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!

WONDER Review

Sometimes we forget there is more to the movies than entertainment. Sometimes, it seems, we forget that there can be more to a story than information, simple insight, or distraction, but rather that a story can genuinely move you. I mean, truly move you to the point it inspires a change in mentality, a refreshed outlook, or even just a slight alteration in compassion. As sappy and excessively sweet as it may sound that is what Wonder does. It is a movie that has all the trappings of a melodramatic dramedy that plays on the sentimentalities of the audience in false ways and if you're a seasoned movie-goer of any kind it's easy to see why this would be pinpointed as such. The trailers and other marketing material have made Wonder look like something that ranks somewhere between a Hallmark made-for-TV movie and an after school special that serves to show children the repercussions of bullying, but walking out of the theater it is beyond evident that this movie is so much more than these dismissive descriptions would have you believe. Wonder never succumbs to the sappiness of it all, but more importantly is when it does reach for its peak emotional moments or dare to try to move the audience-it owns it completely. Wonder is a movie aware of what it is meant to do without being self-aware in the slightest. The word is humble. Wonder is a movie that defines being respectable without having to feel like it needs to announce its importance; it just is. Manipulative by nature, but unassuming and wholly modest in its execution writer/director Stephen Chbosky (The Perks of Being a Wallflower) finds the perfect balance in understanding the specifics of what his movie is intended to accomplish while making the audience wholly aware of it without flat-out exploiting their emotions. As a dad though, this thing hit me right where it was supposed to and while I understand that what is presented on screen is to a large degree a completely manufactured world where the schools are exaggerated, family time is strictly mandated, and there seems no financial concerns whatsoever these are also all things that aren't critical to the main idea and morality that the film is trying to convey and much can be forgiven when your movie promotes a simple idea like kindness this well and moves you this effectively.

First Trailer for WONDER Starring Julia Roberts & Owen Wilson

Just the other day I received a text from my wife asking if I'd heard anything about an upcoming movie called Wonder. Of course, what I immediately thought of was next week's Wonder Woman, but she knew about that and certainly wasn't questioning whether or not I'd heard of the next big comic book movie. So, what was this Wonder she spoke of and why did it all of a sudden seem to be the cause for much excitement when anticipating movies wasn't typically something she made a hobby out of? Turns out my wife, who is a high school librarian and read A LOT was in the midst of the novel of the same name that this adaptation is based on. The book, a New York Times bestseller, by author RJ Palacio, is by all accounts a solid piece of work that is genuinely moving and heartfelt and the first trailer for the film would have me believe nothing else. With Steve Conrad (The Pursuit of Happyness, The Weather Man) writing the screenplay and novelist/writer/director Stephen Chbosky (The Perks of Being a Wallflower) taking on the material the film version of this story about a boy with facial differences who enters fifth grade, attending a mainstream elementary school for the first time is certainly in strong hands. The trailer is appropriately schmaltzy, but never comes off as manipulative or overly sappy and hopefully the film in its entirety can very much do the same-balancing the inspiring and the sincerity with one another to the point of true effectiveness. It also doesn't hurt that Lionsgate and Chbosky have been able to attract a dynamite cast that not only includes Jacob Tremblay hot off the success of his first major role in Room, but also the inspiring choice of Julia Roberts and Owen Wilson (who have never worked together before) play the central character's parents. Wonder also stars Mandy Patinkin, Daveed Diggs, Sonia Braga, Izabela Vidovic, Ali Liebert, Bryce Gheisar, Millie Davis, and opens on November 17, 2017.

