DUMBO Review

I was negative forty-six years-old in 1941 when Walt Disney released his fourth (and shortest) animated feature, Dumbo, a mere forty-five or so days before the attack on Pearl Harbor. To watch the original animated feature now is to see little more than simplicity and a cautionary tale about bullying, but in the wake of the context in which it was received initially it could certainly be perceived that a simplistic escape mixed with a prevailing underdog (or elephant) story might have been exactly what the country ordered. The question then posed to director Tim Burton's new, "live-action" take on the film is what might it mean to those who decide to take in this new experience? What is peculiar about choosing the 1941 film for an updated re-imagining is the fact it is without doubt an experience that will not hold the same nostalgic meaning for the majority of the audience that ventured out to 2017's Beauty & the Beast nor does it feature any of the explicit technical wizardry of 2016's The Jungle Book. This is the latest film in a string of Disney re-makes that, at their best, can be soulful and moving (Pete's Dragon) and at their worst can be derivative and dull (Alice in Wonderland), but while Dumbo comes to us from the same auteur who ushered in this recent craze with that aforementioned "worse-case scenario" that is Alice in Wonderland, Dumbo seemingly finds Burton not necessarily taking note of what others have done with similar opportunities, but more investing himself more wholeheartedly in the material; caring as much about the themes and ideas that populate his world as he does the design of the world itself. Burton is often referred to as a "visionary"director and this comes more from the fact he has a signature style than it does the fact he's consistently innovative or wise beyond comprehension, but while-as with many of his more recent endeavors-the sheen may have worn from Burton's visual prowess, Dumbo is something of a welcome return in that it is a streamlined, inoffensive, and largely harmless tale that simplifies the more recognizable themes Burton has worked in throughout much of his career. Sometimes simplicity is what's needed, what's necessary, and what connects viewers to material more effectively. Burton's Dumbo doesn't break any new ground, but it does keep the emotional beats intact, preserving their poignancy. Who knows, maybe a simple reminder about placing yourself in someone else's shoes is exactly what the country needed right now even if we didn't order it.

Full-Length Trailer for Tim Burton's DUMBO

I'm going to be honest, it's been a long time since I've seen the 1941 Disney feature about a young circus elephant who is ridiculed for his big ears only to achieve his full potential through the encouragement of a mouse. That said, is it really any surprise we're getting alive action re-make of any Disney animated classic at this point? Hell, I wouldn't be surprised if we were to get a live-action Black Cauldron though I'd much prefer to see what someone might do with Oliver & Company or The Great Mouse Detective. Alas, as we have Tim Burton's Dumbo early next year along with Guy Ritchie's Aladdin in the summer followed by Jon Favreau's The Lion King a year from now and at least Niki Caro's Mulan in 2020 it seems I'll have to hope these endeavors continue to pan out if we're ever going to get deep enough in the well to see those re-makes come to life. While cautiously optimistic for Ritchie's take on Aladdin and all but busting at the seams to see a sneak peak at anything from Lion King I am most indifferent towards another Burton-esque take on this type of material as we all saw how Alice in Wonderland turned out. While that 2010 blockbuster more or less ignited this recent trend of re-imaginings for the modern age it was also a vastly different take on the material than the original, 1951 animated film. Over the course of nearly a decade these films have morphed into little more than replicates of the achievements in animation that came before them; see 2017's Beauty and the Beast if you need further proof. Still, there is sometimes fun to be had as both The Jungle Book and Cinderella were earnest enough to be enjoyable and though Burton hasn't exactly been on a hot streak as of late given it's been nearly a decade since he's produced an out and out critical success and even longer since he's produced both a critical and commercial hit, there is always that glimmer of hope each time out that we might get peak Burton. Why the auteur wanted to take on Dumbo I'm not sure, I told you I haven't seen it in a while, but if there is anything to be taken from this new trailer it is the fact Burton still has a knack for fantastic imagery as the time period and setting seem to play a large role in the lives of these characters and the overall tone of the film. How the film will update and hopefully improve upon the original remains to be seen, of course, but at least we can count of the film looking magnificent on the big screen. Dumbo stars Colin Farrell, Danny DeVito, Michael Keaton, Eva Green, Alan Arkin, Finley Hobbins, Nico Parker, and opens on March 29th , 2019.

