DOCTOR SLEEP Review

How does one craft a forty year-later sequel to what is widely considered one of if not the greatest horror film of all time that is also based on a sequel novel by an author that didn't appreciate the aforementioned film adaptation? In other words, how does one approach making a film based on a book that is the sequel to the original source material as well as being a sequel to the film adaptation that the author of both novels didn't care for? Tricky, right? Complicated? Complex? Beyond difficult? Sure, it's all of these things and while I've not read any Stephen King in some time (we're talking probably high school) and wasn't aware the master of horror had penned a sequel to The Shining in 2013 it seems inevitable still that this is where we are six years later with the one hundred and fifty-two minute Doctor Sleep. In the same amount of time since King's follow-up was released, writer/director Mike Flanagan burst onto the scene with a feature length adaptation of his short film, Oculus, that paved the way for him to become Netflix's go-to guy for original horror content as the filmmaker not only produced original films for the streaming service like Before I Wake and Hush, but also got his feet wet with another King adaptation in 2017's Gerald's Game then going on to oversee the wildly successful TV series, The Haunting of Hill House, that premiered to rave reviews last year. This is all to say that Flanagan has developed a style all his own and more importantly-a penchant for gauging the type of scares and imagery to best represent the horrors of a given story-meaning he's able to grasp the characters and their circumstances in a way where the scares aren't for the sake of the genre, but are in fact appropriate and even further, indicative, of the type of narrative being disclosed. Flanagan does this through soft, but illuminating character moments in which he latches onto certain aspects of an individual bound to serve a significant role in the story he's telling and then track the arc of said character trait through the more genre-specific events that naturally tend to enlighten the character to this side of themselves they may have either not previously considered or wanted to face in ways that are emotionally compelling and thematically resonant. Thus is the case with adult Danny Torrance (Ewan McGregor) in Doctor Sleep as Flanagan's now distinctive approach blends with the style of Stanley Kubrick's 1980 film and the tone of King's writing to create a well-rounded, expertly balanced yet equally effective journey that is both everything fans of the original film might have hoped for as much as it is wholly its own endeavor; a bridge between who we were meant to be, who we become and the resilience necessary to counteract the detrimental and absolve one's self of their past in order to continue to shine.   

Final Trailer for DOCTOR SLEEP Starring Ewan McGregor

It's been five or six years since I've seen Stanley Kubrick's The Shining and while it's certainly one of those movie experiences that stays with you I'll definitely be refreshing my memory when it comes to Kubrick's horror classic before venturing into director Mike Flanagan's (The Haunting of Hill House, Ouija: Origin of Evil) adaptation of Stephen King's sequel to both his and Kubrick's seminal work. The story of how Doctor Sleep, the novel, came to be is fairly interesting given in December of 2009, King posted a poll on his official website asking fans to vote for which book he should write next, Doctor Sleep or the next Dark Tower novel. The poll closed on December 31, 2009, when it was revealed that Doctor Sleep won by a mere forty-nine votes. King then posted an update confirming Doctor Sleep was in the works in 2011 and that the plot included a traveling group of psychic vampires called "The True Knot". Eventually, Doctor Sleep was published on September 24, 2013 and now-almost forty years after the release of Kubrick's film which King himself remains disappointed in-we have this film adaptation of the thirty-six year-later sequel King wrote to his original book. All of that said, it would seem a delicate situation to try and craft a movie sequel to said seminal work not only for the reason that The Shining is considered one of the greatest horror films ever made, but also because a sequel is largely only ever just a sequel-"the second one"-and will forever live in the shadow of that original. So, the question is, "how does one combat that? Does one even try?" While I haven't read King's sequel and have no idea as to the critical response or how it was received by general consumers (or, for that matter, how the original novel was received as the film adaptation has always overshadowed the original work in my lifetime) it is comforting to know that someone as well revered and well seasoned in the horror genre as Flanagan is the one who was given the keys to build this castle. Like I said, I haven't read either of King's novels and its been a few years since I've seen The Shining, but as a horror film in and of itself this final trailer Warner Bros. has released offers an intriguing premise and spooky atmosphere outside of its promise of returning to the Overlook Hotel. Doctor Sleep stars Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Carl Lumbly, Jacob Tremblay, Cliff Curtis, Bruce Greenwood, Emily Alyn Lind and arrives in theaters on November 8, 2019.

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.

