First Trailer for TABLE 19 Starring Anna Kendrick

While Fox Searchlight as a studio has become more broad in its releases since the early days of its inception it is still nice to see the logo pop up in front of smaller fare that one hopes will be good based on its promising premise and cast. This could all be true of director Jeffrey Blitz's dramedy, but that January release date sure doesn't help much. Given we are getting the trailer in the midst of summer I was hoping we might see the film release a little earlier, say late September/early October, but while I can't seem to find any reason not to be excited for the film there will always be that release date during what is Hollywood's typical dumping ground month that will hang over its head until I inevitably see the film late in the first month of 2017. Only adding more to the optimistic side of this news though is the fact Table 19 was written by the Duplass brothers who, if you aren't familiar with the name, have been producing quality independent work for the better part of a decade now. The basic premise is catchy: a group of people who barely know the bride and groom find themselves assembled together at what amounts to the reject table at a wedding. Led by the charismatic Anna Kendrick who once dated the brides brother who is now the best man this ensemble comedy looks as if it will tap into some of the small caveats of the wedding ceremony that serve to expose how ridiculous the larger spectacle of such a day can be overblown and ridiculous-especially when you're nowhere near the level of bliss the bride and groom are. That Blitz has helmed episodes of Parks and Recreation, The Office, and the well-reviewed, but quickly cancelled Review is encouraging and only adds to my hope that this could be a truly funny comedy that just happened upon the misfortune of a release date typically occupied by trash. Table 19 also stars June Squibb, Craig Robinson, Lisa Kudrow, Stephen Merchant, Amanda Crew, Tony Revolori, Wyatt Russell, and opens on January 20th, 2017. 

SHE'S THE MAN: Ten Years Later

Ten years ago I was beginning my second semester of college, working thirty hours or so a week at Wendy's and increasingly enjoying more and more movies in my free time. My schedule throughout the week was decent as I only had class on Tuesdays and Thursdays while working the other three days to get a solid enough paycheck to sustain my mostly free weekends. Still, if there was a way to save money I would certainly take advantage of such opportunities and one of the ways to do so was to enjoy $5 Tuesdays at my locally owned movie theater. They also had a deal where, if you brought your own bowl on Thursdays, they would fill it up with popcorn for you. This popcorn deal of course spawned several interesting stories, but to the more pertinent point I was reminded of such movie-going experiences because over the last few weeks I've seen a number of anniversary articles about films that are turning twenty this year. While prestigious fare like Fargo and the now more affectionately rendered The Birdcage make for understandable reflections I was only nine in 1996 and therefore could only comment on something like Disney's stop-motion James and the Giant Peach (trust me, I checked) feature that I remember enjoying as a child, but probably haven't seen since 1997. And so, I bumped things up a decade to the year where I went to the theater consistently on Tuesday nights, for $5 dollars, and every now and then stumbled upon something more enjoyable than I might have expected particularly in these early months of the year.

RACE Review

Race has good intentions. That is probably the best thing one could say about it which is unfortunate given its subject matter. One hears about the epic talent of Jesse Owens from the time they're in elementary school, when racing one another at recess was just something you did. With this myth and the still spectacular accomplishments Owens achieved as a track and field star very much ingrained in the history of not just American sport, but America in general it's somewhat surprising a movie about the man hasn't already been made. And so, Race has good intentions, clearly. Regrettably, that is all it has going for it though, as director Stephen Hopkins (a spotty director who has credits on well-renowned TV series, but whose feature credits are rather lousy) infuses his film with little to no energy leaving audiences to feel more as if they're walking through a Jesse Owens exhibit at a museum than becoming immersed in his life experiences. The film is a by the numbers biopic that takes us through the year of 1933 when Owens begins attending Ohio State up through the 1936 Berlin Olympics. The film gets points for not being your traditional cradle to grave biopic as it never dwells on the fact Owens was one of ten children and only notes his penchant for running by referencing his equaling of the world records in the 100-yard dash and long-jump competitions while still in high school. Of course, it is this achievement that would gain Owens national attention and the attention of numerous colleges from which Owens would choose Ohio State due to the reputation of their coach, Larry Snyder, for being the best there was. Did I lose you over those last few sentences? Dolling out information that is undoubtedly interesting, but as no soul or feeling were extracted from them you also tended to feel nothing. Well, guess what? That is pretty much how the movie will make you feel as well. It plays out, hitting all the expected beats of a film about a famous figure, sports or any kind of star, and then slogs to its conclusion before delivering the obligatory note cards over real-life pictures of our main characters that tells what the rest of life held for them. All interesting, but never invigorating.

THE AGE OF ADALINE Review

Time is fleeting. We all know this just as we know time is the one thing you can't get more of. What then, would you do if you were granted an eternity? As with almost everything in life the speculation of possibilities is always greater than the reality and it turns out the same would be true of immortality, at least according to Adaline Bowman (Blake Lively). While these are the big questions posed in the film, what makes it all the more fascinating (as with any film spanning generations) are the dealings in where we're going and where we've been and who we are because of it. Adaline has a perspective that will forever go unmatched and because of that she finds it hard to connect with anyone in the present world, much less those who are the age she continues to look. With that mindset it is her observations that I, personally, would find to be the most interesting aspects to come out of this curse disguised by a blessing in vanity. This is highlighted in sort when we are treated to Adaline never encountering anything new, but instead always having a history to reference; even in something as seemingly insignificant as a park bench. The weight of contemplation, the effects of time never slowing down and the regret that will forever tinge our minds if we continue to in fact contemplate it all rather than experience our actual life seep into the consideration of what we would do were we in Adaline's position. Such lines of thought would seemingly make the exploration of having a power over time the most engrossing and while Adaline certainly hints at such themes, the main narrative ends up focusing on the one guy that is able to diminish our titular characters extensive perspective enough to make her love him. This looked to be a problem given the high concept would inevitably be squandered on a typical love story, but the larger ideas of how old we are not dictating who we are come through well enough that I can't complain too much.