Benjamin's Stash: Video Pick of the Week

      Hello, readers. This week a little film with a packed all-star cast called Prisoners opens up this weekend in theaters. This week's pick will be devoted to one of the stars and it was actually a bit difficult to decide on which one to go with consider the number of quality films each performer has done already. I already did a pick for Hugh Jackman earlier this summer when The Wolverine came out. I could've gone with Zodiac featuring Jake Gyllenhaal, The Fighter featuring Melissa Leo, The Help with Viola Davis, or Little Miss Sunshine with Paul Dano. In the end, I decided on another film featuring a star-studded cast that reminds me of a time, prior to the Grown Ups films, when Maria Bello films were worth watching. It also marked the feature film debut of a man whose father had already carved out quite an iconic filmmaking legacy in comedy.

      "Michael Jordan plays ball. Charles Manson kills people. I talk. Everyone has a talent." In Thank You for Smoking, Nick Naylor (Aaron Eckhart) is the smooth-talking vice president of a tobacco lobby known as the "Academy of Tobacco Studies". During the day, Naylor defends the tobacco industry on TV, in public, and at his son's school for Career Day. He also, once a week, has dinner with two of his friends - Bobby Jay Bliss (David Koechner), a firearms lobbyist and Polly Bailey (Maria Bello), an alcohol lobbyist. Together they form what they jokingly refer to as the "Merchants of Death", aka "The MOD Squad". Nick's toughest challenge though comes in the form of Vermont Senator Ortolan K. Finistirre (William H. Macy), who has proposed new legislation that would require tobacco companies to place a skull and crossbones POISON warning on all cigarette packaging. Meanwhile, Nick also finds himself seduced by the young and ambitious reporter Heather Holloway (Katie Holmes), who is doing an expose on him.

      This was the feature length film debut of Jason Reitman, the son of Ivan Reitman, who has directed such comedy classics as Meatballs, Stripes, Ghostbusters, Twins and the underrated Dave. What a way for Jason to start his career out with a film like Thank You for Smoking (which he also adapted the screenplay for based on Christopher Buckley's novel of the same name). The writing here is sharp, witty, hilarious and handles a topic such as smoking in a way that doesn't demonize either side, but doesn't straddle the fence indecisively either. Most people would normally hate someone like Nick Naylor, but his character is so charming and likeable you can't help but like him. He's just doing what he's paid to do, which like any lobbyist, is to sell spin, and he's damn good at it. Eckhart's performance is near award level here and it further cemented him as a leading man in film. It's not just Eckhart either. You got the legendary Robert Duvall, Sam Elliott, William H. Macy, Rob Lowe, Katie Holmes, Maria Bello, and the criminally underrated character actor J. K. Simmons (who has, easily, my favorite line of the film: "We sell cigarettes and they're cool, they're available and they're addictive... The job's almost done for us.") all turning in strong supporting work. No matter what side of the "smoking" fence you are on, you'll find yourself laughing non-stop from the moment the film starts. If not, whatever, you can sulk and watch those Truth commercial ads all day. Reitman's sharp script and direction put his name on the map. With later films such as Juno and Up in the Air that followed, Thank You for Smoking showed he was just getting warmed up.

What the Hell Were They Thinking?!

      Hello, readers. Today's ode to crap is neither a Syfy original nor a horribly written, directed, acted and everything else drama like The Room. This week I decided to venture off into slasher film territory.

      An overheating problem like that must be a blown head gasket. Silent Night, Deadly Night Part 2 picks up on Christmas Eve some years after the first one. Ricky Caldwell (Eric Freeman) is the 18 year old brother of the killer from the first film, now being held in a mental institution and awaiting trial for all the murders that he committed. Through flashbacks, we find out that Ricky and his brother have been traumatized by a man, dressed up as Santa, that kills their parents. After his brother's death, Ricky is adopted by a nice couple. Following his foster father's death, though, Ricky snaps and goes on killing spree, targeting those he deems to be "naughty". The lump of coal's overrated anyway. If you really wanna get all the kids out there to be good for goodness sake, threatening their lives should do the trick.

