ON THE ROCKS Review

Having only now seen half of Sofia Coppola's movies I still don't know where I sit with the filmmaker. That said, the four features I have seen likely sum up why Coppola's career has felt mostly hit or miss as Lost in Translation was lost on me when I first experienced it at fifteen, The Bling Ring was one of the biggest disappointments for me a decade later in 2013, while The Beguiled may very well be my favorite film of hers as I haven't seen Marie Antoinette, but appreciated the step back from the more relaxed yet reflective nature that seems to encompasses the majority of her work. While I also haven't seen The Virigin Suicides, the director's breakout 1999 adaptation of the Jeffrey Eugenides novel, it would seem that her latest, On the Rocks certainly positions itself more in the category of the Lost in Translations, Somewheres, and Bling Rings than it does her more ambitious work. That isn't to say these films don't have as much ambition from an emotional standpoint, but more that it seems all of the effort put in is emotional leaving very little room for Coppola - who also writes or adapts works for her own direction - to pour efforts and vision into the other, equally important departments. As this seems to be the case with On the Rocks, there is plenty to appreciate from the perspective of varying perspectives as well as themes and ideas that deal with societal double standards, father/daughter relationships where the daughter is the sole exception for how women deserve to be treated, as well as the sanctity of marriage past the formalities and legalities and beyond to the day to day where the love is sustained or quickly killed, but outside of the plot that pushes these thoughts to the forefront Coppola's latest doesn't really offer much by way of what are charming or funny ways of conveying as much. The saving grace of Coppola's eighth feature is her relationship with Bill Murray and what the actor is able to bring to a role that might otherwise be seen as a writing exercise for Coppola to work out her frustrations with men and the sense of entitlement too many seem to possess. Murray's performance makes the issues with the film feel senseless though, and instead welcomes the viewer in with such affection we feel lucky just to be able to witness Murray at his most "him". Whether the title be in reference to a drink or a relationship, Coppola's latest - while likely the undiluted film she wanted to make - unfortunately experiences some difficulties along with way.

Official Trailer for Wes Anderson's THE FRENCH DISPATCH

The first trailer for Wes Anderson's follow-up to his 2016 stop-motion film, Isle of Dogs, is here and is his first live-action film since what is arguably his masterpiece in 2014's The Grand Budapest Hotel. The French Dispatch “brings to life a collection of stories from the final issue of an American magazine published in a fictional 20th-century French city.” Per usual, Anderson rounded-up quite the cast for what will be his tenth feature with both new additions and some returning favourites. Bill Murray plays the editor of the aforementioned American magazine who is trying to put together this publication’s final issue. As this narrative is happening, the audience will see three different stories being covered by his staff members come to life in a way only Anderson could seemingly conceive. It is in bringing to life these three different stories that I assume Anderson adopts the different visual styles we see glimpses of in this first trailer; there is of course the black and white, but the predominant characters of those clips also appear in clips that are in color while there also looks to be a circular shot of a host of characters that feels very out of character for Anderson. The fact I'm wholly intrigued by a director's choice to use a certain kind of shot over his typical, perfectly symmetrical style of framing is proof enough as to why Anderson is not only engaging as a filmmaker, but as a storyteller in general. I don't even know where else to start with how excited I am about a new, live-action Wes Anderson movie for as much as I love his animated outings there is something about seeing him breathe his vision through a cavalcade of famous faces all perfectly embodying his sense of tone and timing that is both strangely exhilarating and reliably uproarious. And while The French Dispatch looks to not skew too far from what everyone loves about Anderson's work this does have the feeling of the filmmaker having done something very big and quite special to celebrate it being his tenth feature. I wholeheartedly expect Anderson to continue making his own brand of movie for as long as he has something to say, but it will also be interesting to see if he, in any way, is evolving his own style here for despite believing the man is incapable of spinning his wheels it does feel it will be necessary to continue to show growth-even if that growth is only through his storytelling prowess rather than his visuals. The French Dispatch also stars Owen Wilson, Adrien Brody, Wally Wolodarsky, Bob Balaban, Tilda Swinton, Frances McDormand, Timothée Chalamet, Léa Seydoux, Benicio del Toro, Henry Winkler, Elisabeth Moss, Griffin Dunne, Lyna Khoudri and opens on July 24, 2020.

