KINGSMAN: THE GOLDEN CIRCLE Review

There is a difficulty to pinning down what exactly it is about Matthew Vaughn's work that makes it stand out if not necessarily resonate, but to date it has been difficult to not at least enjoy, on a surface-level, every single film the director has released including the oft forgotten 2007 Neil Gaiman adaptation, Stardust, that is a genuinely great, very funny, and wickedly entertaining fantasy film told by someone who knows how to manage tone. Maybe this is it. Maybe it is the way in which Vaughn is able to deliver on a particular tone above everything else that makes his personality shine through so much more than other for-hire action directors tend to be able to do. It would be easy enough for studios to craft generic comic book adaptations, X-Men sequels, and James Bond spoofs-everyone is making some variation on one of those today-but to bring a unique perspective and distinct personality to such common proceedings is a gift and there is no denying Vaughn has that gift whether you appreciate where he's coming from or not. It is a tough thing, straddling what is to ultimately be an intangible aspect of one's final film, but Vaughn has always done well to imprint his films point of view throughout the film-thus making for the literal actions of the characters in the climactic scenes to feel all the more successful as they have not only accomplished the proper resolution the plot desired, but have simultaneously satisfied their moral compasses. Having listed many of Vaughn's previous projects it isn't difficult to note the guy has had ample opportunity to make sequels, but that he hasn't and that he did decide to take on the follow-up to his surprise 2014 hit says a lot about how much he is invested in this world and in this material. What then would Vaughn do in his first sequel? What is the direction he would choose to go? Those were the thoughts and questions stewing in my brain as the Kingsman logo on the front of the Kingsman tailor shop is revealed once more in the opening moments of Vaughn's latest, but while Kingsman: The Golden Circle is a bigger sequel and dares to explore the extended universe that exists around this independent agency we were introduced to three years ago it isn't nearly as cheeky or outrageous as we've come to expect the Kingsman or for that matter, Vaughn himself, to be. And so, while the film is serviceable and generally a good time it doesn't touch the bonkers and bawdy tone of the original despite being bigger in every sense a sequel can be.

First Trailer for George Clooney's SUBURBICON Starring Matt Damon

After the first round of films slated to play at the Toronto International Film Festival were announced on Tuesday it quickly became more clear what the fall release schedule might look like as well as giving a clearer picture on who the awards contenders could potentially be come the end of the year. That said, George Clooney's latest directorial effort, Suburbicon, will be making bows at both TIFF and Venice, but what kind of role it will play in the eventual awards season is yet to be determined. Fashioned after a screenplay originally written by the Coen brothers Clooney, along with co-writer and producer Grant Heslov, apparently decided to take this in a darker direction rather than the more satiric one the Coens had in mind. The story of Suburbicon takes place in the late fifties and follows husband and father Gardner Lodge (Matt Damon) who must navigate his seemingly peaceful and idyllic suburban community’s dark underbelly of betrayal, deceit, and violence. In what is billed as a tale of, "very flawed people making very bad choices," the trailer certainly lives up to that description as Clooney's trademark gallows humor and classic aesthetic drip off every frame of this thing. I kind of adore the way in which Clooney consistently returns to this time period that has been so affected by nostalgia and those rose-tinted glasses that everything is now seen through this sheen of perfection and sparkling white teeth. Of course, the truth is, there was a lot wrong with America and the state of many a social issues at that time that were so swept under the rug it only seemed as if everyone was happy with the ways things are going. As we human history has learned time and time again when you bottle up something for too long the inevitable explosion to come will likely be worse than had we simply decided to address things head on. Suburbicon looks to be a tale of one of those moments in time when everything boiled over and the anger could no longer be contained. That said, it also looks like a really fun time at the movies and Damon looks to give a knock-out performance returning to a form he hasn't visited in some time. I'll certainly be making a point to see this at TIFF and hope it turns out to be as great as it has the potential to be. Suburbicon also stars Julianne Moore, Noah Jupe, Oscar Isaac, Glenn Fleshler, Megan Ferguson, Jack Conley, Steve Monroe, and opens on October 27th, 2017.