MONEY MONSTER Review

We may all be created equal, but we are certainly not all born into the same circumstances. In order for our system to work the way it is designed to things must remain this way. People must continue to fail or slip through the cracks of said system so that we not only have opportunities for exceptionally driven individuals to thrive, but also for those who are unable to make it past being the breakfast manager at McDonald's. We are all created equal, but it's what we do with that equality and the opportunity this state of mind affords us no matter how many advantages or disadvantages we 're born into. It is in this idea of equality that Jodie Foster seems to find an in to this story cobbled together by three screenwriters that seemingly wants to be about something, but in the end is more a slight encapsulation of the time we're living in than a piece of art that reflects or examines the time that has spawned it. Money Monster is Foster's fourth directorial feature and undoubtedly her biggest film to date, but it is this bigger feel, this corporate mandated aesthetic and approach that hinders more than helps in whatever Foster's actual objective might be. And so, it begins by Foster and her team of screenwriters (including Jamie Linden, Alan DiFiore, and Jim Kouf) looking at how the little man might take on the privileged and exploring equality from that perspective, but as we come to learn more details about the situation and the plot becomes more clear in that it is going to blame the downfall that was the catalyst for the outrageous (but not unbelievable) actions of one of our main characters on a single bad guy who did a single bad thing instead of making this an amalgamation of bad choices and ethically wrong dealings there is a hint that it might become more about equality in the sense of taking responsibility for ourselves and our actions whatever they may be no matter where we fall in society's class system. Had Money Monster delved more into an idea Dominic West's character spouts near the end of the film and come to something of a less pleasant conclusion, but a more realistic one I imagine the film might have struck more of a nerve, but as it is and as it goes Money Monster is simply a neat little thriller that is consistently entertaining.

First Trailer for MONEY MONSTER Starring George Clooney & Julia Roberts

For years now Geroge Clooney has been attempting to reinvigorate the genre that has kind of graciously been labeled "movies for grown-ups" with the likes of Michael Clayton, Up in the Air, The American, The Ides of March, The Descendants, and even The Monuments Men. Sure, he's thrown in a few guarantees like Gravity and the what seemed to be a home run in Tomorrowland, but he largely likes to star in, produce, and direct films made explicitly for the more mature crowds. With the release of a new Hail, Caesar! trailer yesterday and the films February fifth release date looming it is no wonder we now have a trailer for Clooney's other offering this year. Re-teaming with Oceans Eleven co-star Julia Roberts (who's been doing her part for grown-up movies as well with last years average, but still underrated Secret in Their Eyes) the two have taken the leads in the latest directorial effort from Jodie Foster (yeah, this thing would have been huge in '96). The film follows Clooney's Lee Gates, a TV personality whose insider tips have made him the money guru of Wall Street. Things get tricky when Kyle (Jack O'Connell of Unbroken) holds Lee and his entire show hostage on air threatening to kill Lee if he does not get the stock up 24 and a half points before the bell. Naturally, Lee's ratings soar as the entire country tunes into the media frenzy while at the same time shedding light on a possible scandal involving the company in question. The story is timely, the performers are top notch, and Foster while coming off a rather shaky previous feature has done enough work in TV lately that having her at the helm inspires more confidence than doubt. Needless to say that while the trailer doesn't do much for me stylistically there is too much promise to not be excited. Money Monster also stars Giancarlo Esposito, Dominic West, Jack O'Connell, Caitriona Balfe, Greta Lee, Emily Meade, Chris Bauer, Condola Rashad, Olivia Luccardi, and opens on May 13, 2016.