First Trailer for ZOMBIELAND: DOUBLE TAP

Despite the fact it feels like we should have maybe received a sequel to Zombieland five or six years ago I remember feeling so bowled over by that first original feature to capitalize on the popularity of Walking Dead that I'm just happy they were able to get everyone back together for a sequel at all. This includes director Ruben Fleischer who made such a strong feature debut with the original Zombieland that I'm always optimistic his next film might deliver on that promise even if everything since has yielded fair to middling results. And while it's kind of crazy Zombieland: Double Tap exists in today's world given the caliber of the cast and the fact Emma Stone had seemingly resigned from broad comedies it's nice to see the ole' gang back together and each of them at least appear to be having a good time. In this decade-later follow-up (though it still remains to be seen if it's been a decade in the world of the movie as well) Jesse Eisenberg's Columbus, Woody Harrelson's Tallahasse, Stone's Wichita, and Abigail Breslin's Little Rock move to the American heartland as they face off against evolved zombies, fellow survivors, and the growing pains of the snarky makeshift family. While this new trailer largely looks like more of the same in a new setting it's kind of hard to expect anything more than that from a ten year-later sequel set around a zombie apocalypse. More importantly is the fact Fleischer and screenwriters Dave Callaham (Wonder Woman 1984) along with Rhett Reese and Paul Wernick (Zombieland, Deadpool, Deadpool 2) seem to have been creatively invested in the property and have come up with a few gags that appear to deliver in the same way as the gags from the first while not relying on throwbacks to jokes from that first film. That said, Bill Murray is on the cast list for this thing along with Dan Aykroyd, so make of that what you will. More than anything though, I'll go into Zombieland 2 with the hope of simply having a good time with some old friends; I'm not expecting this thing to break any new ground or even be the funniest film I see all year, but if it has a good time with a premise and cast who we know can deliver as much then the wait will have been well worth it. Zombieland: Double Tap also stars Zoey Deutch, Rosario Dawson, Luke Wilson, Thomas Middleditch, Avan Jogia and opens on October 18th, 2019.

ISLE OF DOGS Review

Isle of Dogs is the ninth feature film from director Wes Anderson and by this point, one knows prior to going into an Anderson film both what they will be getting and whether they're already in the bag for Anderson's style and how he will undoubtedly expand upon it. Needless to say, I was very much in the bag for the auteur's return to stop-motion animation after the delightful excursion that was 2009's Fantastic Mr. Fox. And so, the question then surpasses that of expectation dictating the perceived outcome of a certain film, but rather to be that of if there is already this acceptance of quality due to the understanding of the passion, time, and care committed to a project then just how good is it exactly? Where does it rank among the director's already impressive catalogue? As the credits rolled on the brief feeling, but wholly satisfying Isle of Dogs it became infinitely more clear than it had a moment earlier when still in the midst of the film that while this may be Anderson's most outright imaginative take on a motion picture it is also the one that is most vague in regards to its intentions. Maybe memories of Fantastic Mr. Fox escape me or maybe I missed a thesis that Isle of Dogs states throughout its rather straightforward narrative, but what seems most likely is the fact Anderson intended this to be as simple as it could possibly be so that individual movie-goers might make of it as they please with the filmmaker himself only taking credit to the extent the experience of watching his film brought excesses of escapism and joy. There isn't a single aspect of that previous sentence I would disagree with in terms of how easy it is to be swept up in the world of Isle of Dogs and how effortlessly enjoyable the movie is, but there is no sense of real emotional investment to be conjured either. It's not a mandate that Anderson's films be emotionally involving which is to say the meaning of his movies rarely take center stage, but often times it's hard to avoid such because of the natural investment made in the compelling characters. In Isle of Dogs we have a pack of abandoned canines and a twelve year-old boy who doesn't speak English whom Anderson gives no subtitles and thus there is something of a disconnect, but despite these small quibbles (and trust me, that's all they really are) Isle of Dogs is a meticulously crafted, beautifully rendered, and pitch perfect Wes Anderson movie that positions the water cooler conversations to not be about what the film is discussing, but what the film is; not what it says, but how it makes you feel.

