BOMBSHELL Review

They may as well have called this Half Baked 2, but not because the idea to make a movie about a group of women who decide to take on Fox News head Roger Ailes (portrayed here by John Lithgow) is a foolish move to make, but more because it's evident a half hour in that the choices here weren't really thought through and not near enough time has passed since these events occurred to accurately depict what might be the interesting ramifications from the fallout of men such as Ailes losing their power; we need to know what a non-toxic atmosphere looks and feels like before acting like we can really assess how bad these toxic ones truly are. Still, this movie exists and it's trying its damnedest to be a political satire via Adam McKay. Given there was much to look forward to about the project outside of simply telling a relevant and intriguing story there was hope that director Jay Roach (Austin Powers, Meet the Parents, Trumbo) and screenwriter Charles Randolph (The Big Short, Love & Other Drugs) might find a unique angle on how to infiltrate the chaotic world behind the 24-hour news cycle that would feel fresh if not exactly revelatory. While Bombshell hits the ground running and is happy to welcome the audience into this world before beginning to intricately weave these three individual character plights together it, despite always feeling enticing and always feeling as if it's getting ready to really dig into the meat of what it's here to say, ultimately never comes to dig further beneath the surface delivering a cliff notes-like version of a story the average consumer was likely already aware of. Bombshell is a movie with a great beginning and idea for what it wants/needs to be by the end, but it just hadn't yet developed a sound basis for which these ideas could solidly stand on.

PET SEMATARY Review

As with 2017's IT, this year's adaptation of Stephen King's 1983 novel is an update of an earlier adaptation that has a loyal fan base born of the generation in which King also penned these horror stories. Is this to say those original, filmed adaptations were more in tune with King's stories than today's updates? I couldn't say specifically in regards to IT or Pet Sematary as I haven't had the nerve to open either of those books, but while 1989's Pet Sematary and 1990's IT miniseries undoubtedly share a certain kindred spirit with King’s novels these current re-imaginings operate on a grander scale of sorts-idolizing the source material in a way that translates these stories in more epic terms to the screen. King’s emotionally-driven, character-based work tends to use the horror genre more as a mask for saying what he wants to say which would seem to account for why King’s work has always operated in being more vividly unsettling than straight up scary, but the themes of Pet Sematary are really dark...even for King. Though I have no personal connection or nostalgic ties to either King’s original novel or the original 1989 movie adaptation I tend to be intrigued if not by the premises of King’s works, but for the emotional investment they are able to create through this aforementioned character work. This is why IT ultimately worked so well two years ago for despite having a terrifying clown at the center it was the group of kids and their personal stories as well as the dynamics between them that allowed the movie to work and to be about things besides Pennywise. In directing duo Kevin Kölsch and Dennis Widmyer’s new take on King’s material, there is certainly no fear of going as far as is necessary to evoke the grief that comes along with dealing in loss and more specifically-the loss of a child. Kölsch and Widmyer undoubtedly create a sense of dread from the beginning playing the titular location in a way King would be proud as this sense of dread is not only represented in the literal manifestation of this burial ground, but of the reach it has into the lives of those that both live near and/or meddle in it. An interesting concept and fitting approach, no doubt, but while the emotions are as raw as the aesthetic approach it is a lack of connection to these character’s-especially Jason Clarke’s withdrawn nature despite his character’s actions-that give Pet Sematary a strong sense of purpose if not the lasting, devastating impact it seems pre-disposed to possess.