First Trailer for MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE HOUSE

As the Toronto International Film Festival draws closer and closer the more trailers we'll likely receive for some of the higher profile titles that will be making their debut there. Today brings us the first glimpse of director Peter Landesman's  (Concussion, Parkland) take on the story of FBI agent Mark Felt, who would become “Deep Throat”, the anonymous whistleblower who exposed the Watergate scandal in a series of discussions with Washington Post reporters Bob Woodward and Carl Bernstein. As the trailer shows us, the film chronicles Felt’s discovery of the Watergate scandal and subsequent decision to leak information to the Post as President Richard Nixon’s White House administration began to try and tamper with the FBI’s investigation. While this may have been presumed to be something entirely different to those unaware of who Mark Felt was prior to watching the trailer (a la a Liam Neeson version of White House Down/Olympus has Fallen) I am a sucker for straightforward historical dramas such as this seems to be and would have definitely made time to see this were I still going to be able to attend TIFF this year. While that was the plan up until recently, I unfortunately won't be able to make the trip to the festival this year, but fortunately won't have to wait too much longer to find out if The Man Who Brought Down the White House is as intriguing as this first-look trailer makes it out to be. What concerns me about the film is that it was originally announced back in 2006, didn't start shooting until May of last year, and is just now getting a release date nearly a year and a half after the fact. Whether this has anything to do with the quality of the project overall remains to be seen, but the credentials are certainly in the films favor as Liam Neeson stars in the titular role along with Diane Lane, Tony Goldwyn, Josh Lucas, Michael C. Hall, Maika Monroe, Kate Walsh, and Tom Sizemore in supporting roles. Mark Felt: The Man Who Brought Down the White House opens nationwide on September 29th, 2017.

GOLD Review

Kenny Wells is a mess and that is pretty evident from the moment he appears on screen hoping to charm the curls right out of Bryce Dallas Howard's eighties frizzled hair, but even as he does this it's easy to tell there is no real thought behind his actions other than what the immediate rewards might be. This is key to understanding the type of mentality we'll be working with for the next two hours as Wells is a man who believes himself lucky to have been born into a family that started a mining company and who intends to carry it on even after the death of his father (Craig T. Nelson). Wells takes the idea from his father that they don't necessarily have to do this for a living as it's a crap shoot of a business, but instead pride themselves of getting to do this for a living. The question they're seemingly missing the answer to though, is the ever-present why? What are they doing this for? Seven years on after the passing of the elder Wells and Matthew McConaughey's Kenny has his men working out of a bar, trying to keep a lid on expenses, and coming up short in seemingly everything, but chiefly in keeping his family's business afloat. As a man who can't help but to try and survive for the next few weeks rather than the next twenty years Wells sees no other option other than to do whatever it takes to keep that business running. He is a man who puts a lot of stock in legacy in the way that he seems to inherently ask himself how proud his father would be were he to still be alive-would he be happy with what Kenny has done with their business? After the rather stirring opening and tone-setting title card fade away it becomes pretty clear that Kenny Wells is in a position neither his father nor his grandfather ever found themselves in. The guy is desperate to find backers for digs that no one believes in and that no one seems to believe will yield any results. Sure, Wells has responsibilities to his employees that are dedicated enough to work out of that aforementioned bar, to Howard's Kay who has stuck with him still and now works at that same bar as a waitress most of the time doubling as his secretary, but the biggest responsibility Kenny feels is clearly to that legacy he is set to taint. And so, Wells takes a chance, a risk-one that could fail just as easy as it could succeed, but one that perfectly encapsulates and sets the stage for how this protagonist McConaughey fully commits to will operate in the mostly entertaining circumstances Gold presents.   

