OPPENHEIMER Review

Given Christopher Nolan accomplishes as much in-camera as possible there is very little left to the imagination in Oppenheimer. From the bomb to the billions of stars and even boobs, Nolan gives us everything that made J. Robert Oppenheimer (the J apparently stands for nothing) tick. Was he a neurotic loner who was also a womanizer? A cold-hearted physicist as well as a bleeding-heart liberal? That seems to be the case and maybe the best case for why Nolan’s historical biopic about the “father of the atomic bomb” is so successful: it seamlessly integrates these contradictions into the narrative surrounding the moment that set the course of humanity on a different trajectory. Nolan's trademarks are well-suited to the story of a(nother) tortured genius who faces the greatest moral dilemma - possibly in history - and must come to terms with both his ambition, understanding his actions, and eventually wrangling with his legacy as he sees it being maligned and he himself being exiled by those with real power. 

Though technically a biopic, Oppenheimer doesn't necessarily carry a weight of obligation to feel like a fully formed portrait of the titular man, but rather Nolan's focus and more importantly his technique add more thematic and worldly weight to the proceedings rather than simply amounting to a highlight reel of Oppenheimer's most notable moments. This is also a more roundabout way of saying Nolan moves through much of his subject's life at a breakneck speed, especially in the beginning as Oppenheimer goes from student to well-renowned physicist in a handful of scenes, with very little handholding, while still elegantly establishing what inspires, drives, and irritates his main character propelling us into the second - most electric - hour of the film.

MINI-REVIEWS: BARB & STAR, THE WORLD TO COME, FRENCH EXIT & LAND

The following are quick, capsule reviews of Lionsgate's Barb & Star Go to Vsita Del Mar which is now available to rent on all streaming platforms, The World to Come from Bleecker Street which is now playing in theaters and will be available On Demand on March 2nd, Sony Classics' French Exit which is now playing in New York and Los Angeles and will expand nationwide on April 2nd, as well as Robin Wright's Land from Focus Features which is now playing in theaters.  

OUR FRIEND Review

I'd like to start with Jason Segel. I've always felt a unique affinity for his persona. This is a guy who has been oddly engaging yet completely endearing and - most importantly - both effortlessly funny and likable since his cameo as a high-school stoner who couldn't help Jennifer Love-Hewitt find Ethan Embry in Can't Hardly Wait. In many ways Segel is an unlikely movie star whether it be his awkward charisma, his laid back persona as opposed to the traditionally handsome and self-serious stars who are typically granted the more dramatic leading roles, but while "movie star" may be a stretch for anyone these days Segel has carved out a particular spot for himself among the recognizable faces on posters to which we now attribute the word "star". As one of the many funny guys doing as they please in Hollywood after originally making their bones in Apatow projects, Segel has had an interesting journey. He never had the headlining Apatow treatment necessarily but served enough time in supporting parts to garner an Apatow-production via a script that was obviously very personal to him. It was with Forgetting Sarah Marshall (some thirteen years ago now) that Segel finally came into his own with what fully displayed his personal brand of comedy and it killed. Absolutely destroyed, one might say. Sarah Marshall is one of the best comedies of the last twenty years and much of that has to do not just with Segel's willingness to be vulnerable which felt a lot more fresh and a lot more bold in 2008, but largely it deals in that extreme sense of sincerity the guy generates. One can't help but think Segel is probably a little strange, but that he also has this cool streak that makes you want to hang out with him. He's not an immediately striking presence, but the more you unravel his philosophy the more you want to hug him. The one-two punch of Sarah Marshall and I Love You, Man seemed to set Segel's career trajectory in stone, but after a good mix of ill-performing studio productions (Gulliver's Travels, Bad Teacher) and better, more personal milestones (The Muppets, The Five-Year Engagement) Segel's ride seemed to culminate only some six years after it began with the bomb of a summer comedy that was Sex Drive and the fact his long-running hit sitcom, How I Met Your Mother, ended its run that same year. In 2015, Segel portrayed David Foster Wallace opposite Jesse Eisenberg in The End of the Tour, but while this served as a potential hint as to where the actor would take his career next he has since largely been absent from the public eye (only appearing in two Netflix films in 2017 and 2018). I say all of this to say that as Segel returns in a more substantial role both in film as well as in the public consciousness that it finally seems the space he now occupies personally has synced with the space he occupies onscreen. It's possible there isn't a more perfect part for Segel than that of Dane Faucheux as it utilizes his vulnerabilities, his comedic sense, and his genuine spirit to convey the wholly compassionate titular friend of Gabriela Cowperthwaite's Our Friend ; a man who visits his friends over Thanksgiving break and ends up staying with them for over two years in order to help care for the couple and their two young daughters as they deal with a terminal cancer diagnosis.   