      Despite the fact that this is the second film of the series and that the first film was well known for being highly controversial at the time of its release, I skipped the first film anyway. Seriously, is this the type of film where people go, "Dude, you really need to see the first one first; otherwise, it'll all just go right over your head."? Besides, the filmmakers were either lazy enough or kind enough to make 40 out of the 88 minutes that make up this film footage from the first one anyway. Now I could go on about the piss poor editing or the horrible, horrible, horrible writing (although I really do commend them for reminding me to take my trash bin to curb since tomorrow really is GARBAGE DAY!!!! for me). No, there really is only one and only one reason to watch this film: Eric Freeman's performance... his horrible, unintentionally hilarious performance. This man deserved an Oscar nomination for Best Actor back then 'cause I have to believe delivering a performance as shitty as he does here has gotta take an tremendous amount of skill. Then again, yeah, maybe he is just that bad. Either way, halfway through the film, I decided I was gonna focus on nothing else but Freeman's performance which is still just God awful bad even when he's not saying a single word. How the hell is that possible? His over the top facial expressions made me wonder if he had Tourette's or if he had a really bad itch on his nose, but was the kind of professional actor that no matter what stays in character, which means absolutely no itching. If you look at it that way, yes, he's definitely like Daniel Day-Lewis, although I've never heard Day-Lewis deliver lines like a stoned William Shatner. Overall, when it comes to the greatest slasher villains of all time, be it Leatherface, Jason Voorhees, Freddy Krueger or Michael Myers, none of them will ever hold a candle to Ricky - the blue sweater killer, donning a horrible Scott Baio doo while kicking ass and taking names against all those who are "naughty". Hey, the garbage disposal companies appreciate the plug. By the way, as for that car moment in the clip, I want MythBusters here now 'cause I'm calling bull shit.

Insidious: Chapter 2

Cast of Characters:

Josh Lambert - Patrick Wilson

Renai Lambert - Rose Byrne

Elise Ranier - Lin Shaye

Dalton Lambert - Ty Simpkins

Lorraine Lambert - Barbara Hershey

Director - James Wan

Screenplay - Leigh Whannell

Rated PG-13 for intense sequences of terror and violence, and thematic elements

      Patrick Wilson, Rose Byrne and Academy Award nominee Barbara Hershey team up once again with director James Wan and screenwriter Leigh Whannell in the sequel to 2011's Insidious, Insidious: Chapter 2.

      Well, kid, if he's talking to himself, the question should answer itself. Following the events that took place in the first film, Josh (Patrick Wilson) and Renai Lambert (Rose Byrne) decide that it's best for their family if they stay with Josh's mother Lorraine (Barbara Hershey). It seems though that no sooner than they have their feet through the door that crazy things start happening. Renai is naturally creeped out by all the eery occurrences, but unfortunately not everyone's so keen on listening to the "Hey, some crazy shit's going on here, so maybe we should leave." voice of reason. Josh, wanting to move on from what happened, tells Renai she has nothing to worry about.

      Turns out, Renai has everything to worry about, 'cause Josh has been acting strange since the events from the first film. His mother notices it as well. Wanting to be done with whatever evil is lurking around their family once again, Renai and Lorraine seek help from a few former acquaintances from the past events to help rid them of these wicked spirits.