First Trailer for Wes Anderson's ISLE OF DOGS

As someone who isn't necessarily a fan of the stop-motion aesthetic it is still hard to deny a Wes Anderson movie, whatever the medium he chooses to tell his typically delightful stories in. This is what might be so intriguing about this first trailer for the latest from Anderson though in that, while this is technically an animated film, Anderson is telling a story that is so seemingly odd and unique that it wouldn't be one you would inherently assume might benefit from being an animated feature though, as the clip plays on, is easy to see why Anderson chose to return to stop-motion for the first time since his twice Oscar-nominated 2009 effort Fantastic Mr. Fox. Since Fox, Anderson has made the equally fantastic Moonrise Kingdom and The Grand Budapest Hotel, each of which I've watched more times than I can count with the latter being a required viewing at least once a year. So, while I may not be one to typically flock to stop-motion animated films (with the exception of Laika, I'll give anything they do a shot) I am anxiously awaiting the latest from Wes Anderson simply because it is the latest from Wes Anderson. Speaking of the film itself, it is titled Isle of Dogs, and follows a young boy who ventures to an island in search of his own dog after an outbreak of dog attacks in a near-future Japan forcing all canines to be banished to live on a garbage-filled island hence, the title, the Isle of Dogs. Once on the island, the young boy comes across a pack of Alphas lead by Edward Norton‘s Rex. This will mark Norton's third collaboration with the director, but he isn't the only cast member who is returning to work with Anderson as the rest of the voice cast is made up of frequent collaborators such as Bill Murray, Jeff Goldblum, F. Murray Abraham, Tilda Swinton, and Bob Balaban while also featuring the talents of Bryan Cranston, Scarlett Johansson, Kunichi Nomura, Harvey Keitel, Akira Ito, Akira Takayama, Koyu Rankin, Yoko Ono, Courtney B. Vance, Greta Gerwig, Frances McDormand, and Liev Schrieber. Isle of Dogs is set to open on March 23, 2018.

THE JUNGLE BOOK Review

What's the point? That's the question director Jon Favreau and the brass at Disney had to answer if they were going to justify the money and man hours required to bring the visually stunning "live action" version of Rudyard Kipling's The Jungle Book to the big screen some fifty years after the Disney animated version taught generations upon generations of children the bare necessities of life. What would be the point of retelling this story to the current generation in an updated form? What more could they bring to it that children might not elicit from that 1967 original? In short, would there be more of a point to it than simply showing off the technical wizardry of Weta Digital and their visual effects work? The funny thing is, we more than likely remember the 1967 version through nostalgia-filled eyes that cloud our judgment of the actual film. In going back and watching that film-the one I very much enjoyed as a child despite being born in the late eighties-it quickly became apparent there wasn't much substance to the story and that the film was more a collection of little scenes filled with different, but interesting animal personalities that featured catchy songs written by the Sherman brothers and very little more until Shere Khan showed up at the end to create some type of tension. And so, going into this latest version of Kipling's story that would pull from both that source material while being heavily inspired by the '67 film the biggest improvement they could make would be in the story department by crafting a narrative that held a driving force with serious forward momentum and a throughline plot that, at the very least, would add a little more significance and reason to seeing the film in the first place. With screenwriter Justin Marks (whose only prior feature credits include a Street Fighter film and a TV movie) though, we are brought the one thing I couldn't even have imagined to add and that was a cohesion to the thinly connected events of the original animated movie. Giving purpose and connection that take Mowgli (Neel Sethi) from point A to point B lends the film a real ambition making the stunning visuals only more of an achievement.

ROCK THE KASBAH Review

Rock the Kasbah is a film that is neither here nor there. It is an odd case of feeling completely inconsequential while using relevant aspects of our current cultural climate to try and make a statement yet only proving itself irrelevant for it. It's a strange film-an experience that isn't exactly unpleasant while you're in the midst of it, but is ultimately more forgettable than anything I've seen at the movies in recent memory. It's is a shame, really, as the production has so much going for it and could have certainly been an interesting film were someone with any kind of motivation or vision in the director's chair. It's always fun to see Bill Murray's name above the title, leading a film and especially if that film is a broad comedy (something we don't get often anymore), but while Murray is seemingly giving this his all director Barry Levinson (Rain Man, Good Morning Vietnam) looks to be on autopilot. This isn't necessarily unexpected as Levinson hasn't produced anything that's been universally loved or appreciated for some time, but to have frequent Murray collaborator Mitch Glazer (Scrooged, the upcoming A Very Murray Christmas) behind the screenplay and Murray front and center with an off the wall premise one would think there'd be more to this tale of a washed up music manager who ends up stranded in Afghanistan. Instead, Murray and a rather outstanding supporting cast that includes Bruce Willis, Kate Hudson, Zooey Deschanel, Scott Caan and Danny McBride are wasted in this meandering mess that only stays afloat for the pure intrigue of seeing where the movie might go. Turns out, Rock the Kasbah isn't worth paying much attention to even if every facet it offers up is one you would normally give enough credit to do as much. It's not horrible by any means, but it's easy to see the amount of untapped potential here that inevitably makes the final product all the more disappointing.  