SDCC: Green & Red-Band Trailers for KINGSMAN: THE GOLDEN CIRCLE

The second trailer for Kingsman: The Golden Circle is the first major release from 2017's edition of San Diego Comic-Con. This is the follow-up to the wildly successful Kingsman: The Secret Service from 2014 with director Matthew Vaughn returning for what will be his first sequel despite two other films he's directed having spawned follow-ups. So, what is it about the world of the Kingsman that made Vaughn want to return? It seems to be the fact there is so much more to explore here whereas Vaughn knew that what he had to say about the Kick-Ass and X-Men universes was more or less complete in his respective films. With Kingsman, which, like Kick-Ass, is based on a Mark Millar graphic novel, the filmmaker seemingly only scratched the surface of the world in which this secret service organization exists and the sequel is certainly expanding that world. Bringing in a host of big name newcomers. The Golden Circle sees the Kingsman's headquarters being destroyed and the world coming under siege forcing Taron Edgerton's Eggsy on a journey that leads him to the discovery of an allied spy organization in the US called the Statesman. This new trailer certainly shines more light on the Statesman giving Channing Tatum and Pedro Pascal a lot more to do this time around as well as getting a little more of Julianne Moore's villain who she's described as “Martha Stewart On Crack” . The trailer is also pretty relaxed about showing us Colin Firth's Harry Hart is alive and kicking, but I'm hoping there's more to this story that is divulged in the final cut. Vaughn and his crew have really seemed to up the ante by genuinely expanding the scope of the universe in which these characters exist so I'm hoping that given the director has finally decided to make a sequel that this turns out to be well worth the time and creativity invested. Kingsman: The Golden Circle also stars Halle Berry, Jeff Bridges, Sophie Cookson, Mark Strong, Michael Gambon, and opens on September 29th, 2017.

Full Trailer for KINGSMAN: THE GOLDEN CIRCLE

Last week we received a brief, 16-second teaser for Kingsman: The Golden Circle. This is the follow-up to the wildly successful Kingsman: The Secret Service from 2014 with director Matthew Vaughn returning for what will be his first sequel despite two other films he's directed having spawned follow-ups. So, what is it about the world of the Kingsman that made Vaughn want to return? It seems to be the fact there is so much more to explore here whereas Vaughn knew that what he had to say about Kick-Ass and the X-Men universe was more or less complete in his films. With Kingsman, which, like Kick-Ass, is based on a Mark Millar graphic novel, the filmmaker seemingly only scratched the surface of the world in which this secret service organization exists and the sequel is certainly expanding that world. Bringing in a host of big name newcomers The Golden Circle sees the Kingsman's headquarters being destroyed and the world coming under siege forcing Taron Edgerton's Eggsy and the the rest of the gang on a journey that leads them to the discovery of an allied spy organization in the US. These two elite secret organizations must band together to defeat a common enemy. While an added layer to an already familiar operation is always an exciting facet in a sequel it would appear that, from this trailer, Vaughn and his crew have really upped the ante in this second film by not simply adding more characters, but by genuinely expanding the scope of the universe in which these kinds of individuals can exist with not all of them falling under the same category of being slick-suited super-spies. Rather, we get a fair amount of footage of Channing Tatum sporting Americana to the brim while essentially being the U.S.'s answer to Britain's Eggsy. I was a big fan of the original and am a big fan of Vaughn's work in general so I'm hoping that given he's finally decided to make a sequel that this turns out to be well worth the time and creativity invested. Kingsman: The Golden Circle also stars Pedro Pascal, Halle Berry, Jeff Bridges, Julianne Moore, Sophie Cookson, Mark Strong, Michael Gambon, Colin Firth, and opens on September 29th, 2017.

