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.