First Trailer for Stephen King's PET SEMATARY

Spoiler alert: I've never seen the 1989 adaptation of Stephen King's 1983 novel of the same name about a cemetery behind a young family's home in Maine that holds a terrible secret concerning the power of life after death. While that all may sound rather vague, what Pet Sematary is actually about-from what I can recall of my brothers discussions concerning the '89 film-is that of a haunted cemetery that brings pets back to life. Outside of that, I don't know much about what goes down in the story, but it's not hard to see why with the success of last fall's IT re-imagining and Hulu's Castle Rock why we're getting more re-makes or re-imaginings of King's most popular works. Does this carry the same cultural significance or nostalgia as IT, no way, but Sematary always felt like something of an appreciated if not exactly well-renowned entry in King's storied career. Given Mary Lambert's original film is now available to stream on Amazon Prime I'll definitely be making time to catch up with it before the end of the month (why not? It's October!) as well as preparing myself for whatever directing duo Kevin Kölsch and Dennis Widmyer have in store for us next spring. While Kölsch and Widmyer don't exactly have anything in their filmography that stands out (a bunch of rando horror flicks that look to be on the cheap side with not exactly glowing reviews) they did direct a few episodes of MTV's underrated and underseen Scream: The TV Series that makes me a little more optimistic about what they might do with a King property. Based on the trailer alone, I'm digging the way this thing looks (it was shot by Laurie Rose who's worked on Netflix's Peaky Blinders and also did 2017's 70's-laden Free Fire) as it feels more crisp and precise than some horror flicks that delve headfirst into a more grimy aesthetic. I'm also loving that John Lithgow will be playing the weird old man next door role (originally played by the original Herman Munster, Fred Gwynne, in the '89 version) as the guy is so versatile and, if you've seen Dexter, is a guy you know can play psychotic and/or crazy to haunting effect. While the rest of the casting is more shrug-worthy given Jason Clarke seems to be taking any role these days there is definitely potential here, but I'm sure I'll either have more hope or less optimism after giving the original film a go. 2018's Pet Sematary also stars Amy Seimetz, Naomi Frenette, Jeté Laurence, Obssa Ahmed, Alyssa Brooke Levine, Hugo & Lucas Lavoie, and opens on April 5th, 2019.

PITCH PERFECT 3 Review

In my review for the first Pitch Perfect five years ago I called it pure formula, but damn entertaining formula at that. Though the shine may have worn off a tad bit in the course of two sequels and inevitable growing pains it is clear the Barden Bellas are still more than happy to kick it with one another and turn in a handful of generally great A cappella performances with virtually no rehearsal time whatsoever. Like how self-aware that sentence was? Then you'll once again love the very self-aware and insanely self-deprecating Pitch Perfect 3 as it pretends to struggle to get over the hump of what this threequel should be about given all the girls from the original film are now out of school and pursuing actual careers where singing in their college A cappella group is undoubtedly the last thing they planned to and/or should be doing in their free time. People love them though, myself included, so count myself and every other person who found an affinity for this big screen version of Glee that became more of a cultural milestone than it was ever supposed to among the faithful that are happy to sit through another Bella adventure. This is all to state up front the perspective this reaction to Pitch Perfect 3 will be coming from, but what has always been most appealing about these films is what writer Kay Cannon (New Girl, 30 Rock) was able to capture in a sense of humor that is so of the moment it will, if nothing else, serve as a hallmark for how judgy, temperamental, and downright assured this particular generation was for a short time when it felt like anything was possible and the world was headed in all kinds of positive directions. Pitch Perfect 3 comes at a different time though, a time of less assurance and of more genuine attempts at staying positive both in the lives of the characters and the current national climate surrounding the film's release (as well as all the shade that typically comes along with being the third entry in a franchise many thought never should have been more than a single film) and thus we have what is presumably the final film with what is at least the original incarnation of the Bellas that, while not nearly as sharp or interesting as its predecessors, is very much a movie of its time as well: a safe, somewhat cautious third excursion that doesn't try to re-write the beats of the first two movies as much as it does lampoon them completely. Sometimes Pitch Perfect 3 feels like a Pitch Perfect movie and other times it doesn't, but mostly it's just an enjoyable time at the movies you won't think much about afterwards until you buy it on Blu-ray in three months to complete your collection and remind yourself of just how much carefree fun it really is.