MAGGIE'S PLAN Review

Maggie's plan is a little bit of a gimmick and that is to say the plan that our titular character comes up with and not the film itself. Despite the credentials of the cast and creators what we get in this new film from writer/director Rebecca Miller (The Ballad of Jack and Rose) is something akin to a Noah Baumbach picture (and therefore, by default, a Woody Allen picture) with more of a plot device to drive the characters rather than that of an engaging premise. The titular plan though, as gimmicky as it can sometimes feel, isn't the star of the movie and thus is what saves Maggie's Plan from completely discrediting itself instead allowing it to turn into the insightful, funny, and rather poignant piece it always seemed destined to be based on those aforementioned credentials. When it comes to smaller, independent features that focus largely on intellectuals and their need to create drama and conflict so as to drive their own creativity most can be pretentious without holding any actual water no matter how compelling or precise the dialogue. Maggie's Plan walks this line skillfully, beginning as a film that would fall squarely into the genre of "artists supposedly making great art based on their own lives that we now find appealing because we're watching a movie about them," but somehow manages to become more about the characters than the thickening plot that is driving them. It's a very "movie-like" set-up for a movie that doesn't feel as artificial as said set-up. That isn't to say Maggie's Plan should be one thing because it seems like it should be (a talkie indie drama), but that it turns out it very much does want to be a certain type of thing (a talkie indie drama) as well as a few other things (a screwball/melodrama) that makes the final product feel forced if not still mostly coherent. As stated earlier though, it is not the plotting or even the sometimes strained dialogue that is the driving force behind the film, but rather the people who begin as archetypal academics and are humanized due largely to their ideas and self-awareness (or lack thereof) to such an extent that by the end of the film it's easy to forgive the bipolar tone their movie carries.

THE HUNGER GAMES: MOCKINGJAY - PART 2 Review

Ultimately, The Hunger Games films as well as the books are about sacrifice and that this final installment of the film franchise encapsulates this theme to it's fullest while still maintaining a clear narrative drive that is moved along by several exhilarating action sequences allows it to be nothing short of wholly fulfilling. In all honesty, as a reader of the books, I don't know that one could have asked for a better interpretation of the novels. Even in retrospect, the splitting of Mockingjay into two parts now seems a genuine decision rather than a financial one as it allowed more time to fully grasp the multiple changes and conflicts our protagonist, Katniss Everdeen (the ever-steady Jennifer Lawrence), would experience while also allowing plenty of space to develop the idea that both sides of a war use the same kind of propaganda to strike fear into their followers hearts. This development as well as the fact both parts of the Mockingjay films were not shackled by the narrative constraints of the actual games make for a much more involving and complex set of moral decisions and real world repercussions that don't typically apply to young adult literary stories. Whether it be through the casting of the terrific Donald Sutherland as President Snow who makes the overriding threat seem all the more vile as he eloquently executes his intentions of power over the classes of Panem through his politics or the unexpectedly layered Alma Coin (Julianne Moore) that brings about not only an epiphany in Katniss concerning the vicious circle that human beings naturally put themselves in when systems inevitably become corrupted, but also in realizing the necessary differences in the two men in her life that will finally bring about a peaceful decision. As much as The Hunger Games series is about sacrifice it is also about holding true to ideals no matter the sacrifice it takes to keep such principles relevant. Some may counter Katniss with the argument that there is no need to fight for ideals if there will be no one left to carry them on and if that is to be the result it seems Katniss thinks we might not deserve to exist at all. It's a bold statement, one that the films could have easily smoothed over with a toothless and sentimental final act, but instead they embraced the complexities and let them play out in an honest sense only making it all the more interesting to watch come to an end.