TOP 10 OF 2017

For me, 2017 has been something of an off year. It seems the majority of avid movie-goers and critics have found much to enjoy-too much even to be able to narrow down their favorites of the year to a simple top ten. For me, I have struggled to find ten films worthy of what I would say are exceptional pieces of work that will stay with me past the calendar year into which they will forever be categorized. Sure, there have been films with exceptional moments-glaring omissions from my favorites list that will make many others are that of Lady Bird, Call Me by Your Name, and The Shape of Water. I couldn't agree more that each of those films possess inspired moments that transcend the art form, but as a whole were they films that made an impression on me that will last, if not forever, but at least a few weeks after seeing them? Not at this point, no. I have thankfully managed to whittle the two hundred or so plus new releases I've seen this year down into ten that have stuck with me, but this admittedly pessimistic discourse thus far doesn't mean I couldn't fill out a top fifteen or twenty. There are films not present on the list below that I would highly recommend and that would no doubt come in somewhere in the next five spots just outside my top ten. Though 2017 has been something of an odd year for my own personal tastes and the lack of as many being able to meet or exceed my expectations it would be a shame not to mention the likes of the pigeon-holed Stronger as it is much better than its Oscar bait facade would have you believe, the weird and deliriously entertaining The Disaster Artist, the criminally underseen and overlooked Brigsby Bear, Steven Soderbergh's return to feature filmmaking in Logan Lucky, and Sofia Coppola's re-make of The Beguiled with a handful of pitch perfect performances all deserve your love and attention if they haven't received it already. I've pretty much seen everything I imagine might have a shot at making my list except for maybe Phantom Thread (which isn't scheduled to open in my neck of the woods until January 18th), but Paul Thomas Anderson has always been hit or miss with me given his films always feel easier to appreciate rather than enjoy. With the film being touted as Daniel Day-Lewis' final bow as an actor though, it demands to be seen and I'm eager to see what all the buzz has been about once it does open near me. Furthermore, I look forward to re-visiting award season heavies like The Post and Molly's Game when they make their national debuts in January as they were both films I liked, but came nowhere close to being the giants many in the press touted them to be. All things considered, please know that I went into every film this year really wanting to like it and the ones that follow are the ones that surprised me with their quality or surpassed every expectation I held for them. Enjoy!

A GHOST STORY Review

It's not what A Ghost Story is saying. It's how A Ghost Story says it. Like chimes gently rustling in the wind or chills slowly creeping up your arms A Ghost Story somehow manages to give a sense of being so distant you're not one hundred percent sure what is causing the noise or the feeling, but at the same time it feels so deeply personal and so intimately cutting that deep down in your soul you know what it is. You know it's the wind, but you imagine something more ethereal. You know it's the melody of the song you're listening to, but you imagine it's because the singer is speaking directly to you; into your ear. It's difficult to describe past these dumbfounded attempts at articulating something meaningful just how much A Ghost Story hits you-that is, if it hits you. While it's difficult to describe all of the emotions and thoughts this latest film from David Lowery (Ain't Them Bodies Saints, Pete's Dragon) left me with I realize it will be just as difficult for some people to understand what the movieit is, what it's trying to do, or what the big deal is at all. And in many regards, this is understandable. This is a very quiet film-a film where people don't communicate and we, the audience, must discern what is happening and what is being felt from that non-verbal communication. We must allow Lowery and his 4:3 aspect ratio images to wash over us in a way that requires a fair amount of patience. If patient, the film seemingly speaks to you. If not, there is no need to waste your time on it. For me though, A Ghost Story worked in stages in that at first I was curious; never knowing where the story might lead or what might happen to the characters we see come in and out of the picture. Then, once the structure began to take shape, it became about the ideas-the themes of subjective spirituality, the concept of time and how it's the one thing we can't get more of no matter how rich we are, or the pain of dealing with loss and death and the inevitable nothingness everyone's future is likely to be, but that we hope and pray it's not. It's bleak. It's very bleak and it's very sad in how it captures small truths about life and the relationships we form while we're here. It's a film I find difficult to comprehend fully and thus is likely the reason it continues to resonate with me even days after seeing it and having watched several other films since. I keep returning to images, to sounds, and to the thoughts it instigated in my brain. It's a movie not for everyone, but if you find it's for you it's something pretty special.

