorney (who somehow just helps himself inside when David's not home) that years ago he anonymously donated sperm enough times to sire 533 children. I'm surprised David isn't wearing sunglasses, sporting a walking stick, with a seeing eye dog next to him. Despite the fact that David did sign confidentiality agreements with the clinic, 142 of the kids are suing to have his identity revealed to them. Needing help, David seeks the counsel of his friend Brett (Chris Pratt), a lawyer who takes on his case. He hands David an envelope containing the identity files of his children and warns him, "DO NOT OPEN IT!!" Yes, but like Adam and Eve in the Garden of Eden, we all know what happens when you tell someone "DO NOT ____".

      It's a fairly gutsy move by Disney to open this the same weekend another small film based on a certain book series is guaranteed to rake in at least 100 million, especially considering the marketing campaign for this film was - eh, whatever. Then again, Mickey probably feels since the rest of his movies this year brought in at least a billion worldwide, he was gonna wipe his ass with the money used for this film anyway. There's really not much surprise here. You know what you're gonna get. It's the same old song and dance of a loser that is handed one hell of an extraordinary circumstance that makes him realize the true meaning of life. If this film was made 60-70 years ago, Jimmy Stewart would be playing him. Actually, he did. It's called It's a Wonderful Life, a sentimental film, of course, that never beat you upside the head with its sugary sweetness like this film does. Oh, yes, believe me, this film has enough sap to kick your ass out of the theater and even this galaxy. That's not the problem though. The problem is Ken Scott (who co-wrote and directed the original) has his tone all over the map. This film doesn't know whether it wants to be funny, sentimental or serious. You look at the poster and you expect a dopey comedy. I mean, look at it. Vince Vaughn standing there all "Aww, shucks!" with his hands in his pocket, shrugging his shoulders and surrounded by a ton of his kids. It screams, "Oh, boy! What zany, crazy, wacky antics did Vaughn do this time?!" Then, once the movie gets a rolling and he's meeting (or stalking) his first daughter, we're hit with a dark turn when she nearly ODs on drugs (a rather dark subject that is just left open-ended like it didn't happen to begin with). We also get a few yank the hell out of your heartstrings 'til they're torn to pieces moments when David also visits one of his kids who's living in a home for the disabled. I haven't even gotten to the questions this film left me with. 1) 142 kids seeking his identity. We never meet a single one of their mothers. They have to have one, obviously and a good one at that. When even the drug addict is someone that I would date in a heartbeat, you know they had to have had a strong support system growing up. Where exactly is she? 2) Why would the fertility clinic use David's sperm 533 times? Is he the only one donating? Yeah, I get it. We get the "It was a mixup." excuse... Yeah, sure. 3) A lot of the people seem to be awfully supportive of David as he's meeting his children. One nurse states that he did an great job today, when in reality she probably would've asked him where the hell has he been all this time?

      It's a flawed film. It's a very flawed film, but it's harmless and hardly the worst film I've seen this year. It tries to be something a la Frank Capra with its heartwarming message, but comes up short in doing so. While I do appreciate Vaughn turning in a much more restrained performance than we're used to seeing from him and Chris Pratt (great in Moneyball and Zero Dark Thirty) has the chops for comedy, this film just comes off as too uneven for me to recommend. I give Delivery Man a C- (★★).

REVIEWS COMING LATER NEXT WEEK...

Frozen
Dallas Buyers Club

The Book Thief

Homefront

The Hunger Games: Catching Fire

Cast of Characters:

Katniss Everdeen - Jennifer Lawrence

Peeta Mellark - Josh Hutcherson

Gale Hawthorne - Liam Hemsworth

Haymitch Abernathy - Woody Harrelson

Effie Trinket - Elizabeth Banks

Cinna - Lenny Kravitz

Plutarch Heavensbee - Philip Seymour Hoffman

Beetee - Jeffrey Wright

Caesar Flickerman - Stanley Tucci

President Coriolanus Snow - Donald Sutherland

Director - Francis Lawrence

Screenplay - Simon Beaufoy & Michael Arndt

Based on the novel Catching Fire by Suzanne Collins

Rated PG-13 for intense sequences of violence and action, some frightening images, thematic elements, a suggestive situation and language

      Academy Award winners Jennifer Lawrence and Philip Seymour Hoffman, Josh Hutcherson, Liam Hemsworth, Elizabeth Banks, Lenny Kravitz, Jeffrey Wright - deep breath... Donald Sutherland, Jena Malone, Amanda Plummer and Academy Award nominees Woody Harrelson and Stanley Tucci star in the second film of the Hunger Games series, The Hunger Games: Catching Fire... What a horrible cast.

      Following the events that took place in the first film, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) have returned home to District 12 after winning the 74th Annual Hunger Games. On the day that they are both to start a victory tour through the country, Katniss is visited by President Snow (Donald Sutherland), who tells her that her defiance by breaking Capitol rules so that both she and Peeta could live may inspire an uprising, if a rebellion hasn't been started already.

      Since this year's events marks the 75th anniversary, Panem holds what is known as the Quarter Quell, a Hunger Games event every 25 years where the contestants are chosen through the pool of surviving victors. With new gamemaker Plutarch Heavensbee (Philip Seymour Hoffman) at the helm, Katniss and Peeta find themselves thrust back into another fight to the death match, this time with the stakes raised even higher.