SECRET IN THEIR EYES Review

There was a time when something like Secret in Their Eyes would have reigned supreme at the box office and likely been heralded as something of a dramatic force of nature that was brought to it's emotional edge by three daring lead performances. There was a time when both Julia Roberts and Nicole Kidman could have played these same roles in this same movie and it would have been a lot buzzier a film with bigger box office returns based off their names alone (more, of course, for Roberts as Kidman has never been much of a big money movie star). Unfortunately for Roberts this is not the world we live in anymore. Instead, we live in a world where the best hope you have of becoming something even resembling a cultural phenomenon is if you're based off a comic book, young adult literary series, or have any other type of brand recognition/nostalgia factor you can tap into. When it comes to purely adult dramas like Secret in Their Eyes though, chances are slim of anything greater coming of your efforts unless you have David Fincher behind the camera. All of that said, this is a movie that is just fine. There are moments of potential greatness, of truly riveting material and the three leading performances, including a heartbreaking psychological exploration of the struggle for atonement in Chiwetel Ejiofor's character, that more than deliver, but there is nothing about the film that feels exceptional by the time the credits begin to roll. Instead, writer/director Billy Ray (who's written The Hunger Games, Captain Phillips and the 2009 State of Play adaptation, but hasn't directed a film since 2007's Breach) has taken director Juan José Campanella's 2009 Argentinian film of the same title that won the Oscar for Best Foreign Language Film (which I have not seen) and has adapted it for American audiences in a way that makes it feel more procedural than it should be given the emotional resonance of the situation at hand while never feeling as urgent or compelling as the original must have been to garner such praise.

First Trailer for SECRET IN THEIR EYES

I love movies like this, but they are of course more appealing as I get older. As Hollywood pundits grow more and more jaded with the onslaught of action and super hero sequels that take up cineplex screens though there is certainly a need to acknowledge and appreciate films like the somewhat awkwardly titled Secret In Their Eyes. In what feels like a 90's drama that might have starred Harrison Ford and Jodie Foster that looks to bury itself in the murder mystery genre this remake of a 2009 Argentinian film of the same name is the type of entertainment we get from staying in on a Friday night and watching an episode of 48 Hours. There is no rhyme or reason as to why such a subject or story should elicit such enjoyment, but more a reaction and that is where this film will capitalize as well as doing so commercially with its exceptional cast. Julia Roberts and Chiwetel Ejiofor are FBI agents who find themselves in the midst of the event that will mark everything before and everything after in their lives. In a case where Roberts character finds her daughter murdered it is both agents inability to let the case go after being unable to bring the killer to justice that will push them both to operate outside the law. Adapted and directed by Billy Ray (who's written The Hunger Games, Captain Phillips and the 2009 State of Play adaptation, but hasn't directed a film since 2007's Breach) this first trailer hints at a strong adult thriller with even stronger performances that will offer solid counter-programming from the aspiring (and likely inspiring) Oscar contenders with something purely interesting on a mature level. Secret In Their Eyes also stars Nicole Kidman, Dean Norris, Michael Kelly, Lyndon Smith, Joe Cole, Don Harvey and opens on October 23rd.  

AUGUST: OSAGE COUNTY Review

August: Osage County bring us into the dynamics of the dysfunctional Weston family as well as the countless issues, secrets, lies, and attitudes that constantly butt heads and leave everyone in a state of disarray and disappointment. There is much to be marveled at here as the cast is expansive and the acting is the real draw, but beyond the performances and familiar names this was first a stage play written by Tracy Letts (who also wrote Killer Joe which should give good indication as to how much bite this has) that no doubt won a Tony and the Pulitzer Prize due to its strong narrative and sharp dialogue. It is one of those films made for a very specific set of minds who find things such as this to be both entertaining and insightful. I find the psychology of what it means to each person to lead a successful life fascinating and to see a family, a group of familiar but distant characters, come together over a tragedy and let the flood gates open when it comes to expressing each of their issues with one another (and not in a calm fashion, mind you) to be something of a real treat. That said, this isn't the film the trailers have somewhat attempted to make it out to be. There is some feel-good music, but it is more for storytelling purposes than that of creating a certain tone. There are comedic moments, some that we readily identify with, but overall this is a very dark picture that delves into the issues each family member literally and figuratively brings to the table. There is so much characterization, so much to be learned from the small visual and vocal indications each of the characters give one another yet the film never feels overstuffed or bloated. Director John Wells (The Company Men) coaxes the tangled web of plotlines nicely as Letts adapted his own play for the screen and no doubt worked closely with the director to better translate his story for the more personal format of film rather than the open, less claustrophobic setting of a stage play. In the end, August: Osage County may have one too many twists to render it as credible as it would like to be, but after really thinking about it I couldn't help but feel even this was more the presentation of these facts rather than the fact they actually happened. We are talking about full lifetimes here and all the mistakes and events that come with that. It is an intense look at putting perspective on things and one that flourishes due to those bringing it to life.