      Not wanting to be in the dark when it comes to what happened in the first film, I finally rented Insidious earlier this week. It wasn't bad, but it wasn't great either. It started out rather well, but then come the final act the story started to unravel in its cheesiness. With Insidious: Chapter 2, despite another effective directorial effort from James Wan, solid performances from the cast, and some dependable scare gags, it's unfortunate that it falls prey to the same problems the first film had. There's no doubt that director James Wan has a tremendous talent for creating an unsettling mood for his horror films, and he certainly brings that to the table here. The problem is the film follows the same climatic resolution that the first film had and we aren't offered anything new with the story's mythology. I understand the saying, "If it ain't broke, don't fix it.", but the third act in Insidious didn't really work to begin with, so why rehash it? I do credit both Wan and screenwriter Leigh Whannell (who also stars in the film) for not taking the material too seriously. It's not without a few unintentionally funny moments (all involving an overacting, abusive ghost mother that makes Joan Crawford look like the Looney Tunes Granny), but there are some effective comic relief laughs from Whannell and Angus Sampson, returning as the ghost hunters from the first film. On top of that, there are also some fairly clever ways in which they tie this and the first film together. Like the first film, though, we get a solid first act, solid middle act, then a weak final act that falls apart and kinda heads into The Shining territory with Patrick Wilson; in fact, there's a moment near the end, very similar to an iconic moment out of The Shining, where I was expecting Wilson to peer his head through the hole and shout, "Heeeeeere's Johnny!!!!".

      The flaws are clearly evident onscreen, but Wan's touch does save the film just a bit. It's rumored he's wanting to get out of the horror genre, and while I'd love to see what he can do with other types of film, I hope he doesn't leave horror for good. With the right script, Wan can make magic. Today, when horror is all about how gory you can be, it is refreshing that he wants to make horror films that are more about creating a tense, creepy atmosphere than how much blood and guts he can throw at the screen. There are some creepy moments that work for the film, but it definitely should've gotten a run through the rewrite mill. Then again, the first one should've as well. It's not a bad film, and it does provide some fun that can be had once it's available to rent, but it's not as good as the much more effective horror film by Wan earlier this year, The Conjuring. I give Insidious: Chapter 2 a C+ (★★½).

REVIEWS COMING LATER NEXT WEEK...

What the Hell Were They Thinking?!
Benjamin's Stash: Video Pick of the Week
The Family
A Single Shot
Prisoners

Touchy Feely

Cast of Characters:

Abby - Rosemarie Dewitt

Bronwyn - Allison Janney

Adrian - Ron Livingston

Jesse - Scoot McNairy

Jenny - Ellen Page

Paul - Josh Pais

Director - Lynn Shelton

Screenplay - Lynn Shelton

Rated R for language, some drug use and brief sexuality

      Rosemarie Dewitt, Scoot McNairy, Josh Pais and Academy Award nominee Ellen Page star in writer/director Lynn Shelton's Touchy Feely. 

      Abby (Rosemarie DeWitt), is an in demand massage therapist and free spirit, while her polar opposite brother Paul (Josh Pais) lives for routine and convention, running a slumping dental practice and co-dependently enlisting the assistance of his emotionally stunted daughter Jenny (Ellen Page). Suddenly, transformation touches everyone. Abby develops an uncontrollable aversion to bodily contact, which not only makes her occupation impossible but severely hinders the passionate love life between her and her boyfriend Jesse (Scoot McNairy).

      Meanwhile, rumors of Paul’s so called “healing touch” with TMJ (Temporomandibular joint disorder) begin to miraculously invigorate his practice as well as his life outside the office. As Abby navigates her way through a soul-searching identity crisis, her formerly skeptical brother discovers a whole new side of himself.

      Over the past five or so years, writer/director Lynn Shelton has made two films - Humpday and Your Sister's Sister - that I really enjoyed. With Touchy Feely, Shelton presents us with a uniformly talented cast that unfortunately, unlike her past films, is let down by a rather weak script. We're introduced to some interesting characters with interesting situations (such as Paul being viewed by the locals as some Messianic miracle worker for his TMJ touch), but the problem is Shelton never really resolves these conflicts. We never quite go in depth into the how and why Abby all of a sudden has an aversion to bodily contact. Jenny clearly isn't happy with the way her life is going, yet we only scratch the surface there. There's not enough Allison Janney here, especially when her and Pais together is one of the high points, and Ron Livingston shows up and is gone before we can even get to really know his character. It's as if Shelton set up all these scenarios and then didn't quite know how to bring them to a conclusion, so she leaves them as is. It's one thing to have a loose end here and there. You can forgive that. It's a whole other story to leave everything open ended like Shelton does here. It's a shame 'cause if you've seen the previous two films by Shelton that I mentioned above, you know she's a talented filmmaker. The cast saves this film from going completely off the rails, and to be fair, it starts out great. It's just too bad that it ends on a rather abrupt low note and leaves us with too many questions unanswered.

