BARBIE Review

Barbie has its fake plastic cake and eats it too. When the first note of Lizzo's "Pink" drops accompanying the reveal of production designer Sarah Greenwood's "Barbieland" as these real-life dolls dressed in Jacqueline Durran‘s wardrobe descend from their Dreamhouses there is a sense that what we, the audience and spectator, are being welcomed into are images and feelings that possess an equal amount of simplicity and elegance. There is the immediate sense of influence in that one can easily see images and references from this movie integrating themselves into the culture; stills painted in Hollywood murals alongside classics like The Wizard of Oz or characters standing next to Marilyn Monroe. At the same time, there is an adventurous sense that one has no idea what they're truly getting themselves into or at least, where this movie might go both literally and thematically. By the final scene (or two) of the film it is clear this duality of simplicity and elegance is wholly intentional so that the film works on different levels for different audience members whether that be someone who currently plays with dolls, someone who once played with dolls, or even those who always felt too boxed in by expectation to either play with dolls themselves or at least acknowledge the appeal of them. 

Yes, this is a movie about a doll, but the “we’ll sell more toys” aspect didn’t bother or invade my experience because of how intelligently writer/director Greta Gerwig (Lady Bird, Little Women) uses this packaging to tell the story she and co-writer/life partner Noah Baumbach decided to tell or how it emphasizes the themes they wanted to explore and discuss. In addition to the levels and ideas (or levels of ideas), Barbie is also just a Technicolor fever dream of musical numbers and comedy bits that land with such frequency that even if your sympathy for Ken is maybe greater than it is for Barbie or even if Allan weirds you out a little bit (which we’ll get to) there is plenty here for all to enjoy if not hopefully (eventually) consider.

FAST & FURIOUS PRESENTS: HOBBS & SHAW Review

Fast & Furious Presents: Hobbs & Shaw is a movie where, in the breadth of a single scene, we are witness to a character stating that, "humanity's hate for itself is greater than its self-preservation" alongside another piece of dialogue that goes something like, "genocide, smenocide." This is to say that Hobbs & Shaw very much knows what it wants to be with the question being if by the end of its mammoth two hour and seventeen minute runtime it actually has become what it wanted to be. One might interpret these two opposing lines of dialogue (spoken by the same character, I might add) for a film that wants to have its cake and eat it too by being both a serious action film that in fact takes itself seriously while injecting consistent moments of humor with the obvious outcome being that the latter then also consistently undermines the former, but what sets Hobbs & Shaw apart from its Fast & Furious brethren is that, from the get-go, it's apparent this thing doesn't take itself serious at all-in any regard-and so, when a character does begin spouting philosophical verbiage as Idris Elba's Brixton Lore does from time to time he does it with his tongue planted firmly in his cheek. It only seems natural this would be the case in a movie where both Dwayne "The Rock" Johnson and Jason Statham play what are more or less heightened versions of their own public personas whilst The Rock takes down a helicopter with his bare hands and Statham shows off his Wing Chun kung fu, karate and kickboxing skills to the extent that if he and director David Leitch (John Wick, Atomic Blonde, Deadpool 2) don't team-up for a martial arts-heavy film series to jump-start the next phase of Statham's career I will be sorely disappointed. As the ninth film in the series, but the first spin-off it only feels like the natural evolution for Hobbs & Shaw to be as outlandish and self-aware as it is and in following through on these instincts in every situation and not attempting to get too caught-up in plot, basing anything in anything resembling reality, or details such as logic and physics Leitch and his crew end up delivering exactly what audiences are looking for from this type of summer blockbuster. Keeping a keen eye on character and an even tone with the humor and its balance with the legit action Hobbs & Shaw maintains the emphasis on character being most important as that's what brought us here in the first place while the delivery of tight fight choreography and colossal action set pieces is what convinces us that not only should we continue to care about and invest in these characters, but that the creative forces behind the scenes care about them too...and that's ultimately what allows Hobbs & Shaw to succeed at becoming exactly what it wanted to be. 