First Trailer for GOLD Starring Matthew McConaughey

Fool's Gold this is not though Matthew McConaughey once again stars and the point of the story is to seek out a lost treasure. Gold really shouldn't be thought of as any type of relation to that 2008 rom-com though, as it marks the first film from writer/director Stephen Gaghan (Syriana) in over a decade. Having no idea what the film was about before seeing this initial trailer and only having McConaughey's choice to go bald atop his head as the main identifier I wasn't sure what to expect, but having now caught a glimpse of what Gaghan has in store for us I am certainly more intrigued. Telling the true story of the Bre-X Mineral Corporation mining scandal the film follows a struggling businessman who teams up with a hapless geologist to find gold in the Indonesian jungle. McConaughey looks to be in full Oscar-mode here as not only has he gone bald, but he's added a bit of a belly and just looks downright sweaty and smarmy throughout this entire clip. After seeing Hands of Stone last week and given he's part of the ensemble in the sure to be hit adaptation of The Girl on the Train later this fall I'm more interested in the career of Edgar Ramirez and what he might do in the future so it's good to see him alongside McConaughey and in a prestigious picture such as this. That said, Gaghan didn't have a hand in penning this screenplay as he did for his Oscar-winning Syriana and Traffic. Still, given this is only the director's third major motion picture one has to assume many of his tendencies and instincts to tell a story will align with what has provided a solid track record thus far. Hopefully, the script was so good already Gaghan didn't feel it needed polishing before taking it on. We can hope. Regardless, this trailer certainly sells the film well with the influence of Martin Scorsese and Oliver Stone evident. Gold also stars Bryce Dallas Howard, Toby Kebbell, Rachael Taylor, Corey Stoll, Bill Camp, Bruce Greenwood, Stacy Keach, Adam LeFevre, Timothy Simons, Macon Blair, and opens wide on Christmas day.

TRUTH Review

Note: This is a reprint of my review for Truth, which originally ran on September 14, 2015 after seeing it at the Toronto Film Festival. I am publishing it again today as it hits theaters this weekend.

I don't typically watch the news anymore. If I do it's only because it's on in the background at a restaurant or friends house. I don't even have cable. I get my news updates and read the latest stories on the internet. Naturally, that means Truth makes me feel like a horrible individual. This is the case because the film deals in the purity of investigative journalism, the integrity it was once synonymous with and the standards that every great reporter would ideally hold themselves to. Of course, the truth is also relative and in his directorial debut James Vanderbilt (who has written screenplays such as Zodiac and White House Down) explores this idea by telling the behind-the-scenes story of the 2004 60 Minutes investigation of then-President George W. Bush's military service in the Texas Air National Guard. This investigation, led by producer Mary Mapes (Cate Blanchett), comes under heavy scrutiny after the legitimacy of a handful of documents that question the conduct and participation of Bush while in the National Guard are thought to be fake. Vanderbilt ultimately plays things safe and goes with a rather trusted formula and conventional approach a la any newsroom drama you've ever seen, but because the story in and of itself is so interesting (as is also typically the case with newsroom dramas) and given the way the film deals with the subsequent firestorm of criticisms and accusations that cost anchor Dan Rather (Robert Redford) and Mapes their careers it more than sustains itself and delivers a solid if not exceptional venture.

TIFF 2015: TRUTH Review

I don't typically watch the news anymore. If I do it's only because it's on in the background at a restaurant or friends house. I don't even have cable. I get my news updates and read the latest stories on the internet. Naturally, that means Truth makes me feel like a horrible individual. This is the case because Truth deals in the purity of investigative journalism, the integrity it was once synonymous with and the standards that every great reporter would ideally hold themselves to. Of course, the truth is also relative and in his directorial debut James Vanderbilt (who has written screenplays such as Zodiac and White House Down) explores this idea by telling the behind-the-scenes story of the 2004 60 Minutes investigation of then-President George W. Bush's military service in the Texas Air National Guard. This investigation, led by producer Mary Mapes (Cate Blanchett), comes under heavy scrutiny after the legitimacy of a handful of documents that question the conduct and participation of Bush while in the National Guard are thought to be fake. Vanderbilt ultimately plays things safe and goes with a rather trusted formula and conventional approach a la any newsroom drama you've ever seen, but because the story in and of itself is so interesting (as is also typically the case with newsroom dramas) and given the way the film deals with the subsequent firestorm of criticisms and accusations that cost anchor Dan Rather (Robert Redford) and Mapes their careers it more than sustains itself and delivers a solid if not exceptional venture.