      For me, 2012's The Hunger Games was an exception amongst other film adaptations in that I didn't find myself interested in the books until after seeing the film (in some cases, that can be more rewarding in that the books tend to offer more detail and character development than the films). Most of the cast from the first film once again returns for the sequel. One major difference is director Francis Lawrence, who has stepped in for Gary Ross, who directed the first film. Despite directing I Am Legend, a film I enjoyed, Lawrence has made more misses than hits having also made the crap-fest that was Constantine, Water for Elephants, which was just meh and a horrible present day updating of the life of the Bible's King David called Kings. Although a bit unsure of what he'd bring to the table with his stab at the popular novel series, Lawrence's direction here is competent and smoothly paced, effectively blending the stirring action and impressive visuals with the quieter, sobering themes of the story. Even at close to two and a half hours, Lawrence, with the help of a strong script from Simon Beaufoy and Academy Award winner Michael Arndt (credited here as Michael DeBruyn like he was with Oblivion), keeps the viewer engaged from start to finish. Jennifer Lawrence, who if no one wants to marry her I myself will gladly and without hesitation volunteer as tribute, is one of the best young actresses out there today, having just recently picked up a Best Actress Oscar for last year's Silver Linings Playbook. She's once again wonderful as Katniss, who's both heroic yet vulnerable. She doesn't exactly wanna be the heroine. Can you blame her after what she's just gone through? Yet, for the sake of her loved ones, she finds she has little choice. Even though Lawrence is the heart and soul of this film, it doesn't hurt to have the A-list supporting cast she has backing her up. We're graced with the returning veteran acting talents of Donald Sutherland, Stanley Tucci and Woody Harrelson (all three perfectly cast in their respective roles) as well as two new and great additions in Jeffrey Wright and the never disappointing Philip Seymour Hoffman. It's always great to see performers of their caliber take part in films like these, and not just take part in, but take the roles as seriously as they do. Some of the other supporting characters aren't as well developed (Jenna Malone as Johanna Mason, Amanda Plummer as Wiress) as others (Sam Claflin as Finnick Odair), but compared to the film as a whole, it's a forgivable gripe. I should also mention Elizabeth Banks as Effie Trinket, who was just as annoying in the first film as she was in the first book (I just started reading the second), yet here she's likeable for a change, even sharing some moments of humanity with Katniss and Peeta.

      We don't get as much character introduction like we did with the first film 'cause obviously this is the second in the series. One other nitpick is that most of the fighting takes place at night, making it slightly difficult to tell who's who. I first thought it was just the lighting of the screen I was viewing it in, but then after reading other people's thoughts on the film, they seemed to share my sentiment. Just a technical nitpick, though, that doesn't take away anything from this being a worthy sequel to the highly entertaining first film of the series while also setting us up for Mockingjay (which will be split into two films) just nicely. Plus, this film helps get rid of that shitty aftertaste The Starving Games left me. I give The Hunger Games: Catching Fire an A- (★★★½).

Charlie Countryman

Cast of Characters:

Charlie Countryman - Shia LaBeouf

Gabi Ibanescu - Evan Rachel Wood

Nigel - Mads Mikkelsen

Darko - Til Schweiger

Karl - Rupert Grint

Ashley - Aubrey Plaza

Luc - James Buckley

Bill - Vincent D'Onofrio

Kate Countryman - Melissa Leo

Director - Fredrik Bond

Screenplay - Matt Drake

Rated R for some brutal violence, language throughout, sexuality/nudity and drug use

      Shia LaBeouf, Evan Rachel Wood and Academy Award winner Melissa Leo star in the indie romantic flick Charlie Countryman.

      When we first meet Charlie Countryman (Shia LaBeouf), he's dangling upside-down by some rope above a river. How exactly did he get to that point?

      Immediately following the death of his mother Kate (Melissa Leo), Charlie is visited by a vision of his mother, who tells him to travel to Bucharest. Why Bucharest? Who really knows? 1) 'Cause I guess the film goes nowhere if he doesn't somehow get to Bucharest, and 2) If not Bucharest, we can't get jokes like, "Are you sure she didn't mean Budapest?", which is mentioned time after time again in the film.

      Upon arriving in Bucharest, Charlie meets Gabi Ibanescu (Evan Rachel Wood), the daughter of the man he sat next to on the plane who died mid-flight. Charlie and Gabi strike up a friendship that could potentially lead to something more, that is, if not for the fact that she is married to Nigel (Mads Mikkelsen), a violent and unstable crime boss.

      This is the type of film that promises to be something unique and special when you first see the trailer... Then you see the film. While not a train wreck like other reviews have been stating, this isn't great by any means either. This is your typical style over substance kind of film. I'm not against "artsy" films. Exhibit A: Terrence Malick. It's visually pleasant at times, but I still felt the film's style, courtesy of Fredrik Bond's overly-ambitious direction, came off as unnecessary at times, like it's desperately trying to come off "indie". I get it. Crank up the nightclub music and throw the scene in slow-motion and we're somehow supposed to "feel" the moment all the more. On top of that, Matt Drake's screenplay suffers from a few pointless characters. Melissa Leo is a wonderful actress, but the subplot involving her ghost guiding Charlie to Romania did nothing for me. That's no mark against her, that's all on Drake. The same could be said for Charlie's dopey friends played by James Buckley and a post-Hogwarts Rupert Grint. There's absolutely no point to have them in this film other than for its comic relief moments. The only thing I gained from Grint's wannabe porn star character is that he's trying way too hard to break away from Potter's shadow. Keep trying, Rupert and don't try too hard next time. By the way, Hermione's got you beat. We also get Aubrey Plaza in a "blink and you'll miss her" cameo appearance as Charlie's ex-girlfriend and Til Schweiger is pretty much wasted in a throwaway villain role. Yet, in spite of all that, the film somewhat still maintained my interested, solely in part to three great performances from LaBeouf, Wood and Mikkelsen. Both Wood, in her hundredth film that requires her to be caked under six pounds of eye shadow and LaBeouf, once again looking like he hasn't bathed in a year, have a natural chemistry together. In fact, those two are the reason I wished the flash and style was toned down. All the flash gets in their way and hinders the relationship between them. On a side note, as natural as Wood's Romanian accent sounds, a part of me wondered why didn't they just go for one of the many Romanian/Eastern European actresses out there? I know I'm nitpicking, and once again, Wood does a fine job, but, hey, I'm just trying to save the filmmakers from having to pay for a dialect coach. Mads Mikkelsen doesn't really have to say anything to get you to believe he's a crazy son of a bitch. All he has to do is just stand there and he sells it. He's been doing that since I first noticed him in Casino Royale. The big surprise, for me, is LaBeouf. I've stated before on here that I've never been much a fan of his. He just hasn't done enough to thoroughly convince me he's a go-to lead guy. He certainly did a fine job in Lawless, but he was easily overshadowed by the rest of the very talented cast. He also was solid earlier this year in Robert Redford's The Company You Keep, despite the fact that I had a hard time buying that his character was smart enough to connect the dots with that entire radical 60's organization. Here, he's solid once again. For some reason, in spite of those three films, I'm not completely convinced yet... but he's heading in the right direction and this is the first time he actually got me to feel for the character he is playing (Were you expecting it to be Transformers 2 and 3?). If he keeps it up, he may have me sold for good.