Teaser Trailer for Disney's Live-Action THE JUNGLE BOOK

In catching up on news I missed while I was away at the Toronto International Film Festival I realized I hadn't yet posted about the first look at director Jon Favreau's live action remake of Disney's The Jungle Book. Despite this, I've now watched the trailer several times and *think* I'm more on board now than I was with my initial reaction. My initial reaction was that the CGI was overwhelming with thoughts longing for the "dark and gritty" take I remember Stephen Sommers film being for me at the age of seven in 1994. Of course, even though that was still a Disney produced film it fell more in line with Rudyard Kipling's original version whereas Favreau's iteration seems to be a straight-up adaptation of the the 1967 cartoon with the animals looking more real than cartoony despite still technically being cartoons. That said, the film looks beautiful as the CGI has clearly allowed the creative team to do things they would never be able to accomplish with real, trained animals and I'm interested to see what tone Favreau ultimately goes with tone-wise as much of this is fairly somber until the last clip makes sure to remind us this is still very much a Disney product. Favreau has also rounded up an impressive voice cast that includes Bill Murray as Baloo, Scarlett Johansson as Kaa, Idris Elba as Shere Khan, Ben Kingsley as Bagheera, Lupita Nyon’o as Raksha, Giancarlo Esposito as Akela, Christopher Walken as King Louie and introducing Neel Sethi as Mowgli. The Jungle Book opens in 3D on April 15, 2016.

ALOHA Review

Aloha is a strange bird. From the opening credits laid out over vintage footage from Hawaiian celebrations to the music of Hanohano Hanalei there is a sense of slapdash to it. Given this is a Cameron Crowe (Jerry Maguire, Almost Famous) film there is a sense of expectation to it, but more than anything he's done over the past ten years Aloha immediately feels more free-wheeling. From the outset we get the sense not of Crowe's writing style, but more the dedication of the actors to the defining characteristics and personalities of their characters. The films lead is entrusted to one of our few bankable movie stars in Bradley Cooper whose Brian Gilcrest was nearly killed in a bombing while serving in Afghanistan and now has trouble with both legs. Gilcrest's jaded and cynical outlook will no doubt serve as the catalyst to be shifted over the course of the film. We are quickly introduced to a roster of familiar faces that are equally defined lending to the thought that this could really be something special. There is Emma Stone's Allison Ng who exudes a hyper-strictness to military conduct while at the same time being blunt, to the point and somewhat over-eager regarding her latest assignment that includes Gilcrest. There is the old flame Gilcrest has tried to forget about since losing her to himself as personified by Rachel McAdams. McAdams ends up coming away with the most emotionally resonant performance of the bunch as it is clear she is anxious to not necessarily reconnect with her former lover, but more get some things off her chest that have been weighing on and need to removed for her to move on. This weight has certainly interfered in her marriage to Woody (John Krasinski) who fully embodies the "strong and silent type". Woody is resistant to change and he knows it, but the time has come to face it when Gilcrest returns to what is Woody's cozy little Mayberry military base in Hawaii. Then you have Bill Murray playing some billionaire technology developer who's looking to buy all he can. Murray is the not-so-wise old man that pretends to have the perspective, but really just has the deep pockets. With all of this going on and all these likable people breathing life into Crowe's quirky dialogue one has to wonder how the film can't at least be appealing or even charming. The fact of the matter is that it actually kind of is despite ever being able to lift the cloud of peculiar that hovers above it.

First Trailer for Cameron Crowe's ALOHA

I feel like I'm supposed to inherently be a fan of Cameron Crowe and while much of what is now likely considered his prime came at a time when I wasn't allowed to see his movies it has been interesting going back, watching those films and seeing what was so captivating at the time. Obviously, this hook is more clear in something like Almost Famous whereas it is tougher to detect in Jerry Maguire. I mean, I get it, but it seems strange now when watching the film back and knowing this was something that caught on in a major way. Since that film though, Crowe has seemed to have a few issues recapturing that kind of sentiment, branching out with Vanilla Sky and returning to comfortable grounds with both Elizabethtown and We Bought A Zoo. While those last two features may generally be considered lesser Crowe I didn't mind them and found much to appreciate in both. With his latest, Aloha, the writer and director looks to be working in the same vein, but will hopefully transcend the issues many had with his later, more sap-fueled features. As I feel something of an inherent liking to the artist this trailer only looks to be a hint of what is a solid, creatively-written film that takes an introspective look at not only a specific type of person, but a lifestyle that those outside it don't typically concern themselves with. The reasoning for the love triangle isn't necessarily fresh, but the circumstances at least offer justifiable reasoning and with Bradley Cooper on nothing short of a hot streak I'm anxious to see if he saw something enticing in the script or if it was simply the prospect of working with Crowe. Aloha also stars Emma Stone, Rachel McAdams, Alec Baldwin, Bill Murray, John Krasinski, Danny McBride and opens on May 29th.

