"Carrie" Review

I have never seen the original Carrie nor have I read the original book by Stephen King, so I had to defer to judgement of my good friend Mr. Robert Miller for any comparison purposes, and for that I would like to extend him my gratitude in advance.

Carrie tells the story of the eponymous teenager who discovers she possesses telekinetic abilities. After she she is taunted and bullied in gym class for not understanding what is happening when she experiences her first period, her classmate feels remorse and encourages her boyfriend to take Carrie to the prom. Meanwhile, her punished tormentor plans revenge.

According to Robert, the movie contains a number of scenes both remarkably similar to the original film, and some that were present in the original novel yet not in the first adaptation. For my personal takeaway in that respect, I was able to perceive a sense of modernization such as the incorporation of smartphones and the films modern setting. The story possesses a number of horror movie cliches, yet the story is quite engaging. The film is willing to go to places that most films do not, and it explores rather explicit material. I've never been much of a horror movie fan. Not due to fear of being scared, rather due to their common trait of having rather cut and dried plots without exploring character development and over use of cliches and darkness. Yet Carrie is complex and shows growth. The characters never feel forced, and it goes against formula.

Child actors usually end up one or two ways. Either A) They are a sensation when they are young, yet fade into obscurity and drug use only to resurface for "Where are they now?" specials. (Yes you, Macaulay Culkin). Or B) they go the Neil Patrick Harris route and continue to grow and retain their talent and popularity. Chloë Grace Moretz will most likely explore the latter. She gives us a chilling performance that goes into new territory for the young starlet. We've seen her as the controversially explicit badass Hit-Girl in Kick-Ass, we've seen her as the innocent little girl in Hugo and we've seen her as the conniving Kaylie Hooper in 3o Rock. Here, all of her talents merge into one. This feels like the first time her entire range is given a chance to shine. I predict that in about 4 to 5 years, she will become the new Jennifer Lawrence, being a conversation piece at the Oscar water cooler.

The always welcome Julianne Moore gives a skin-crawling turn as Carrie's deeply religious mother Margaret. Her character is twisted and borderline psychotic, and Moore is not afraid to take her to those places. You don't know whether to appreciate her devotion to her lord, or to hate her for the strict, brutal, parenting she practices on her daughter.

For this film, Andrew's Standout is Judy Greer. She has made a career out of playing delightfully quirky, sometimes insane characters. Most famously as secretary Kitty Sanchez in Arrested Development and as Cheryl Tunt in Archer. Here, much like her character in The Descendants, she explores her dramatic side. She portrays Carrie's gym teacher Ms.Desjardin, who is warm and nurturing. When it comes to discipline however, she is tough but fair. As much fun as her quirkiness is, it is refreshing to see her tackle unexplored territory.

Overall, Carrie is definitely worth a look. It isn't the best horror movie, but it is rather well made. But I recommend doing so before Halloween.

B

"Escape Plan" Review

If you are anything like me, you grew up watching films like Rocky, First Blood, The Terminator, Kindergarten Cop, etc. It has been a long dream of mine to see Sylvester Stallone and Arnold Schwarzenegger together in the same movie, and yes, fighting. Aside from the brief scenes of (for lack of a better term) verbal dick measuring in The Expendables films, that has not happened until Escape Plan.

In this film, Stallone plays Ray Breslin plays a former prosecutor whose new occupation is being placed in prisons in order to test their security through his escape attempts. When he is recruited to test a new prison by the CIA, he is double crossed and left to rot in what he realizes is a high tech, illegal, super prison built using his research. With the help of Emil Rottmayer (Schwarzenegger), he forms a plan to break out of the prison he inadvertently designed.

As one has come to expect of recent Stallone movies, even the ones that he does not write himself, this is basic action fare. It doesn't require high level thinking. It is meant to be simple escapism. (Pun not intended). You never feel the sensation that things aren't going to work out. It is just a throwback to the 1980's action blockbusters that made both of these men the superstars that they have become today. If you're looking for something complex and against formula, look elsewhere. Yet that isn't to say the film isn't fun. It does reel you in, and you will root for our wrongly imprisoned heroes. And I will be completely honest, when Stallone and Schwarzenegger finally exchange blows as I have eagerly awaited them to do so since 1992, I couldn't help but shed a tear out of pure joy.

Stallone is a good actor, and for someone his age, he is surprisingly resilient. Yet his delivery, as it has in recent years, just seems monotone. He doesn't really convey any emotions other than anger and....well I guess just anger. There never really feels like a moment where Sly is completely invested in his character. It's not that he doesn't have the ability. He has done so before. But his recent nostalgia for shoot em' up movies has taken away his passion. Hopefully this is just a phase.