Full Trailer for THE HUNGER GAMES: MOCKINGJAY – PART 2

It's hard to believe The Hunger Games franchise is coming to a close, though it seems Peeta confirmed there will be some type of spin-off or prequel in a few years time. What is strange about The Hunger Games series though is that I tend to care less about them in between installments despite having read all of the books and still being interested in the film adaptations. I was beginning to put together my most anticipated list for the fall movie season the other day and I completely forgot we had the finale to Suzanne Collins trilogy coming out. I don't know if this means I'm not really excited to see the movie or if in the three years since the first film premiered I've grown tired of these types of films. That said, I still get excited for a good super hero movie so who knows, maybe I'm really just not that pumped for it. Either way, you won't see it on my list despite this full trailer for the film looking nothing short of fantastic. I guess it could be due to the fact I wasn't able to catch Mockingjay - Part 1 in theaters and thus it felt like less of an event, but I will still be seeing Part 2 in IMAX opening night as director Francis Lawrence has seemingly put together a worthy final chapter to the three rather solid films that have come before it. While Catching Fire is easily my favorite so far, Mockingjay - Part 2  may well in fact top it given it's the conclusion and it looks packed to the brim with both action and drama. Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Philip Seymour Hoffman, Jeffrey Wright, Willow Shields, Sam Claflin, Jena Malone, Stanley Tucci, Julianne Moore, and Donald Sutherland all return when The Hunger Games: Mockingjay – Part 2 opens November 20, 2015.

First Trailer for THE HUNGER GAMES: MOCKINGJAY - PART 2

It's somewhat hard to believe The Hunger Games franchise is coming to a close, though I'm sure in three to four years time there will be some type of spin-off or prequel that will need to come to the big screen. Nonetheless, it seems as if the first film in the franchise opened just the other day. Granted, Harry Potter was a much longer journey and I didn't get caught up in the Twilight saga so this is really my first time dealing with a shorter series that I've actually become so invested in. What is strange about The Hunger Games series though is that I do tend to care less about them in between installments despite having read all of the books and still being interested in the film interpretations when they come around; which is more than I can say for the Veronica Roth series. With both parts of the series finale being filmed simultaneously last year, it has been a long time since even the actors have been close to the material and with Mockingjay - Part 1 feeling more like a blip on the radar than a worthy chapter in the story of Katniss I can only hope this final film really delivers on what its source material executed rather well. If this first trailer is any indication I'm feeling fairly optimistic we're still in good hands with director Francis Lawrence. Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Philip Seymour Hoffman, Jeffrey Wright, Willow Shields, Sam Claflin, Jena Malone, Stanley Tucci, Julianne Moore, and Donald Sutherland all return when The Hunger Games: Mockingjay – Part 2 opens November 20, 2015.

MAPS TO THE STARS Review

I don't understand the intent of satire if not to criticize and expose the stupidity of others with the inflicted idea of how to correct such stupidity. I'm not saying everyone who pokes fun of something has to have a solution for how it shouldn't be funny, but while director David Cronenberg's latest, Maps to the Stars, is most definitely intended to be satire it certainly has no intention of being funny and with that one would expect it to have something more to say than the comments it hands out. If you've been watching movies for any amount of time you will come to realize the one thing Hollywood loves more than money is itself and so the indie kings, the rebellious filmmakers and those who generally defy the system consistently mock it for never allowing them the artistic expression to do as they please. To this point, I'm not one who is overly-keen on Cronenberg's work (though I admittedly haven't seen much) and so before you read any further know there is a bit of a grudge present because despite hearing promising things from the time I really began investing critical thinking in films (A History of Violence) I have come to be slightly disappointed with the results of what has been praised. Again, his last couple efforts (Cosmopolis and A Dangerous Method) have admittedly not been his most well-received, but while I knew I was experiencing something different with both Violence and Eastern Promises I didn't necessarily dig what I was seeing either. Maybe I didn't "get" what Cronenberg was going for, it's easy to dismiss it as such, but in giving a valid effort to want to like every film I watch I typically come away with something whether I feel a movie is good or bad, but the majority of the time I walk away from a Cronenberg picture I simply feel frustrated. I know there is plenty more to see between what I've heard about Scanners and The Fly, but why should I feel intrigued when the other products this company has produced haven't been satisfactory? Maps to the Stars is no different in that it features a singular style and voice, but more disappointing here is the fact we've seen this kind of satire before and so this typically unique perspective doesn't even feel fresh.