      Charlie Countryman does suffer from too much style for its own good. The movie clearly would've benefited from dialing it down so not to distract the audience from the LaBeouf-Wood relationship. Trimming away some of the superfluous characters wouldn't have hurt either. Still, I was on the fence, but I can justify a moderate recommendation for this, 'cause of the three main performances. It's one of those come and go quickly type of films and is on Video on Demand now. I give Charlie Countryman a C (★★½).    

The Motel Life

Cast of Characters:

Frank Lee - Emile Hirsch

Jerry Lee - Stephen Dorff

Tommy - Joshua Leonard

Annie James - Dakota Fanning

Earl Hurley - Kris Kristofferson

Director - Alan Polsky & Gabriel Polsky

Screenplay - Micah Fitzerman-Blue & Noah Harpster

Based on the novel The Motel Life by Willy Vlautin

Rated R for sexual content, language, some nudity, brief violent images and drug references

      Emile Hirsch, Stephen Dorff, Dakota Fanning and Academy Award nominee Kris Kristofferson star in the Polsky brothers' The Motel Life, based on the novel by Willy Vlautin.

      Frank (Emile Hirsch) and Jerry Lee (Stephen Dorff) are down on their luck brothers that have been working odd jobs and living their through motel after motel following the death of their mother. With an amputated leg to boot, Jerry's luck seems to be harder to find than his brother and the only escape he finds comfort in are the stories, mirroring their own life, Frank tells him.

      Jerry's string of bad luck runs deeper the moment he finds himself involved in a hit and run accident, which forces the brother to flee across state to the home of Frank's old girlfriend Annie James (Dakota Fanning).

      The "down on their luck" storyline is one we've seen before, and it can sometimes, depending on the writing and direction, run the risk of forcing or manipulating the viewer into sympathizing for the characters. With The Motel Life, aside from a few moments that seemed underdeveloped, directors Alan and Gabriel Polsky wisely let the characters be who they are without adding needless, overwrought elements to a story that, in this case, works as effectively as it does because of its simplicity. The film's greatest strength is its wonderful cast. Emile Hirsch already turned in a great supporting performance opposite Paul Rudd in Prince Avalanche a few months back, and here he's once again great as Jerry's brother, who's the anchor of the two yet, like his brother Jerry, is still damaged. With Twilight behind her, Dakota Fanning gives a quietly strong performance that surprised me. I was never much a fan of hers (aside from Man on Fire and Coraline), but maybe now I can move on from how I didn't think much of her (when everyone else was) back when she was younger and screaming next to Denzel Washington and Tom Cruise. We also get some standout supporting work from Joshua Leonard and Kris Kristofferson, who only has a few scenes with Hirsch, but there some of the most poignant moments in the film. "Don't make decisions thinking you're a low-life. Make decisions thinking you're a great man. Or at least a good man.", he says to Frank. The standout of all the standouts here, though, is Stephen Dorff. He is a marvel here. He was somewhat big back in the 90's, starring opposite Jack Nicholson and Wesley Snipes in Blood and Wine and Blade respectively, but come the 21st century, he fell deep into straight to DVD hell. It wasn't until I saw Somewhere (which co-starred Dakota's sister Elle) where I truly realized the talent Dorff had. He does the same here, and in one small yet emotionally compelling scene where he explains to Frank that he may have had his share of bad luck too, but at least he had someone else love him, he steals the entire movie. Jerry is damaged and damaged beyond repair at that. His father left him and his brother when they were young and their mother died. His brother Frank certainly has his back, yet he's so desperate to be loved by someone else that he draws an imaginary girlfriend named Marge for himself and posts her drawings along the motel room walls. He's a heartbreaking and lonely character, wonderfully brought to life by Dorff and it makes me wish this man got more opportunities to display his talent instead of just wasting it in crap like Alone in the Dark and Bucky Larson: Born to Be a Star.

      Certain elements of the story don't work as well as others. There's a subplot involving Fanning's character falling on hard times that seemed unnecessary. Any flaws this film has is redeemed by its outstanding cast and some solid animation work that livens up the stories Frank creates. The story is minimal, but the characters impact the film in a beautiful yet sad way. This is in limited release, but if you can find it near you, I recommend you check it out. I give The Motel Life an A- (★★★½).

REVIEWS COMING LATER NEXT WEEK...

Charlie Countryman

The Hunger Games: Catching Fire

Delivery Man    

How I Live Now

Cast of Characters:

Daisy - Saoirse Ronan

Edmond - George MacKay

Isaac - Tom Holland

Piper - Harley Bird

Aunt Penn - Anna Chancellor

Director - Kevin Macdonald

Screenplay - Jeremy Brock, Tony Grisoni & Penelope Skinner

Based on the novel How I Live Now by Meg Rosoff

Rated R for violence, disturbing images, language and some sexuality

      Academy Award nominee Saoirse Ronan stars in Academy Award winning director Kevin Macdonald's How I Live Now.

      Daisy is an attitude filled New York City teenager that's sent to England to stay the summer with her British cousins, Edmond (George MacKay), Isaac (Tom Holland) and Piper (Harley Bird). At first, she's reluctant to want anything at all to do with them, but over time she warms up to three, even growing feelings for the eldest of the bunch, Edmond... her cousin. I'm not quite sure if by "cousin" that's just British talk for friends or if it's the type of cousin that runs the risk of conceiving a child with an arm growing out of its forehead, but whatever, they like each other.