First Trailer for AUGUST: OSAGE COUNTY

As the summer movie season continues this weekend the studios have begun to release the first trailers for their Oscar hopefuls. This week alone we've received previews of Tom Hanks in Captain Phillips and yesterday for director Alfonso Cuaron's long-awaited follow-up to Children of Men titled Gravity. Today we have the first look at the large ensemble piece that will no doubt be vying for Awards consideration come Oscar season, August: Osage County. Featuring Meryl Streep and Julia Roberts in the headlining roles as part of the Weston family, a family of strong-willed women whose paths have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. The film is based on the Pulitzer Prize winning play by Tracy Letts who also wrote the screenplay. Director John Wells whose only other feature film credit is the under appreciated 2010 drama The Company Men seems to work well with large casts, though the tone of this first trailer isn't the heavy handed stuff that typically makes up Oscar bait. Instead, there is an air of nice family dynamics and the way in which the majority of moments between them usually turn to comedy and a fair amount of laughs rather than serious, intense moments. I'm not overly familiar with the play, but everything about this film version seems appealing and though I'm not overly excited for the film I'll certainly be seeing it due simply to how promising everything about it sounds. The film also stars Ewan McGregor, Benedict Cumberbatch, Margot Martindale, Chris Cooper, Dermot Mulroney, Juliette Lewis, Abigail Breslin, and Sam Shepard. August: Osage County opens on November 8th.

MIRROR MIRROR Review

When the first trailer for this appeared online back in November it honestly looked pretty horrible. Director Tarsem Singh had just come off the successful opening of "Immortals" and then this comes rolling around in what looked to be a race to beat the more serious "Snow White & the Huntsmen" to theaters in June. While I initially had a horrible feeling about the film and a great hesitation to even see it, as the marketing campaign continued it seemed to get smarter in realizing the fact it did not need to compete with the other Snow White film coming out this year but instead what it needed to do was distinguish itself by showing what was valuable about the many different forms a story could take. In this case, both the darker version and this one aimed more at the younger crowds can both be taken with equal credibility. That is a hard thing to believe and I almost refused to believe it before sitting down and actually taking in what "Mirror Mirror" had to offer. Now, I don't think this is a great film by any means, but it isn't reaching for the stars either, it is simply trying to tell a fun tale that we all remember as an animated movie. It is what we would actually expect a live action version of the Disney film to be while "Snow White & The Huntsmen" likely skews closer to that of the Brothers Grimm tale. There is an audience for both and while I, as a 25 year-old, will probably enjoy the other version of this story more, I cannot say that "Mirror Mirror" fails to entertain its target audience.

The Evil Queen (Julia Roberts) and Prince Alcott
(Armie Hammer) attend the ball together.

It has been a long time since I have actually sat down to watch the Disney version of "Snow White and the Seven Dwarfs' and to be honest, chunks of the story had escaped me. I still don't know if I recall all of it correctly but the other thing that surprised me about "Mirror Mirror" was the refreshing feel of familiarity that came with it while still carrying a good set of originality (mainly in its visuals and musical score). The story, as you may remember, focuses around princess Snow White who is played here by Lily Collins (The Blind Side and also Phil Collins daughter) and her stepmother, the evil Queen (Julia Roberts). Evil Queen Julia has sent the village she oversees into shambles only to request more tax money from them when a handsome, rich Prince arrives and she insists on throwing a party to win him over and convince him to marry her. Prince Alcott (a perfectly cast Armie Hammer) becomes interested in the beautiful princess instead, forcing the evil Queen to kill her off so she will  continue to be "the fairest of them all". We all know Snow doesn't die and instead meets up with the dwarfs in the woods and stages a rebellion against the Queen. Collins is certainly capable of the protagonist role here though seeming somewhat overwhelmed at times by the scope in which Singh is operating. The real star here though is Roberts. I have always kind of been hit and miss with the star, but here you can tell how much fun she is having, how much she is really enjoying herself playing the baddie. It comes through in her campy, yet poignant dialogue that is made up more of sarcastic quips than fully formed thoughts.