DADDY'S HOME 2 Review

I will admit, and not necessarily begrudgingly, that I didn't mind 2015's Daddy's Home. One might even say I liked it to a certain extent. Did I understand why stars Will Ferrell and Mark Wahlberg were reuniting with something that was a more standard studio comedy rather than following up their 2010 Adam McKay film, The Other Guys, despite the fact it was likely because that film only made $170 million worldwide on a budget of $100 million? No, despite that evidence I still didn't and yet, somehow, Daddy's Home was something I laughed at consistently enough and had a warm enough time with that I was more than happy to recommend it to those looking for a light watch on a weekend afternoon. This was undoubtedly all it was ever meant to be. That was, until that second Ferrell/Wahlberg collaboration ended up going bonkers and making over $240 million worldwide on a production budget of only $69 million and thus is the reason we now have a Daddy's Home 2 that cost just a little more ($31 million more to be exact) with the addition of granddaddies Mel Gibson and John Lithgow present to up the antics of Ferrell's Brad and Wahlberg's Dusty as they try to co-dad in peace. Paramount was also keen to release this sequel prior to the holiday season as a whole thus kind of inadvertently kicking it off itself (Bad Moms Christmas obviously helping with this as well) as the studio looks to capitalize on their family-friendly PG-13 comedy playing through the Thanksgiving break and having collected all it needs prior to Star Wars coming in and claiming all the screens. That said, is this strategic approach going to work? Does Daddy's Home 2 offer the same comforts as its predecessor without succumbing to the stupidity that first film was always on the verge of flirting with or without becoming a carbon copy of that initial film? For the most part, sure. Daddy's Home 2 ups the antics in the way that sequels do without being maybe as consistently funny as it should be given the talent on hand. All things considered though, Daddy's Home 2 does further the story of the scenario set-up in the first film in natural and organic ways while adhering to the wacky tone that first film defiantly established. We are introduced to more family members in order to spice up the proceedings and from keeping it from becoming that total retread of the original while the dynamics of such relationships are explored and caveats of others revealed to add layers to characters we might have imagined we already knew everything about. That isn't to say writer/director Sean Anders (Sex Drive, Horrible Bosses 2) and writing partner John Morris (Hot Tub Time Machine, We're the Millers) have delved into the anxieties of blended families and come up with a film that analyzes the dynamics and struggles of such situations-this is very much of a movie world where no one has any problems except the ones in their personal life as created by their personal life with money being no object-but there is something to be said for Daddy's Home 2 as it doesn't simply rest on the laurels of its predecessor when it very easily could have.

New Trailer for PITCH PERFECT 3 Starring Anna Kendrick

A new trailer for Pitch Perfect 3 has arrived and it is much better than that initial teaser we received back in June. While the hype train seems to have admittedly been a little slow to grow for this one thus far I'm now officially excited to for this conclusion to a series that was never meant to be, but began humbly enough in October 2012 when director Jason Moore delivered a fast-paced, genuinely funny, and inventive teen comedy that capitalized on both the history of the genre itself. With the second installment Elizabeth Banks (who also co-stars in all three films) took over the director's chair and drove the film to an opening weekend that made more than the original film made in its entire theatrical run. The Pitch Perfect series is one that was born on the back of good word of mouth and a timely home video release where teenage and college-aged kids caught the effortlessly fun film over their Christmas break and replayed it again and again in their dorm and living rooms. The point being-it became fun and familiar to hang out with this group of girls and their friends and frenemies and thus any subsequent adventures where audiences could again get some hang time with them would immediately count as a win. With this third film, Step Up All In director Trish Sie has taken the helm with series writer Kay Cannon (New Girl, 30 Rock) still handling script duty. Personally, I'm very much looking forward to what this third installment has to offer as there is always a very distinct shift in tone between the first sequel and the second meaning it can no longer be as much of the same and more about the closing of a certain chapter of life which Pitch Perfect 3 seems to be hitting hard. With third films we like to see real progression in our characters as well as their story so as to be able to accurately guess where these individuals might go from this point as it is likely that, even if we get more Pitch Perfect movies, most of the original players won't be involved or in the same capacity. That said, this new trailer looks much more in line with what I was hoping this movie might turn out to be while at the very least I'm happy seeing the entire gang back together for at least one more go-around. Pitch Perfect 3 stars Anna Kendrick, Hailee Steinfeld, Brittany Snow, Anna Camp, Rebel Wilson, Alexis Knapp, Ruby Rose, Hana Mae Lee, Kelley Jakle, Shelley Regner, Ester Dean, John Lithgow, and opens on December 22, 2017.