ST. VINCENT Review

St. Vincent is formula, but it's damn affecting formula. As soon as we meet the titular curmudgeon followed by the set-up that requires him to watch over the new neighbor kid we know where things are going. This is a film though that epitomizes the saying, "it's not about where you're going, it's about how you get there." There is nothing new to find in the intentions of the story or even in the way it is executed. Everything you will take away from St. Vincent is because of the characters, their individual arcs and how it comes together to not necessarily paint a pretty picture, but a humbling one. We are in a day and age where this, in many ways, feels like the culmination of Bill Murray's master plan. He has so effortlessly (or it at least seems that way) become more of a figure, a myth than that of an actual being that we find real value in seeing him let loose as much as he does here. There have only been a few occasions over the last decade or so where the legendary actor and comic has allowed himself this much visibility and unlike 2012's odd Hyde Park on Hudson this sees him in a role that is able to be more widely appreciated. You will recognize the schtick Murray is playing because he's done it before, but that doesn't make it any less fun to watch or when his stage of life and career are taken into consideration, any less affecting. I say affecting again because despite the fact we know where the film is going and we know what it wants us to feel it is still able to achieve a genuine emotional reaction from the audience and for that alone, the film deserves credit. It is also to the films credit that it doesn't overstay its welcome and allows the actors to flourish in their roles bringing the intended ideas to the surface and moving the audience in just the right way to where we are fine with the manipulation it is pulling over on us. St. Vincent is a crowd-pleaser in the biggest and best sense of the word in that it is a film I realize could be taken as overly-sentimental or even hokey, but that I could watch over and over again and still find reasons to smile every time. Sometimes, you need a film like that and St. Vincent would make a wonderful default to turn to for, if nothing else, the showcase it allows Murray.

THE GRAND BUDAPEST HOTEL Review

Wes Anderson's latest, The Grand Budapest Hotel is many things, but at its heart it feels like a quiet epic, a love letter to time gone by with a narrative spanning decades that chronicles the exceptionally unexceptional life of one young man who was influenced by another and would have his world forever changed because of him. It is as much about the world one creates around themselves and how it determines the outcome of ones life as it is about the actual plot of the story which, be not afraid, contains prison break-outs, gun fights, affairs with older women and a fair amount of lies and deception. Over the course of his career, Anderson has created many an interesting world where his characters find their typically odd yet perfect little worlds rocked by some kind of event. Whether it be the Tennenbaums, Steve Zissou or even Mr. Fox each of these characters have a way of trying to retain the normality that has escaped them in the time of their lives that Anderson's films have chosen to document. With The Grand Budapest Hotel things are only slightly different in that the screenplay itself, for the first time in his career, was written solely by Anderson and this more intimate relationship with the material certainly makes for a strong showing by the director, one in which it feels this film is the epitome of Anderson's imagination, that he is fully operating within the confines of his own imagination that he has come to be inspired to create through the works of Stefan Zweig and his consistent themes of becoming lost in ones reality and while not only has Anderson seemed to inhabit the role of Zweig here he has also come to imprint that same mentality on his main character, M. Gustave (Ralph Fiennes). Gustave, as one of our two storytellers overseeing the main narrative insinuates near the end of the film, may have come to live in a world that ceased to exist before he even entered it. It is this kind of thinking, these ideas beyond that of simply telling an entertaining story, but rather inspecting the mind of someone and how they look at their world and take on the challenges laid before them that makes Anderson's work so engaging and off-kilter, while this film in particular beautifully demonstrates the thin line that sometimes exists between real life and imagination.