      Meanwhile, an unsettling political crisis around the world is slowly brewing, which eventually leads to a nuclear bomb being detonated in London. With Daisy's Aunt Penn (Anna Chancellor) away at an emergency conference in Geneva, the kids must fight for their lives.

      I've never read the novel this film is based on, but although a part of me was fearing with a film tagline like "Love will lead you home" at some point a Twilight style love triangle will rear its ugly head (more appropriately would be The Host also starring Ronan), I am a fan of Ronan's and I loved Macdonald's film The Last King of Scotland. Luckily, no love triangle shows up, but you may still find the glaring tonal shift to be just as unnecessary. During the first act, we get the typical character introductions with the kids being all whimsical and fun with their fishing trips and marshmallow picnics. Then Macdonald completely jerks the steering wheel in the other direction once the bomb goes off. There are plenty of movies I've seen before where the tone is all over the map and you can tell the director has no idea what he wants. That's not the case here. I do give credit to Macdonald in that he clearly had every intention to essentially say to the viewer, "Watch this." and then smack everyone watching across the face. The problem I have is that the second and third acts were much more interesting, whereas the introductory act was just fluff. Well acted fluff, mind you, but fluff nonetheless. In spite of that, I didn't find this movie to be that bad at all. With already one Oscar nomination (Best Supporting Actress for Atonement in 2008) stamped on her resume, Saoirse Ronan is one of the few young actresses out there that continues to impress me. Despite, The Host, while not horrible, being bland, mediocre and certainly not the vehicle to progress her talent, Ronan did turn in some terrific work as the conflicted vampire daughter of Gemma Arterton in Neil Jordan's Byzantium earlier this past summer and once again shows why she's one of the best out there in terms of young actresses. At just 19, Ronan has yet to reach her peak and, provided she continues to make wise decisions, she's only gonna get better. Along with Ronan, there's some solid supporting work from George MacKay, who's essentially the hunky love interest that just stands there brooding as him and Daisy share a throwaway romance, and Tom Holland, who was also in one of the best films of 2012, The Impossible, playing opposite Naomi Watts.

      The obvious tone shift will certainly put-off some viewers, and I myself preferred the grittier, darker tone of the middle and ending. That said, this film is elevated by a talented young cast led by another great performance from Saoirse Ronan. Director Kevin Macdonald also provides a nice, visual touch to his "world gone to hell in a handbasket" scenario and unlike other similarly themed films we've seen before, this take doesn't seem that far removed from reality. I give How I Live Now a B (★★★).

Benjamin's Stash: Video Pick of the Week

      Hello, readers. I already mentioned this on Facebook, but not here yet. By the way, speaking of which, if you're not subscribed to my Facebook page, do me a favor by gently tapping your mouse over to the right of the page and clicking "like" for the page. Anyway, this and yesterday's "What the Hell Were They Thinking?!" will be the last posts for 2013. They'll resume January of next year when I reveal the new, revamped site I'm working on, which I'll keep you posted on. The weekly film reviews for the remainder of this year will still continue. Having said that, here's the last weekly video recommendation of this year.

      Jackie Brown focuses on a group of characters centered around a drug smuggling deal. Arms dealer Ordell Robbie (Samuel L. Jackson), who lives with perpetually stoned beach-babe Melanie (Bridget Fonda), reunites with his old buddy Louis Gara (Robert De Niro), who has just been released from prison after serving four years for armed robbery. Meanwhile, ATF agent Ray Nicolette (Michael Keaton) busts stewardess Jackie Brown (Pam Grier), who was smuggling money into the country for Ordell. Ordell bails Jackie, but when bail bondsman Max Cherry (Robert Forster) picks her up at the jail, he becomes attracted to her, and that's when Jackie is faced with an important choice to make.

      Jackie Brown is by far Tarantino's most restrained film. It's also his most underrated. Like any Tarantino film, the dialogue is witty and fresh, the characters are vibrant and well developed and even though it clocks in at around two and a half hours, the pacing is smooth. With Pam Grier, Samuel L. Jackson, Robert Forster, Michael Keaton, Bridget Fonda and Robert De Niro gracing the screen, this is an exceptionally gifted cast that fit their respective characters perfectly. Tarantino deservedly gets praise for his writing and directing, but I don't think he gets enough credit for making sure the people he gets for his films fit their parts like a glove. Grier and Forster have great chemistry. Samuel L. Jackson is icy cold as the hitman Ordell. De Niro is surprisingly yet very effectively restrained as an ex-con trying to get back on track, and Fonda is too perfect as the blond beach bunny hooking up with Jackson's Ordell. This is not the type of film you'd expect from Tarantino. The story (based on Elmore Leonard's Rum Punch) is much smaller in scale and he wisely avoids being a one trick pony by not falling back on the usual structure of his that made him famous. As I just said though, it's Quentin's most underrated film and it's a shame it doesn't get as much recognition as his other films do. Following both Reservoir Dogs and Pulp Fiction, Jackie Brown proved Tarantino wasn't a one to two hit wonder, but a filmmaking force to be reckoned with.

What the Hell Were They Thinking?!

      Hello, readers. Over the weekend, I kinda had a hard time figuring what to pick for today. Thank God for late night TV showings 'cause this popped up through the channel surfing and I remember years back when it first came out, it landed rather comfortably in a top 10 worst blog of mine... for good reason.

      Yep, at some point, Li-Lo would wind up here. In I Know Who Killed Me, Aubrey Fleming (Lindsay Lohan) is trying to move on from having once been abducted by a horrible serial killer, but the psychological and physical (the loss of a hand and leg) scar reminders make that easier said than done for her. While Aubrey's parents, Susan (Julia Ormond) and Daniel (Neal McDonough), are ecstatic to have their little girl back, a wrench in the cogs comes along to piss on their parade in the form of that girl who returned claiming another identity - Dakota (also Lohan). Dakota exhibits a wholly different personality and mannerisms than Aubrey did (meaning she's a slut), and has no idea who this Aubrey person is. After the authorities find a short story on Aubrey's laptop about a girl known as "Dakota", Dakota becomes convinced that she's Aubrey's twin sister... This is the sequel to The Parent Trap that we've all been waiting for.