First Trailer for PITCH PERFECT 3 Starring Anna Kendrick

The first trailer for the third Pitch Perfect film has arrived and is interesting as it is really the first thing we've seen concerning the third Pitch Perfect film. Little has been discussed, especially story, when it comes to this trilogy capper in the unexpected a cappella franchise that began humbly enough in October of 2012 when director Jason Moore delivered a fast-paced, genuinely funny, and inventive teen comedy that capitalized on both the history of the genre itself and the idea you really can do anything...even if you're in an a cappella group. With the second installment Elizabeth Banks (who also co-stars in all three films) took over the director's chair and drove the film to an opening weekend that made more than the original film made in its entire theatrical run. The Pitch Perfect series is one that was born on the back of good word of mouth and a timely home video release where teenage and college-aged kids caught the effortlessly fun film over their Christmas break and replayed it again and again in their dorm and living rooms. The point being-it became fun and familiar to hang out with this group of girls and their friends and frenemies and thus any subsequent adventures where audiences could again get some time with them would be default hits-especially if the same irreverent tone was kept intact. With this third film, Step Up All In director Trish Sie has taken the helm with series writer Kay Cannon (New Girl, 30 Rock) still handling script duty. Personally, I'm very much looking forward to what this third installment has to offer as there is always a very distinct shift in tone between the first sequel and the second meaning it can no longer be as much of the same as audiences hoped part two would hit. With third films we like to see real progression in our characters as well as their story come full circle so that we get some closure and promise as to where these individuals may go from here as it is likely that, even if we get more Pitch Perfect movies, many of the original players won't be involved or in the same capacity from this point on. That said, this initial trailer looks really fun and I'm happy to see the entire gang come back for at least one more round of a cappella antics. Pitch Perfect 3 stars Anna Kendrick, Hailee Steinfeld, Brittany Snow, Anna Camp, Rebel Wilson, Alexis Knapp, Ruby Rose, Hana Mae Lee, Kelley Jakle, Shelley Regner, Ester Dean, John Lithgow, and opens on December 22, 2017.

First Trailer for DADDY'S HOME 2 Starring Will Ferrell & Mark Wahlberg

Paramount has timing on its side this week as not only is this weekend Father's Day, but they also have the release of Transformers: The Last Knight which coincidentally stars Mark Wahlberg as well as Warner Bros. The House starring Will Ferrell opening next week and the week after-making this a perfect time to treat audiences to their first look at Daddy's Home 2. Two years ago Paramount released the original Daddy's Home to rather bad reviews, but it proved to be the gift that kept on giving as the film ended up with a worldwide gross of over $240 million on a budget of only $69 million. Needless to say, the studio was quick to get all involved, including Wahlberg, Ferrell, and director Sean Anders (Sex Drive, That's My Boy, Horrible Bosses 2) back on board for another go-around. If you've heard anything about this unnecessary, but totally understandable sequel you probably know that the hook this time involves meeting Dusty and Brad's respective fathers who will be played by none other than John Lithgow and Mel Gibson. It is this new dynamic that the trailer plays up and is all the better for it. I actually didn't mind the original film as much as I'd anticipated, but that was very likely due to the fact I went in with almost no expectations. The trailers made the film look as generic as a comedy could which was a shame as I loved and still love The Other Guys. The Other Guys is, simply put, one of the more underrated comedies of the last decade and while I'd hoped more than just the chemistry between Wahlberg and Ferrell might cross over into Daddy's Home it was always going to be missing that key creative drive in Adam McKay. There is hope in the fact Anders is again directing as each of his credits prior to these films were willing to go the distance for whatever joke needed to be made and while this will most definitely be PG-13, hopefully they can find some way to breathe fresh life into what is now a recycled premise. I'm hoping the effortless quality of comedy the lead duo possesses comes through as Ferrell and Wahlberg are almost as good together as Ferrell and John C. Reilly and there should be more than enough to work with between them and all the bigger stuff studio sequels inherently come with. Daddy's Home 2 also stars Linda Cardellini, John Cena, Alessandra Ambrosio and opens on November 10, 2017.