MANCHESTER BY THE SEA Review

Manchester by the Sea is a simple film made from a rather simple story. Meaning that the narrative is straight-forward and wholly based in the everyday lives the majority of us tend to lead. While these factors certainly make it more relatable than say, something along the lines of Allied, which is technically based in reality, but from which we are so far removed at this point it almost feels not of this world. All of this is to say that in our current plane of existence, Manchester by the Sea feels personal. It is a movie that creates an authentic environment from the world in which it exists. It feels lived-in and to that point we are not necessarily welcomed as much into this halfhearted existence that comes to be the subject of the film as we are wedged into the ongoing crap show that literally and figuratively seems to make up Lee Chandler's (Casey Affleck) life. I find it best to go into most films without much of an idea as to what exactly one might be getting themselves into and while it may be difficult to do that in terms of major blockbusters when living in a world that offers teasers for teaser trailers it is with movies such as Manchester by the Sea where this practice can be exercised to its full effect. And so, I went in more or less blind to what Manchester by the Sea carried in terms of narrative and with only the buzz it garnered out of its Sundance premiere earlier this year to signify that it was one worth watching. No matter if one knows the basic premise or not though, one thing is for certain: one cannot know the whole of the story the film is telling and it is in how director Kenneth Lonergan (Margaret) sets up the present scenario for our characters to operate in and then how he slowly peels back the layers of each of their pasts helping us to understand not only why and how these people have become who they are, but also giving us a glimpse of how far they can go and what the future might hold for them that makes the experience so simultaneously simple yet equally involving. It's a powerful piece of human drama to say the least with bare bones emotions bleeding through on the face of Affleck and every other actor in any significant portion of the movie. Lonergan, as a writer, is clearly interested in digging into the psyches of those who have dealt in tragedy and analyzing the different ways in which we as human beings deal with such surreal, life-altering events. With Manchester by the Sea the writer/director tackles permanent heartbreak to grandly moving results.

TRIPLE 9 Review

There is as much a vibrancy to Triple 9 as there is a subdued sense of dread. It's not hard to tell something bad or suspicious is lurking around every corner in this Atlanta-set cop drama from director John Hillcoat (The Road, Lawless, The Proposition) and yet, at the same time, you can't help but to want to turn those corners in anticipation of seeing the story develop. First time feature writer Matt Cook gives us a rather complex plot to comprehend, but that his script dives into the key characters head first and we come to know them and their circumstances almost immediately gives us reason to invest and want to understand these present complexities. From moment one, where we see a four man team robbing a bank with The Walking Dead's Norman Reedus serving as the lookout in an inconspicuous vehicle, I was into the dirty, grimy narrative that Hillcoat and Cook would be weaving to presumably get at bigger themes and larger statements about race, justice, and the gray lines that divide honor and disdain. The film accomplishes as much by not just being about bank robbers and corrupt police officers, but rather Triple 9 utilizes the unaccounted for details of emotion and other human elements to disturb the strict proceedings some, if not most, of its characters attempt to operate within. There is no room for emotions or a softened mental state within the Atlanta police department, especially for detectives. We see this in the toll that has clearly been taken on Woody Harrelson's character, Jeffrey Allen, while there is certainly no room for as much under the rule of Irina Vlaslov (Kate Winslet) a Russian Jew looking to free her powerful husband with the help of a few hired hands. Through each of these characters Cook enlists some type of inherent emotional attachment though, making things never as clear cut as the puppet masters would like them to be. While this may not be to the characters advantage though, it makes things all the more savory for the audience member waiting to see what decisions will be made and how such decisions will reverberate through to other aspects of the story. That said, Triple 9 is not a perfect film (far from it, really), but more times than not I was on the edge of my seat anxious to see where the film and more importantly, its characters, would take me.