THE CAPTIVE Review

Atom Egoyan must have either been really inspired or really upset with how director Denis Villeneuve's Prisoners turned out last year as he has, in that year, produced a familiar feeling film that not only steeps certain motivations of its counterpart in its DNA, but takes elements of that film altogether and reconstructs them in a way that almost says this is what Egoyan would have done had he been given Aaron Guzikowski's screenplay. Of course, Egoyan could have been working on this script with David Fraser long before Prisoners arrived in theaters and thus made him all the more unenthusiastic given the social status of his film would always be on a certain back-burner given the timing of its culmination. Ryan Reynolds gets the Hugh Jackman role (hold your comments) though his character doesn't have as much of a narrative drive and Rosario Dawson takes the Jake Gyllenhaal job without the nervous ticks or personal issues that re-enforce the investment in the job. Instead, these are all more middle of the road character executions set in the middle of extreme circumstances that are dealt with way too cooly. This and the fact Villeneuve's film is expertly shot and beautifully eery outweigh what The Captive strives to be, yet there is still a certain amount of unavoidable emotional involvement when it comes to content such as this. Beyond the obvious mystery elements (which are conveyed more through narrative order than withholding information here) The Captive is very much a film about repercussions and realizations than it is abduction or child abuse in this digital day and age. The film, right out of the gate, with its creepy antagonist in a thinned-out Kevin Durand would have you believe this is going to be all about the hunt for this monster and the intelligence with which he outsmarts his adversaries, but the overall impression the film gives is not one of a battle between good and evil, but the battles going on within ones self and the fight to either push certain qualities out or attempting to find ways to go on while constantly dealing with these emotions.

DEVIL'S KNOT Review

There has been so much made of the trial that Devil's Knot dramatizes that the film itself almost seems irrelevant at this point. If you've seen any of the three Paradise Lost documentaries or for a more complete look at the eighteen years after what happens in Devil's Knot, last years excellent documentary West of Memphis, than you already know everything there is to know about this trial with ample amounts of theories and extraneous evidence to boot, but while West of Memphis encapsulated this entire ordeal from beginning to present when it turned from a trial about the murder of three little boys to a witch hunt for three other boys and the eventual plight to free them from the prison cells that constantly reminded them of the actions they were wrongfully accused of, Devil's Knot is simply looking to see what made everything go so wrong from the inception of this incident and more importantly, give a voice to the often forgotten victims and their families. The film is very open to interpretation in terms of what avenue you prefer to travel when it comes to this well-publicized case, but it certainly lays inclinations to what the current state of the case would best indicate. With such a sprawling story, a large cast of characters and multiple perspectives from which you could approach this it always seemed the choice to go with a documentary as far as chronicling the events of this case was the most efficient thing to do, but with Mara Leveritt's 2002 crime book of the same name proving an interesting and well-read piece of source material it was unavoidable that at some point a narrative feature might be attempted that pulled from the well that has seemed to officially run dry. The interesting question here is whether or not the film might be more highly looked upon were there not so many other films surrounding this same set of events because this film, on the most basic of principles, is still engaging due to the horrible circumstances under which these murders happened and the horribly botched job that the police did with the investigation that, when paired with the fine, but admittedly passive performance of actors at the caliber of Colin Firth and Reese Witherspoon, you are bound to find a few things making it worth a look.

ENDLESS LOVE Review

Endless Love is not a great movie, but it does know exactly what type of movie it is and it embraces that whole-heartily. There isn't really a sense of real-world expectations (other than going off to college of course) and there is never any real feeling of impending doom despite the films attempts to continue to raise the stakes and put its characters in danger. If you saw the original 1981 film starring Brooke Shields and Martin Hewitt you probably expected some of those stakes to pay off in different ways than this new version decides to take the facets of what is still essentially the same story. Surprisingly though, this new version feels very much like its own movie, like its own world and though it may be an imaginary world for many of us the film is able to deliver a convincing love story while never actually paying attention to the development of that core relationship. We understand the circumstances surrounding our two young lovers (portrayed by Brits Alex Pettyfer and Gabriella Wilde) and we see the doomed nature of their obsession early on and the mountain of obstacles facing them, but thanks to the charming performances from both of these leads we are able to somehow root for these young lovers that don't necessarily give us any reason to do so as far as why their relationship is so special, but because of little more than their dedication to one another and the films unapologetically optimistic view of love we go from believing this is nothing more than a summer fling (as most of the adults here do) to buying into these kids truly having a genuine affection for one another that could sustain itself for longer than the flutter in time youth is. Still, to enjoy even a moment of this updated tale of forbidden love you have to be willing to accept the movie on its own, melodramatic terms. Everything here is amplified from the posh superiority of some of the inhabitants of this lakeside town to the circumstances that some of our characters just happen to wander into. So, as long as you can take these characters and their heightened emotions and accept them as the conditions of the film you might find yourself enjoying this, if not, you'll alternate between laughing and cringing.

