HONEY BOY Review

"The only thing my father gave me of any value was pain...and you want to take that away?" 

As someone who is less than a year younger than Shia LaBeouf and grew up watching Even Stevens there was no doubt that Alma Har’el’s Honey Boy was going to be something of an emotional endeavor; a deeply moving experience that would both be reminiscent of while also completely unraveling this element of my early teen years that created nothing but fond memories. This is obviously an extremely personal piece and it's tough sometimes to criticize as much, but thankfully there's little need for that here as LaBeouf relays exposure therapy sessions that helped him work through the trauma caused by his relationship with his father during a specific point in time in a way that pieces together both how he grew into the person he's become as well as exploring how he's moved past it. It's cathartic, sure, but for viewers who can remember how naturally funny and flat-out talented LaBeouf came across in that Disney channel show, Honey Boy also serves as this honest, unguarded piece of insight into the pain behind that comedy.

The film goes back and forth between LaBeouf's time as a child actor (referred to as Otis in the film), when he was living in a motel with his father who would come to set and run lines with him, and the post-arrest version of LaBeouf (Lucas Hedges) as he attempts to immerse himself in this treatment that has him repeating these stories that scarred him until they don't hurt anymore. As played by Noah Jupe, twelve year-old Otis adores his father and seeks his affection unabashedly yet his father, James (LaBeouf), has no real idea what it means to be a good dad or role model; instead James simply dismisses any display of emotion with a distant, "wipe your face, Otis. Don't cry in front of me." It's devastating, but so is most of what we see depicted in the film. Jupe's younger Otis is dealing with this father figure who wants to be good to him, wants to be there for him, but isn't good for his development in any sense of the word (his dad nonchalantly offering him cigarettes and booze at the age of twelve) and it seems Otis understands this, but doesn't know another way to navigate what he's experiencing other than to go along with it. There are key lines that stand out as pure truth that one can tell stuck with LaBeouf from his childhood as well, things such as his father resorting to bragging about the sound of his own piss hitting the toilet. Moments when there aren't really words to describe the amount of tragedy being experienced and within many of these scenarios LaBeouf paints one simply has to let the heartbreak wash over them while knowing this little boy has comes out the other side and is doing better. Alex Somers' fantastic score also helps considerably in allowing said tragedy to flow over and around the viewer rather than overwhelm them.

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.

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.

TRANSCENDENCE Review

The typical appeal of a Johnny Depp film is to see what strange, odd or just downright weird concoction of a character the actor has come up with next, but with Transcendence the appeal for me has always been to see what Depp does when asked to play a regular guy. He's done it before, this is nothing new, but he doesn't do it often and the fact his role (in a physical sense anyway) seemed limited to a short amount of the overall running time. Depp is still within his wheelhouse in terms of the type of person he enjoys playing even if the exterior is much more tame than the route he'd typically take, his role as Dr. Will Caster still sees him as a man of extreme intelligence and someone not looking to necessarily change the world as he likes to remind people, but instead always be discovering it, attempting to figure it all out. Despite this positioning Depp as the seemingly obvious star of the film, this is a movie that really belongs to Rebecca Hall. Depp is an influential presence and his character dictates the events in which Transcendence documents and even more he creates many of the questions the film intends to pose to the audience, but in terms of taking this as a piece of entertainment and in evaluating the performances of the actors involved this is Hall's film and it is her emotional investment in the plot of the film that makes this as compelling as it can be. The issue here though is that there isn't a clear line of thought in terms of emotional connection to the audience despite one of the major themes of the film being whether or not technology can develop feelings, affection, fear, etc. or if the thought of artificial intelligence will remain only that: a database of intelligence and nothing more, nothing trying to imitate the inherent nature of primitive life. Though this is somewhat ironic it is hard to fault the film for trying, for so deeply wanting to be something more, something thought-provoking. That is what I found to appreciate in Transcendence in that this wasn't simply a film that ordered itself into a certain set of rules or restrictions, but instead a piece of fiction that wanted to both discuss interesting ideas while at the same time providing an entertaining thriller/action film. This coming from Christopher Nolan's long-time cinematographer Wally Pfister I expected nothing less than that kind of melding of fantastical, large scope ideas and the architectures that match those in cinema, but while Pfister and screenwriter Jack Paglen have many interesting things to discuss here it seems they still need to practice funneling those ideas into a single coherent work.

