NOBODY Review

There’s a moment just under an hour into Ilya "Hardcore Henry" Naishuller's Nobody when Bob Odenkirk’s Hutch Mansell returns to his home where, moments earlier, he took out an entire squad of Russian goons; their bodies still lay strewn about the house as Mansell’s family awaits a verdict in their secured basement: will the father and husband return, will he set them free, and also what the hell is going on up there? Mansell's wife, Becca (Connie Nielson) along their two children (Gage Munroe and Paisley Cadorath), have zero idea what kind of predicament their father's gotten them into and the children seemingly have no idea there dad was once one of the baddest mofo's on the planet. It was at this moment in the movie though, some fifty or so minutes in, that I hoped Mansell might - instead of cleaning up after himself or burning the place to the ground - reach for his phone to order the services of "The Cleaners" from the John Wick franchise proving indefinitely that screenwriter Derek Kolstad (a writer on all three John Wick films) had connected Mansell's universe with that of the Keanu Reeves character inevitably leading to a cameo from Odenkirk in John Wick Chapter 5: Whatever Unnecessary Subtitle They Come Up With. Unfortunately, said "Cleaners" do not show up and Mansell, as he does with most things in life, takes care of it himself. It's easy to say this "missed opportunity" is unfortunate, but is likely - ultimately - for the best given Kolstad is clearly attempting something a little more knowing here than he's done with any of his previous efforts including the Keanu Reeves actioners or the other random, B-level action movies he's written that no one ever knew existed until they saw them at a Redbox and only seem to exist to answer the question of, "what has Dolph Lundgren been up to since The Expendables 3?" With Nobody though, Kolstad is looking to enlist the ambiance of a traditional genre movie only to upend tropes such as the pounding score or the grizzly narration with the mundanities that make Hutch appear to be the "nobody" he aspires to be, but can't help but resent. While its protagonist could easily be described as a wolf in sheep's clothing the opposite is true of the film in that Kolstad and Naishuller set the movie up as if it were a serious, R-rated action flick whereas in reality the movie couldn't take itself less seriously. It's a clever little conceit that becomes more clever the further it's executed amounting to something akin to a top-tier, late-stage Liam Neeson actioner with the self-awareness to stop and wink at the audience from time to time.  

LITTLE WOMEN Review

"Writing doesn't confer importance, it reflects it."
"No, writing about it will make it important."

It kind of feels like there's more excitement around Greta Gerwig's take on Little Women for all the factors involved than there is necessarily for the final product itself. Gerwig's follow-up to Lady Bird was going to be anticipated regardless, but given she decided to go with an adaptation of the oft adapted Louisa May Alcott classic only added something of an IP stamp to it; a built-in audience of sorts that became more enhanced given the Christmas day release...Sony knows what it's doing. Add to all of this the fact the film reunites the writer/director with Lady Bird stars Saorsie Ronan and Timothée Chalamet while bringing in the likes of Emma Watson, Florence Pugh, Laura Dern, Meryl Streep, Chris Cooper and Bob Odenkirk to boot and you may as well permanently pencil in a screening of Little Women on your Christmas itinerary from here to forever.

Oddly enough, I recall really enjoying and being somewhat enamored with the 1994 version of this story as my siblings, cousins and I would watch it on VHS on repeat at our Nanny's house when I was probably between the ages of nine and ten. The characters, the lifestyle and period details along with the inherent drama of the piece were all things I can remember being striking about the experience even if, prior to screening Gerwig's film, I couldn't recall many plot specifics. The hope was that Gerwig might find a way to both remind me of what I found so fascinating about that earlier take on the material while undoubtedly bringing her own, unique and deft approach to the themes of gender stereotypes and the balance of family and personal growth that run rampant throughout Alcott's novel.