MISS SLOANE Review

Miss Sloane comes from first time screenwriter Jonathan Perera and promotes the idea that to get ahead in the vicious game of D.C. lobbying one has to know their subject. Perera obviously knows his subject. How Perera, who was living in Asia at the time he wrote the screenplay and who only optioned his work to literary agents over the internet before securing a production deal knows so much about the inside dealings of those hired to persuade legislators to support particular businesses or causes is a mystery, but he seems to have done a fair amount of research. Either that or what he feeds us in Miss Sloane is a huge pile of eloquently written BS. Like an Aaron Sorkin script (I haven't seen The Newsroom, but I imagine this might feel very similar) where dialogue is almost more important than emotion Miss Sloane fast tracks the audience through a deluge of day to day activities that a lobbyist at the top of their game such as the titular Sloane played with vicious velocity by the one and only Jessica Chastain might engage in. We are given little time to keep up and even less to really gauge what Sloane and her team are working on as the focus is not meant to highlight what kind of case our titular lobbyist and her team are working on, but more how keenly they are framing it to their client's advantage. While the objective for a lobbyist is the end-game it is the getting there, the journey if you will, that requires the creativity of someone in Sloane's position and the more creative one is the better the reputation they garner in their professional circles despite undoubtedly garnering a worse one among friends. Of course, this is why it is also made clear Sloane has no family or friends to speak of or to. It is a vicious circle of sorts and Perera makes that evident by reiterating the importance of how information is framed by framing his own film with that aforementioned end-game. In Miss Sloane the end-game is a hearing on Capitol Hill in Caucus Room 4 of the U.S. Senate. What is she doing here? What has brought her to this point? What accusation is being thrown around and what does it have to do with her abilities and/or the moral ambiguities of her techniques? Each are questions begged as small increments of information are fed the viewer within the epilogue of the film, but once the main narrative takes over it is easy to forget that framing device and simply go along for the ride which is exactly what Perera would prefer you do as he finds trouble in both sticking the ending and making it credible enough that we don't question how well he really does know his subject.

THE ACCOUNTANT Review

In director Gavin O'Connor's (Warrior) latest film, The Accountant, the films titular character and our protagonist is one that operates on the high end of the autism spectrum. The character is a math savant who has utilized his high-functioning skills to cook the books for several high-profile criminal clients that would seemingly stack the character's pockets, but may also serve as a threat to Christian Wolff and his legitimate, small-town CPA office. It's a hell of a way to set-up intrigue around a character while simultaneously bringing attention to those who function a little different from what society considers to be the norm especially when the film makes such a character as much a superhero as they do here. As Wolff, Ben Affleck is not only a genius when it comes to numbers though, but he's been nurtured into something of a killing machine by his militaristic father (Robert C. Treveiler). The film then combines these elements of Wolff's personality while mixing in a U.S. Treasury investigation led by the soon to retire Ray King (J.K. Simmons) and his forced apprentice of sorts in Medina (Cynthia Addai-Robinson) that leads Wolff to take on something of a legitimate client in a major robotics company run by John Lithgow. This plotline also introduces us to the obligatory love interest in Anna Kendrick's Dana, but mostly The Accountant is about Affleck kicking ass and counting numbers with the amount of plot Bill Dubuque's (The Judge) screenplay attempts to pile on only serving to take away from the more interesting character study that's trying to peek out from behind all the storylines. And while the film does indeed suffer from something of an identity crisis while at the same time playing into the fact it knows fully what it is by embracing the inherent goofiness of an assassin accountant it never stops being entertaining. Even as the plot jumps from Wolff's main mission to that of the Treasury investigation, and onto the third party tracker embodied by the always charismatic Jon Bernthal and back to Wolff there is always something to keep us invested even if what is doing so feels scattershot. This would typically be a detriment to a film given it signals a lack of trust in the lead characters ability to sustain audience engagement, but under O'Connor's steady hand The Accountant makes one feel just satisfied enough by the time they're done consuming it without actually offering anything of nutritional value.