WINCHESTER Review

Though the directing duo of brothers Michael and Peter Spierig made one of the worst films of 2017 in what was the eighth Saw film it was hard not to hold out hope for what these guys might do outside the IP pool given Jigsaw was likely an opportunity they couldn't (financially) turn down. And so, in what feels like their true follow-up to their highly underrated and underseen 2014 time travel flick, Predestination, the brothers Spierig take on the real life mysteries likely still held within the walls of the winding Winchester mansion that is located in San Jose, California and was constantly under construction by the widowed Sarah Winchester for thirty-eight consecutive years until her death in 1922. Weird, right? Definitely. Couple this unique spin on the haunted house premise with the fact the Spierig's have somehow managed to attract the talents of rather pedigreed actors like Jason Clarke and the indelible Helen Mirren and one has to wonder what the attraction was. The Spierig's also reunite with Predestination star Sarah Snook here, but Snook is unfortunately underutilized as Mrs. Winchester's niece who has recently moved into the ever-growing mansion with her son after the death of her husband. This is all to say that Winchester has plenty of potential and while it never fully capitalizes on the ample opportunity it has to transcend the genre trappings and become something of a more self-conscious and timeless work it is a solid and sometimes even surprising haunted house tale that uses the audiences expectations to its advantage and takes certain elements in directions that feel fertile. The Spierig's screenplay, in collaboration with Tom Vaughan, relies too heavily on jump scares to garner the necessary reactions for being a member of the horror genre, but even still-they serve their purpose more often than not. Resorting to these easy, cheap scares feels a way of accounting for a requirement the Spierig's weren't really interested in though, as Winchester is seemingly more inclined to explore how cruelty, grief, and loss can affect people in different ways and to varying degrees. If the Spierig's had figured out a more inherently haunting way to convey their tone and the actions of those supposedly trapped souls in the rooms of the titular mansion this might have been a more convincing study on such topics, but as it is the film comes and goes with more simplicity than it does depth or scares.

First Trailer for THE NUTCRACKER AND THE FOUR REALMS

Inspired by E.T.A. Hoffmann’s classic tale of mouse kings and magical dolls, Disney's The Nutcracker and the Four Realms is the latest in this line of live-action adaptations to go full-on blockbuster to usher a new generation of fans for older stories as presented through the modern eye of the Mouse House. While this isn't a direct adaptation of one of Disney's popular animated films of yesteryear a la Beauty and the Beast or The Jungle Book, it would seem to be a riff on the Hoffmann classic as screenwriter Ashleigh Powell has crafted a story where our protagonist, Clara (Interstellar's Mackenzie Foy) must travel through a portal to a parallel world filled with all of these magical things and creatures where she meets the regents who preside over three Realms: Land of Snowflakes, Land of Flowers and Land of Sweets. These regents inform Clara that to find the item she seeks (a one of a kind key left to her by her late mother) that she must brave the ominous Fourth Realm, home to the tyrant Mother Ginger (Helen Mirren). If this all feels rather familiar that's because it very much feels and looks like a mish-mash of other movies. There are hints of The Wizard of Oz, The Chronicles of Narnia series, and visually there is very much a similarity between this and the Alice in Wonderland live-action films that kicked off this recent trend, but this all comes with the caveat The Nutcracker and the Mouse King was originally published in 1816 or long before any of these aforementioned properties. And so, we undoubtedly have a case of the original inspiring countless stories similar to it while getting their own kinds of big budget adaptations long before the original a la John Carter and Valerian and the City of a Thousand Planets-syndrome. Of course, The Nutcracker is a story that has been around so long and had and continues to have such strong runs in the ballet as originated in 1892 (also before any of those aforementioned properties were even published) and so it was inevitable that someone like Disney wouldn't eventually make a big budget theatrical-worthy version out of the material. As directed by Lasse Hallstrom (Chocolat) though, this looks to be little more than in line with everything else that is meant to serve as the basis of a franchise these days. I hope I'm wrong and I hope this turns out to turn my expectations on their head, but only time will tell. The Nutcracker and the Four Realms also stars Morgan Freeman, Jayden Fowora-Knight, Misty Copeland, Miranda Hart, Eugenio Derbez, Jack Whitehall, Ellie Bamber, and opens on November 2, 2018.

