JUST MERCY Review

The third film from director Destin Daniel Cretton (Short Term 12, The Glass Castle) stars Michael B. Jordan, Jamie Foxx, and Brie Larson in the true story of a Harvard-educated lawyer named Bryan Stevenson (based on a book written by the actual Stevenson) who goes to Alabama in the late eighties to defend the disenfranchised and wrongly condemned including Foxx's Walter McMillian, a man sentenced to death despite evidence proving his innocence.

Every single word in that description would lead one to believe Just Mercy is an inevitably powerful film that is both timely and timeless as it touches on the indifference to inequality and justice in our society as its been fated to have been constructed; a world with a “justice deficient” as Stevenson would describe it, so why then...does everything about Just Mercy feel as formulaic as the old gospel hymns referenced within it? There's no taking away that this is a good movie, but there's no denying it goes down exactly as you expect it to also. That isn't to say the story isn't important or to criticize the story the film is telling, but more it is a recognition that Cretton and co-writer Andrew Lanham (The Shack) might have done more to execute this in a fashion not so routine; to find a way of conveying the story in unexpected ways rather than resting on the fact the true story is compelling enough on its own.

CREED II Review

The "sins of the father" idea has been played out time and time again since first making its appearance in the books of Exodus and Deuteronomy, but never has it been so deliciously executed as it is in Creed II given the poetry or, as one commentator within the film calls it, "Shakespearean" nature of one Adonis Creed (Michael B. Jordan), the son of former heavyweight world champion Apollo Creed, coming face to face with the son of Ivan Drago (Dolph Lundgren) some thirty-three years after he killed his father in what was supposed to be an exhibition match. The weight of these circumstances would certainly be hailed as nothing short of mythic to any innocent bystander filled in on the details just prior to the projector heating up and then rolling the whole of Creed II, but for anyone who has seen or been a fan of the Rocky franchise for any amount of time and has specifically basked in the glory of all that is simultaneously great and terrible about Rocky IV then it's not as difficult to see how easily Creed II could have turned into an unmitigated dumpster fire that was unable to capitalize on the great mythology of these events because it couldn't re-configure the tone. The tone of Rocky IV, while featuring Rocky's most formidable opponent and the death of his former enemy turned best friend, is somehow largely light and alarmingly disengaged from the consequences of any of the actions any of the characters take, but what it has afforded this new generation of Rocky films that take the name Creed is the opportunity to see these events through an era where sequels aren't simply cash grabs, but rather that they are taken seriously and can be exceptionally executed pieces of cinema depending on the creative team and the amount of freedom afforded them. In taking advantage of the studio who wanted to take advantage of credible filmmakers who were interested in continuing the story of Rocky Balboa, the result so far has been two films that not only revel in the training montages set to motivational music or intensely choreographed boxing matches (though they still take full advantage of these staples), but films that are also genuinely interested in chronicling the present generation and how they operate based on the influence (and sins) of those that came before them. Whereas 2015's Creed showed us Jordan's Adonis figuring out who he wanted to be and overcoming the obstacles and shadow of his father to get there, Creed II continues this development by pushing our protagonist past the point in life where his father found himself; forcing the new heavyweight champ to determine how history will define him outside of being the son of Apollo Creed.