THE HUNGER GAMES: MOCKINGJAY - PART 1 Review

I've always been a fan of second chapters, but this new trend of first halves of last chapters is an unfortunate one that doesn't seem to be going anywhere soon given the extra dollars to be made from it. Not only does it completely contradict the reasons studios use to justify these splits, but they often times present glaring weaknesses in the story that otherwise wouldn't be present if the intention was the same as with the first two or however many predecessors there were. In the case of The Hunger Games, having read the books, I would have much more preferred they split Catching Fire into two parts than the rather lackluster and somewhat disappointing third book in the trilogy. Of course, as the finale, it is the one that gets the big to-do. There is a case to be made and an essay to be written for why studious should consider breaking the book that deserves it most into two parts rather than the concluding chapter (one that might ultimately agree with their story justifications in the press release that we all know are just covers for double the profit), but that is for another time and head space. While we may eventually get to a place where every book is broken into two movies right now we are here to discuss the beginning of the end for what has been the middle ground between the more credible Harry Potter series and the laughable, niche that was Twilight. The Hunger Games has served as a bridge between these series, uniting the tween and teen girls that flocked to the Bella Swan soap opera and the fans of varying degrees that grew up with J.K. Rowling's boy wizard in a way that melded the female heroine with the gritty realism of a fictional world. These films are, in a way, the ultimate composition of young adult literature combining every successful element that have come before and garnering the masses all the more for it while also sporting its own line of imitators. I wouldn't necessarily say I enjoyed The Hunger Games, either in the books or film series, but I am no doubt intrigued by them and fascinated not only by the role they play in pop culture and the brand they've etched out for themselves, but for the actual intentions of the story and how that has somehow been maintained in the feature adaptations. With that mindset I went into Mockingjay - Part 1 with a hopeful optimism that director Francis Lawrence and his unbelievably impressive cast might have crafted a game-changer.

SEVENTH SON Review

With it being the time of year it is one knows exactly what they are getting into when buying a ticket to Seventh Son. It is as simple as that, really. Even after only reviewing films legitimately for a couple of years it has become something of a tradition to walk into a sci-fi/fantasy film that has for one reason or another experienced production issues and been delayed because of it and this year begins no differently as Seventh Son is clearly looking to continue an unwanted trend that the likes of Hansel and Gretel: Witch Hunters and I, Frankenstein have made customary as of late. A perfectly average fantasy film within the constraints of the fantasy genre, Seventh Son suffers only from being rather boring in spots with not enough narrative umph to push it towards what feels like the obligatory two-hour mark. It is a movie you know and recognize before it even begins and once it does you recognize every beat because it has seemingly pulled something from every other movie of the same vein. The music is reminiscent of any Hans Zimmer score you've heard over the past few years or any of its multiple imitators after The Dark Knight and it feels like they took the backlot of any number of films set in medieval times and re-used it with no updates or customizations. The stars, Jeff Bridges and Julianne Moore, do what they can without any kind of character development and Bridges, more than anyone else, seems to have taken this on more for a paycheck while delivering a performance so ridiculous he seemed to be testing the limits of just how far his credentials might get him. It is both hilarious at times and incomprehensible at others. I couldn't tell whether or not the pedigreed actor was really trying to develop an original character at first, but by the time he's fighting his third CG monster I imagined any kind of effort that might have been sparked from reading the formulaic script was all but dead and he was just having some fun. I can't really defend the film and there's no reason to. I had a fine enough time with it as I knew what I was getting into and it aligned with those expectations. No more. No less.