THE FINEST HOURS Review

Watching The Finest Hours is like going to a restaurant you know and trust and despite being satisfied when you leave, feeling as if there was definitely something lacking. The contents are all inviting and have an undeniably charming quality to them, but upon consumption you simply aren't as full as you'd hoped given the dish wasn't as rich as it had the potential to be. The Finest Hours is a handsome film, directed by Craig Gillespie (Million Dollar Arm, Fright Night, Lars and the Real Girl), and features both impeccable costume design and an earnest soundtrack not to mention a story that is genuinely thrilling. Pair these strong qualities with an all-around impressive roster of cast members not only in the key roles, but in supporting and minor parts throughout and it's nothing short of a guarantee that the film wasn't going to at least be a rather solid venture. And it is. In fact, that's exactly what The Finest Hours turns out to be with there not necessarily being any issues other than the fact it doesn't feel like an exception in the long line of cinematic adventures we're given throughout the year despite the story being one of an exceptional heroic act. For this reason, the movie adaptation of the story and of Casey Sherman and Michael J. Tougias' novel feels as if it is something of a missed opportunity in representing a story that could have really produced a great or even "exceptional", piece of fiction. Instead, The Finest Hours gives audiences what we expect in that it is consistently engaging, naturally tense in moments, and hits just the right amount of emotional beats to make the harrowing rescue mission all the more affecting in the end. It is in this emotional connection though, that the film doesn't connect as often as it should. Even without the love angle from which the film comes at the story there should be more than a handful of emotionally charged moments given both men at the head of these dueling narratives are staring death in the face. And yet, we never feel as emotionally invested in the proceedings as the characters clearly are. There is a disconnect and while it doesn't destroy the film, it certainly keeps it from realizing its full potential.

First Trailer for TRIPLE 9 Starring Casey Affleck

When I was putting together my most anticipated list of 2015 it was hard for me to decide between including either Triple 9 or Black Mass. Based on their similarities of being crime dramas with directors known for capturing bleak material I felt I had to choose one of them. Both also featured rather solid ensemble casts that were hard to discount. I went with Black Mass which was fortunate for my list given that film actually opened this year while director John Hillcoat's latest was actually pushed to 2016. While Black Mass didn't exactly live up to all I'd hoped it might be based purely on it's aforementioned credentials there is still hope for Triple 9 as Open Road has released the first trailer for the film today and it looks as bleak and as fantastic as one could hope. From a screenplay by newcomer Matt Cook the film follows a group of corrupt police officers who are blackmailed into pulling off a seemingly impossible heist. I really enjoyed both Lawless and The Road even if both ended up somewhat underwhelming. While Hillcoat certainly has a knack for eliciting the specific tone and style necessary for this kind of dark crime/drama it's hard to know if the director has necessarily found his own persona as a filmmaker given what we're seeing here looks closer to something that David Ayer (End of Watch, Fury) would deliver. This isn't a bad thing per se, I like Ayer's films, but I'm interested to see what Hillcoat will be able to bring to the table that differentiates himself from his contemporaries. Triple 9 stars Kate Winslet, Aaron Paul, Norman Reedus, Chiwitel Ejiofor, Casey Affleck, Anthony Mackie, Gal Gadot, Teresa Palmer, Clifton Collins Jr. and opens on February 19th.