      Have you ever heard the term "A wolf in sheep's clothing"? This aptly describes this movie considering it's a laughable disaster of a movie disguised as a Silence of the Lambs type thriller. When I say disguised, though, I mean the wolf is wearing nothing else, but just stands in front of you going "baa". I kid you not, there's a scene where Lohan is running away from the killer and the charge on her prosthetic leg is running low. That's one hell of an inconvenience. Hey, technology, Ted Kaczynski was right, just saying. I know. A lot of you hormone raging, puberty infested youngsters are thinking, "What? Lindsay Lohan as a slutty stripper? Aww, hells to the yeeeeeah!" Well, stop right there. This isn't the cute Mean Girls Lohan. This is Lohan right around the time the squirrels dancing up inside her head decided that juggling knives would be a pretty fun idea. Obviously trying to shed her Tween Queen Disney image, Lohan shoots for the moon in doing so, yet manages to bypass the moon and head clear out of the Milky Way... in the worst way possible. If you don't believe me. Just watch the sex scene she has. It's almost as awkward to watch as it appears to have been for the two performing the scene. The only thing worse than Lohan's acting here is her ability to strip, which inexplicably doesn't happen. What a prude. I'm not saying I salivate like an open hydrant when a scantily clad woman walks by, but those men hounding over you in the strip club desperately went out of their way to have their paycheck cashed out in ones for you. The least you could do is remove an article of clothing. Is it complex like it tries to be? If by complex you mean just how confounded you are as to how this film got green-lit, then yes, it's complex. It's also laughably written and horrendously shot. "Do I look like I'm in a fucking coma?!", Lohan snarls. Nope, but I sure as hell wish I was.

The Starving Games

Cast of Characters:

Kantmiss Evershot - Maiara Walsh

Dale - Brant Daugherty

Peter Malarkey - Cody Allen Christian

Effoff - Lauren Bowles

President Snowballs - Diedrich Bader

Director - Jason Friedberg & Aaron Seltzer

Screenplay - Jason Friedberg & Aaron Seltzer

Rated PG-13 for crude and sexual content, comic violence, language and partial nudity

      Friedberg  and Seltzer, the creators of Date Movie, Meet the Spartans and Vampires Suck, are back. This time they're taking on the critical and box office smash, The Hunger Games with The Starving Games... Time to get the boxing gloves out. I may have another punching bag coming my way.

      They're making it too easy now. Kantmiss Evershot (Maiara Walsh) is a highly skilled archer living in District 12. On the day of the 75th Annual Starving Games (Oh, now I get it), led by President Snowballs (Diedrich Bader), Kantmiss's sister has been chosen to participate in the games where you fight to the death. After excitedly gloating that she herself didn't get picked, Kantmiss decides to volunteer when her sister gives her the puppy dog eyes... Yes... That's right... puppy dog eyes.

      Once the games begin it's her and fellow District 12 citizen Peter Malarkey (Cody Allen Christian) fighting for their lives as the other contestants hunt each other down.

      ... Wow... just wow... I can't tell if Friedberg and Seltzer are this horrible at making movies or if this is just a ten year long joke that we're still not in on. Look at their resume. Scary Movie doesn't count 'cause they were just co-writers with the Wayans brothers. Look at what they've done on their own: Date Movie, Epic Movie, Meet the Spartans, Disaster Movie (which I didn't even know was made), and The Starving Games. They also have one out due next year called Superfast. They're batting .000. That's worse than Prince Fielder in the postseason. These two are like the filmmakers version of cockroaches. They just keep coming back and it's never any good. The acting is horrible, we get jokes like Kantmiss squatting and taking a dump 'cause I guess that's funny, and even something like the sound editing was garbage. Instead of going to the theater, I watched this at home through Video On Demand and I had to crank the volume up to 88 just to be able to barely hear it. Plus, like all spoofs nowadays, this is just another case of how many film and pop culture references we can fit into on movie, which are: Oz the Great and Powerful, Harry Potter, Dos Equis beer, Honey Boo Boo, Fifty Shades of Grey, Siri, Angry Birds, the "Double Rainbow guy", Avatar, Tim Tebow, Twitter, "Gangnam Style", Taylor Swift, The Hobbit, The Expendables, Chuck Norris jokes (which worked in the most recent Expendables film simply 'cause it was actually Chuck Norris saying it and not some lookalike saying it instead), and The Avengers. I mean, the very first scene had what looked to be an attempt at a joke with Kantmiss aiming her arrow at the sky, releasing the arrow and then somehow hitting the Wizard of Oz. How does that make any sense? Your guess is as good as mine, but it's not funny and it doesn't make any sense. Yeah, I get it, he's the Wizard of Oz, but what exactly is the point? Oh, I can't forgot the product placement they threw in with Apple, McDonald's, Nike and Starbucks. Move over, Mamet and Tarantino. I should also mention the great film editing they did where Kantmiss whistles the iconic Hunger Games theme and a bird craps all over her face. The camera cuts away to reveal Rudy (the film's version of Rue) motioning to Kantmiss, then cuts back to Kantmiss with a perfectly dry and clean face. Bravo, editing department! The point I'm trying to make is that this film is garbage, all the movies Friedberg and Seltzer have done before are garbage, and all the movie they continue to make are gonna be giant drops of horse shit garbage, yet there's gonna be some studio out there still dumb enough to write out a check for them and say, "Here ya go! Make another pile of shit for us!" Yes, there are more laughs to be found in Abraham Zapruder's home movie camera. I'm not talking about Parkland. I'm talking about the actual footage of the JFK assassination. I also think I giggled once during a moment of levity in 12 Years a Slave, which is a lot more than I can say for this. That should put all this into perspective for you.