Teaser Trailer for MISS SLOANE Starring Jessica Chastain

With Telluride just finishing and Toronto in full swing at the moment the film community has begun to receive a better glimpse at what the major contenders might be come this awards season, but surprisingly there has been no mention of recent awards mainstay Jessica Chastain or her film that would seemingly be in contention, Miss Sloane. That is, of course, until now as Europa has released the first teaser for the John Madden (The Debt) directed film that tackles the United States gun debate. Get ready to hear plenty of opinions fly! In this particular evaluation of the debate Chastain plays ruthless and highly successful political strategist, Elizabeth Sloane, who exposes the cutthroat world of D.C lobbyists on both sides of the gun control debate. More specifically, the film follows a new legislation that would require more stringent background checks for gun ownership that is gaining traction in Congress. Sloane is approached to spearhead the campaign, pitting her against the formidable power of her political opponents. Deploying her notorious skills Sloane jeopardizes those closest to her while putting her career at risk-essentially doing whatever it takes to win. The short clip we've received certainly relays the intensity of what that synopsis suggests and what the final product will hopefully hold in store for audiences. Interestingly, the script (solely written by Jonathan Perera) was ranked in the Top five of Hollywood's Black List, an annual tally of the industry's favorite scripts of the year, just last year meaning it has been acquired, found a director, attracted the talent of someone like Chastain and was made in less than a year. In short, the excitement and promise around this one seems to be strong and I can't wait to see what that yields. Miss Sloane also stars Mark Strong, Gugu Mbatha-Raw, Alison Pill, Michael Stuhlbarg, Jake Lacy, Sam Waterston, John Lithgow, and opens on December 9th, 2016.

Teaser Trailer for THE ACCOUNTANT Starring Ben Affleck

In putting together my most anticipated films of the year I labored over whether or not to include The Accountant starring Ben Affleck and Anna Kendrick. From the synopsis it sounded like an interesting enough drama/thriller and with director Gavin O'Connor (Warrior) at the helm I was certainly intrigued, but something about the project just screamed this was going to wind up more in the vein of Runner Runner than The Town. With the first teaser trailer though, I'm certainly more intrigued than I was based solely on the already interesting credentials this thing had going for it. While this could certainly end up being more on the generic side of things it looks as if Connor has taken something of a methodical approach to the material as Affleck plays a forensic accountant that is in another world as far as working with numbers is concerned and while he sits behind the guise of a small town CPA he is doing much bigger business behind the scenes as he un-cooks the books for some illicit clients. It was reported that Affleck pushed directing his next film (Live By Night, which is now in the can) after already pushing it back once before due to Batman v. Superman in order to make this film and so, if nothing else, my interest is piqued for what Affleck might have seen in Bill Dubuque's (The Judge) screenplay that made him so committed to seeing this project through to the end. Whatever the case may be with the final product, there is certainly a lot of promise here and this teaser does a perfect job of highlighting the character quirks that are enough to entice and make one wonder what type of story might have been built on top of them. Besides Affleck and Kendrick, The Accountant also stars J.K. Simmons, Jon Bernthal, Jeffrey Tambor, John Lithgow, and opens on October 14th, 2016.