STILL ALICE Review

Honest to a fault, Still Alice feels as heartbreaking as you might expect any traumatic event in your own personal life to affect you. The story is basic, the people are familiar and the storytelling is uncomplicated. In some fashion you might peg the film as something of a Lifetime story in pedigreed actors clothing, but it is only because Alzheimer's has become such a hackneyed topic at this point. This is unfortunate as the disease is of course a very serious one as well as being close to soul-crushing for those who bear witness to their loved ones slowly drifting away from the person they once were. Thankfully, I've never had to deal with the disease in any form with any family members, but as it's been used in films before it is easy to see why storytellers not only position it to gain large amounts of sympathy for their characters, but depend on it to pull in the entire emotional investment of their film. When used correctly though, stories concerning Alzheimer's can not only be affecting and moving, but like Still Alice, they can be eye-opening. There are moments within the film that naturally ring familiar and tread the line of being somewhat overly-sentimental and manipulative but this is only due to the timing and use of lyrical songs as well as the inclusion of a big speech to clarify the emotional peak of our protagonist. These moments are few and far between the more personal, small highlights of what it's like to exist outside these moments though. This introspective look is what sets the film apart from something you might see on late night cable along with, of course, the lead performance of Julianne Moore that has all but guaranteed her an Academy Award this year. Still Alice is not a film that screams innovation and isn't even anything to necessarily write home about, but it does take you in completely as you give yourself over to its briskly paced hour and forty minute run time. Concerning itself with the basics of life and the unforgiving nature of the disease at the heart of its story Still Alice provides a no frills look at both deterioration and inadequacy in the human spirit that cannot be controlled and is all the more poignant for it.

Official Trailer for THE HUNGER GAMES: MOCKINGJAY - PART 1

At long last, the full-length trailer for the first installment of director Francis Lawrence’s conclusion to the Hunger Games franchise has been released. Lionsgate has been playing this entire series close to the chest after the first film became somewhat of a phenomenon simply because it knows what it has on its hands. At this point, people are going to show up to this no matter if they've seen a trailer or not and so we get glimpses of what is to come, but not a marketing onslaught that wears us out before the final product arrives (take note, Sony). Having read all three of Suzanne Collins' books on which these films are based I found "Mockingjay" to be the least satisfying which has always made me weary of the film adaptation yet Lawrence took "Catching Fire" (my favorite reading experience of the series) and made it a much better film that the initial installment giving me hope for what he might do with the conclusion of this story. It was inevitable that the studio would split the final book into two features (despite the book length being about the same as the first two) and with this first real look at footage from the first half of the finale it looks like Lawrence has taken the themes of what this world of districts represents and has turned the emotional repercussions up to eleven. The book did take some interesting avenues with the characters though and naturally I look forward to seeing those play out on the big screen. It also looks like Gale will finally get his due after being heavily sidelined in the first two films, only building to a more emotional ending than we might be ready to handle. here's hoping it actually gets to us that much, signaling some real depth in blockbuster filmmaking. The Hunger Games: Mockingjay – Part 1 stars Jennifer Lawrence, Josh Hutcherson,  Liam Hemsworth, Woody Harrelson, Julianne Moore, Philip Seymour Hoffman, Elizabeth Banks, Jena Malone, Sam Claflin, Jeffrey Wright, Stanley Tucci, Natalie Dormer, Donald Sutherland and opens in theaters on November 21st.