First Trailer for Greta Gerwig’s LITTLE WOMEN

Sony Pictures has released the first look at writer/director Greta Gerwig’s follow-up to her Oscar-nominated debut, Lady Bird. For her second feature, Gerwig chose to adapt Louisa May Alcott’s classic 1868 novel, Little Women, that follows four sisters who come of age in America in the aftermath of the Civil War. While I have fond memories of the 1994 Gillian Armstrong-directed adaptation starring Susan Sarandon, Winona Ryder, Kirsten Dunst, Claire Danes and Christian Bale (which I remember considering funny even at that time as period pieces weren't exactly my thing as an eight to nine year-old boy) as it was one of those VHS tapes on repeat at my Nanny's (my mom's mom) house that I never thought twice about the origins of. Originally published in two volumes in 1868 and 1869, the book is known for being a mostly autobiographical novel in which Alcott chronicled the March sisters including Meg (Emma Watson), Jo (Saoirse Ronan), Amy (Florence Pugh of Midsommar) and Beth (Eliza Scanlen of Sharp Objects) as they grow up, find love and find their place in the world. Timothee Chalamet takes on the role of Theodore Laurence, the grandson of the March's neighbor and the young man who is ultimately after the heart of the strong and willful Jo. All of that said, I don't remember much of the specifics or details of said story and therefore am unsure of what exactly attracted Gerwig to this project as her follow-up outside of the fact it's a classic novel and something of a familiar brand that might help it garner more traction outside of this simply being Gerwig's second film as a director. Given I remember that previous version being more than appealing though, I'm anxious to see what Gerwig has done with the source material to make it her own. If there's anything that stands out about the trailer it is how impeccable the period detail seems to be while simultaneously feeling as fresh as anything Gerwig might have done otherwise. Though set in the 19th century the conflicts and interactions all feel very much alive and the actors just as present in these emotions as they would be were they in a high school setting. Rather than feeling like the stuffy, unrelatable period piece it very well could have Gerwig seems to have crafted something much more accessible. The themes and ideas being relayed are unsurprising yet still important, but I'm really loving the way Gerwig and her cinematographer, Yorick Le Saux, seem to have balanced the look of the film with these bright pops of vibrant color and the rich textures of the dark shadows as if to fully embrace the little women of the title coming into their own and carving out their own respective places in society. Little Women also stars Meryl Streep, Laura Dern, Bob Odenkirk, Chris Cooper and opens on Christmas Day.

LONG SHOT Review

Pairing schlubby, messy men with women who are out of their league in regards to looks if not always intelligence is not a new concept or novel idea, but it is something that has been done to the point that, to do it again without any sense of awareness would in and of itself feel like a parody. This is why Long Shot immediately placing this same situation in the realm of political campaigning-where outward appearance and perception is critical-is what makes re-visiting this trope both funny and worthwhile. Rogen, who rarely seems to work from a concept or screenplay where he's not involved in some capacity has thrown himself at the mercy of screenwriters Dan Sterling (The Office, The Interview) and Liz Hannah (The Post) as well as frequent collaborator, director Jonathan Levine (50/50, The Night Before). This R-rated romantic comedy not only deals with your typical conundrums of opposites attracting, falling in love, and making it work in the face of what societal expectations tell our characters they should ascend or not ascend to, but it also gets into the weeds when it comes to our current political climate and is able to round out both of these objects of very strong affections with the idea that one shouldn't compromise their desires or feelings towards a topic or person just because some people may not approve of them. It's been nearly fifteen years since movie-going audiences were introduced to Rogen's disoriented stoner/slacker of a caricature and in that time Rogen has managed to somehow both mature yet remain the same. There is a natural level of humor Rogen brings to his projects that is gleaned simply from the actor laughing at a joke either he or another character has made. Whether Rogen is working with the likes of Judd Apatow, someone like Levine, or writing and directing with creative partner Evan Goldberg each pairing seems to always find a way to carefully balance the vulgarity and gross out gags that are inevitable with a sweetness and sincerity in story that reassures the audience there is more here than dick and drug jokes.

INCREDIBLES 2 Review

It has been fourteen years since the Parr family, including Bob (Craig T. Nelson), Helen (Holly Hunter), and their three children-Violet (Sarah Vowell), Dash (Huck Milner), and Jack Jack (Eli Fucile)-were introduced to audiences through the magic of Pixar and the imagination of writer/director Brad Bird (The Iron Giant, Ratatouille, and arguably the best Mission: Impossible movie-Ghost Protocol). In those fourteen years since the first Incredibles film Pixar has steadily upped its output of sequels going from only a single sequel in Toy Story 2 as of 2004 to Incredibles 2 being the seventh Pixar sequel of some sort. Does this say anything about the studio outside of the fact they enjoy making money and are not immune to capitalizing on IP's the same way every other studio does? No, not really, but it does always feel like something of a missed opportunity when Pixar releases something that re-hashes a striking original rather than releasing what is hopefully another striking original. This is all to say that while The Incredibles always seemed like the most obvious choice for sequels, it was also a stand-alone film that didn't necessarily require any type of continuation. Thus bringing us to what is probably the most impressive thing about Bird's Incredibles 2 in that not only does the film seem to effortlessly pick up right where the original left off, but it validates itself thoroughly and makes its case that not only is its existence justified, but rather that the original needed this extension of the story to exist. And while this is impressive for obvious reasons it is the ideas the film dolls out as well as the engaging if rather complex without actually feeling convoluted premise that will earn Incredibles 2 this sterling reputation as a sequel that both earns its place alongside the original as well as one that improves upon it. Incredibles 2 will undoubtedly please the generation that grew up on it and are now entering their early twenties, but as someone who was among the Toy Story faithful, Pixar blossoming just before we did, I was getting ready to enter my senior year of high school when The Incredibles was released and feel no inherent connection to that original whatsoever. Due to this and the fact we live in a time where the market is saturated by super heroes it was genuinely surprising how much joy came from watching a family of super heroes strike a balance between feeding the machine and rebelling against it. Which, as Pixar sequels go, is par for the course. 