      This is different from when I trashed Scary Movie V earlier this year, which was written by David Zucker. Zucker is capable of great things. Two of his movies, Airplane! and The Naked Gun: From the Files of Police Squad, I consider to be two of the greatest spoofs in comedy history. He's also done other terrific films such as The Kentucky Fried Movie, Ruthless People, and the underrated Top Secret! Me criticizing him for doing a horrible, horrible, horrible! movie like Scary Movie V is like a parent disciplining their child. You know better than that, David. With Friedberg and Seltzer, this is like walking in on your wife fucking that neighbor you've always despised... for the sixth time, if we're going by they're entire filmography. It just makes you hate the son of a bitch all the more. I'm gonna pay homage to the late film critic Roger Ebert by quoting him from a review he did which is very fitting for this. "When it came time to write my newspaper review for this movie - I don't know, something just came over me. My fingers on the keyboard had little minds of their own. I was rolling along, writing my usual scathing, but civilized comments when suddenly a sinister inner-force took over and I found myself typing - and I quote, 'I hated this movie. Hated, hated, hated, hated, hated this movie. Hated it. Hated every simpering, stupid, vacant, audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it.'" ... Can't say it any better, Roger. I give The Starving Games an F (0 stars).

REVIEWS COMING LATER NEXT WEEK...

What the Hell Were They Thinking?!

Benjamin's Stash: Video Pick of the Week

How I Live Now

The Motel Life  

12 Years a Slave

Cast of Characters:

Solomon Northup - Chiwetel Ejiofor

Edwin Epps - Michael Fassbender

William Ford - Benedict Cumberbatch

John Tibeats - Paul Dano

Theophilus Freeman - Paul Giamatti

Patsey - Lupita Nyong'o

Mary Epps - Sarah Paulson

Samuel Bass - Brad Pitt

Mistress Harriet Shaw - Alfre Woodard

Director - Steve McQueen

Screenplay - John Ridley

Based on the autobiography Twelve Years a Slave by Solomon Northup

Rated R for violence/cruelty, some nudity and brief sexuality

      Oscar buzz is ringing! Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch and Academy Award nominees Paul Giamatti, Brad Pitt and Alfre Woodard star in the true story of Solomon Northup, 12 Years a Slave, based on his autobiography.

      Jonathan Martin, as a Dolphins fan, I must tell you that Solomon Northup called to say you're a bit of a pussy. Based on a true story set in the mid-nineteenth century, Solomon Northup (Chiwetel Ejiofor) is a free black man living in Saratoga Springs, New York and making a living as an expert violinist. 

      After a night out in Washington, D.C., with two other men paying him for a lucrative touring gig, Solomon wakes up to find himself chained. That's when he realizes he has been deceived and sold into slavery.

      12 Years a Slave is the type of uncompromising film some, in spite of the gorgeous southern backdrop courtesy of cinematographer Sean Bobbitt (who also did impressive work earlier this year with The Place Beyond the Pines and Byzantium) - may find hard to watch. It doesn't pull any punches. The most powerful scene is one without any dialogue involving a noose. That's all I'll say about it, so you can find out what happens for yourself, but what's even more telling is the way the slaves surrounding what is happening react. For over fifteen years, Chiwetel Ejiofor has always been a consistently solid acting presence that never really got the credit he deserves. He's always been one of those "Hey, it's that one guy" type of actors. I believe with his performance here, he's finally due. This is a raw and powerfully emotional, career performance from Ejiofor that if it doesn't result in a Best Actor Oscar nomination - hell, even an offensive asshole like me is gonna whip out the race card. In fact, they should give a Supporting Actor nomination to his body language while they're at it 'cause Ejiofor is capable of stirring emotions with just the look in his eyes. Steve McQueen regular Michael Fassbender turns in his finest work to date as the brutal slave owner Edwin Epps. Just when you thought he couldn't be any more vicious, Sarah Paulson shows up as his wife and out-evils him to the point I was actually pulling for Epps to put her back in her place with a good bitch slap. Paul Giamatti and Paul Dano seem to make not liking their characters relatively easy. Benedict Cumberbatch - who's been having a fantastic year for 2013 - is equally strong as the slave owner Ford, who takes a liking to Northup and the skills he provides, and Brad Pitt, who only appears for just about three scenes, once again doesn't disappoint. As disappointing as The Counselor was, Pitt (starring also with Fassbender) was one of the film's strengths and it just doesn't matter if he's playing the lead role or a supporting character. He excels at both. I'd be remiss not to mention Lupita Nyong'o. This is her American film debut and she hits a grand slam with it. Director Steve McQueen has never been one to beat around the bush or sugarcoat things with his film and not every character is black and white (See that? I made a pun in a serious film review! Hell, yeah, I'm hardcore!). Some slave owners are vicious sons of bitches and some, like Cumberbatch, show a more compassionate side. Even Solomon, despite the fact that we are rooting for him, is not without his character flaws. That's what makes this film so realistic and so great.

      This is not some saccharine Roots miniseries. This is a heartbreaking, powerfully acted, unapologetically directed tale of triumph featuring three Oscar worthy performances from Ejiofor, Fassbender and Nyong'o. It's not only one of the year's most memorable films. It's one of the year's best. I give 12 Years a Slave an A+ (★★★★).

Thor: The Dark World

Cast of Characters:

Thor - Chris Hemsworth

Jane Foster - Natalie Portman

Loki - Tom Hiddleston

Dr. Erik Selvig - Stellan Skarsgard

Heimdall - Idris Elba

Malekith - Christopher Eccleston

Algrim/Kurse - Adewale Akinnuoye-Agbaje

Darcy Lewis - Kat Dennings

Volstagg - Ray Stevenson

Fandral - Zachary Levi

Hogun - Tadanobu Asano

Sif -Jaimie Alexander

Frigga - Rene Russo

Odin - Anthony Hopkins

Director - Alan Taylor

Screenplay - Christopher Yost, Christopher Markus & Stephen McFeely

Based upon Thor characters created by Stan Lee, Larry Lieber & Jack Kirby

Rated PG-13 for sequences of intense sci-fi action and violence, and some suggestive content

      Chris Hemsworth, Tom Hiddleston and Oscar winners Natalie Portman and Anthony Hopkins return again in Thor: The Dark World... With a hammer that big, he's clearly compensating.