GOING IN STYLE Review

There is something to be said for movies that have no particular ambition due to a level of self-awareness. There is something to be said for swallowing your pride, accepting the reality of the situation, and doing what you can with the given factors. It's admirable and with such unabashed pride in the face of acceptance there is charm to be found. A different, slightly quirky, break from the norm type charm and this is what Going in Style relies on to let its audience know it is well aware of what it is and that it has no qualms about it. If you don't have any qualms with the type of entertainment a movie like Going in Style promises to deliver then you likely won't have any issue with the movie either. Going in Style is exactly what one would expect it to be given it comes from screenwriter Theodore Melfi (St. Vincent, Hidden Figures) and by his pen is an updated version of the 1979 film of the same name that starred George Burns, Art Carney, and Lee Strasberg. That film, which I admittedly haven't seen, came from director Martin Brest who may or may not have the strangest filmography in the history of directors. The man, who made his big studio feature debut with the original Going in Style at the age of twenty-eight, would go on to direct the likes of such films as Beverly Hills Cop, Midnight Run, and Meet Joe Black among others until he debuted Gigli in 2003 and hasn't worked since. If you're old enough you may recognize the guy as Dr. Miller from Fast Times at Ridgemont High, but all of this is neither here nor there (though someone should really look into how one film was so detrimental to an otherwise prosperous career). The point is, what made Going in Style a movie worth re-making seems to have been absent from the consideration of the studio and filmmakers and more was simply an excuse to round up some of our best aging actors, throw them in a film together, and let the chemistry and credibility do the rest of the work. If one has seen the like-minded Last Vegas then you know this actually turns out fairly well and to no surprise Going in Style yields much the same results. A superfluous and completely unnecessary re-make, no doubt, but a frothy enough excursion you don't take seriously enough to be upset about.

First Trailer for LOVE THE COOPERS

Christmas movies are almost as old as the medium itself. In my own, limited time on this earth I've come to love only a few that I can watch over and over again when that time of year comes around. While I enjoyed The Family Stone (which this trailer trades off of given it was produced by the same person) it isn't one I've returned to over the years. Maybe Love the Coopers will be a little different as this first trailer indicates a pretty solid family dramedy with a solid cast. Of course, you could describe The Family Stone that way as well...and I did like it...maybe I need to re-visit that this year instead of watching The Santa Clause for the billionth time (who am I kidding? I'll watch both). Anyway, in this new Christmas comedy that is once again led by Diane Keaton playing the matriarch of a somewhat large family (the Cooper's, duh) four generations come together for an annual Christmas Eve party. Naturally, things don't go as planned when a series of unexpected visitors and unlikely events turn the night upside down, leading them all toward a surprising rediscovery of family bonds and the spirit of the holiday. Sounds about right, right? And yet, as I watched the trailer I chuckled enough times and was happy enough to see certain actors show up to make me think this might actually have some potential. I like that Jake Lacy (The Office) is getting more work and strangely enough it's good to see Olivia Wilde back in comedic territory after seeming absent from it for a couple of years. Love the Coopers also stars John Goodman, Ed Helms, Amanda Seyfried, Marisa Tomei, Alan Arkin, Anthony Mackie with Steve Martin as the narrator and opens on November 13th.