First Trailer for CREED II Starring Michael B. Jordan

There is both much to be excited and much to be pessimistic about when it comes to Creed II. This sequel to the 2015 Ryan Coogler-directed film that continued the story of former World Heavyweight Champion Rocky Balboa as he served as a trainer to Adonis Johnson, the son of his late friend Apollo Creed, is a sequel MGM and Warner Bros. wanted to move forward with despite Coogler's obligation to Marvel and Black Panther. That is the first point of concern as Coogler, who had made only one feature prior to Creed, the cutting Fruitvale Station (also starring Michael B. Jordan), is/was a voice on the rise and it was his touch that made Creed a vital part of the Balboa mythology rather than just another way to capitalize on a known brand. For the sequel, the studios brought in Steven Caple Jr. who has also only directed only a single feature thus far, but has a fair amount of TV work on his résumé including episodes of Grown-ish and the documentary miniseries, Rapture, about hip-hop's impact on global culture that is now available to stream on Netflix. I haven't seen any of Caple's previous work, but judging by the look and feel of this first trailer it seems the guy has a capable pair of hands that this franchise has thankfully been placed in. They say the greatest weapon in a director's arsenal is a strategically placed song and even if Caple had no input on the trailer itself the use of Kendrick Lamar‘s “DNA” is a perfect pairing that indicates what is hopefully the overall tone and style of the picture. The other aspect that is somewhat concerning is the fact Sylvester Stallone penned the script for this thing along with Luke Cage scribe Cheo Hodari Coker, but to what degree they collaborated is unknown. Yes, it's a nice thought the writer/director/star of the original Rocky film has such a heavy hand in continuing the arc of characters born out of his original franchise, but given the plot details we know thus far it seems reasonable to worry this might be a re-hash of what has come before rather than Jordan's Adonis and his family unit making the franchise their own. Then again, I did enjoy 2013's Homefront so what do I know? All of that said, this trailer is indeed pretty great and if the final film carries out the energy and drama hinted at here I can't imagine being disappointed in what Caple, Stallone, and Coker have cooked up. Creed II also stars Florian Munteanu, Dolph Lundgren, Tessa Thompson, Phylicia Rashad, Wood Harris, Andre Ward, Russell Hornsby, and opens November 21st, 2018.

BLACK PANTHER Review

When your movie opens in Oakland you automatically enlist this inherent cool factor that appeals to this child of the eighties, especially considering I've watched The Defiant Ones, Straight Outta Compton, and Boyz n the Hood in the last week. Opening the film with a brief history of the fictional nation of Wakanda, its origins, and how the Black Panther came to be a symbol for the monarchy that reigned over it and a hero to the people who resided within it director Ryan Coogler (Fruitvale Station, Creed) then drops us into this unsuspecting setting of Oakland, California in the early nineties where we are served a series of events that establish the basis for what will fulfill the drama that occurs in Marvel Studios' Black Panther. This is a smart move on the parts of both Coogler the director and Coogler the co-writer who, along with Joe Robert Cole (American Crime Story), roots the beginning of his film in the zeitgeist of hip-hop; when rap was finding its footing and when the world began to take notice of what was being said within the genre. This is most definitely intentional as Coogler no doubt means to draw the comparison so as to confirm any doubt that Black Panther isn't a movement within itself. Though there have been black super hero movies before (in this analogy Blade would be your Sugarhill Gang) Black Panther is more than a defining moment as there has never been anything this explicitly black in or about a super hero movie before. Black Panther doesn't just star an African-American in the lead role as the titular hero, but it is about black culture, about black heritage, and conveys the highs and lows, the good and bad of this world of which I have no rightful place to really speak and so I will trust that when the many black people I do know who have seen the film say it is a real *moment* for their culture and for society in general I will trust that it indeed is. On the other hand, the question is how does Black Panther rank in terms of being a piece of entertainment despite Coogler inherently making this about more than just entertaining the masses? Well, it's another in a long line of reliable if not completely singular Marvel movies that tend to only break the mold every once in a while. Granted, Marvel has been on something of a hot streak lately mixing up the genres of which inspire their fare (2017 was especially strong) and Black Panther is no different in this regard as it, by default of its source material, feels fresher than anything the genre has had to offer in some time even if the potential of all the positive factors going on within the film never seem to be fully realized.