      Way, way back in the day, there was a clash between Odin's father Bor and the dark elf Malekith (Christopher Eccleston), who was seeking a weapon known as the Aether to destroy the universe. Bor manages to defeat the dark elves, despite Malekith and a few other dark elves escaping in suspended animation, and contains the Aether in a stone column.

      Now in present day, Loki (Tom Hiddleston) has been sentenced to lifelong imprisonment by his father Odin (Anthony Hopkins) for his war crimes committed on Earth. Thor (Chris Hemsworth) and the Asgardians learn of a rare alignment between the Nine Realms soon to come that would link the worlds by portals known as the Convergence.

      Meanwhile, back on Earth, astrophysicist Jane Foster (Natalie Portman) has unwittingly released the Aether which awakens Malekith. With Foster infected by the Aether and Asgard at risk of an invasion from the dark elves, Thor takes it upon himself to save both matters at hand.

      I didn't get to see the first Thor until after it left theaters. It was one of those movies I didn't expect to like, but was very surprised by how much I did end up liking it. Plus, it was interesting to see director Kenneth Branagh handle a comic book adaptation as effectively as he did. While Thor: The Dark World is not without its flaws, it was still an entertaining and worthy sequel to the first film. Like its predecessor and many others in the Marvel film universe, there's a nice balance between the humor and the action. In particular are two bits involving Thor's hammer and a subway near the final act and a surprise sight cameo that got a good laugh out of me. Most of the cast from the first film return. Anthony Hopkins is back as Odin shouting out dialogue in a Shakespearean manner that only Hopkins knows best. Up until the first Thor, I forgot Rene Russo - who was big in the 90's - still existed. Stellan Skarsgard has some funny moments, but overall you're here to see two people: Chris Hemsworth and Tom Hiddleston. Hemsworth was at first one of the reasons I was hesitant to see the first film. Even though it came out before Snow White and the Huntsman, I didn't see Thor until after that film, which I absolutely hated. He fits the character of Thor though very well. It's not a complete embodiment like how most everyone views Robert Downey, Jr. as Tony Stark, but Thor is what made Hemsworth into a movie star and for good reason. It's not easy balancing physical presence with charisma and humor. Few can pull it off, but Hemsworth makes it work. Like Hemsworth and Thor, it's hard to imagine anyone else embodying Loki the way Hiddleston does. He delivers his dialogue with just the right amount of arrogance. You can't help but like that cocky bastard, but at the same time you wanna just pull a Natalie Portman on him by slapping him hard upside the face and chiding, "That was for New York!". Loki has been one of the most interesting villains in comic book films, which is something we can't say for Malekith, who is technically the central villain here. It's a bummer 'cause someone like Christopher Eccleston, who can creep you out without uttering a word, could easily handle an intriguing villain like Hiddleston does with Loki. There's just very little Eccleston to do here other than appear creepy and menacing. Granted, he has the presence down. There's just not much else aside from that.

      It's not as good as the first film. Then again, unless your name is The Dark Knight, most second films within a series tend to not be. I stated the flaw with the central villain and at times it does get a tad bit plot heavy. That said, it still provides an entertaining and fun time with a solid blend of humor, visual effects, and fight sequences. Of course, like the Marvel films before it, be sure to stay for a mid-credits scene following the film. I give Thor: The Dark World a B+ (★★★½).

Parkland

Cast of Characters:

Robert Oswald - James Badge Dale

Dr. Jim Carrico - Zac Efron

Father Oscar Hubert - Jackie Earle Haley

Dr. Malcolm Perry - Colin Hanks

James Gordon Shanklin - David Harbour

Head Nurse Doris Nelson - Marcia Gay Harden

James P. Hosty - Ron Livingston

Lee Harvey Oswald - Jeremy Strong

Secret Service Agent Forrest Sorrels - Billy Bob Thorton

Marguerite Oswald - Jacki Weaver

Secret Service Agent Roy Kellerman - Tom Welling

Abraham Zapruder - Paul Giamatti

Director - Peter Landesman

Screenplay - Peter Landesman

Based on the book Reclaiming History: The Assassination of President John Fitzgerald Kennedy by Vincent Bugliosi

Rated PG-13 for bloody sequences of ER trauma procedures, some violent images and language, and smoking throughout

      Zac Efron, Academy Award nominees Paul Giamatti and Jacki Weaver and Academy Award winners Marcia Gay Harden and Billy Bob Thorton headline an ensemble cast in Parkland.

      Parkland refers to the hospital where both President John F. Kennedy and Lee Harvey Oswald died. Unlike other films that have dealt with the Kennedy assassination directly, this film focuses on the lives of those closely surrounding the assassination.

      The film opens in Dallas, Texas, with clothing store businessman Abraham Zapruder (Paul Giamatti), excited to see the president and his motorcade, filming the events taking place. What follows is the tragic events that changed his life forever. Following the shooting, President Kennedy is rushed to Parkland Hospital where an unprepared medical staff lead by Doctors Jim Carrico (Zac Effron) and Malcolm Perry (Colin Hanks) are faced with the daunting task of saving the president's life. 

      Also affected by this tragedy, possibly more than anyone else aside from the Kennedy family, is Robert Oswald (James Badge Dale), who is shocked beyond belief at the news that it's his brother Lee Harvey Oswald (Jeremy Strong) who has reportedly assassinated the president. "You may wanna consider changing your name and getting the hell out of Texas.", says one authority to Robert (he never did either, by the way).