THE POST Review

The Post is as much a movie as it is a strict documentation of a sequence of events that deal in something as fleeting as time and the importance man places upon the construct of time. Time, by all definitions, is a mental construct used to make sense of movement. There is a great sense of the collusion between time and movement in the latest from director Steven Spielberg and how what man has created to help maintain order can also spin us into the very midst of confusion as chaos is so often categorized. Simply by defining how long something has the potential to be powerful or life-changing we set ourselves up for large successes or failures. It is no surprise then that Spielberg focuses not on the passage of time or how this fleeting thing called life is formed against the backdrop of the time we just so happen to have been born into or exist within, but rather how time is what we do with it. What defines our lives and the time we are able to spend on this earth is not simply how we make it through one day to get to the next, but by the actions we take, the strides we make, and the deadlines we set for ourselves and either meet or don't. It's a thesis based on the hope that nobility is a prized possession in any viewer that sits down to take in history as told by the movies. This thesis of sorts is meant to both stir something deep within for the pride in one's country that allows for, "the press to serve the governed, not the governors," while at the same time utilizing this message to remind us all that history undoubtedly repeats itself. One would be remiss to go through a full discussion around The Post without mentioning its relevancy, but more so-its poignancy-in relation to the present state of the world and the leaders that are in power; utilizing their power for personal gain and favorable poll numbers rather than in the interest of world peace. Our present day is not the world the characters in The Post thought they were shaping or being bold enough to attempt to usher society into and while Spielberg makes no direct indication of his intent the opportunistic quality of the project is enough to suggest as much. It would be futile to not mention such obvious parallels and why this film in particular feels more like a product of today despite taking place forty-six years ago. This isn't a negative in terms of how it plays throughout the narrative either, but is more a return to this idea of time, time as a construct, and how it isn't a neat and tidy sequence of events one can always apply a narrative to, but something that is forever reminding us, the human race, what we must do and what values we must continue to uphold in order to ensure our continued survival. The Post may not exactly be a revelatory piece of work, but it is certainly a direct and not so gentle reminder there has to be examples of the best of us in the worst of times.

First Trailer for THE POST Starring Meryl Streep & Tom Hanks

While director Steven Spielberg began and finished production on next year's adaptation of Ready Player One before even considering directing The Post, both films are now in the can with 20th Century Fox releasing the first of two Spielberg films in the next five months before the end of the year in a limited run before expanding wide in January so that it qualifies for awards consideration. Spielberg has undoubtedly made a great many films in his career and I genuinely mean "great", but as of late the definitive filmmaker of many a generation has felt like he's been on something of an autopilot setting with the likes of both The BFG and Bridge of Spies being fine by Spielberg standards if not feeling slightly half-hearted and a little more than conventional. While I'm anxious to see what Spielberg does with the material provided him by the Ernest Cline novel I am also more than intrigued to see what Spielberg was able to do with the stellar cast he was able to assemble (and in such a short time, no less) that not only sees the filmmaker reuniting with Tom Hanks for the fifth time, but working with Meryl Streep for the first-so you can bet your ass this thing is at least getting one nomination come the 2018 Academy Awards. The Post tells the story of the United State’s first female newspaper publisher of The Washington Post, Kay Graham (Streep) and its hard-driving editor, Ben Bradlee (Hanks) as they fight to publish the Pentagon Papers, which proved the government had systematically lied about the scope of the Vietnam War. The film, which comes from Spotlight screenwriter Josh Singer and Liz Hannah (a producer on Hitchcock/Truffaut), looks like a perfect piece for such acting giants to collaborate with a master of the craft as this first look at the final product hints at a film with plenty of big moments and stirring speeches while at the same time conveying a timely and important message about the importance and value of the free, honest, and respectable press. Make no qualms that rushing to get this film into theaters was no just a question of potential accolades, but one of addressing the current climate of our country as well. The Post also stars Alison Brie, Sarah Paulson, Carrie Coon, David Cross, Bruce Greenwood, Tracy Letts, Bob Odenkirk, Jesse Plemons, Michael Stuhlberg, Zach Woods, Bradley Whitford, and opens in limited release on December 22nd, 2017 before going wide on January 12, 2018.