Movies I Wanna See Most: 2018

With a new year we are brought many a new prospects for our entertainment and in looking forward to 2018 I decided there was more than enough I was looking forward to in order to compile a most anticipated list. Too much, probably. That said, even in counting down twenty-five titles there is still plenty else that I would have loved to include. While I adored writer/director Alex Garland's directorial debut in Ex Machina his follow-up that comes out next month, Annihilation, has seemingly been shifted around in ways that make it feel less of a prospect. While I'm curious I'm not as excited to see the movie as I thought I might be. Others that were close to making the cut were director John Curran's (The Painted Veil) Chappaquiddick about how Ted Kennedy's life and political career became derailed after his involvement in a fatal 1969 car accident that claimed the life of a young campaign strategist. The film received strong reviews out of Toronto last year and I'm anxious to see what all the buzz is about when the film opens in early April. And then, there are of course the obvious big tentpoles that I'll be more than happy to see including The Incredibles 2, Jurassic World: Fallen Kingdom, Ocean's 8, The Predator, Equalizer 2, Sicario 2: Soldado, and Mary Poppins Returns, but beyond being happy to see these come their opening weekends I'm not exactly looking forward to what they'll bring to the table. There is also supposed to be that live-action Mulan from director Niki Caro (McFarland USA) that is set to open this November, but I didn't include it here as I'm rather skeptical given we've heard little about it besides the casting of the lead and the main players in the creative team being in place. Time will tell and I'm looking forward to the film, but if we'll see it in 2018 I'm not sure. Finally, I would love to have highlighted lesser known upcoming titles such as The Diary of a Teenage Girl director Marielle Heller's new film, Can You Ever Forgive Me? Starring Melissa McCarthy as bestselling celebrity biographer, Lee Israel, or John Krasinski's latest directorial effort, A Quiet Place, that stars himself and wife Emily Blunt along with Wonderstruck breakout Millicent Simmonds in what looks to be a departure for the actor/filmmaker. Jim Henson's son, Brian, also returns to feature filmmaking with The Happytime Murders which sounds like a blast and then there is of course the likes of Red Sparrow, the new Steven Soderbergh flick, Unsane, Richard Linklater's Where'd You Go Bernadette? not to mention new efforts from both Adam McKay and Alfonso Cuaron that don't have set release dates yet, but that we can probably expect at some point this year. There just isn't enough space in the world for everything that sounds promising in 2018 and so, here are twenty-five I definitely can't wait to watch and know I'll see this calendar year. 

New Trailer for BLACK PANTHER Starring Chadwick Boseman

Marvel's has somewhat unexpectedly, but not really dropped a new trailer for Black Panther today helping everyone's week get off to a better than usual start. While this was expected at some point before Thor: Ragnarok arrived in theaters I'm slightly surprised Marvel has decided to go a full two weeks before the actual release date. That said, this will only get all those who were going to see Ragnarok on the first day anyway all the more pumped for the next installment of their cinematic universe while simultaneously getting the the Marvel faithful as excited as ever for what's right around the corner. All of this is obviously a pretty big deal as it is one of the few African-American led comic book movies and the first for Marvel Studios despite having included characters like Falcon in other films. In the wake of Wonder Woman this summer Black Panther continues to shows the diversification of what that former status quo believed itself to be. It's frankly wonderful to see such major shifts taking place and being executed by major studios as it relays bigger cultural and social impacts than some might even realize, but all of this good is made even better when the film itself tends to look promising. Of course, there was no reason to ever think Black Panther was risky given Marvel enlisted director Ryan Coogler (Fruitvale Station, Creed) to helm the project. This paired with the fact we already got our first look at Chadwick Boseman's titular character in last year's Captain America: Civil War which in and of itself was pretty fantastic. Take all of this and add to the ever-growing promise of the film that Coogler also rounded-up frequent collaborator Michael B. Jordan to play the film's antagonist Erik Killmonger and you have what is more or less a guaranteed quality picture if not a guaranteed box office smash due to the fact it is another in a long line of Marvel successes. As for the trailer itself, Coogler and his team certainly seem to have found a look and tone they wanted to work in as the visual effects have improved since that first trailer and there is a scope here that was missing before-a scope that feels appropriate when introducing audiences to an entirely new nation. Black Panther also stars Lupita Nyong'o, Danai Gurira, Daniel Kaluuya, Angela Bassett, Andy Serkis, Forest Whitaker, Florence Kasumba, Martin Freeman, John Kani, Winston Duke, Sterling K. Brown, Phylicia Rashad, and opens on February 16th, 2018.