THE FATE OF THE FURIOUS Review

What direction The Fast and the Furious franchise might go in the aftermath of the untimely death of Paul Walker and the heartfelt sendoff that was Furious 7 was always going to prove to be an interesting answer. And now, we have that answer in the form of The Fate of the Furious-the eighth installment in this accidentally successful saga that only continues to up the action ante while somehow managing to also drive the plot forward and successfully push the story in new directions. It must be said up front that if you're a fan of the series and what it's become then this latest entry will more or less satisfy you, but whereas up until this point it's been exciting and interesting to see where the next film would take the series the question of how long this can go on is certainly more prevalent as Fate comes to a close. It's not that Fate necessarily loses any of the steam from the previous films, but more that it's beginning to spin its wheels; ultimately leaving little new room for the series to expand. Sure, there are questions left unanswered that will undoubtedly be resolved in future installments, but now that we've built to the events of Tokyo Drift and are in fact two movies past the moment of real momentum where Deckard Shaw (Jason Statham), the real big bad of the franchise, showed up and did his thing the question is now if there is anything left for the series to do to re-entice audiences. It is not without admirable effort that The Fate of the Furious attempts to re-ignite the investment in these characters and their on-going adventures as this latest chapter takes the route of fracturing the one thing that has always been the constant of The Fast and the Furious-its family unit. If you've seen the trailers or even any of the clips that have been released for Fate it is likely that you're aware of the arc that Vin Diesel's patriarch Dom Toretto takes this time around. While this turn of dynamics among the cast is a welcome change in narrative direction it only works as well when it is able to balance itself with the overall tone of the franchise, but too often it takes itself a tinge too seriously and goes a shade too dark for this to both feel fresh while in the same vein as the outlandish, but supremely entertaining Fast & Furious movies we know and love.  

New Trailer for THE FATE OF THE FURIOUS

There is a new Fate of the Furious trailer out and it is just as bonkers, campy, and outlandish as I could have ever hoped. It's hard not to wonder if this franchise would feel more stagnant were it not for the tragic and untimely death of Paul Walker in the middle of production on the seventh film, but with the eighth film in the franchise it seems Dominic Toretto and his gang are moving on to different terrain and by that I mean both literally as well as in terms of story. I somewhat artlessly assumed that the beginning of the "final" trilogy in this ever-expanding brand would more or less follow the beats of those that had come before it meaning Dom and his gang would get roped into an elaborate mission that requires their particular set of skills to stop a new villain of the week, this time played by Charlize Theron. Obviously, I assumed wrong as the first trailer for the film painted a very different dynamic between this "family" we've all come to know and love. For one reason or another, Toretto has betrayed all those he once cared about and considered family by going to work for Theron's antagonist who reveals herself in this trailer to have had a hand in the last few films (meaning 6 & 7) despite the fact the apparent culprits of those films, the Shaw brothers, being either deceased or recruited to help the original team defeat Dom and Theron's Cipher. Like the remaining members of the crew in Letty (Michelle Rodriguez), Tej (Ludacris), Ramsey (Nathalie Emmanuel), Roman (Tyrese) and of course Hobbs (Dwayne Johnson) I don't know how I feel about this, but this is certainly an interesting way to kick off this new (final?) phase in the Fast & Furious franchise and I look forward to seeing what twist series screenwriter Chris Morgan has come up with to justify Dom's sudden turn as well as what new franchise director F. Gary Gray (Straight Outta Compton) has come up with to leave his mark. The Fate of the Furious also stars Jason Statham, Kurt Russel, Scott Eastwood, Elsa Pataky, Helen Mirren, and opens on April 14th, 2017.