MILLION DOLLAR ARM Review

Walking into something like Million Dollar Arm you know exactly what you're going to get and so you are likely fine with that because you're choosing to walk into it in the first place. One may see the trailer for it and think it is worth giving a shot because the story seems interesting and heartfelt (plus it's based on a true one, so that's always a bonus) and it was made by Disney, a prominent feature in all the advertising as well as the fact it comes from the producers of Miracle and Invincible, so it is a safe bet there is nothing truly offensive but rather material that is inspiring and wouldn't hurt to take the children to if you feel like going to the movies, but not sitting through an animated flick or one of the several comic book movies out at the moment. It makes sense, but when it comes down to it that is all Million Dollar Arm ever really feels like, alternative programming. That being said there isn't anything necessarily wrong with the film given the way it has been chosen to be told or how it is executed except for the fact that it is about twenty minutes shorter than those other comic book movies crowding theaters right now yet still feels twice as long, especially in the second hour when we better know the formula of where the movie is going and instead of delving into the highlights and lowlights of those spaces in time, director Craig Gillespie (Fright Night, Lars and the Real Girl) seems forced to make things fit squarely into the archetypes of all the inspirational Disney sports drama that have come before it. Screenwriter Tom McCarthy (a truly talented writer and director) knows how to make a film interesting and fresh while keeping things quirky while at the same time dealing with as universal a topic as sports (please take a look at his 2011 film Win Win) but here it seems he is more a writer for hire that was brought in to get this real-life story down on paper that would appease the board at the Mouse House and create a nice, safe starring vehicle for an almost done with TV Jon Hamm. Again, no offense to be taken anywhere around this project (they even find the time to acknowledge what could be considered slight racism) and there are actually several moments of nice realizations, intimate portraits and interesting facets about the world of baseball, but as a whole the final result leaves us not with a Remember the Titans-like feeling, but something closer to that of The Greatest Game Ever Played; remember that one? That's what I thought.  

First Trailer for MILLION DOLLAR ARM

I saw the first trailer for Disney's Million Dollar Arm in front of American Hustle the other day and while I was surprised by the fact the trailer was for a film I'd not previously heard of it became clear fairly quickly exactly what type of film this was. There is nothing wrong with making the inspirational sports story into a film and sometimes they turn out rather well. I enjoyed both previous films in the same vein quoted on the poster (Miracle and Invicible) but have yet to re-visit either of them since their initial release. Like those films Million Dollar Arm puts a strong leading actor in the midst of extraordinary circumstances within the sports world and plays out in predictably inspirational fashion that has our protagonist revolutionizing the way people look at the conventions of major league competition. While I won't be highly anticipating Million Dollar Arm I will be more than pleased to sit down in a theater and experience what the film has to offer. Jon Hamm plays a sports agent who, after hitting rock bottom, travels to India and set up a televised game show to scout the top cricket players in the country and see if any of them have what it takes to make it in the major leagues. The script was written by Tom McCarthy (Win Win) and directed by Craig Gillespie (Lars and the Real Girl). Million Dollar Arm has a strong supporting cast as well that includes Lake Bell, Bill Paxton, Aasif Mandvi, Alan Arkin, Suraj Sharma (Life of Pi), Madhurt Mittal (Slumdog Millionaire) and opens May 16, 2014.

First Trailer for GRUDGE MATCH

Grudge Match is going to be big. I can feel it. Hopefully you won't be calling me out on that prediction in a few months, but after seeing the trailer, the release date and who all is anchoring this safe yet warm-hearted comedy I can only see there being one outcome for the flick and that is for it to blow up at the box office and become a huge financial success while being critically dismissed but not trashed. Anyone remember Wild Hogs from a few years ago? It was a half-assed effort that threw some big names together and played on their chemistry while raking in a ton of moolah in return. This looks to do the same kind of thing as the film is clearly more interested in playing off the legacy of its two stars rather than creating something new and original. Honestly, there isn't anything really wrong with that. In fact, DeNiro might get his second hit of the fall season doing exactly that as a month earlier he'll partake in a Hangover-style comedy that partners him with other veteran and well-respected actors behaving badly with Last Vegas. Directed by the king of light, family-friendly comedies Peter Segal (The Longest Yard, Get Smart) the film follows the much hyped rivalry between Rocky Balboa and Jake La Motta (not really, but c'mon...who are they kidding?) as they come back into the lime light after a video of them fighting in motion capture suits while filming footage for a boxing video game goes viral. The re-match is naturally scheduled as it never came to fruition in their prime and the film will no doubt follow the ins-and-outs of them preparing for this one last fight. The bright side is each of them have a funny guy in their corner in the form of Alan Arkin and Kevin Hart who, if nothing, else, will make this a pretty funny affair. Grudge Match also stars Jon Bernthal, Kim Basinger, Camden Grey and opens on Christmas Day. Hit the jump to check out the first trailer now.