First Trailer for Marvel's BLACK PANTHER

Playing a little catch up today as the first teaser for Marvel's latest, Black Panther, dropped on Friday during game four of the NBA Finals, but unfortunately I haven't been able to really sit down and watch the clip until today. That said, this is obviously a pretty big deal as not only is this our first look at what is on Marvel's slate moving into 2018, but it's also our first glimpse at what is one of the few African-American led comic book movies. In the wake of Wonder Woman last weekend this is a big deal and only shows the continuing diversification of what that former status quo believed itself to be. It's frankly wonderful to see such major shifts taking place and being executed by major studios as it relays bigger cultural and social impacts than some might even realize, but all of this good is made even better when the film itself tends to look promising. Of course, there was no reason to ever think this Black Panther movie wasn't going to be promising given Marvel's Cinematic Universe enlisted director Ryan Coogler (Fruitvale Station, Creed) to helm the project. This paired with the fact we already got our first look at Chadwick Boseman's titular character in last year's Captain America: Civil War and that too was fantastic. Take all of this and add to the ever-growing promise of the film that Coogler also rounded-up frequent collaborator Michael B. Jordan to play the film's antagonist Erik Killmonger and you have what is more or less a guaranteed quality picture if not a guaranteed box office smash due to the fact it is another in a long line of Marvel's successes. As for the trailer itself, Coogler and his team certainly seem to have found a look and tone they wanted to work in for despite some of the visual effects shots still feeling incomplete the world in which they're taking us to is fully rendered. It's interesting to see Andy Serkis' Klaw (first introduced in Age of Ultron) and Martin Freeman's Everett Ross (also introduced in Civil War) open the trailer and discuss the mysteries of Wakanda as it only gives the audience a stronger desire to see this place for themselves. Black Panther also stars Lupita Nyong'o, Danai Gurira, Daniel Kaluuya, Angela Bassett, Forest Whitaker, Florence Kasumba, John Kani, Winston Duke, Sterling K. Brown, Phylicia Rashad, and opens on February 16th, 2018.

CREED Review

I feel like I can make a fair assessment of the movie I'm about to watch simply by the quality and inventiveness of it's title card. There is just something about the way this opportunity can be executed that seems to somehow connect with how far the director was willing to go to make every ounce of his film thrive. This is all to say that Creed has a pretty great one and from the moment the title and namesake of our lead character rises on to the screen with an epic and bombastic score behind it the movie just rolls. What I truly appreciate about the suggested epicness that director Ryan Coogler (Fruitvale Station) implies with this title sequence-that is set up perfectly by giving us an epilogue of sorts that shows a young Adonis Johnson on the fast track to nowhere in 1998 as just another kid in juvy who likes to fight-is that it recognizes the legacy of what the film is taking on and in this moment sets a tone that encapsulates everything the rest of the movie will attempt to demonstrate through it's actions. In essence, Coogler sets the stage in such a manner that let's us know this movie means business and that, while it will operate in the world of Rocky, is a fresh perspective on an age old tale for a new generation of underdogs. The script by Coogler and Aaron Covington hits all of the expected beats of a film such as this, but they are executed with such authenticity and weight that finds real credence in the source material that it's genuinely effective. That's what makes a Rocky movie a Rocky movie, right? The overwhelming feeling of accomplishment, of overcoming insurmountable odds. As we've more or less seen Rocky grow from an ambitious thirty year-old with nothing to lose to a nearly seventy year-old man who's come down on the other side of life battered and broken, but never beaten there is little left to say. This isn't a movie about Rocky though, and so the real question moving forward was going to be if Adonis Johnson could resonate in a way that we'd feel the need to stand up and cheer. In summation, round one goes to Creed.

Movies I Wanna See Most: Fall 2015

So far, 2015 has been a rather solid year for film. Of course there were the early month droughts that featured the likes of Blackhat and The Boy Next Door, but by February we received Kingsman and even McFarland, USA which (if you haven't seen it) is a really solid Disney sports drama. I'm not saying things have been exceptional, there have probably been just as many if not more bad movies than there have been good movies, but I had a really good time at the movies this summer and I'm pretty sad to see it come to an end. That said, I am genuinely looking forward to the fall release schedule especially considering I will be making my first trek to the Toronto International Film Festival this year and hopefully seeing as many of the movies on this list as soon as I can. Transitioning to the fall we approach films in different kinds of ways. While the summer is typically looked at for and judged more on pure entertainment value the fall is almost explicitly Awards season and looked to for more stimulating material. Given this kind of precedent there seems to always be one or two films that seem pre-destined for Oscar glory and while Eddie Redmayne seems to make it clear that The Danish Girl is this years film to beat (timely, his follow-up to winning Best Actor last year and Tom Hooper's follow-up to Les Mis) I still don't see a clear contender this year (though last years Best Director winner, Alejandro González Iñárritu, is certainly putting his hat in the ring). That said, this list is not about what I think will win the most awards (as you'll notice with much of this fall's franchise films getting some love) come February, but more what I'm most excited to experience at the cinema this fall. So, without further adieu, let's dig in...