      Almost fifty years to the day of that fateful morning on November 22, 1963, President John F. Kennedy's assassination is one of the most tragic events in American history not just for what happened, but for the mystery it still creates surrounding the who, what, where and why revolving around it. Parkland doesn't focus on the mystery of the assassination, but instead focuses on the people that were instantaneously affected by it. While it is a refreshing approach to go that route, the film winds up being just okay to good when, considering the subject matter, you want it to be great. Running close to 90 minutes, the film kinda felt like it came and went. I've criticized plenty of movies for feeling too long and drawn out, but poor pacing can be achieved from the other end of the spectrum as well. It's as if writer/director Peter Landesman was afraid of spending too much time on certain individuals, so he ends up not giving us enough. It's not the fault of the performances. The performances are great and when you see the names involved here, you expect them to be. The problem though is that they're great performances stuck in a so-so story arc. The always dependable Paul Giamatti gives a great performance as Abraham Zapruder. Zapruder, up until his death in 1970, was the man whose life was forever changed by the fact that he caught the assassination on his little home-movie camera. His story angle was the one I was looking forward to the most, but in spite of a great turn from Giamatti that hits all the right emotional notes when needed, we never get too in depth with the man who was forever traumatized by what he captured as much as we should. Where the film does get it just right is when it focuses on the Oswald family. Sure Jacki Weaver's over-the-top performance as Lee Harvey's mother may put off some, but it's a forgivable over-the-top one when you realize that Marguerite Oswald was a bit nutty in real life. James Badge Dale doesn't have resume that Oscar winners Harden and Thorton or Oscar nominees Giamatti and Weaver have, but out of all the performances within this film, his had my attention the most. Dale is perfectly restrained as the man that would for the rest of his life be known as "the guy whose brother murdered the president" and we get a feel for just how ostracized the Oswald family became by the rest of the nation immediately following JFK's death. No scene depicts this better than the Lee Harvey's funeral where no one shows up and Robert has to practically beg the press there watching to help carry the casket to the grave site. It's such a poignant moment within the film 'cause you realize this family had nothing to do with the heinous act Lee Harvey did, yet the whole "guilt by association" aspect persecutes them anyway. No one else shows up to the funeral. They could hardly find any church willing to perform the service and the most heartbreaking moment is when Robert Oswald has shovel dirt onto his own brother's grave by himself until two graveyard worker reluctantly help him. In spite of the evil that Lee Harvey committed, we can't help but feel for his family, particularly the brother (who never once doubted his brother's involvement in the assassination). You can see he's not just grieving the loss of his brother, but also grieving over why he would commit such a despicable act that would ultimately lead to his demise. If the film put as much focus on the other story elements as they do here, there's no doubt that this would've been a much better film. 

      The story is intriguing, but we still don't get enough insight overall into how affected these ordinary people turned extraordinary through one of America's tragedies are as we should. While the film is flawed, there's still enough to like here that merits a watch, whether you're a fan of movies or history. It's just a shame that the film as a whole couldn't be as well developed as certain elements within the film are. It was practically in and out with a limited theatrical release, but is available through Video On Demand and Netflix. I give Parkland a B- (★★★).

Benjamin's Stash: Video Pick of the Week

      Hello, readers. No "What the Hell Were They Thinking?!" this week. Monday after work involved me very pissily returning a second consecutive order off of Amazon. I don't think any movie, great, good, bad or shitty, would've wanted me commenting on them. That said and done with, I'm moving on with today's weekly recommended viewing pick. Today's movie features three actors with movies opening nationwide this weekend: Anthony Hopkins and Stellan Skarsgard in Thor: The Dark World and Chiwetel Ejiofor in 12 Years a Slave.

      Based on real events back in 1839, Amistad opens with the ship La Amistad carrying Africans from Sierra Leone to Cuba so that they can be sold into slavery. One of the slaves, Sengbe Pieh (Djimon Hounsou), leads a violent rebellion on the ship which results in many of the crew being killed. Captured, they are imprisoned in New England where former slave Theodore Joadson (Morgan Freeman), viewing the rebels as freedom fighters, approaches property lawyer Roger Sherman Baldwin (Matthew McConaughey) to represent the slaves. Baldwin sees this as an open and shut case for their side by referring to a U.S. law that states slaves can only be purchased in America if they were born in the country, meaning the arrested slaves are "stolen goods". Needing a powerful ally, Joadson and Baldwin seek the help of former U.S. president now member of the U.S. House of Representatives John Quincy Adams (Anthony Hopkins).

      While not as powerful as Spielberg's masterpiece Schindler's List, Amistad is similar in that it deals with characters working within a system to right a wrong. Leading the way within that system is McConaughey's terrific turn as the attorney Baldwin. Prior to before he became a 21st century whore for chick flicks (thankfully, this current "McConaughsance" is righting that wrong), Matthew McConaughey appeared in this film and his character is quite shrewd and savy at finding a loophole within the laws of the country. His strategy irks the abolitionists that hire him seeing that it does portray their clients as nothing more than property, but from Baldwin's point of view it's a plan needed for what he sees as an easy victory. Anthony Hopkins is, of course, the best performance of them all as former President John Quincy Adams. His courtroom speech near the end of the film captivates the viewer in ways only a few are capable of doing effortlessly. At the time, Djimon Hounsou was a newcomer, having only done a few very small roles before this film. It's impressive for anyone to hold their own against an acting legend such as Anthony Hopkins, but to witness someone new like Hounsou do it in a few key scenes showed, at the time, a screen presence on the rise (Gladiator and two Oscar nominees for In America and Blood Diamond). It only makes me wonder why nowadays he's stuck doing crap like Push, Never Back Down and Baggage Claim. Films like Amistad show he's deserving of so much better. Yes, I would've liked to have seen more backstory in Hounsou's "Cinque" character, but the victims still at least are given a face and some personality unlike other films where they're just props designed to tug on your heartstrings. It's not Spielberg's best; in fact, it's not even in his top five. It is one of his most underrated films, though and knowing Spielberg, is not cracking his top five really an insult?