NON-STOP Review

With what has become somewhat of an annual or biennial tradition, we all wait with eager anticipation to see what type of fun, B-movie situation Liam Neeson is going to get himself into next after transcending the lines of the serious and prestigious realm of actors to become nothing short of everyone's favorite action hero in early 2009. Not only did Taken mark a change in pace for Neeson though, but it was the first time, in a long time, that it really felt everyone was on board with a movie and that it had all the parts to please everyone no matter what demographic you fell into or what genre you enjoyed the most. Neeson was there for the serious film-goers, the action was there for the male and younger crowds while the storyline concerning a kidnapped child put the older sets in a "what would you do" type situation that was all-around engaging and was simply the perfect storm of elements that made agreeing on Taken an easy thing to do, a wagon we could all jump on and not feel bad for doing so. While Neeson has seemingly embraced this new-found identity as he has translated it into some fun (Unkown), some poignant (The Grey) and some not so great (Taken 2) experiences that show no signs of slowing and with Non-Stop he may have made his most middle of the road, yet still fascinatingly interesting B-movie to date. There is a sense of something a little extra here, an element not necessarily present in what would be considered your typical first quarter release, but something that heightens not just the quality of the overall picture but the experience it entails and if Non-Stop has anything going for it more than the fact it fits squarely into Neeson's new catalogue is the experience it offers the first time around. It is one of those tightly structured, elaborately plotted thrillers that consistently dares the audience to get in on the game of who is behind it all and this one in particular happens to be extremely satisfying in its execution while giving its justification more weight than we might expect, turning what could have easily been this brainless, exploitation flick into something that might make Hitchcock proud, or at least allow him to have a good time watching it. Non-Stop may not be something that will endure, but in that moment, in that present as you first experience the story unfold it is nothing short of guilt-free fun.

CARRIE Review

I've only seen Brian DePalma's 1976 Carrie once before, last Halloween for that matter, and I had the same reaction to it I do to many "classics" that I've seen removed so far from when they were originally released that an honest reaction is hard to have and to speak negatively about a film deemed with that title, whether it has "horror" in front of it or not is typically taken as heresy. The film was fine enough for what it was and more than anything I enjoyed actually seeing those iconic moments put into context as well as featuring early performances from Sissy Spacek and John Travolta. Still, I wondered what we might get from an updated version of the story as the source material has always been an exaggerated twist on the effects of bullying and with that being a hot topic as of late not only would a re-telling of Stephen King's novel be timely and introduce the material to a new generation but it might be able to instill some faith in these younger audiences of today that grew up on countless Japanese horror remakes and found footage flicks that there is more to the genre than these kinds of films and that scary movies don't have to be about the gimmick, but can actually relate to the issues of the real world. That being said, since 2003's re-make of The Texas Chainsaw Massacre there have been a slew of re-makes giving fresh eyes to the horror classics of yesteryear (or more the studios trying to make money off familiar brand names) and though the majority of them have been plagued by generally bad reception this new incarnation of Carrie is playing in a different arena because it at least seemed to have a few things going for it the others didn't. To say this is to refer to director Kimberly Pierce (Boys Don't Cry) and her claim that her version of the film would be more of a strict adaptation of King's novel rather than pulling from the DePalma film. The added value of having such a prestigious cast that includes Chloë Grace Moretz and Julianne Moore didn't hurt much either. And with that all being said, this new imagining never comes off as bad or disrespectful, but in fact is fairly horrifying and effective if not for the fact it's overly familiar and ultimately a little pointless.

DON JON Review

Joseph Gordon-Levitt would like you to believe his directorial debut is a comedy, a commentary on the unrealistic expectations media-consuming millennials have come to expect because of what they see on the internet and in the movies. That these narcissistic brats who constantly text and stare at screens rather than go outside or spend quality one on one time with each other talking face to face have become so self-involved that they are numb to the effect another person might have on them; that, in many ways, we are incapable of experiencing real and true emotion. That is what the advertisements for Don Jon would have you believe, that Gordon-Levitt makes his writing and directing debut behind the smug script that caters specifically to his age set and cashes in on the unknown truth of what romance has become. There is good and bad to the fact that none of this is actually true. Don Jon is as much a romantic comedy with the R-rated twist of porn thrown into the mix as Flight was a mystery thriller about how a pilot saved almost everyone on board after the plane somehow malfunctioned. What makes Don Jon so engaging is the pure energy and palpable excitement that has been put into the project by its writer, director and star. This is clearly a project he's worked tirelessly on and to have the opportunity to manage and control a creative venture is something the multi-talented Gordon-Levitt isn't going to let slip away without leaving an impression. It is what kind of impression he leaves though that makes his film something of a question mark to figure out as you walk out of the theater. Sure, it tries to have its cake and eat it too, but it goes about it in such a charming way and has enough of a solid script and great casting to forgive the formulaic pitfalls it comes around to in the last fifteen or so minutes of the film. I like Gordon-Levitt, I think he has made smart choice after smart choice and continues to show why he deserves the recognition he's been receiving since breaking the child star curse four years ago with (500) Days of Summer. In many ways, that film and Don Jon are kindred spirits in that both characters played by Gordon-Levitt have very specific expectations of what love is supposed to be and as a director Gordon-Levitt clearly has expectations for what his film wants and needs to be as well, but while it feels like he almost gets there he's still missing that something extra.