LOVE IS STRANGE Review

Love is Strange isn't about the tragedy at hand, but more the tragedies that circumstance forces us into and the way life seems to backhand those circumstances into more dire consequences. What we see and what we are receiving are two different things as on the surface this could simply be taken as a movie about the current struggles of homosexual couples. In reality though, this is about little more than a single emotion, an emotion the title glorifies as odd and the film describes in several different scenarios and stages. Sure, the hook is that it deals with the homosexual relationship between Ben (John Lithgow) and George (Alfred Molina) because it is their relationship that serves as the catalyst for the events that occur in the film, but they are rarely even seen together. This is, of course, intentional as them being apart tells the audience more of their relationship than it ever could if we saw them together constantly. And so, what Love is Strange has to offer is a melancholy tale cloaked in Saturday afternoon sunshine that makes it feel more light and frothy than it has any right to perpetrate. While there is  a certain amount of vitriol in the screenplay from writer/director Ira Sachs and writing partner Mauricio Zacharias it is a very measured amount to the extent that none of these characters play into archetypes, but instead deliver the most poignant moments in the film by portraying these characters as human beings most will seemingly be able to relate to. I would like to assume there is a certain amount of understanding in humanity where we can drop the facades of acting the way we think we're supposed to and just speak in truths of empathy, but I also realize how much wishful thinking that actually is. This is why Love is Strange is so powerful in its execution and its presentation of these characters that everyone might not agree though as it is still able to relay a part of the viewers life to the point of understanding even if their orientation differs. I came to the film not knowing much about it other than the fact its two lead performances were being highly praised, but as it slowly sneaked up on me I felt it was rather middle of the road until the final scene hit me with the subtlety it had been playing at all along.

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.

THE HOMESMAN Review

Nowadays when one sees Hilary Swank gazing past the camera and through to the unknown on a poster we typically imagine it as a precursor to some uplifting tale where her character is the catalyst for change. One would again think that is the case with The Homesman as her Mary Bee Cuddy is certainly the most honorable character we come in contact with, but this isn't an uplifting drama that feels manufactured to redeem your confidence in the human race. In fact, if the film says anything about the human race it is about the savagery from which we spawned and the role of the female in the old west. Cuddy was a feminist without knowing the word to describe herself. She was a woman who heralded the strength of being a woman on her own, supporting herself and an advocate for equality all while feeling out of place because of the time in which she lived. It is an unfortunate scenario to say the least, but it certainly makes for an interesting character study and director Tommy Lee Jones seems to understand the ideas and themes he is playing with as his character, George Briggs, is both confused by yet struck with admiration by the confident and brave Ms. Cuddy. In The Homesman, what we have is a straight-forward tale of straight-forward people. There are no artistic flourishes (though much of the framing here results in a gorgeous visual prowess) or intent to be subtle about the politics of what topics the story is playing with, but rather Jones presents this story in a very matter-of-fact manner that suits the time period and the personalities of most while leaving the audience riddled with an unexpected clarity. It is one thing to say something turns out different than you expected because that would more generally be the case in film, but it is another to say you didn't expect what something had to offer and while I expected to get a fine enough western from an actor/director who clearly appreciates the genre, what I received was a meditative, heartbreaking and downright moving look at what life promised (or couldn't depending on how you look at it) during that time and how sometimes that wasn't enough to keep on going.

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.

THIS IS 40 Review

Maybe it's because I too have a relationship with Lost, that I still hold onto my love for The Office or that I also enjoy the music of Hairspray that allowed me to appreciate This Is 40 all the more, but either way I look at it I can't shake the overall impact the film left me with. It is easy to complain about Judd Apatow movies; whether it be that they are too long, that they try to do too much or are unable to balance themselves between the drama and the comedy. For me, these complaints are not necessarily invalid but they do prove to be somewhat easy to make. They do not take into consideration the skill at hand, the ability with which Apatow more as a writer than a director has likely so painfully made it feel so effortless to capture the real essence of life, the standard complications, the humor in everything. The genuine humor, not the forced false broad jokes that can so easily be relayed in awkward home movies, but the honest and often hilarious conversations we have everyday with one another that are so easily forgotten but just as easily recognizable when someone such as Apatow is able to tap into the truthfulness of life and bring it to a mass audience. I still like The 40 Year Old Virgin more than Knocked Up, but with his last two efforts the writer/director has certainly become more introverted, attempting something few comedians have the balls to do once they find real success. Those two early works afforded him the opportunity to do such a thing and he is not missing his chance. Like Funny People, This Is 40 touches on the bigger questions of what we decide to do in this life and why it matters and why it might not. Unlike that more serious film though Apatow lets his characters create their own story and resolve their own issues without forcing a narrative, a task upon them. A daring move, but one that pays off for the most part.