On the other end of the spectrum, Schwarzenegger puts it all on the table. For someone who was behind a desk in Sacramento for nearly the past decade, he doesn't seem to have any problems getting back in the game. He conveys a wider range than Sly, and doesn't feel like he's doing for just a check. He comes across wise and soulful, like a trapped bird longing to be free.

Amy Ryan (whom you may know as Michael Scott's soulmate Holly Flax from The Office) and 50 Cent play Stallone's allies on the outside of the prison walls. They both give fine performances, but they never really feel necessary and they classify as little more than headlined cameos. One could remove their characters from the film, and it wouldn't feel that different. Once again, my musician-turned-actor debate comes into play, yet like Lady Gaga in Machete Kills, you don't see enough of 50 Cent to judge.

Jim Caviezel (Whom you may recognize as Jesus in The Passion of the Christ) gives a rather chilling performance as the warden and main antagonist. He comes across rather monotone like Stallone does, however it works for his character. He is delightfully creepy and would fit in well in a horror movie.

For Escape Plan, it was rather difficult to pick someone as Andrew's Standout, but gun to my head, I would say Faran Tahir, whom you may remember as Raza in the first Iron Man movie and Captain Robau in the Star Trek reboot. He plays a Muslim prisoner who assists the two main characters in their attempt. At first, you are not sure where his allegiance lies in respect to the main characters, and that is a testament to his ability towards duality as an actor.

I would wait until the home media release for this one. It is a rather decent movie, but other than the long awaited meet up of Sly and Arnie, there is nothing to make this movie very memorable.

B-

"Machete Kills" Review

When one looks at a film like Machete Kills, you get one of two thoughts in your head. 1) "This movie looks ridiculously stupid. What the f*** is this?" Or 2) you get the image that I perceive "This looks like one of those 1970s B-Movies. It's over the top, but you're not supposed to take it seriously."

Machete Kills continues the story of ex-federale Machete Cortez. He is recruited by the President of the United States to track down a bipolar revolutionary south of the border, and put a stop to his threats to Washington. Machete soon discovers that the real danger is the weapons dealer at the top of the chain.

The film opens with a trailer for a supposed third installment in the series entitled Machete Kills Again...In Space. Believe it or not, Robert Rodriguez actually has the cojones to try to make it seem plausible with this movie. This may be the one of the most ridiculous films I have ever seen. The story starts off like an ordinary action movie, yet as it progresses it becomes more and more of a cartoon. Yet this is, as I said earlier, on purpose. It is an homage of the films Rodriguez grew up with. There should never be a time when you take the film seriously. If you do, you will leave the theater utterly disappointed. If you don't accept the premise (and that may take a little work) you will not be into this film at all.

I admire Danny Trejo. He has been described as the Mexican Schwarzenegger. Yet in this film, you can tell he is bored. And to say the least he is aging. He is working hard, yet he struggles with many of his stunts. He still comes across as the badass he is meant to, but he is starting to slow down.

Mel Gibson returns to the spotlight in the role of the ruthless weapons dealer Luther Voz. To be sure, Gibson is trying hard in this film. Yet, like Trejo, he seems rather flat. He comes across as two dimensional, as a cartoonish super villain. But, he's trying. Give him a chance, he's coming back.

Anyone who knows me will understand that I am a rather big fan of Charlie Sheen. Here, he takes after his father by playing the President. He does his best, yet he can not help resorting to some of his old tricks. He will forever be typecast as the alcoholic womanizer, yet it is something he does better than most.

Making her acting debut in this film is the pop star Lady Gaga. She is in the film rather briefly, and does have much room to show her chops. Yet, she goes against the image you might expect from her and comes across as somewhat of a badass in her own right. There is my long standing musicians as actors preconception, but with some work, Gaga could develop as an actor and do it rather well. She will of course need more work.

For this film we have two Andrew's Standouts. The first would be Academy Award Nominee Demián Bichir. He plays a bipolar revolutionary by the named Madman Mendez. Unlike most of the other actors of this film, he showcases his spectrum of talent. He is emotionally complex and multilayered. He pops in every scene he is in. He dominates his scenes, and tries to make something out of the writing he is dealt with.

The second Standout would be Sofia Vergara who plays the mistress of a brothel, Madame Desdemona. She, like Bichir, is a multilayered and complex actress who brings something more to her role than what is in the script. It is easy to think she is meant to simply be another piece of the films female eye-candy, and the fact that the producers choose to promote the fact she sports a bra-gun lends itself to this idea. But she is much more than that. She is a tortured soul with a horrific backstory. I have had my doubts about Vergara as a performer, yet after watching her in Modern Family, and this film, I find her very talented.