FANTASTIC FOUR Review

Origin stories have become something of such trite exercises that when we are given something slightly different we're not sure what to do with it. That isn't to say director Josh Trank's (Chronicle) approach to his Fantastic Four reboot is necessarily a strong or even distinct one, but it is something. It certainly isn't what people would necessarily want or expect (that will be saved for the sequel if they're granted the opportunity to make one) given this film is more of a prelude than anything else, but there is much to appreciate. At a brisk hour and forty minutes I like that Trank's Fantastic Four doesn't take itself too seriously while consistently trying to remain as logical as possible. There is a sense of experimentation to the proceedings, a sense that tells us even the makers of the movie don't necessarily place too much importance on the going-ons of the plot, but are instead more interested in putting a few players on a certain kind of board and seeing what works and what doesn't. In coming at Marvel's first family of superheroes in this fashion it is obvious that Trank and his uber-talented and charismatic cast aren't actively trying to make something bad or even obligatory, but rather it's fairly clear they want the opposite. Things may not have turned out as well as they'd hoped in this initial run, but I have a sincere hope they get another shot to work out the kinks and to test their experiment again given it will contain more of the elements audiences want/expect from their superhero movies. I'm not going to completely trash Fantastic Four for trying to do something different with a story we saw on screen ten years ago. This is a story the board at 20th Century Fox likely insisted on Trank and screenwriter Simon Kinberg (X-Men: Days of Future Past) telling purely for the sake of retaining their rights to the characters and no doubt interlocking with their X-Men franchise at some point down the road. And I'm not looking for anyone to blame for the shortcomings of the final product because while there certainly could have been a more clear, precise vision for the film I kind of dug what we have here in terms of tone and character dynamic and only hope they have a chance to develop each further.

First Trailer for Rocky-Spinoff CREED

I've always relegated the Rocky films to something of a memory where I know I've seen the majority of them (specifically the first, second, fourth and Balboa, so I have a little catching up to do), but it was in the underrated Rocky Balboa (or the sixth film in the franchise) that I really caught a glimpse of what made the series mean so much to so many people. It was the film that came at the right time for me as I was really beginning to dig into cinema. That film deserved more than the pre-ordained bad word of mouth it received, but was too damaged to salvage once people saw it was actually a solid little closing chapter to the series. Almost ten years removed from that film though and we have a new chapter in the Rocky Balboa story, but this time it isn't about Rocky-we're talking Adonis Johnson, the son of Apollo Creed (as played by Carl Weathers) in the first four Rocky films and his quest to follow in his fathers footsteps despite never knowing him. This first trailer for the film that comes to us from Fruitvale Station director Ryan Coogler and once again stars Michael B. Jordan is as appealing as anything I've seen so far this year. While this film will clearly capitalize on the nostalgia of the subject it is also clearly very much intended to be Johnson's story and Jordan seems to be giving a wholly dedicated performance that will only push his star further, and if we're lucky, spawn his own boxing franchise. I love the style in which Coogler has seemed to capture the film and the music beats that match those of the footage gives off a sense of adrenaline with one of the final shots of the trailer inducing chills in even the most passive of Rocky fans. Creed also stars Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Anthony Bellew and opens on November 25th.

Teaser Trailer for FANTASTIC FOUR

There has been much naysaying when it comes to 20th Century Fox's re-boot of the Marvel Comic Universe's first family, but I have always maintained a sense of optimism. In holding back any kind of footage around director Josh Trank's (Chronicle) interpretation of the popular super hero property the studio has only upped anticipation in the film and thus, now that the teaser has finally arrived, seem to be getting a fair amount of good press simply for the film not looking like the disaster most expected. I'm super excited to see what Trank has done here as I placed the film on my most anticipated of the year, though admittedly out of a curiosity that had yet to be fed. The tone, as with any trailer, is key and Trank has definitely gone a completely different route than that of the Tim Story franchise. In fact, as the 2005 Fantastic Four had the unfortunate circumstance of following Christopher Nolan's introduction to his version of the super hero movie with Batman Begins Trank's version seems to be somewhat emulating that auteur's style and even certain themes of his latest, Interstellar. From the voice over to the shot selection of fields of green and space exploration there are certainly similarities. It is all about pushing the possibilities of humanity and while I love the look, the tone and the possibilities for the film itself this trailer paints I simply hope the serious tone can be carried over to a man who gains the ability to stretch his limbs. Fantastic Four stars Miles Teller, Kate Mara, Michael B. Jordan, Jamie Bell, Toby Kebbell, Tim Blake Nelson and opens on August 7th.