      Somewhere there's a great movie buried deep inside Touchy Feely, but it just never comes to the surface. We certainly get a few inspired moments here and there, particularly from Josh Pais in a wonderfully quirky and awkward performance. He certainly hits it out of the park, but it's still not enough for me to recommend beyond a rental. I give Touchy Feely a C+ (★★½).      

The Spectacular Now

Cast of Characters:

Sutter Keely - Miles Teller

Aimee Finecky - Shailene Woodley

Cassidy - Brie Larson

Sara Keely - Jennifer Jason Leigh

Tommy Keely - Kyle Chandler

Director - James Ponsoldt

Screenplay - Scott Neustadter & Michael H. Weber

Based on the novel The Spectacular Now by Tim Tharp

Rated R for alcohol use, language and some sexuality - all involving teens

      Miles Teller and Academy Award nominee Shailene Woodley star in The Spectacular Now, from the writers that brought you the 2009 hit (500) Days of Summer.

      Sutter Keely (Miles Teller) lives in the now, for today. Why worry about your future when you can drink and party it up? After all, he is the life of every party; however, he is also a drunk in the making. He never takes his classes seriously and when his girlfriend Cassidy (Brie Larson) realizes that he seems to have no interest in his future, she dumps him.

      Things seem to brighten up for Sutter though the day he meets Aimee Finecky (Shailene Woodley). After waking him up from his drunken stupor during her newspaper delivery route, they form a friendship. Aimee couldn't possibly be any more different than Sutter. She's the nice girl at school, reads science fiction comics, never has had a boyfriend, and unlike Sutter, seems to have her future completely mapped out.

      Before I continue on, I'm gonna just take back what I've said before about Miles Teller. If you go back all the way to the beginning of April, you'll find my review of 21 & Over, which he was the star of. It was complete crap, a definite contender for top 10 worst of 2013, and I felt he came off as just a poor man's Shia LaBeouf. Miles, you have officially proven me wrong with The Spectacular Now because you, sir, are terrific here. Teller and Woodley are absolutely electric together and it's one of the best pairings chemistry-wise of the year. Woodley, who received her first Oscar nomination in The Descendants, is once again wonderful here in a performance that should merit her another possible Oscar nod. Writers Scott Neustadter and Michael H. Weber, who both wrote (500) Days of Summer prior to this, deliver another strongly written hit. These two really tap into what it is like being a teenager on the verge of exiting high school and embarking on a course that determines the rest of your life, whether it be good or bad. I remember back ten years ago - dear God, it's now ten years - to my senior year and how excited I felt to finally be done with high school, but also terrified at the idea of entering adulthood. This film captures those moments perfectly. Unlike other lesser coming-of-age stories that amount to nothing, the ex-girlfriend isn't the snarky, blonde bitch we love to hate and the parents aren't the bumbling, inept fools or shrill, finger wagging banshees that have absolutely no clue as to what their kids are doing. Actually, if anything, particularly in Sutter's case, the ex-girlfriend and mom are the voice of reason trying to get him to snap out of it. In spite of having no ambition, we still find ourselves caring deeply for Sutter, primarily 'cause we know he can do better - much better - than just drinking and partying all night, and by the time a family matter is revealed to him (not giving anything away), we genuinely feel for him. We care about Aimee as well for the opposite reasons. She's extremely likeable, honest, never seems to have a problem talking about the hardships she grew up with, and is full of ambition. Along with the two leads, there is also some standout supporting work from Jennifer Jason Leigh, Kyle Chandler, Mary Elizabeth Winstead and Bob Odenkirk ("Better call Saul!").