COLLATERAL BEAUTY Review

Will Smith is the people's actor. He is a presence that radiates the kind of everyman persona that the actual everyman would like to envision themselves as. It's nearly impossible not to find the presence of Smith in any film he chooses to participate anything other than a force of genuine charisma, but not here. In director David Frankel's (The Devil Wears Prada, Marley & Me) Collateral Beauty Smith is relegated to looking as depressed as possible for the limited amount of time he actually appears on screen despite being touted as the lead of this ensemble piece. It's true-the films wackadaisical plot hinges on the actions of Smith's Howard Inlet, but it doesn't ultimately pay that much attention to him. Still, given it is Smith we care about this human being who is clearly and rightfully dealing with a tragedy on his own terms. Reeling from this great tragedy of losing a child we come to sympathize with Howard mostly thanks to the pain Smith conveys in his eyes that are constantly attempting to fight back both pain and tears. Still, we never become as invested in the character as it seems Frankel or screenwriter Allan Loeb (The Switch, Here Comes the Boom) imagined we might. Moreover, we are too shocked by what actually plays out in Loeb's screenplay as opposed to what type of movie the trailers sold this one to be. Going into Collateral Beauty there was a line of thinking that, being it was the holiday season, Loeb and the studio had intentionally written the story to take place at Christmas and released it around Christmas due to the similarities it seemingly shared with Charles Dickens' classic A Christmas Carol. While Smith's Howard is certainly no Scrooge it seemed Loeb had more or less reverse engineered the situation and played things out as if Bob Cratchit were the boss of his own ad agency and whom he moves forward enough that Tiny Tim does in fact pass away only to have the three ghosts that are this time incarnated as Love, Death, and Time rather than Past, Present, and Future come visit our protagonist revealing the secrets to happiness long thought to be lost. Loeb certainly could have played with a few different ideas and themes coming at the story from this new perspective, but ultimately Collateral Beauty was never brave enough to try and update and/or re-engineer that Christmas classic, but would rather be as deceptive about what it actually is the same way many of its characters are.

First Trailer for THE FATE OF THE FURIOUS

I've talked at length about how strange it is that a franchise born out of pure confusion and desperate measures has come to be one of the biggest if not the most long-running series that performs as consistently as these Fast & Furious films do. One can't help but to wonder if the franchise would feel more in a state of fatigue were it not for the tragic and rather shocking death of Paul Walker in the middle of production on the seventh film, but with the eighth film in the franchise it seems Dominic Toretto and his gang are moving on to different terrain and by that I mean both in terms of physically as well as in story. I guess I somewhat artlessly assumed that the beginning of the "final" trilogy in this ever-expanding brand would more or less follow the beats of those that had come before it meaning Dom and his gang would get roped into an elaborate mission that requires their particular set of skills to stop a new villain of the week, this time played by Charlize Theron. I assumed wrong as from the opening moments of this over three-minute trailer it's clear Vin Diesel's Toretto is no longer the man that holds family above all else. In fact, he goes full rogue here not only betraying those he once called family, but actively dismantling them forcing the remaining members of his crew in Letty (Michelle Rodriguez), Tej (Ludacris), Ramsey (Nathalie Emmanuel), and Roman (Tyrese) to team-up with The Rock's Hobbs and former enemy Deckard Shaw (Jason Statham) in order to take him down. This is an interesting way to kick off this new phase in the Fast & Furious story and I look forward to seeing what twist series screenwriter Chris Morgan has come up with to justify Dom's sudden turn. All of that said it should also be noted that new to the franchise director F. Gary Gray (Straight Outta Compton) has seemed to certainly add his own flavor to the mix as not only are the stunts on par with the stakes the team seems to be facing, but there is an undeniable rhythm to it all that hopefully plays through the entire runtime of the final film. The weirdly titled The Fate of the Furious also stars Kurt Russel, Scott Eastwood, Elsa Pataky, Helen Mirren, and opens on April 14th, 2017.