THAT AWKWARD MOMENT Review

How could something with so much potential and so many valuable moving parts be reduced to such utter filth? Well, that problem and answer is on full display in what we are calling That Awkward Moment. Each of the principal cast has better work in them, some of it just being released on home video, and others coming later this year in theaters. Why each of them decided to waste their valuable time on a project like this is beyond me, but maybe it was for nothing more than an opportunity to hang out with one another as that seems to be the hook the studio is looking to sell in the advertisements for the film so why should we think they made it look any different to Zac Efron, Miles Teller or Michale B. Jordan? While Efron is the clear marquee name here because he will put the most teenage girls in the seats it is Teller and Jordan who have actually been making the better career choices as of late that have landed them on many critics radars and have movie lovers like myself looking forward to their future projects. Both Teller and Jordan starred in films that made my list of the top fifteen films of 2013 and I like Efron enough that I was really hoping this along with Neighbors later this summer might put him on the map as having a great transitional year after attempts at prestige like The Paperboy, At Any Price and Parkland failed to resonate with anyone. While I still have more than enough hope for Efron's pairing with Seth Rogen later this year That Awkward Moment is not his The Vow and it is clear he will not have the breakout year Channing Tatum had in 2012, but will instead continue looking for that one role that will push him to the next level while hopefully, at the very least, cementing his status as a young adult primed at playing to his comedic chops in quality comedies. That retrospective of where each of these stars are at in their career right now aside, That Awkward Moment had the potential to be an interesting and unique take on the romantic comedy from the perspective of a couple of twenty-something males living it up in New York City, but instead paints a portrait of these assholes and pathetic losers who have such a delayed sense of maturity that it takes them crushing young ladies emotions in more ways than one to realize they may actually care about them after all. It isn't flat out horrible, Teller does all he can to salvage it, but when there is hardly anyone to like on screen and no entertainment value in their moral ambiguity there is hardly anything to like or enjoy at all. Pity, because it had such serious potential.

TOP 15 OF 2013

2013 was a pretty great year for film. As I've grown accustomed to ranking films on a five-star system I've realized how differently we approach each movie and how that rating reflects how well the film achieved the goals it was intended to meet. Four stars has become the standard for the above average film, ones with exceptional qualities that make them better than anything else playing at the given moment. There were a ton of four-star ratings this year and many of them even came in the midst of the summer movie season which I have been able to re-visit now and have verified that rating was worthy of most, especially films like The Great Gatsby, World War Z and The Fast and Furious 6. I would have liked to include more on the list, as there were so many above average to really good flicks this year, but I already expanded the article to what I would call fifteen of the best films I saw this year and I hate to expand the list further than that to weaken the value of the ones that do make it. I try to mix it up and keep as many small, indie films in there as much as big studio fare that tend to defy there stereotype and deliver something substantial. I really enjoyed Side Effects, Pain & Gain, Blue Jasmine, Dallas Buyer's Club and The East and in a lesser year you would see them ranked here. Then there were of course animated films like Frozen and Monsters University that played really well and I enjoyed, but not to the point I felt they earned a place on a year-end list. We also have awards bait such as Her and American Hustle or the two black and white front-runners on many lists this year, Nebraska and Frances Ha, all of which I enjoyed well enough but didn't think of them as exceptional pieces of work or understood what the hype was about surrounding each of them. You could also lump Before Midnight in that category as I appreciate what those films do and how well constructed and written they are, but I don't necessarily get what all the fuss is about. 42, Captain Phillips, Saving Mr. Banks, Out of the Furnace, Mandela: Long Walk to Freedom and even Anchorman 2: The Legend Continues are all well deserving of a mention here, but with such stiff competition it was going to be difficult to carve out a spot and Ron Burgundy knows I have a special place in my heart for him. 2013 was a great year for films, but the ones I have chosen to put on my list are the ones that I could watch over and over again or left an impression on me I wasn't able to shake and needed to see again, immediately, to confirm the legacy they will leave. So, without further adieu...