THE INCREDIBLE BURT WONDERSTONE Review

The Incredible Burt Wonderstone is a stupid movie, but that does not mean it isn't endearing. That waft of stupidity that floats off the screen isn't necessarily a stench, but instead there is that certain something to be liked about it. This is mainly due to the inability to dislike the principal cast members. As lead by Steve Carell the film evolves from a satire on the world of magicians to a tale of redemption within a man who has forgotten what it is like to find something truly inspiring and worth putting their effort into. From the opening moments of the film it is clear what kind of film this is going to be. It is comedy comfort food in its highest form and in many ways there is nothing wrong with that except for when it fails to meet the simple standards this category upholds. I went into the film with fair expectations as the trailer the studio put together wasn't particularly impressive and even gave off the tone of a movie that fell apart after the initial idea was thought to be something of a great joke. Whether this was for the purposes of making the audience not as disappointed in the film or because they were in fact unsure of what exactly they had on their hands here, the final product is better than the marketing material hinted at, but it doesn't ever go far enough or become weird enough to be that highly ridiculous comedy I so badly wanted it to be. Carell is always appealing, though I wonder how some will take his characters personality that goes against everything usually attributed to Carell as a man, and it is nice to see Jim Carrey returning to what he does best even if his time is limited here. I wanted to like The Incredible Burt Wonderstone more than I actually did, but it wasn't horrible and that's probably the best thing you can say about it.

STAND UP GUYS Review

Stand Up Guys is a stand up film about friendship and mortality, about life and how time waits for no man. It is an enjoyable and sometimes poignant film that breezes by at an hour and a half and rises above its tired script with three performances that aren't phoned it but truly felt. The magic of the film is that it captures each of its actors in that perfect stage of life. Though both Christopher Walken and Al Pacino do a fair amount of films each year (plenty of which can be horrible) there is something about this film that brings them together and instead of using their images and stature as some kind of inside joke or piece of propoganda to lure in audiences they are treated like actual human beings. Well, as far as human beings who were once crooks and gang members might be humanized. I think Christopher Walken gave one of the best performances of his later career in last falls Seven Psychopaths and while this role doesn't allow him the range of that character his reclusive Doc here is something of a different man in general. Doc is what anchors the film and though Pacino gets the flashier role of Val and Arkin is here for purely comic relief and realization, Doc is the guy who has given the situation time and perspective and Walken does a fine job of doing a lot with a little. I enjoyed Stand Up Guys immensely despite it taking the easy way out every now and again (especially with the humor). We can see the jokes coming from a mile away and I would have much rather had some natural banter between the two leads. The complacent direction from Fisher Stevens help nothing about the film stand out either but he should be more than thankful his actors are more than capable of getting the point across.

First Trailer for THE INCREDIBLE BURT WONDERSTONE

Upon first hearing about The Incredible Burt Wonderstone I was nothing short of thrilled to see the pairing of Steve Carell and Jim Carrey. Carrey has had a rough go of it lately but he is still the guy, "THE" comic that my generation grew up with and I can guarantee any single person in my age bracket would love to see the guy make a solid comeback instead of watching his career continue to dwindle. Carell is the everyman with the ability to be amazingly versatile as a comic. The combination of these guys on screen together, as battling magicians no less, sounds completely absurd yet completely amazing at the same time. Needless to say, I had high hopes for this one, but am starting to have a few reservations based on this first trailer. It looks to be a little too much of a safe, standard comedy that follows a 90's formula for a simple, but fun time. As much as I embrace those films for nostalgia I'd like to embrace this film for different reasons. I will of course reserve judgement until seeing the final film, but I hope they haven't put all of the best jokes here because there aren't many. Carell and Steve Buscemi play partners very much a model on Siegfried and Roy whose relationship has become strained and whose ticket sales have dipped dramatically. They are challenged by Carrey's cooler, edgier illusionist not so unlike Criss Angel and funny stuff ensues. This world is ripe with opportunity for comedy and the cast has more than enough clout to pull off something truly funny not to mention it was directed by 30 Rock vet Don Scardino. I'm not overly confident yet, but I hope I am proved wrong. The Incredible Burt Wonderstone also stars Alan Arkin, Olivia Wilde, James Gandolfini, and Jay Mohr and opens March 15, 2013.