NEBRASKA Review

Naturally, the most involving stories are those we usually relate to best. I personally love a good comedy but the consequences most characters face in those films are unrealistic. I can enjoy a horror flick without actually becoming wrapped up in the mythology of what the film justifies its actions with or convincing myself it is real and an actual possibility in this world. The same goes with science fiction and over-the-top action movies. Sure, I love Star Wars and have become enamored with the barrage of comic book films we’re hit with every year, but I like to think of myself as a diverse viewer in the fact that while I can enjoy even the mainstream genre films that big studios deem worthy of their big budgets it is perfectly acceptable to understand why the smaller, indie movies that typically end up on critics end of year best-lists are just as enticing and deserve to be taken on their own terms for the point in which they were made and what ideas they were looking to explore and fulfill (just as those bigger budget ones). All of that to say that when something like Nebraska comes along it is easy to take it for granted, but in reality this is a film that captures all of the complexities of life in as simple a package as our day to day lives make it seem most of the time. As told by director Alexander Payne (Sideways, The Descendants) it was clear that this very human story would have a very personal tone to its proceedings, but Nebraska is surprisingly insightful not only for the dynamics between the family members and the core relationship between the father and son that examines big questions in small ways, but because it is, like its main character, so matter of fact about these big ideas. There is nothing overly exceptional about the film, but that too is due to the fact it dials down its philosophical and nostalgic questions that delve into the choices we make and how they effect our happiness, how we don't always think them through in the moment and how they may, in the long run, determine more than just the quality of life but our satisfaction with it. Payne has always had a knack for exploring human pain and contemporary American life with a touch of dark humor and he almost provides that in excess here as the crux of the plot is a senior citizen buying into one of those million dollar marketing ploys, but this silly gimmick only serves as the entrance point to a family many will feel all too familiar with and be happy to be re-assured we are not alone in each of our hectic/tiring/uplifting/pathetic/routine lives.

First Trailer for NEBRASKA

I'm a moderate fan of director Alexander Payne. He gets a lot of credit for his 2004 flick, Sideways, but I much prefer 2011's The Descendants simply because of where I was at in life and how it hit me. I haven't re-visited Sideways in a few years and I never made it around to seeing his 2002 feature About Schmidt or 1999's Election, but regardless I'm rather excited to see his latest film, Nebraska. Having premiered at the Cannes Film Festival earlier this year to lukewarm reviews it has still managed to gain a good amount of momentum and will be making its premier stateside next month at the New York Film Festival. It seems that here it will find a home and we may get a better understanding of what the point of the film is and what it is trying to say as it is essentially a small film set in small town America and tells a story of an old man in a new generation who seems to want to contend rather than sit by and let his final years pass him by. That may even sound a little too mainstream a synopsis to capture what the film is going for, but from the mood of the first trailer it is evident that Payne is going for that same type of tone and wit that made Sideways such an underground hit. What might be the most exciting aspect of this for me is that Payne has given Will Forte the chance to spread his wings in something more than just a bit role in a major comedy or the string of MacGruber-type flicks that may or may not end up being his lot in life. Naturally, Bruce Dern as the lead is getting more of the attention and the trailer displays why as he's a guy who receives one of those "winning" sweepstakes letters in the mail and, convinced he has actually won a million dollars, makes it his mission to walk from Montana to Nebraska to claim his prize. Nebraska also stars Bob Odenkirk, Stacy Keach, June Squibb and opens November 15th.

THE SPECTACULAR NOW Review

If there will be one positive thing remembered about the summer movie season of 2013 it will certainly be the number of coming-of-age tales that were released and received with generally positive criticisms. Beginning with the late April release of Mud and continuing into the heart of the season with both The Way, Way Back and The Kings of Summer (which I missed in theaters, but have heard nothing but great things about and can't wait to catch when it hits home video) and continuing into the final stretch we now have The Spectacular Now. Each of these films have a certain approach to the nostalgia of crossing the threshold from childhood to real maturity, but none of them likely hit you in the heart the way The Spectacular Now does. Naturally, this is a safe assumption as it is the only one of the films I've seen that deals with the budding relationship between two high schoolers and seniors nonetheless. Still, while Mud and The Way, Way Back took a hard look at their central figures finding themselves and realizing who they wanted to be while allowing them to take a step back and evaluate what they need to do to get to where they'd like to be, The Spectacular Now does this by having its young couple help each other accomplish these goals and overcome the obstacles in their way. Director James Ponsoldt who also made last years overlooked, but well-received Smashed again directs his film with such an honest touch and feeling of authenticity that paints a clear picture of who these characters are and why they have become the people they are when we meet them. This touch of truthfulness runs through every word and action that occurs in the film and while the freewheeling, almost improvised tone Ponsoldt implies certainly contributes to how well we are able to accept everything and admire the film for not attempting to glam up what are essentially extremely personal situations it is the lead performances from Miles Teller (Footloose) and Shailene Woodley (The Descendants) that solidify the heart of the film and how well it connects with its audience. It isn't the heart-wrenching, consistently moving film I expected it to be a la The Perks of Being a Wallflower, but it is a well made coming-of-age story that contains performances convincing us we've seen the beginnings of true love.