      With only a few films under each of their belts, writers Neustadter and Weber and director James Ponsoldt (who previously directed a terrific little film called Smashed, also with Winstead) all have bright careers to look forward to. It's safe to say we'll hear Woodley's name mentioned amongst the Oscar nominees next year and maybe even Neustadter and Weber as well for Best Adapted Screenplay. Can't say the same for Teller. He may get one, but he probably won't. That said, it's still a performance that proved to me he's capable of so much more than just cheap crap like 21 & Over. Despite opening in August, I didn't get a chance to see it until now. Then again, better late than never Celebration Cinema. There's not a moment here I didn't love about this movie, which is one of the best coming-of-age tales I've seen in years. Come on up to the front of the line. I give The Spectacular Now an A+ (★★★★).

Blue Jasmine

Cast of Characters:

Harold Francis - Alec Baldwin

Jeanette "Jasmine" Francis - Cate Blanchett

Al - Louis C.K.

Chili - Bobby Cannavale

Augie - Andrew Dice Clay

Ginger - Sally Hawkins

Dwight Westlake - Peter Sarsgaard

Dr. Flicker - Michael Stuhlbarg

Director - Woody Allen

Screenplay - Woody Allen

Rated PG-13 for mature thematic material, language and sexual content

      Academy Award winner Cate Blanchett, Louis C.K., Andrew Dice Clay, Peter Sarsgaard and Academy Award nominee Alec Baldwin star in Academy Award winning director Woody Allen's Blue Jasmine.

      Alec Baldwin lecturing on tempers. This is why Woody Allen's such a genius. Blue Jasmine opens with Jasmine Francis (Cate Blanchett) moving to San Francisco to be with her sister Ginger (Sally Hawkins) in order to get her life back on track. Through flashbacks, we learn that Jasmine was once married to multimillionaire Hal (Alec Baldwin) who was arrested for fraud and on top of that, ended up causing Ginger and her husband Augie (Andrew Dice Clay) to lose a fortune as well in an investment scheme.

      Now attempting to move on in San Francisco, a very medicated Jasmine dreams of becoming an interior decorator. She gets a job as a dental assistant, and things seem to be on the up when she meets the wealthy Dwight Westlake (Peter Sarsgaard), an aspiring California politician. In spite of the good she seems to have coming her way, Jasmine still finds it hard to shake off her past.

      For almost fifty years, Woody Allen has consistently written and directed hit after hit after hit. It's not just his strength as a writer, it's also that no matter who he is working with, everyone brings their A-game for him. In Blue Jasmine, everyone does just that. Cate Blanchett is brilliant in the sometimes funny, sometimes sad and overall complex title role that is Jasmine. She's not very likeable; in fact, she's at times a snobby bitch, but Blanchett is able keep the audience downright fascinated with her anyway. The supporting work is also terrific. Baldwin is solid as usual in a role that we don't necessarily like but can't hate either and Bobby Cannavale and Sally Hawkins are equally strong. Hawkins and Blanchett, in particular, are great together as they provide us with some entertaining culture clash moments and Andrew Dice Clay surprised me in a terrific supporting role (particularly his final scene with Jasmine). It's really Louis C.K. and Michael Stuhlbarg that didn't work for me here. That's not a slight on their talent in any way. Louis C.K. is one of the hottest comics out there now and if you haven't seen Stuhlbarg in the Coen brothers film A Serious Man, do so. It really boils down to the fact that I found both of their roles to be somewhat filler throwaways. I would've rather have seen Allen focus more on the relationship between Jasmine and Sarsgaard's Westlake. Sarsgaard is really good in the few scenes we see him in and it really is a missed opportunity for Allen 'cause the few scenes we do see him in with Blanchett, as good as they are, aren't enough. I would've rather have seen that relationship develop more (especially, without giving anything away, when you see how it first comes about) than stopping by to see C.K. and Stuhlbarg's characters.