First Trailer for COLLATERAL BEAUTY Starring Will Smith

Like I said in my article Saturday counting down my most anticipated films of this fall/winter a trailer could drop any time for the Will Smith-starrer Collateral Beauty, but for some reason I felt the film, directed by David Frankel (The Devil Wears Prada, Marley & Me), would be delayed given it was supposed to arrive this Christmas and we'd yet to even see a production still from the picture. My train of thought went in this direction because it is what happened to Frankel's 2011 film, The Big Year, that carried the weight of names like Jack Black, Owen Wilson, and Steve Martin in the same movie together. That movie came and went without so much as a peep. I was hopeful Frankel's latest venture wouldn't be of the same variety given, aside from Smith, it has a cast to die for despite coming from prolific if not exceptional screenwriter Alan Loeb (Wall Street: Money Never Sleeps, Just Go With It). That all changed today as the teaser for Collateral Beauty has arrived and the film looks to pull at the heart strings as it it tells the story of a man (Smith) who experiences a tragic event that sends him into a downwards spiral-causing him to examine life and the things that connect each of us-our longing for love, our constant wish for more time, and our fear of death. The debut trailer tells us Smith's Howard Inlet begins writing letters to these things-to the universe-as a therapeutic way of dealing with this tragedy. What he doesn't expect is a response and yet he gets some in the form of Helen Mirren, Jacob Latimore, and Keira Knightley. Though the music hits you a bit over the head this certainly looks as if it will hit the strong emotional beats that Frankel was able to do in his "Why People Love Dogs" story that had every theater it was shown in in tears. I don't know that we'll necessarily see the film in contention come awards season, but this looks like a genuinely great movie to see with the family during the holidays and hopefully Frankel and his A-list cast can convey all the ideas and emotions this trailer sets up in interesting and powerful fashions in the final product. Collateral Beauty also stars Edward Norton, Michael Pena, Naomie Harris, Kate Winslet and opens on December 16, 2016.

TRUMBO Review

Dalton Trumbo is no doubt an interesting figure and a perfect case of someone whom it would be worthwhile to make a Hollywood biopic about. Maybe it's simply that director Jay Roach, who has mostly worked in broad comedy while mixing in politics lately with the likes of Game Change and The Campaign, doesn't know what else to do as a director, but his latest effort that profiles the rogue screenwriter feels all too complacent to accurately depict the radical and rebel ways of Mr. Trumbo. In short, this is a by the numbers biopic that tells us what happened, why it happened, and how the titular character lived out the rest of his days with the obligatory pre-credit note cards. That isn't to say the history isn't interesting or that there aren't good or intriguing moments throughout, but more that Roach does nothing with these moments to make them feel as vital or illuminating as they likely were for these people in the context of their actual lives. More than that, the biggest downfall of the film for me personally is that of the same mistake many biopics about musicians make in that they never explore what makes the artist want or need to create. To this effect, Trumbo never delves into its protagonist's writing process. Now, I understand that this film is not exclusively about the life of Dalton Trumbo, but more specifically the decade long fight he put up that saw him blacklisted and sent to prison due to his political beliefs. Still, this man was largely known as the biggest and best screenwriter working at the time his political entanglements began and is a large factor in how he fought back-managing to win two Academy awards in a time when everyone in the industry shunned him. Writing was not just a part of who this man was, it was who he was and to essentially skim over this opportunity to explain not just that he was a good and prolific writer, but how he came to be this way and how he remained inspired is one that is missed in exchange for little more than hitting the cliff notes of who this man was and how he dealt with the biggest trial of his life. Trumbo is by no means a bad movie; it has a number of good to great performances and due simply to the nature of the story it is endlessly fascinating, but this particular representation is little more than average given all it had to work with.