STAR TREK INTO DARKNESS Review

When I walked into 2009's Star Trek I'd never seen anything prior that had anything to do with the beloved television series and the several movies it spawned. I grew up a child of the 90's and was first introduced to Star Wars and simply stuck with it as by that point Trek had grown into the Patrick Stewart/Next Generation series that was by all accounts, beyond me. Still, walking into J.J. Abrams re-booted take on the Trek franchise with no idea what to expect, no pre-conceived notions of the characters, or any idea what the story might revolve around I was pleasantly surprised to learn how accessible it was and how much I enjoyed it. I didn't know if the original series had ever taken the time to tell the origins of the crew that made up the Enterprise but I assumed if they had it was not to the depth this film did. That due to this it would be extremely exciting for fans of the original series to be able to see some of their favorite characters in the younger stages of their lives and for those that were new to the world it would serve as a fitting introduction to everyone. Between that film and the now second installment in Abrams series, Star Trek Into Darkness, I still have yet to dig into anything more that exists in the Star Trek canon. In many ways it simply feels like too daunting a task to try and catch up on nearly fifty years of material while on the other hand I wanted to be able to experience these films made in my day and age as fresh experiences with no notion of what should happen and why, but instead a willingness to see where these new adventures take us and maybe catch up on the backstory sometime down the road where it will be just as fascinating for me to see where these characters eventually go as it was for long time fans to see where they came from. So, this is not a review from a guy who caught all of the references or understood all of the inside jokes that likely took place, but instead I offer the point of view of someone who very much enjoyed the 2009 film and was eagerly awaiting (and hoping) the sequel would follow the series' main proclamation of going boldly where no man has gone before.

THE PLACE BEYOND THE PINES Review

From its extended opening shot that is captured in one take it is clear The Place Beyond the Pines is looking for something extra, something more than what most films shoot for. As the follow-up to Derek Cianfrance's 2010 critical success, Blue Valentine, this film also serves as a very serious, very woeful piece that expands on the world around the people involved in the story rather than being as focused as his previous film. This is still an examination of human relationships in many ways, but instead of being purely based around the singular subject of a relationship and how something as personal as that falls apart when placed on the shoulders of a particular couple The Place Beyond the Pines is a sprawling epic, a generational story that touches on the legacy you leave and ultimately have limited control over. I was a fan of Blue Valentine and the way Cianfrance allowed his characters to take the story wherever felt natural, but I've become an even bigger fan with this film as the director shows a consistency in his style and ability to tell a powerful story while being diverse enough to approach it from a different angle. I knew I was looking forward to this film simply due to the fact it was Cianfrance's follow-up and he would likely get a little more support in making the film, but also because he was re-teaming with Ryan Gosling while enlisting the only other actor that could equal Gosling's stature at the moment with Bradley Cooper. There is a fantastic supporting cast here as well, but to see two popular poster boy actors with the ability and talent to pull off what they have done here gives a refreshing sense of optimism about where the movies are heading. The Place Beyond the Pines is a dour, brooding piece of work that will hit you in the gut and keep you yearning for more. It is close to a masterwork, but falls just short one time too many.

First 9 Minutes of STAR TREK INTO DARKNESS

I didn't get the chance to see the 9-minute Star Trek Into Darkness prologue before my first screening of The Hobbit because I chose to see it in 48 frames per second rather than IMAX and in Arkansas you have to make those kind of choices. I was able to follow up with this preview of J.J. Abrams follow-up to his 2009 re-imagining of the Star Trek universe this past week though. Before seeing Abrams original film I was never attracted to the Kirk and Spock property. Never had I laid eyes upon a single episode or one of the prior films. I was always more of a Star Wars fan as a kid and always thought myself too late to catch up by the time I heard Hollywood was going to produce a new vision of it. For that reason I was thankful Abrams made a film that was apparently appeasing to the long time fans while catering to the newly ordained that would no doubt become fans. After experiencing that film it was hard not to become a fan but I have yet to go back and explore any more of the universe. Mainly for the reason that there seems to be so much and also for the fact my first introduction was a fresh take, a starting over if you will and so in many ways it seemed unnecessary to visit a different incarnation of these characters. I may decide at some point, when I have an abundance of time to take a look back on what I'm missing out on, but for the time being I'm sticking with this universe and enjoying it. This limited pool of knowledge does limit me to not picking up on what might have been clues within the first 9 minutes of the new film, but nonetheless I enjoyed the hell out of it and it truly offers everything you could want from 9 minutes of movie.