INTERSTELLAR Review

Where does one even begin? To describe a film as ambitious and overwhelming as director Christopher Nolan's latest is to take on as daunting a task as Nolan likely felt in making sure the science of his script was accurate. I don't know that anything I say in this review will perfectly capture the way I'm feeling about Interstellar because honestly, after three days of thinking, I'm still not sure I know exactly how I feel about it or what I think. I know that I was fascinated by it, I know that there is so much going on within it that I will need to see it again to feel I even somewhat understand it and I know that no matter how much I want to be able to say I either decisively adored or disliked the final product that kind of ruling won't come down until I've had multiple viewings and allowed plenty of time to pass. In this age of instant gratification where first weekends determine whether you are a success or failure, Interstellar offers an experience that demands to be contemplated, debated and seriously considered before ever giving anything close to a defiant verdict. I will admit to my initial reaction being that of pure awe while somewhat corrupted by the fact there were facets that didn't thrill me as much as others; sequences where the film felt it could have been trimmed or was a little too scatterbrained in contrast to the more precise scenes where Nolan is clearly in control of his spaceship. Ambition is key though and that is the one thing Nolan is never short of. Always pushing the limits, not only visually, but within the story, this time backed up by science that places the events of the film within the realm of real possibility. We are asked to make a few exceptions in how far we are willing to go with all we see being steeped in reality, but unlike some issues of the past Nolan and his screenwriter brother Jonathan have crafted dimensional characters that are able to keep the sentimentality in check. There is never a moment where the film regresses from not being one hundred percent about the actuality of the situation at hand and the facts that support it, but it is able to take into consideration what we cannot explain or fully understand and how that might indeed factor into what is best for the characters outcome. It is a genuine mix of heart and facts that meld together over the course of three hours leaving you bewildered, haunted, alarmed and mystified to the point you may not be able to swallow everything you just took in, but will certainly be able to appreciate the intent.

New Trailer for Christopher Nolan's INTERSTELLAR

At the screening I attended of Godzilla last night I was almost as excited for the movie as I was the fact the new trailer for Chris Nolan's latest was attached. In that trailer we are taken just further than the teaser that was delivered last December took us. There is plenty of new footage here and the main focus of it is the relationship between Matthew McConaughey's Cooper and his son and daughter. The trailer gives away little in terms of plot, but plays up the idea the poster introduced last week with its tagline that reads "Mankind was born on Earth. But we were never meant to die here.” We get a few shots of Jessica Chastain and Casey Affleck who I'm going to venture to guess are the adult versions of McConaughey's children which already makes the idea of the last line in the trailer all the more engaging and possibly all the more heartbreaking. Beyond that I won't pretend to know more than I actually do as I love how Nolan continues to leave much to the imagination with his trailers. The only other information as far as plot is concerned derives from a synopsis that states the film is about "a group of explorers who make use of a newly discovered wormhole to surpass the limitations of human space travel and conquer the vast distances involved in an interstellar voyage." This is easily the film I'm most anticipating this year and if the reason put forward in any of my previous comments doesn't explain why maybe the cast roster will. Besides McConaughey, Chastain and Affleck the film also stars Anne Hathaway, Michael Caine, David Oyelowo, Wes Bentley, John Lithgow, Ellen Burstyn, Topher Grace, David Gyasi, Mackenzie Foy, Bill Irwin, Timothée Chalamet, and Matt Damon. Interstellar opens November 7, 2014.

Teaser Trailer for Christopher Nolan's INTERSTELLAR

There is something so ambitious and so grand about the way Christopher Nolan thinks of his films and like the theme of the trailer re-iterates it seems that is something often forgotten in the world of Hollywood. Things have become such a machine, such a factory with a product line spitting out the same thing over and over that the majority of the time even big, tentpole movies feel like just another cog in the machine rather than something truly special or exceptional. It seems Mr. Nolan is keen on getting this point across and hopefully changing that perception, but on his own terms of course and in this case it concerns a group of explorers who make use of a newly discovered wormhole to surpass the limitations of human space travel and conquer the vast distances involved in an interstellar voyage. That is all we've heard in terms of plot synopsis and the trailer does little to give us any further indication of story, but instead relies on the philosophical narration of our assumed protagonist Matthew McConaughey. As with anything Nolan does, I'm more than intrigued and this trailer is specifically designed to elicit the interest of those who don't know anything about the film or that it even existed. This is easily the film I'm most anticipating in the new year and if the reason put forward in any of my previous comments doesn't explain why maybe the cast roster will. Besides McConaughey the film also stars Anne Hathaway, Jessica Chastain, Casey Affleck, Michael Caine, David Oyelowo, Wes Bentley, John Lithgow, Ellen Burstyn, Topher Grace, David Gyasi, Mackenzie Foy, Bill Irwin, Timothée Chalamet, and Matt Damon. Interstellar opens November 7, 2014.