The special effects in this film look like something out of the 1980s. However, i'm not sure whether they are meant to look cheesy or are simply end-products of the film's very low budget, but whatever the reason they are not fooling anyone.

This is one of the films that you should see, but you may want to wait until you can Redbox it. It is one of those "you won't believe it until you see it" films.

C+

"Captain Phillips" Review

DISCLAIMER: I am not a historian. Whether or not the events depicted in this film are historically accurate are a different matter altogether.

There have been several milestones in the career of Tom Hanks. Each of us has our favorite film of his. For some it could be the Toy Story films or the oft-quoted Forrest Gump, for the science buffs it could Apollo 13. For the military buffs, it could be Saving Private Ryan. For me personally, it would be Big.

Now, he has another classic on his hands.

Captain Phillips tells an account of the April 2009 hijacking of the Maersk Alabama by 4 Somalian pirates. Yet it is more than that. It also gives an (ever so briefly) background insight into the life of the pirates before the events that rocked the world.

The screenplay is well crafted, with an organic go-between the Arabic and English languages. You never get that sense of "Why are they speaking English?" Much like the recent films Zero Dark Thirty and Gravity, there is an eagle eyed dedication to authenticity and realism. The interactions are genuine. The conversations are enthralling. The emotions are intense. Much like Director Paul Greengrass' last films (The Bourne films), this is a grounded thriller that never feels forced.

Without question, Tom Hanks will go down as one the greatest actors of our time. This film only lends itself to that notion. Hanks loses himself into this story, becoming the no-nonsense Captain, and making the role his own. The fear is real, the emotional range is transcendent, and his sense of wisdom in a dire situation feels completely natural. When he cries, you cry. When he is scared, you dig your fingers in the seat hoping that he comes out alive.

Despite Hanks' sensational work in this film, Andrew's Standout in Captain Phillips would be Barkhad Abdi who plays the pirate captain, Muse. He is a Somalian born actor, and this is his film debut. Yet you could swear he was as much of a veteran as Hanks. He takes on the role of someone who kills for a living, and actually makes you feel for him. He is full of passion and dedication. He holds his own in this film despite the star power he works alongside. I would not be surprised to see the name pop up around Oscar time.

I say go for it. This is the rare Pirate movie that doesn't involve peg leg cliches, eyepatches, or Johnny Depp. It is a powerful film that showcases both old and new talent.

A

"Gravity" Review

It is not often that a film like Gravity comes out. When it does, it is a real treat. Not since Avatar have I seen such a visual spectacle, and not since Cloud Atlas have I seen a film so ambitious. It's the rare film that gets it all right.

Gravity tells the story of a space mission gone wrong when debris from a nearby explosion puts astronauts Matt Kowalski (George Clooney) and Dr Ryan Stone (Sandra Bullock) on the brink of being stranded in space with no communication with the ground below.

From the moment you put on your classes to the moment the end credits come on the screen, you are completely invested in this story. You never know quite what's going to happen next, and just when you think you know exactly what is going on, Alfonso Cuarón throws you a total curveball. It is aptly called a science fiction thriller, for you will always be at the edge of your seat, and if you're like me, you'll be biting your nails in anticipation of the next moments.

Sandra Bullock gives her most powerful performance to date. She displays organic character growth across the spectrum of the film, and gives you a relatable sense of loss and fear. I doubt anyone reading has ever been stranded in space, but I have a feeling this is the most realistic depiction we'll ever get.

The always welcome (sans Batman & Robin) George Clooney lays all of his cards on the table too. He keeps his calm throughout the situations, shines wisdom though his cool demeanor, and isn't afraid to try to lighten the mood. Robert Downey Jr was originally cast in this role, but I feel as though Clooney does a little more to make the role his own than Robert could have.

I don't normally discuss the cinematography of films in my reviews, but it was too notable to ignore in this film. There are shots that last upwards of 10 minutes without cutting. They are absolutely seamless. The camera work on this film is nothing short of remarkable and transcendent of any movie i've seen so far. In my eyes, it is a lock for the Oscar.

The visual effects are masterful. For obvious reasons, they couldn't actually film in outer space, yet if you were to watch this film with the mindset of a person in the 1920's, you would swear they did. The layout, the earth, the shuttles, the...well everything looks so well crafted, and realistic.

I'm normally not a proponent of 3D films, yet for this film, I feel as if not seeing it in the format would be a huge mistake. It is something of the most inventive use of three dimensions I have seen in years.


See this movie. It is truly a work of art. You will find no flaws unless you absolute feel the need to nit-pick. It is true cinematic brilliance.