      In spite of its flaws, this is far from a bad film. It's just not what I expect from Woody Allen. Of course, it's unfair to say that in the hands of a lesser director we'd be saying this is a great film, but since it's Allen we hold him to a higher standard. Then again, when you've written and directed Annie Hall, The Purple Rose of Cairo, Hannah and Her Sisters, Crimes and Misdemeanors, and Bullets Over Broadway (just to name a few)... well, yeah, we are gonna hold you to a higher standard. I will say though that Blanchett's electrifying performance - that may very well earn her an Oscar nod next year - along with the solid supporting cast makes this worth a watch, be it a rainy day matinee or a weekend rental. If you choose the latter, throw in any of the previous five films I just mentioned with it. I give Blue Jasmine a B (★★★).

Ain't Them Bodies Saints

Cast of Characters:

Bob Muldoon - Casey Affleck

Ruth Guthrie - Rooney Mara

Patrick Wheeler - Ben Foster

Sweetie - Nate Parker

Will - Rami Malek

Skerritt - Keith Carradine

Director - David Lowery

Screenplay - David Lowery

Rated R for some violence

      Academy Award nominee Casey Affleck, Rooney Mara, Ben Foster and Academy Award winner Keith Carradine star in David Lowery's Ain't Them Bodies Saints.

      In 1970's Texas, Bob Muldoon (Casey Affleck) is an outlaw who, following a shootout with the local law enforcement, takes the fall for both him and his wife Ruth Guthrie (Rooney Mara) - who was responsible for shooting local sheriff Patrick Wheeler (Ben Foster). Bob willingly surrenders to the cops, but not before promising to return to both his wife and unborn child, so long as she promises to wait for him.

      A few years go by and Ruth is still waiting as she raises her daughter on her own. Over time, she has befriended Sheriff Wheeler, who breaks the news to her that her husband has escaped from prison. Bob, now a fugitive, is doing everything he can to return back to his wife and the daughter he has never seen.

      We've seen this type of narrative before, and while it is a straightforward and conventional plot, I couldn't help but be captivated by how beautiful writer/director David Lowery was able to let this bittersweet romance unfold. Clearly influenced by Terrence Malick, Lowery's vision here is smartly paced, often times poetic and gorgeously shot (courtesy of cinematographer Bradford Young), capturing the beautiful Texas Hill Country in ways sure to keep your eyes fixated on the screen. On top of that, we have Daniel Hart's musical score, which fits the mood of the film just right. Lowery is also able to bring the very best out of such a talented and pitch perfect cast. Casey Affleck proves once again just how underrated of an actor he is. Even something as small as the way he delivers his narrative lines just draws you in. His character never begs for my sympathy like a panhandler, yet I still found myself pulling for him to reunite with his wife and little girl. Rooney Mara gives one of her best performances to date, as does Ben Foster. Foster has caught my eye since Hostage and Alpha Dog, yet it was getting to the point where I was like, "Oh, great, what high-strung oddball is he playing now?" Then I saw The Messenger which showed he can pull back and show restraint. Here, Foster is restrained and subdued in one of his better performances and he shows once again that he can play outside his "comfort zone". Overall, everyone wisely shows restraint and if there really was someone you'd call a "scene stealer" here it'd be Keith Carradine as the fiercely protective neighbor of Ruth and her daughter. Carradine has such a wonderful screen presence and really commands every scene that he is in, without ever going overboard, which is what you'd expect from a veteran performer such as him.

      Ain't Them Bodies Saints doesn't break any new ground, and the title is certainly a head scratcher. That said, don't let the film's name turn you off from seeing this, 'cause the all around perfect cast and Lowery's direction more than make up for any flaws this movie may have. It is a small film, but I liked it that way. I just may have even enjoyed it less had it tried to be anything bigger than what it was. With this being just his second feature length film, Lowery shows he has the potential for quite a promising career ahead of him. I give Ain't Them Bodies Saints an A- (★★★½).