ARGO Review

There is a scene in the The Town where Ben Affleck's Doug MacRay is attempting to cover a certain clue on Jeremy Renner's James Coughlin that could give away both of their identities to an unsuspecting Claire Keesey (Rebecca Hall). In this single scene Ben Affleck, the director, is able to put his audience in the most vulnerable of states as we feel as exposed to the possibility of this guys entire world shattering around him as he does. We are set in this moment and the tension is palpable. Affleck clearly has a gift for creating these types of moments on film that all have to do with pacing as he creates moment after moment of such suspense in his third directorial effort Argo. After exploring the cinematic landscape of his hometown of Boston in his first two films Affleck now seems to have the confidence to venture outside of this comfort zone and take on a story that deals with issues in the bigger scope of the world. What Affleck has now gone on to accomplish is to create what feels like a very authentic period piece that pulses with intrigue and keeps its audience first informed, second engaged, and third on the edge of their seat. It was clear from the vintage opening credits to the storyboard history lesson we receive in the first moments of the film that set the stage for the relationship between the United States and Iran at the time that everything here was meticulously planned out in order to elicit and implement the specific kinds of reactions and thoughts it wanted. This, for me, only exemplifies the kind of director Affleck is and shows us the care in which he takes on each project even if his craft does receive more attention because of his name. The point is the craft deserves the attention.

John Chambers (John Goodman) and Lester Siegel (Alan Arkin) put together a fake picture that will effect more
people than an actual movie ever could.

While much about Argo will dwell on the fact its directors former status in Hollywood was something of a poster boy for celebrity, a type-cast doofus who starred in more bad films than he could leverage with his early successes. Though Argo will get a lot of attention for this fact, that Affleck has solidified his status as a credible director having made a third above average film will forever change his reputation and how he is remembered and looked at in the cinematic landscape. What is more interesting obviously is to see how he has actually done this. He has done it with all three of his films, but he never allows it to be an outright, up-front obvious characteristic. He takes a type of film, one that clearly fits into a genre and has been defined by certain structures before and churns his movie on these archetypes that he doesn't necessarily imitate but allows for them to unspool in a more natural manner that makes whatever his film is documenting all the more real, all the more genuine. It is especially stunning that Affleck can provide such a piece of Hollywood cinema while telling the story of historical events that most audiences would initially find more daunting that entertaining to sit through. This is not your standard film about a historical event though, it is the truly unbelievable story of when the Islamic people, in reaction to the United States taking in Shah Mohammad Reza Pahlavi after the Iranian people revolutionized and wanted his dynasty replaced with an Islamic republic. As these revolutions reached their boiling points the Iran militants stormed the U.S. embassy and took 52 hostages. Six Americans were able to escape and find refuge with the Canadian ambassadors. Enter Tony Mendez (Affleck) an "exfiltration" specialist who is assigned the task of conjuring up a plan to get these escapees out of the country.