OUT OF THE FURNACE Review

There is something both numbing and strangely profound about the second directorial effort from Scott Cooper (Crazy Heart). There is a menacing grim to the overall proceedings, yet it is almost impossible to not feel enlightened by what we see unfold on screen and by the development (or lack) of character and the insight that we gain as to why these people that Out of the Furnace zeroes in on are so compelling without being considered extraordinary. Where director Cooper and his cast excel are in how they don't decide to focus or rely as heavily on the events in which the story documents because in all honesty it feels that after about fifty or so minutes the narrative comes to somewhat of a halt and the momentum slows incredibly despite the fact what we see unfolding has yet to come to fruition and it remains unclear if things will turn out in the best interest of our lead character Russell Blaze (Christian Bale). Still, what keeps the ship from sinking is the fact that Cooper and his gritty eye keep the focus on the actors and the characters they are portraying and allow those performances to carry what might have otherwise been a sometimes silly, most of the time studied account of the backwood folks that apparently live in the hills outside of New Jersey. The site of an old steel town that allows the town resting below it to feel like it's stuck in the mid-70's, Cooper is clearly paying homage to the films of that era (namely Deer Hunter), this is where the story is set circa 2008, right around the time Obama was elected President and this little statement is used (as Killing Them Softly not-so subtly stated last year) to re-enforce the state of the economy at that time. All of this is effective in building the atmosphere and setting the tone for a film that knows who its characters are, where they've come from, but more importantly what little they likely have to look forward to and Cooper lets the weight of the narrative rest on their shoulders rather than the twists and turns we might expect from the more plot-driven revenge film that this has been made out to be in the marketing. Out of the Furnace isn't necessarily an exceptional film, but it provided a substantial amount of thought-provoking ideas in terms of the mentality of man in a remote region and the reasoning for a life that seems more simple than most would like to even consider. No, there is nothing exceptional here, but it is a solid film nonetheless with both Bale and Casey Affleck giving audiences something to remember it by.

AIN'T THEM BODIES SAINTS Review

There is a simple elegance to writer/director David Lowery's Ain't Them Bodies Saints. After letting it ruminate overnight I was hoping that it might come to lend a more powerful or lasting effect on me, but instead what I've come to realize more than anything is that it is little more than an exercise in poetry. Alluding to more than just what is on the surface by allowing those images or certain words to take us back to something more personal or more profound than what we see for on screen. There are times that this works for the film and other times we are left simply wondering what the point of it is that made such a story worth telling. I went into the film knowing little about plot or character and having only seen one trailer a few months ago I'd long forgotten what exactly I was in store for. Needless to say, the film fits very well into that southern gothic genre that has retained good word of mouth lately mainly due to the career renaissance Matthew McConaughey is having that brought us the likes of Killer Joe, Bernie, and Mud. These settings and off-kilter tone mixed with the aesthetics of Winter's Bone and recent Terrence Malick pictures give us what is essentially a movie drenched in style and extremely aware of the time and place it exists in. I make these comparisons not to say that Lowery is ripping these people off, but that he is drawing on some inspirational works and has crafted a well executed film himself that while being just as beautiful if not moreso than some of the aforementioned films it simply doesn't pack as much of an emotional punch. I enjoyed the film, I was interested in it throughout, but I never felt as if I really cared about these people. You could bring up that this might be the fault of the actors which isn't fair as that could have just as much been due to the direction they were given, but everyone is in fine form here. It is one of those cases, and they are the worst kind, where everything seemingly comes together just as it is supposed to and on paper looks completely right yet there's no real soul. It will be hard to argue with some Ain't Them Bodies Saints has no soul, but it doesn't strike that nerve it should have until too late in the film and by that point I didn't care as much as I should and the poignancy had been lost.