A+

"Don Jon" Review

There are only a handful of people who can act in, write, and direct a movie and pull it off successfully. Orson Welles, Charlie Chaplin, Ben Affleck, and Ben Stiller are prime examples of people who do it quite well time and time again. Eddie Murphy, Ed Wood, and Tom Green are examples of people who should not be at the helm of a film. This time Joseph Gordon-Levitt fits into the former category.

Don Jon is the story of the titular ladies man/bartender who is renowned for his ability to bed "8 out of 10s" every week without failure. He also has a rather obsessive addiction to pornography. When he meets Barbara Sugarman (Scarlett Johansson) he feels a love that he has never experienced before, but is soon forced to choose between his girl and his porn.

To anyone who glances at the storyline, i'm sure it sounds smutty and would scare off uneasy moviegoers. Yet the film is not simply a romantic comedy inter-spliced with subliminal pictures of women's breasts. Rather it's an exploration of a man's addiction and how it relates to the rest of his life. It explores the effects it can have on others in his life, and it is refreshing to see a film tackle a form of abuse aside from drugs. To be sure, there is some rather racy content, and viewer discretion is advised, but I believe that could be it's greatest strength. It is willing to go in a direction many films are afraid to. It is not afraid to be descriptive of its sexual content, but not for a sense of just trying to arouse the viewer, rather it does so to put you in Jon's head, help you to relate to him, and overall realize the extent of his obsession.

Joseph Gordon-Levitt loses himself in this role. It is rather difficult to focus on your performance when you're also in charge of everyone else on set, but he is able to masterfully pull triple duty on this film. He creates a memorable character whose voice may remind you of Mark Wahlberg, yet possesses his own sense of discovery. He experiences character growth that feels fluid and natural, and never rushed, and is overall successful for this film.

Scarlett Johansson also turns in a first rate performance. She explores a different side to her talent and unlike anything we've seen before from her. She rings true to the normal romanticizing woman we've all seen before whether in a movie or in real life. It feels genuine.

However, Andrew's Standout for this movie is the always terrific Brie Larson. She spends 95% of the film on her cell phone texting, and chewing gum, and only has 2 lines of dialogue. 3 tops. However, she has a presence that doesn't even require talking. She also feels genuine to the character she plays. When I saw her name in the opening credits, I knew she had to be important.

Given the sensitive subject matter, I say see this movie at your own discretion. Its a fantastic film with fine performances and terrific direction. Yet to the wrong person, it may make you uncomfortable.

A

"Prisoners" Review

I want to be clear from the beginning. I do not hate Hugh Jackman. Quite the opposite. He is one of my favorite actors and one of the most talented people in the business today. Yet, when he is cast in ensembles, he tends to dominate and absorb the screen time. Studios tend to milk him for his drawing power, and the end result is criminal overshadowing of the other actors in a film. The X-Men film series is a pure example. A masterful film series (The Last Stand not withstanding), yet the studio's decision to over market Jackman's Wolverine robbed us the brilliance of James Marsden as Cyclops.

Fortunately, Prisoners does not make this mistake. To be sure, Jackman is a large presence and receives top billing, but he never feels like the center of attention.

Prisoners tells the story of two families whose daughters are abducted on Thanksgiving. The narrative follows the lead investigator's (Jake Gyllenhaal) attempts to solve the increasingly complex mystery, however this is not enough for Jackman's character who proceeds to kidnap the prime suspect and torture him.

The trailers do not do the film justice, as it is painted as your run of the mill torture porn for a pre-halloween scare. It could not be further from this. It is a masterfully crafted piece that tiptoes along the lines of horror and drama. The tale starts off as your happy family cliche from every horror movie. Yet once Gyllenhaal enters, it becomes much more than that. It becomes a psychological and a legal thriller that keeps you on the edge of your seat. It is complex, original, and it skews the traditional thriller tropes by giving the characters their own quirks and flaws despite being the "victims."

Hugh Jackman is brilliant of course. His pain and suffering are apparent, yet you can see that the character is so much more than that below the surface, and has his hidden demons.

Jake Gyllenhaal is also magnificent. He embodies the traditional detective, yet does not fall victim to the common horror-cop who does not believe the story. He is flawed and determined. He has a presence that can go toe-to-toe with Jackman. When Hugh tries to dominate, Jake serves it right back.

Yet for this movie, Andrew's Standout is our local thespian, Melissa Leo. Her screen time is brief, but pivotal and full of energy. In the beginning, she seems like any other character. Innocent, hoping the girls show up again. Yet, there is much more to her than that.

My only complaint with the film is that it is rather lengthy unnecessarily. There are some scenes where you connect the dots 2 minutes before thee characters, and it just feels drawn out.

All in all, see this movie. It's a thrilling mystery full of powerful performances and a well crafted script.

A-