WOMAN IN GOLD Review

Woman in Gold is a perfectly fine film. It is as competent as it is generic. The issue with the film though is that it so clearly wants to be more than that. It has a sense of needing to feel important based on the origins of its story when, in reality, the fashion with which it's told and the narrative structure it's delivered through make it appeal as little more than light, afternoon fluff with only a slight edge in existing over something that is purely melodramatic. There is nothing wrong with being no more than an afternoon distraction or even a slight piece of information that serves to highlight little known aspects of major events we've heard about time and time again, but Woman in Gold, while recognizing a number of themes dealing with mortality, isn't the heavy handed drama it seems to want to be or thinks it is. And so, while director Simon Curtis (My Week With Marilyn) and first-time screenwriter Alexi Kaye Campbell may or may not have been aiming for one thing by casting Helen Mirren in a role so perfect for Helen Mirren it's almost cliche to have her actually play it and doing the opposite with Ryan Reynolds as he plays against type while dealing with a story that involves Nazi's it would of course seem one would have the perfect formula for a pre-packaged Oscar contender. What Curtis and Campbell have actually delivered though is ironically something largely opposite the heady and often too artsy for mainstream movie-goers the Academy does nominate in delivering a by the numbers account of a true story that both rouses the human spirit and will no doubt be appreciated by older audiences for its clean sense of class and respect for history. More times than not it is the straightforward, fluff-type films that serve ones interests better and for that, Woman in Gold has nothing to be ashamed of simply because it doesn't reach the heights it seemed manufactured to scale. I'm not necessarily saying this is a film worth seeking out, but it definitely isn't a bad option if you're looking for something to take your (grand)parents to this weekend.

THE HUNDRED-FOOT JOURNEY Review

Time for a a little bit of an embarrassing admission: I've never seen Chocolat. I haven't seen The Cider House Rules either, well at least not all of it though I can recall starting it about a half dozen times. What I can say is I distinctly remember being in the eighth grade and my art teacher trying to convince me that it would be a more rewarding experience to go see Chocolat than Vertical Limit, which I was clearly anxious to see and would choose over an artsy film any day of the week (it had Robin in it!). Needless to say, all this time later I still haven't made time to visit director Lasse Hallström's well-reviewed romantic drama starring Juliette Binoche and Johnny Depp that would seem to make the most pleasant double-feature with his latest film, The Hundred-Foot Journey. If we're being honest though, there wasn't a large amount of interest in this film for me, a 27 year-old who was more excited to see Teenage Mutant Ninja Turtles than an adult drama about the vast difference in cultures and their respectable inclinations even when a minuscule distance separates them, say a hundred feet? The Hundred-Foot Journey is a film no better described than being purely pleasant. It is a movie that could easily pass a weekend afternoon and be completely satisfying in doing so. There is nothing inherently wrong with a movie like The Hundred-Foot Journey, but it is to be understood going in that it is nothing but insubstantial froth. It is the dessert to a lazy, stress-free weekend or even the bubbly anecdotal answer to a demanding or trying couple of days. Either way, most will receive the same feeling from this slightly high brow Hallmark movie in that it paints a world where the outside conflicts of our existence never enter into the picture and the small trials and tribulations of our characters, while certainly major in their lives, leave little worry with the audience because we know exactly where things are heading and how *pleasantly* they will all turn out.