First Trailer for OUT OF THE FURNACE

Out of the Furnace wasn't really on my radar until just recently when production stills began to be released, followed by the poster and today we have the first trailer for the film which comes from director Scott Cooper. I am a big fan of Cooper's directorial debut Crazy Heart and while this sophomore effort looks to tackle the same type of people geographically it also seems to come with a completely different tone and a story that has several layers of topics it intends on tackling. This on top of a stellar cast that features Christian Bale in the lead lends serious expectations to the film. Bale looks to be the perfect balance of brooding and genuine as Russell Baze, a steel worker, who is forced into a vengeance mission when his brother (Casey Affleck) goes missing after getting involved with the likes of Woody Harrelson who runs a crime ring that deals with some intense hand to hand combat. Harrelson may very well steal the show in what looks to be a downright evil role while supporting players at the caliber of Willem Dafoe, Forest Whitaker, Sam Shepard and Zoe Saldana only lend to what looks like an intense drama filled with thrilling moments. Though I wasn't aware of the film (and its potential for greatness) until just recently it has quickly jumped to one of my most anticipated films this fall and as it looks to have more atmosphere, raw style, and several great performances in a single film as any other upcoming Oscar-bait (here's looking to you The Monuments Men). Out of the Furnace opens in limited release on November 27th and expands wide on December 6th. Hit the jump to check out the trailer and be sure to let me know what you think.

PARANORMAN Review

I am always hesitant when it comes to stop motion animation. No matter the intrigue that might come along with it, there is something about the style that makes me feel no matter how hard I try I won't be able to get past it. This was true earlier this year with Aardman's Pirates! Band of Misfits yet I still found myself enjoying that film to a much bigger degree than I ever expected. This might have eased the resilience that would have usually come along with a film like Paranorman. In fact, I was very much looking forward to this film as it seemed, in the very least, to be one of those hand crafted movies that would employ its technique to emphasize the creepy tone of its story. One of those films where I would regain the sense of something along the lines of Hocus Pocus or Monster House where it is a movie I can always pull out around Halloween every year and never be disappointed. Suffice to say Paranorman more than meets the expectations I was holding for it and honestly delivers one of the funniest and more entertaining experiences I've had at the movies in a while (and I just saw The Expendables 2 which was riotously funny). The film has a sense about it where you know the makers understood every aspect of what they were trying to accomplish. They know their characters better than anyone else so when those characters encounter such strange happenings such as what goes on in this small little town they know how they would react and how they would deal with it while always keeping the focus on our main protagonist. And while if you've read the synopsis you may think this all sounds very Sixth Sense-like trust me when I say it turns that little plot device into not just a gift but a curse that justifies its surprisingly touching storyline.

Norman (Kodi Smit-McPhee) tries to hide from
the zombies he let loose.

All around we find that every aspect of the film nearly exceeds expectations. Whether it be in the actors voice work that helps develop the characters even further or the visual prowess that is inherit in every frame. I was consistently impressed with how the film rolled out and that I was never bored but instead engaged by how brilliant the pacing. When I was immediately intrigued by the story early on I worried it would end up going down a road that was less than satisfactory. In this regard, I was lucky enough to be proven wrong. When the film opens (with a great homage to the grindhouse/slasher flicks of the 70's and 80's by the way) we are not only immediately given a taste of the genuine affection the film has for scary movies, but we also see the delicacy and intelligence of the filmmaking in the way it is explained to us that Norman sees dead people and that is just something everyone around him needs to live with. We see that it is something not completely accepted about Norman, but it is known and it defines his life in this moment. Here is where the well rounded, fully realized character comes into play as it is clear that Norman sees this as something he'd rather not be burdened with, but he also likes to be alone and this is a fine enough excuse to be that way. He doesn't really care to have friends in the casual sense of the word. He would rather just be left to his own devices without having to deal with the humiliation he finds around every corner at school. This gift he has for seeing the dead is naturally not a random coincidence though and as Norman and his ever persistent companion Neil (Tucker Albrizzi) find out there is much more to the history of their town then the school play they put every year likes to include.