With such a description, as I said before, it may sound like your typical actioner in which a hero protagonist is required to go through the motions in order to save the day and deliver a climax filled with excitement and explosions. When I say Affleck is able to churn these archetypes on their heels I mean that these very uniform script tools are still in place, but they are used in such a distinct, unexpected way. As if taking the ideals of an indie film and altering them to fit in this world of gripping, powerful, and generally uplifting tale that Hollywood likes to make so much. Allowing to further proclaim itself as a historical drama with entertainment roots Affleck gives a generally fine performance if not the main thing that stands out about the film. In fact, as much as you can applaud the guy for crafting such a fine film it is almost as if he left the thoughts about his own characterization on the back burner. Lucky for him, he has a lovely group of supporting actors here that take much of the focus from him. Whether it be bit roles such as Chris Messina and Kyle Chandler who show up in a few scenes (and who each deserve better exposure) to a nicely even Bryan Cranston as Jack O'Donnell who serves as the face of the CIA to Affleck's Mendez while he is in Iran trying to make the mission a successful one. Cranston brings an honesty to the role that is usually lost in these types of characters who are a culmination of what was likely several people in real life. The guys that really steal the show here though are the ones who make Mendez's idea for the mission all the more authentic and in return all he more successful indeed. As Hollywood make-up artist John Chambers and legendary producer Lester Siegel John Goodman and Alan Arkin are in one sense the comic relief, but in another they are the heart if Mendez is the brain. Turning a folly of a Star Wars knock-off into the legitimate reason that saves the lives of these hostages proves to be something neither of these men were required to do and something they really had no need to put their business in at all. It makes you realize there are always those sterling people still existing even in a city full of imperfect beings.

The six refugees of the American embassy in Iran find safety at the Canadian ambassadors headquarters.

In the end it comes down to the hostages though. Affleck has been smart enough to cast the majority of these roles with unknown actors (though an older Tate Donovan takes on the ringleader role) as to allow the audience to sympathize with them better, being able to see them for real people in a life-threatening situation rather than actors portraying how these people might have felt. That is also, the essential catch of Argo. It places you dead center in the middle of the conflict and hardly allows you to breathe. As if you were under water, against your will and only allowed to come every so often for a breath of air. It is a conventional thriller, but it rises above that word with all its negative connotations by being expertly acted and crafted. Each performance speaks to the bigger picture it is contributing to while the care taken by its director to convey a sense of authentication is enjoyable to take in. It is a movie that doesn't necessarily feel designed or manipulated in any way so that it will gain awards show attention or even as the kind of film that is likely to be recognized by the Academy simply based on the way in which it decides to tell its story and the aforementioned reputation of the director who has now proved himself again and again. It is nice to see these things being disproved as Argo seems to be generating plenty of awards buzz, but none of that matters when you are glued to your seat with your nails literally up to your teeth and your eyelids ready to clinch as those six desperate hostages and the man who came up with a ludicrous idea about making a fake movie that would set them free walk through that airport or drive through that crowd or narrowly escape insults and accusations. All that matters in those moments are how sucked into the film you realize you've become. That isn't the sign of a filmmaker who is out to validate himself by obtaining a statue; that is a filmmaker who truly enjoys the art of film and knows himself as well as any audience member what is required to have an experience rather than an excuse to escape.

                      

ARGO Review

There is a scene in the The Town where Ben Affleck's Doug MacRay is attempting to cover a certain clue on Jeremy Renner's James Coughlin that could give away both of their identities to an unsuspecting Claire Keesey (Rebecca Hall). In this single scene Ben Affleck, the director, is able to put his audience in the most vulnerable of states as we feel as exposed to the possibility of this guys entire world shattering around him as he does. We are set in this moment and the tension is palpable. Affleck clearly has a gift for creating these types of moments on film that all have to do with pacing as he creates moment after moment of such suspense in his third directorial effort Argo. After exploring the cinematic landscape of his hometown of Boston in his first two films Affleck now seems to have the confidence to venture outside of this comfort zone and take on a story that deals with issues in the bigger scope of the world. What Affleck has now gone on to accomplish is to create what feels like a very authentic period piece that pulses with intrigue and keeps its audience first informed, second engaged, and third on the edge of their seat. It was clear from the vintage opening credits to the storyboard history lesson we receive in the first moments of the film that set the stage for the relationship between the United States and Iran at the time that everything here was meticulously planned out in order to elicit and implement the specific kinds of reactions and thoughts it wanted. This, for me, only exemplifies the kind of director Affleck is and shows us the care in which he takes on each project even if his craft does receive more attention because of his name. The point is the craft deserves the attention.