THE MONUMENTS MEN Review

When the first trailer for George Clooney's latest directorial endeavor premiered it was clear that this wasn't going to be the large, dramatic, Oscar-bait piece everyone expected it to be given the caliber of the cast, the subject matter and the release date. We were originally scheduled to receive The Monuments Men on Christmas Day last year, but after The Wolf of Wall Street was pushed to that date it simply became too crowded. Clooney knew what he had on his hands here though and he knew he wasn't going for Oscar gold, but even more impressive is that he didn't fold under the pressure of these stipulations and force what felt unnatural upon this story to make an overly-serious or pretentious film that would fit squarely into the wheelhouse of highly-praised, but undeserving best picture winners. It is nice to know Clooney made what he wanted to make, what he first envisioned upon reading Robert M. Edsel's nonfiction book chronicling the adventures of these museum directors, curators and art historians that were out of their element, but took the risks anyway to preserve the culture this art represented. In that first trailer, one of the biggest signs that this wasn't going to be exactly what we expected was the music and it is in the soundtrack that we find more than anything the revealing nature of what Clooney was going for. It is not about the epic sacrifices of war, it is not touching on the moral dilemma of what war actually accomplishes or if the lives lost are lost for good reason or a justified outcome, but it simply takes war for what it is and tells an interesting adventure story while consistently asking our group of protagonists if during this time of war, is their endeavor too small? Sure, there are plenty of complaints to be made about The Monuments Men as it could have very easily been more entertaining, more fleshed out, less awkward and more authentic, but for what it is and what it seems intent on accomplishing we get the version Clooney wanted to deliver. Despite these complaints though I was very much intrigued by what these men were trying to accomplish, what they stood for and how their story turned out. This may not be the best interpretation of their story that could have been made, but it is a beautiful and professionally rendered version that does well to pay tribute to their mission statement.

First Trailer for THE GRAND BUDAPEST HOTEL

I have always been a fan of Wes Anderson's work if not for the fact that he has a great story of how he and Owen Wilson met and made it into Hollywood, but for the fact he has kept his singular voice throughout his now illustrious career and continues to do so. Coming off what was likely his most mainstream success as well as being one of his better films last year in Moonrise Kingdom, Anderson has turned his sights on a script that for the first time he has written solely on his own. The Grand Budapest Hotel tells the story of a legendary concierge in 20th-century Hungary who takes a young employee (Tony Revolori) on as his protégé. Naturally the film looks to be much more complex than this as there is murder, scandal, and comedy thrown in for good measure all of which can be gauged in this excessively charming first trailer. The cast is ridiculous as the concierge is played by Ralph Fiennes in a rare comedic role that he looks to absolutely kill as well as the roles of Saoirse Ronan, Adrien Brody and Tilda Swinton getting nice moments here. The set design looks to be on a massive Anderson scale and the camera work is as stoic as ever with complex shots and framing done to the hilt (Anderson also shot this in three different aspect ratios; one for each of the time periods in which the film takes palce). If it is unclear I am beyond excited for this film and only hope that it lives up to the expectations I've always held for Anderson's work. The rest of the cast includes the likes of F. Murray Abraham, Edward Norton, Willem Dafoe, Jeff Goldblum, Jason Schwartzman, Jude Law, Harvey Keitel, Tom Wilkinson, Bill Murray and Owen Wilson. The Grand Budapest Hotel opens March 7, 2014.

First Trailer for THE MONUMENTS MEN

The Monuments Men is one of those movies I knew I wanted to see long before there were any trailers or promotional material for it. Based simply on the cast and the intrigue of George Clooney returning to the directors chair to tell a story that seems perfectly suited for Spielberg's filmography, I was hooked. The film is based on the true story of an unlikely World War II platoon composed of museum directors, curators, and historians who find their pleasure in works of art and literature not in battle and bravery. Still, FDR tasks them with the job of going into Nazi Germany and recovering pieces of art before they are destroyed and lost forever. Clooney's last foray behind the camera was 2011's Ides of March which was a fine enough political thriller while this film seems to be operating on a much bigger scale. While the first trailer isn't too impressive as I wasn't inspired, filled with laughter or heartbreak, and inherently felt no immediate reaction to it whatsoever I am still intrigued and hope that the final product might offer all of these things. With actors like Matt Damon, John Goodman, Bob Balaban, and Bill Murray making up the team of historians it is hard to worry too much and Clooney is also starring along with directing the picture so there is still much to be optimistic about, I simply expected more from the first look. There is nothing of intrigue here that would lead me to want to see the film were it filled with actors and makers who didn't have the resumes these guys do. I do like the look of the film as it seems Clooney and cinematographer Phedon Papamichael (The Descendants) have captured a tone that elicits the harsh atmosphere of war and the palette of an old picture while still having the sharpness of a present film. The music doesn't fit as I imagined something more symphonic to go along with the story, but the rapport between the actors is also of a lighter tone than I expected, so not getting what we want isn't always a bad thing as I'm sure it will be a joy to just see Goodman, Balaban and Murray play off one another. Let's just hope this is indeed more along the lines of Ides of March (if not better) than Leatherheads as far as quality goes. The film also stars Cate Blanchett, Jean Dujardin, and Hugh Bonneville. The Monuments Men opens on December 18th.