The seven dwarfs.

Director Singh is a master of visual storytelling and he again puts this on full display. In "Immortals" I was blown away by his ability to take something we have seen countless times before and give them little twists of strangeness that made them more original but more importantly made it feel different. Where "Immortals" failed was in the fact the story had nothing new to offer. This could be said about "Mirror Mirror" as well, seeing as we have seen the movie before, but I felt this aspect is actually where this movie had an advantage. The script doesn't take itself too seriously and instead relies heavily on the humor and intentional farcical tone. The color palette, which ranges from the solid whites and grays of the Castle to the stark colors of the Queens dresses to the Bollywood-inspired finale that is literally an explosion of bright colors fits this tone perfectly. The way it compliments one another meshes to form a very calculated type of self-awareness while still keeping the basic elements and themes of the story intact. Singh was also smart to focus on the dwarfs in his film, they provide the majority of the fun here and are at the core of why children will love the film. They were always the characters that stood out in the animated version, that didn't necessarily stick to any archetype, but instead brought real inspiration to the audience and lead characters to fight for what they knew was right.

Snow White (Lily Collins) and Prince Alcott hide from the
monster the Evil Queen has hiding in the woods.

Even with the somewhat disappointing "The Lorax" hitting theaters earlier this month, it has been a good while since a full-fledged, fun family film has hit the cineplexes. That is the charm of this movie that will keep the kiddies entertained all the way through while providing plenty of good appealing moments to the adults that will be taking them to see it. Singh even throws in a musical number at the end that is sung by Collins herself and really exposes the importance of why his films so heavily rely on their style. "Mirror Mirror" is a feast for the eyes and is a pleasant diversion from everything else that is in theaters at the moment. There is not much substance to delve into when it comes to this project as we all know the story and the director and his team don't focus on too much on developing themes or making some kind of metaphor to our real world. No, this is simple, basic fun and should be celebrated for being just that in a time where studios are constantly trying to tell the dark, brooding side of things. I didn't expect to like "Mirror Mirror" much less enjoy it, but I did and I hope the crowds give it a fair chance as it certainly deserves it.

MIRROR MIRROR Review

When the first trailer for this appeared online back in November it honestly looked pretty horrible. Director Tarsem Singh had just come off the successful opening of "Immortals" and then this comes rolling around in what looked to be a race to beat the more serious "Snow White & the Huntsmen" to theaters in June. While I initially had a horrible feeling about the film and a great hesitation to even see it, as the marketing campaign continued it seemed to get smarter in realizing the fact it did not need to compete with the other Snow White film coming out this year but instead what it needed to do was distinguish itself by showing what was valuable about the many different forms a story could take. In this case, both the darker version and this one aimed more at the younger crowds can both be taken with equal credibility. That is a hard thing to believe and I almost refused to believe it before sitting down and actually taking in what "Mirror Mirror" had to offer. Now, I don't think this is a great film by any means, but it isn't reaching for the stars either, it is simply trying to tell a fun tale that we all remember as an animated movie. It is what we would actually expect a live action version of the Disney film to be while "Snow White & The Huntsmen" likely skews closer to that of the Brothers Grimm tale. There is an audience for both and while I, as a 25 year-old, will probably enjoy the other version of this story more, I cannot say that "Mirror Mirror" fails to entertain its target audience.