First Trailer for THAT AWKWARD MOMENT

With three films scheduled for 2014 Zac Efron is poised to brand himself a whole new kind of actor. The former Disney star has been trying to do this as of late with roles in more serious films like The Paperboy (wait, that wasn't a comedy?) and Parkland, but most of these efforts have proved inconsequential. For at least two out of his three films in 2014 Efron will attempt to convince the world he is a legitimate comic actor and to his credit he has picked some pretty great company to back him up on this claim. Though his second effort will likely be more high profile as he joins the likes of Seth Rogen, Rose Byrne and Dave Franco his January flick, That Awkward Moment, doesn't look half bad and in fact it looks like it has the potential to be pretty great. Writer/director Tom Gormican, in his feature debut, has rounded up a great "in the moment" trio as Efron is joined by Miles Teller (The Spectacular Now) and Michael B. Jordan (Fruitvale Station) to play a group of friends that vow not to start any relationships after one of them is dealt a devastating blow in the form of a break-up. This Red Band trailer highlights the authenticity of the relationships between the lead trio as well as the chemistry they seem to possess while giving us a nice hint of the comedic tone and the direction this romantic comedy from the male perspective might take. With a stellar cast and a director full of wide-eyed enthusiasm I'm officially excited to see what this has to offer. That Awkward Moment also stars Imogen Poots, Mackenzie Davis, Jessica Lucas and opens on January 31, 2014.

FRUITVALE STATION Review

Fruitvale Station is a difficult movie to deal with. It is a very moving picture that doesn't attempt to manipulate its audience or contrary to what you may believe going in, have an agenda more than telling the basic story of what happened on those fateful early hours of New Years Day 2009. Since its premiere at this years Cannes Film Festival there has been nothing but positive buzz swirling around the film and typically I'm speculative of these films that seem to garner unanimous praise based simply on the idea that if I look too much into the critical reception I will expect too much from the film rather than being able to take it in for what it is and what it was meant to be. I mention this because despite the fact I tried to avoid chatter around the film it is pretty impossible if you follow any film site, but also because none of that hindered my viewing experience. There is something very pure about the journey this film takes you on despite its content highlighting the downfalls and tragedy of a young black man in suburban America. Director Ryan Coogler makes his feature film debut with this simplistic, no frills approach to a story that needs nothing extra to make it as emotionally charged as the simple facts of the story leave us feeling. I go to the movies to see interesting stories, meet interesting characters and if I'm lucky become emotionally invested in the conflicts these characters come into contact with. We root for our protagonists and we hope they can conquer the challenges the antagonists present them with whether that be a supernatural force, an opposing government, or something more personal like a mental illness. What makes Fruitvale Station the exception to the rule is not that it is "based on a true story" but that it doesn't follow the conventional arc of a movie in that we know what we're getting, we know there is no happy ending, and that even though we can't escape the heartbreak of the events this movie sheds light on there is a profound meaning to come from the way Koogler and his cast convey a story that might never be known to those outside the community it's documenting. There are no excuses for how wrong things ended for Oscar Grant, but if its any testament to his legacy this film will serve to both make people aware and inspire others looking to make a change.

CHRONICLE Review

I did not look kindly upon "Chronicle" when the first trailers came out. Not even four months after the terrible excuse for a "found footage" film that was "Apollo 18" comes another movie using the same technique on a different genre. Since "The Blair Witch Project" this idea of mock documentaries seemed to have been tailor made for the horror genre. It made a standard method the audience had grown tired with new again, by using its own unique way of telling a story that mounted the tension and scares in a way that never gave anything away but still made your blood run cold. It has evolved over the years giving us some winners (the Paranormal movies) and some that we would rather forget even existed (The aforementioned Apollo 18 and countless direct to DVD releases) . I can't say I didn't enjoy attempts like "Cloverfield" or even "The Last Exorcism" but again, they fit into the specific genre that can benefit from this type of technique. Could super hero movies? That is the question posed and the answer, surprisingly, is yes. The way in which "Chronicle" lures you in and sets up our three main characters is a refreshing and raw perspective on a tale we've seen countless times before. It has an exciting vibe from the moment these three guys discover what they can do. It is like watching home videos and putting yourself in their place because the powers they attain are what every little boy dreams about when they are little...and maybe still a bit now. I'm just saying, you try and watch this movie and not attempt to move stuff with your mind as you leave the theater.