PACIFIC RIM Review

As I sat watching the latest from director Guillermo del Toro I couldn't help but wonder how much I would have loved this had I seen this movie when I was seven or eight. It likely would have been an earth shattering event, a childhood defining piece of entertainment that would influence countless Halloween costumes and inspire me to want to make my own monster movies. Unfortunately, I'm not seven or eight but was still able to sit in awe as these giant, man-made robots did battle with these monsters from the deep that have come to be known as Kaiju. If you are going to see Pacific Rim it is likely due in large to this aspect and on that basis the film delivers in spades. It was admittedly nice to walk into a big summer action film in the vein of something that is usually part of a franchise (and if this does well enough financially, it soon enough will be) and being able to know you can expect something new and fresh that requires no prior knowledge or research. With so many of these comic book adaptations and reboots being produced with hopes of cashing in on name recognition it feels somewhat of a rarity to have a studio lend this type of film the budget it needs to be and look credible enough that we become so invested in these people and the world they live in that we want to go on another adventure with them. Pacific Rim is a sometimes cheesy, but mostly raucous good time that is aided by the fact it has a very straightforward story, characters we can root for and no intentions of being anything other than flat-out, B-movie entertainment. I wasn't overly looking forward to the project and have never really understood the fascination that has come to surround del Toro as I enjoyed the Hellboy films as well as Pan's Labyrinth, but besides a signature style didn't see much in the way of why his name was being singled out so heavily as being so creative. With this film, the director has given me reason to know that he really understands the audience he is making his films for. I still wasn't as enthralled or as wowed by the film as I'd hoped, but was at least entertained enough to say that Pacific Rim is the kind of summer action movie we don't get enough of these days.  

PARKER Review

As it goes every time Jason Statham puts out a film that isn't part of the Transporter or Expendable series we are prone to get a well executed action film that has the chrome domed star doing what he does best: kicking ass and taking names. This is only the first of four films the guy has slated to come out this year and though each of them has to deal with some type of thief, agent, soldier, or bodyguard they will likely each also have a very distinct style to them. You see, the thing about Statham is despite his ability to make total B-movies that have you munching on your popcorn and sipping on your Coke Zero with glee he also has an eye for who he works with and makes sure there is something of a twist with each character type he will undeniably be playing in their film. In his three other films one of them is directed by Gary Felder and co-stars James Franco, Wynona Rider, and Kate Bosworth and was a novel that was adapted into a screenplay by pal Sylvester Stallone. His others include a first time feature from writer Steven Knight (Eastern Promises) as well as one in very early pre-production that re-teams him with his The Mechanic and Expendables 2 director Simon West (Con Air,Tomb Raider). You see, the guy knows what he is doing as he doesn't simply sign up for any throw away piece of action trash that could just as easily go straight to DVD (though some of his less flashy ones have) but instead he keeps a nice flow of consistent work that gives the people what they want from him and does so in a fashion that shows he's reliable and that they can trust in him when they come back for more.

First Trailer For Guillermo Del Toro’s PACIFIC RIM

I am not a huge fan of Mr. Guillermo del Toro but I enjoyed Pan's Labyrinth and the Hellboy movies well enough to look forward to what he is doing next and a ton of fanboy anxiety has been circling that project. Titled Pacific Rim and documenting the rise of massive monsters from our own seas and the human race attempting to fight back by creating weapons known as Jaegars that can be controlled by human pilots from a distance. The concept is pretty interesting but the visual flair you expect from such a project seems a little unfinished in this first trailer we have been delivered. I did not know much concerning the plot going in, but it was hard to avoid the posters and talk of the film after this years comic-con. I am excited to see how this turns out because there is certainly a level of expectation with del Toro but despite having an interesting idea the way the story looks to be executed could prove tiresome and overly familiar to a summer audience looking to find something new rather than, dare I say it, Transformers or Battleship. The quality may end up (and hopefully will) being miles ahead of those films, but this trailer does have a slight feel of deja vu to it. Still the film has an international cast led by a charismatic Idris Elba and also features Charlie Hunnam, Rinko Kikuchi, Ron Perlman, Charlie Day, and Clifton Collins Jr. Pacific Rim is slated to hit theaters on July 12, 2013 in 2D, 3D, and IMAX 3D.