HYDE PARK ON HUDSON Review

I am somewhat bewildered by Hyde Park on Hudson. The film, which is billed as a story of President Franklin Delano Roosevelt (Bill Murray) and wife Eleanor (Olivia Williams) welcoming the King and Queen of England to their home at Hyde Park on Hudson, in upstate New York is not exactly what we get. As you can see, Laura Linney is prominently featured on the poster and as you can read she is not the one playing Eleanor. So, as I was mainly excited for this film for the sole reason of Murray's performance it became somewhat of a surprise when the real story the film was telling began to expose itself. For this is not just another film you could throw in the pile with with The King's Speech or Madonna's W.E. (though those films aren't anywhere close to being in the same category) in terms of putting together a chronological look at England's monarchy but instead this is a film from the perspective of Linney's Daisy, a distant cousin of the president. The issue with Hyde Park on Hudson though is not that it isn't refreshing because of that surprise turn of events but that it never turns out to be that good of a movie. There are certainly redeeming qualities here; the acting, the look of the film, the pacing. All of these work in the movies favor but it just never becomes that interesting despite its subject matter, which is shocking. I am no expert on FDR nor was I aware of the events on which this film is based, all of which I thought might make me feel more inclined to like the film, but instead it just made it all feel a little weird.

MOONRISE KINGDOM Review

In many ways Wes Anderson is a director very cautious not to wander outside his comfort zone. He has carved out a pleasant little niche for himself and has remained there for several years only venturing out slightly with his last effort The Fantastic Mr. Fox in 2009. Since that release and even in parts of that film it felt like Mr. Anderson has been running low on steam. That might explain the three-year hiatus from behind the camera, but in his absence it seems the writer/director has been working on something rather special. I have always been a fan of Anderson's dry humor and intimate portraits of odd yet perfectly flawed characters. Here he puts these two personal touches to great use as Moonrise Kingdom finds a way to make those most human elements of humor translate flawlessly from our world around us to his golden saturated world. These little moments add up to something that ultimately feels like one of the most epic of love stories. Anderson has rounded up a couple of his frequent collaborators as well as some new friends to tell a story that at first glance is a simple story of boy meets girl. What the film ends up being is a concise and intricately made film that documents the personal journey of love in all its different forms and stages. There is a theme behind his khaki tones and direct dialogue and it is something he has explored many times before, but it seems every time Anderson is able to elicit a fantastic response because he has such beautiful ways of saying it differently.

Suzy (Kara Hayward) and Sam (Jared Gilman) plot
their escape route in Moonrise Kingdom. 

Moonrise Kingdom tells the innocent tale of an isolated oldest child and an abandoned boy scout who find comfort in one another's arms. The story first introduces us to Suzy as played by wonderful newcomer Kara Hayward. Suzy is the oldest of four children with her three younger brothers forming a kind of isolated group that excludes their bookworm, troubled sister. It is clear Suzy has trouble adapting to kids her age and so when Sam (Jared Gilman) stumbles upon her at a church play and becomes immediately infatuated with her, she finds him interesting. Sam is introduced to us without us actually seeing him and in doing this it gives us the biggest inclination of who he is. He is a mischief maker, but not of the intentional breaking-the-rules nature, more because he is a free thinker. The boy is a total independent and he has no problem taking the world in and doing with it how he sees fit. Anderson along with collaborator Roman Coppola write these young characters with such reality and honesty it is completely believable that these two kindred spirits could come together and understand one another on a level that would make them want to run  away with each other. It works to the utmost and we buy into it and believe it. They are fleshed out by the cast Anderson has surrounded them with but not because of the characters they are playing but more for the roles they play, the influence they have upon our two main characters. Isolated on a little New England island Suzy's lawyer parents Walt and Laura Bishop (Bill Murray and Frances McDormand) are disconnected from their kids communicating with them through bullhorn and only calling on them when necessary. Sam has lost his parents and relies on Scout Master Ward (a hilarious Edward Norton) to serve as a kind of parental figure. This role shifts between he and the local police captain Sharp (Bruce Willis) as the story evolves. Jason Schwartzman, Tilda Swinton, Harvey Keitel, and Bob Balaban show up from time to time as well and infuse great moments of that signature Anderson dry wit.