RED 2 Review

In what may be the second least anticipated sequel of the summer Bruce Willis and his gang of retired master class agents return for another round. I actually really enjoyed the first film as it presented something fresh, a new spin on a genre that by 2010 had seen Willis trying tirelessly to breathe life into a new possible franchise (Surrogates) while attempting to lampoon what made him the action star he is in the first place (Cop Out). Both attempts turned in horrible to average films, but nothing stuck. That was, until he managed to find the right film that balanced the comedy and action while at the same time being able to poke fun at the fact Willis was indeed a lot older now than when he made his first Die Hard film. That the first film also managed to make Willis seem like he was invested in the material was a definite plus. An air of indifference has plagued Willis in the majority of his actioners lately (this has remained true since RED as well with The Cold Light of Day, Expendables 2, and the disaster that was A Good Day to Die Hard) and is still somewhat apparent in this ultimately unnecessary sequel, but lucky for us Willis is not the only star the makers have recruited to keep us entertained and upping the chances crowds will buy tickets to this farcical action film in a summer season so crowded it would be difficult to stand out otherwise. While some of the big names are welcome returns and the others welcome additions their true value is measured by the mass appeal they bring and how this worked to the first films advantage, making it a sleeper hit. I remember being surprised by how many older people were in the audience to watch the first film at an early show and the same remained true this time around. That the older generations show up for the roster of prestigious actors and the younger for the guaranteed mindless action that has no doubt come to be associated with Willis' face, the producers can almost guarantee a hit. The good news is that, despite these films following formula to a T, there is more going on with the characters than in most generic action films and a surprising amount of laughs per minute that, if nothing else, guarantee a pleasant time.

MONSTERS UNIVERSITY Review

Leave it to Pixar to deliver a movie that is not only fun, but honest in a way most films for kids tend to avoid. When movies aimed at the younger set skew the truth in order to make everything turn out in the best of ways for the main characters it is hard to sometimes take the lessons it is trying to teach with more than a grain of salt. Now, given the fact we know where the story of Mike (Billy Crystal) and Sully (John Goodman) eventually ends up it is not without surprise it was an adventure getting to that point, but what is slightly surprising is the way in which they so effortlessly stumble upon their careers in a world that's been completely imagined and realized through technology. This authenticity of the world created for these movies lends itself well to the lesson here that you aren't always going to get what you want no matter how hard you work, but instead the cold truth has to be accepted and in some ways you come out stronger and more proud having admitted and come to terms with your own weaknesses. Though the idea of hard work always paying off is a nice sentiment and in a perfect world might be true, the real world doesn't always allow our dreams to pan out the way we hoped and so we have to adjust to fulfill the potential of the hand in which we were dealt. That all may sound somewhat insightful given the fact the point of discussion here is an animated film, but that is what continues to set Pixar so much further ahead of the pack. Sure, they've had their missteps over the past few years as no one was asking for a sequel to Cars and despite the fact I found it gorgeous and engaging the majority of audiences and critics weren't too pleased with Brave. Monsters University may not be the return to top form the majority of people are hoping it will be, but by this point the bar is so ridiculously high for Pixar it is almost unattainable. On the plus side, this prequel to 2001's Monster's Inc. is a hilarious and colorful adventure that will have the kiddies in stitches and the parents chuckling at all the references and college humor their children are too young to even comprehend.  

HITCHCOCK Review

It is with a bit of a playful attitude that Anthony Hopkins, arguably one of our greatest living actors today, takes on the role of one of our greatest directors of all time. Sometimes the fantasy is better left a lie and that is the main fear I had in walking into a film about Alfred Hitchcock, especially during the making of his most famous of films. As a person who not only enjoys watching films, but someone who always aspired to make films Hitchcock is of course a name that is immediately regarded as the best of the best and his films, whether you have seen them or not, are classics no matter what. To my shame, I have not watched all of Hitchcock's catalogue but I guess the only one that matters in speaking on this film is Psycho, and I have seen Psycho. What I have not yet seen is the other film that came out late last year about the famous director. The HBO film The Girl is about what comes after this chapter of Hitch's life yet seems to be more worthy of the Oscar talk that Hitchcock is receiving for Helen Mirren's work. That film stars Toby Jones (he has a knack for making autobiographical films at the same time as others, see Infamous) and focuses on the making of The Birds and Marnie, both of which starred Tippie Hedren and The Girl centers around the directors relationship with her and his need to impress and connect with his leading ladies. This trait is naturally a large part of Hitchcock as well and forms the backbone of the script that deals with Hitchcock's relationship with his wife, Alma (Mirren). Though Hitchcock is not the overly serious, Oscar contender many likely expected it to be it is still a fun watch with great actors and an easily engaging and interesting story for any fan of film.