Courtney (Anna Kendrick), Norman, Alvin
(Christopher Mintz-Plasse), Neil (Tucker Albrizzi) and
Mitch (Casey Affleck) are on a scary adventure.

While Kodi Smit-McPhee (Let Me In, The Road) creates a sense of maturity in a young Norman while still instilling the unjaded, child like wonderment that belongs to someone his age we are also treated to several other performances that make this a cast of characters one you don't mind going on an adventure with. I especially enjoyed the bits of subtle humor that were injected throughout. They weren't your typical bits of animated humor either, but significant in the way that they came perfectly integrated into the DNA of who the characters are. The school bully is named Alvin and he gets one of the few recognizable voices here from McLovin himself Christopher Mintz-Plasse. Alvin is an idiot and finds it rewarding to hide his shortcomings by pointing out Norman's. Jeff Garlin and Leslie Mann provide a few great bits as the parents presiding over all of this while Anna Kendrick and Casey Affleck are the older siblings to Norman and Neil who somehow get roped into the thick of the plot. Even John Goodman shows up early on as one of Norman's uncles who seems to share a certain trait that he needs to pass on to our hero. In the end, it really does come down to how the film took the archetypes of this rather tired premise and breathes life into it through the course they take in executing it and how they populate the world and realize that vision altogether. The piece completely compliments itself in every aspect. I thoroughly enjoyed it, my only drawback being that it doesn't ever truly find a ground on which to stand. It is stuck somewhere between genres and demographics, but I've never been one to let the lines restrict the need to create what one really wants to see their final product become so props to directors Chris Butler and Sam Fell.

Norman and his gang come to realize that all is not what
it appears to be in their small town.

That being said, there was the distinct concern as I watched the film about who exactly this was aimed at or made for. My mind kept coming back to the film lovers who specifically found their interests satisfied in old school horror flicks. Given that is a small demographic to create a film for I had to think there was more to it than that.  There were plenty of children in the theater with their parents and while there was a good amount of laughter coming from each their was also that concerned laughter at some of the more subversive humor from the parents that weren't totally sure if they were appropriate in laughing at what their child just missed, or if other parents in the theater might judge them for it. It straddles the description of "family entertainment" pretty strongly as there were certainly a few scenes and images that conjured up real fear in the children sitting around us. There were also a few jokes and words that weren't exactly subtle to the children sitting next to me either. I can't say that I really worried about this dilemma after seeing the film, I was more surprised at how damn charming the film was. I wanted to see it again and recall the jokes and was also wishing i already had the blu-ray so I could watch the special features. It is that kind of movie, it wraps you up in itself and takes you on an adventurous, scary, and outright fun trip that you hate to see end and only hope you can catch up with those folks again sometime in the future whether it be at home or in a sequel. Paranorman may not be for everyone, but that is what makes it so appealing to those who it is intended for.

PARANORMAN Review

I am always hesitant when it comes to stop motion animation. No matter the intrigue that might come along with it, there is something about the style that makes me feel no matter how hard I try I won't be able to get past it. This was true earlier this year with Aardman's Pirates! Band of Misfits yet I still found myself enjoying that film to a much bigger degree than I ever expected. This might have eased the resilience that would have usually come along with a film like Paranorman. In fact, I was very much looking forward to this film as it seemed, in the very least, to be one of those hand crafted movies that would employ its technique to emphasize the creepy tone of its story. One of those films where I would regain the sense of something along the lines of Hocus Pocus or Monster House where it is a movie I can always pull out around Halloween every year and never be disappointed. Suffice to say Paranorman more than meets the expectations I was holding for it and honestly delivers one of the funniest and more entertaining experiences I've had at the movies in a while (and I just saw The Expendables 2 which was riotously funny). The film has a sense about it where you know the makers understood every aspect of what they were trying to accomplish. They know their characters better than anyone else so when those characters encounter such strange happenings such as what goes on in this small little town they know how they would react and how they would deal with it while always keeping the focus on our main protagonist. And while if you've read the synopsis you may think this all sounds very Sixth Sense-like trust me when I say it turns that little plot device into not just a gift but a curse that justifies its surprisingly touching storyline.