From Left: Walt (Bill Murray), Laura (Frances McDormand),
Scout Master Ward (Ed Norton) and Captain Sharp
(Bruce Willis).

While all of this ultimately makes up for a surprisingly thrilling adventure story it is the small details, the extra tid bits, or simply the care that seems to have been taken in telling this story that really stands out. Whether they be about the bubble of a world in which the movie takes place or the specifics of the time period everything about this production seems to have been touched with the same bit of care that Sam has taken to make sure everything about he and Suzy's escape works. While the plan for Sam and Suzy's love story doesn't exactly go the way they likely planned it, the film hits the strides of its story with perfect measure. I loved the opening scene where Anderson introduces us to the Bishops with a series of camera movements set to the music of a young person's guide to the orchestra. There is not a word of dialogue spoken, yet in mere minutes we fully comprehend what kind of person Suzy is and even more important, why she has become that way. I adored the complex relationships that were taken on by Coppola and Anderson in the script that were each given a respective angle while still allowing the overall flowery feel of the production to never succumb to some of the more weighty issues being explored. That is the magic trick of Moonrise Kingdom, it is the clever manipulator you don't realize you've experienced until days later when you still can't get the effect of the story out of your mind. That this quirky little indie film that at first glance seems so innocent doesn't only tell the cute, humble story of two kids in love but instead explores an emotion that will forever be up for interpretation. The sadness of Captain Sharp's realizations and the tragedy of the what the Bishops have become. The longing, yet ultimately fulfilling quest of Scout Master Ward. To each is their own meditation on the subject and with an optimistic outlook Anderson brings us back to our main characters that reassure each of the adults where that feeling of love originates from.

Coousin Ben (Jason Schwartzmen) lead the runaways
to safety in their quest for true love.

Anderson  has always had his signature style to rely on and he still milks that quirky tone mixed with his painting-esque visuals to tell a poignant story of flawed characters here. Maybe it is the fact he has been away for longer than usual (he really hasn't, it just feels that way because his last film was animated despite being undoubtedly Anderson) that I embrace his latest with a warmer sense of eager excitement. Maybe because this was the slowest expansion of a well reviewed indie I've ever had to experience and the anticipation has just trumped my judgement a little bit, regardless Moonrise Kingdom is a wonder to behold. I thoroughly enjoyed every minute of the film and at a mere 90-minute run time it is impressive to go on such a detailed quest that brisks by at a pace that doesn't also drag you down into the sorrow and pain some of the characters feel for good amounts of that time. Much of this relayed feeling to the audience can be accredited to the wonderful performances that populate the film. Whether it be Bruce Willis who diverges from his beaten path and fills a role in Anderson's world with such gusto or another newcomer like Ed Norton who completely embraces the nerdiness of his character that he ends up wearing it like a cool style. Murray is in classic form with only a limited number of scenes and McDormand is grand in her small but necessary role as Suzy's emotionally crippled mother. As for the two leads who embrace their first film roles with as sweet and innocent a nature as their characters love for another, it is lovely to experience. It is fresh, and real and elevates this to what will certainly be one of the best films of the year.

MOONRISE KINGDOM Review

In many ways Wes Anderson is a director very cautious not to wander outside his comfort zone. He has carved out a pleasant little niche for himself and has remained there for several years only venturing out slightly with his last effort The Fantastic Mr. Fox in 2009. Since that release and even in parts of that film it felt like Mr. Anderson has been running low on steam. That might explain the three-year hiatus from behind the camera, but in his absence it seems the writer/director has been working on something rather special. I have always been a fan of Anderson's dry humor and intimate portraits of odd yet perfectly flawed characters. Here he puts these two personal touches to great use as Moonrise Kingdom finds a way to make those most human elements of humor translate flawlessly from our world around us to his golden saturated world. These little moments add up to something that ultimately feels like one of the most epic of love stories. Anderson has rounded up a couple of his frequent collaborators as well as some new friends to tell a story that at first glance is a simple story of boy meets girl. What the film ends up being is a concise and intricately made film that documents the personal journey of love in all its different forms and stages. There is a theme behind his khaki tones and direct dialogue and it is something he has explored many times before, but it seems every time Anderson is able to elicit a fantastic response because he has such beautiful ways of saying it differently.