First Trailer for Joseph Gordon-Levitt's DON JON

Joseph Gordon-Levitt was pretty much everywhere in 2012 as he made appearances in four films (The Dark Knight Rises, Premium Rush, Looper, and Lincoln) and still found time to write, direct and star in his own film, originally titled Don Jon's Addiction, that has been making its rounds on the festival circuit for a few months now. I was hoping to catch a screening of it as it was the closing night film at my local film festival this past weekend, but was unable to make it and likely would not have been able to get into the screening anyway. Anyway, I'm anxious to see what the talented actor has up his sleeve in terms of writing and making a feature film and if the trailer is any indication it at least looks like he had a good time making a movie and that experience seems to have been captured on screen. The tone and pacing of the film seem very apparent here and the film seems ripe with comic opportunity as it mainly concerns itself with distilling the ideals put on the masses by mainstream entertainment that every relationship should be like those we see in romantic comedies. This is of course a difficult goal to achieve when you factor in a porn. This is the addiction referred to in the films original title, but is also the main point of conflict when Gordon-Levitt's title character finds someone he might have a real shot of an authentic relationship with in Scarlett Johansson. Reviews from the festival circuit have been overwhelmingly positive and I'm anxious to see what all the fuss is about. The film also stars Julianne Moore, Tony Danza, Jeremy Luke, Rob Brown, and Brie Larson. Don Jon opens on October 18th. Hit the jump to check out the trailer.

First Trailer for CARRIE

I usually take advantage of Halloween by using it as an excuse to go back and watch a few classic horror films I was too young or not alive to see when they were first released. Such was the case this past Halloween when I first experienced Brian De Palma's 1976 version of Stephen King's debut novel. Originally, the latest incarnation of King's story was set to hit theaters last month, but the studio decided to push the release back to a more suitable October time slot. On the eve of the theatrical release of the new Evil Dead, a full length trailer for Kimberly Pierce's (Boys Don't Cry) Carrie has debuted and though it seems to give away a bit too much it still manages to pique my interest to see what changes they've made as well as how this interpretation might be different. I enjoyed De Palma's film well enough though didn't see it in the time frame to likely appreciate it the way most do so I am rather excited to see a contemporary telling of this story especially as bullying in school is a hot topic at the moment and director Pierce clearly has some experience in documenting and finding the truth and relevance of these subjects. Throwing in the supernatural element, the stylized look of the abilities Carrie slowly learns to develop and a cast that features not only Chloe Grace Moretz in the lead, but Julianne Moore as the eccentric mother and you can count me in. I don't like that the trailer seems to give away almost every beat of the screenplay and that some of the more iconic moments from the original film are spoiled here, but I optimistically assume there is still plenty being held back and that this new vision of Carrie will prove to be just as memorable and frightening as its predecessor. This re-make also stars Judy Greer, Portia Doubleday, Ansel Elgort, Alex Russell, and Gabriella Wilde. Carrie opens on October 18th. Hit the jump to check out the trailer.