Seeing as the prologue has now been running for a week the rest of this article will discuss impressions from the footage. If you want to avoid spoilers or have not seen the prologue yet you have officially been warned. If not, go ahead and hit the jump...

First Trailer for THE PLACE BEYOND THE PINES

Going the absolute opposite route of the movie you might expect to see two marquee names such as Ryan Gosling and Bradley Cooper star, The Place Beyond the Pines focuses on two fathers and their quest to provide for their sons. One, Gosling, is a pro motorcycle rider and bank robber while the other, Cooper, is a rookie cop who has big aspirations. Each has a significant other in Eva Mendes and Rose Byrne and their sons naturally become the center of their lives and their respective legacies. The film is from the same director behind Gosling's Blue Valentine and this looks to carry the same intensity. Like Derek Cianfrance’s previous film this is a study of a basic human emotion and the cards life deals us and how certain people respond to them and/or turn them around. The trailer is chilling and sets a wonderful tone for what we should expect from the film. I was a fan of Blue Valentine but it was certainly a bleak film and brought out a ton of questions that make the audience think on their own lives and apply those same questions to their own situations. While that film was about a more universal emotion such as love this seems to focus on that same element while at the same time going into much deeper themes. This trailer displays the intensity and the raw feel you expect the film to have but it also presents the dilemma there will be no clear cut lines between what we would automatically assume to be right and what is clearly meant to illustrate the wrong. The performances look great and it is simply refreshing to see young, admired actors doing work such as this rather than taking what would likely have been a much bigger paycheck for half the work that went into developing these characters and making this film. The film also stars Ben Mendelson, Ray Liotta and opens March 29, 2013.

NEW Teaser Trailer for STAR TREK INTO DARKNESS

With the release of the 9-minute prologue in front of The Hobbit this weekend a brand new trailer for Star Trek Into Darkness has surfaced and supplies a first look at more of the Enterprise crew in this sequel to the mega-successful 2009 film. Back at the helm is J.J. Abrams and the villain for which he has enlisted this go around has been under much speculation as of late. Well known British actor Benedict Cumberbatch is portraying the baddie who as of now is being called John Harrison though this name apparently has no meaning in the Star Trek universe. I am not a devoted fan of the series and never watched a single episode of the original or its many incarnations. My first exposure to these characters and to this world was in fact Abrams 2009 film and so, despite my history with the world, I am very excited to see the only version I know of this continue. The new trailer carries a more somber tone and features a voice over from Pike (Bruce Greenwood) that seems to be a speech he is giving to Kirk (Chris Pine). From here the trailer unleashes quick cuts of the multitude of action this film will no doubt contain. Is Cumberbatch playing Khan? Have you seen the prologue? What did you think? Be sure to let us know in the comments below. The film also stars Zachary Quinto, Karl Urban, Anton Yelchin, Zoe Saldana, John Cho, Simon Pegg, Alice Eve, Peter Weller, and Noel Clarke and opens in 3D and IMAX 3D on May 17, 2013.

FLIGHT Review

Denzel Washington defines magnetism. The guy produces this aura that attracts audiences to him no matter what character he is playing. No matter if his character might even be the most repulsive person we've ever met. In the new film from Robert Zemeckis (his first live action film since Cast Away) Mr. Washington plays Captain Whip Whitaker who may not necessarily be the most repulsive guy we've ever seen grace the screen, but regardless, has a full plate of issues. While the advertising for Flight has made the film seem like an interesting, if not mystery-steeped production that deals with what I anticipated climbing to a dramatic final courtroom sequence actually turns out to be a serious yet nuanced film about the struggles and downfalls that come along with any kind of addiction. We are of course teased with the fact that Whitaker was intoxicated while piloting the plane in the trailer, but we are unaware that this is where the heart of the story is going to lie. Though the overall film is less than I expected it to be I cannot deny that I felt a certain intrigue throughout. While Flight is a little too long and sometimes can become a little too preachy when its momentum begins to slow in the third quarter you never want to give up on the film because Washington brings such presence and pain to Whitaker that he makes you not want to give up on him. Even as it seems his chances are bleak and that the man would do anything to continue avoiding and ignoring those in his life who want to help him, we hold out hope as an audience. The film is captivating as a character study with a great performance at the center holding it together. The film crashes when trying to escape its dark territory.