Dane DeHaan as Andrew Detmer, Michael B. Jordan as Steve
Montgomery and Alex Russell as Matt Garretty in ``Chronicle.''

We are introduced to Andrew first. As played by Dane DeHaan he is a reclusive high school senior that for one reason or another decides to begin filming everything. He feels like an outcast and the rest of the kids at school give him no reason to think otherwise. Except for maybe his cousin Matt (Alex Russell) who Andrew will occasionally open up with he has no one he can call a friend. His mother is sick and dying while his father is an injured fireman you was injured on the job and now lives off the disability checks. With his abusive father and sick mother who clearly loves him, but has no strength to defend him we are introduced to a teen that feels no purpose in life and will no doubt relate to many kids in the audience that feel like an underdog everyday. The writers are smart to make this an opportunity for those who feel similar to Andrew a way to live through him and feel a sense of redemption while also teaching that age old lesson of with great power, comes great responsibility. That to let the emotion get the better of you and to act out will only end in creating more of a barrier between yourself and those you yearn to be closest with. Besides doubling as a kind of after school special though, "Chronicle" feels fresh and layers its fast paced story by getting to the point quickly and never over-developing any one theme or idea. Things are only hinted at by the time we move to the next scene and it works, especially with the found footage technique. Though this was slightly distracting at first, once the boys start to better control their abilities they are able to make the camera float behind them which lends a more cinematic feel to the piece. It is a gimmick, no doubt, but director Josh Trank uses it to his advantage and builds the exciting, personal tone with big-blockbuster scale.

Andrew lets his dark side take over his new found abilities.

When Andrew is dragged to a party with Matt they along with class favorite Steve (Michael B. Jordan) come across some type of alien (maybe?) artifact buried deep in the ground. The early scenes after their encounter with the source of their abilities are the best as each reacts with a genuine and honest sense of humor and shock. It is nothing short of fun, joy even. The narrative doesn't hit the standard script points but instead builds our involvement with the characters through a series of adventures in which they test out their abilities. Whether it be learning to control things with your mind or fly we see it all from the exuberant mind of three young leads who aren't at first concerned with the ramifications of what these powers might cause but are instead just pumped because they can seemingly do whatever they please. The possibilities are endless and it is when they do come to realize this that Andrew's mind begins to flourish into those that have humiliated and those that continue to do so because they have no idea what he is now capable of. This unavoidable resolution can be seen coming from the opening shot of the film, but my only disappointment in "Chronicle" is how quick it descends into standard, mash-up action that doesn't feel as personal, as meaningful as those earlier experiments. It reaches a point where we forget that there was ever a good time in Andrews life, that things almost turned around before they took a turn and tailspin into the irretrievable. I provides a strong case for a legit drama but instead of focusing more intently on the characters that he has so well established, Tank opts for Mayhem and delivers what will no doubt please the masses when he could have given them something closer to revolutionary.

Matt is forced to make some tough decisions when Andrew
uses his powers for his own, hateful purposes.

Though I was not going into "Chronicle" with high hopes it is always a pleasant surprise when a film not only exceeds expectations but becomes a film you enjoy and want to watch again. I actually wanted there to be more to the film, it is one that would make no sense to have a sequel, but where i wouldn't mind paying to see it because I became that invested in the characters and want to know more about their lives. They could even do a prequel where the kids didn't have powers and I would feel at least a little more complete. I did like that this was brief in its execution though, any film that chooses this technique can only tests its limits with an audience for so long, yet I feel I would have preferred a little more insight and a little less rushed conclusion. In the climax of the film we see the result of years of pressure and hate spew out of a young man in the form of rage backed by unbelievable ability. It is at once exhilarating but also frightening in that those who are unable to handle the role they've been dealt deal with it in the most destructive of ways. Ultimately self-destructive. "Chronicle" shows hints of greatness with real emotion such as this displayed throughout, but can't help but be peer-pressured into building to a point where the end result is that of every other super hero movie on the market. You proved me wrong "Chronicle" but then you let me down. Let's hope this was only an origin story and you have more coming our way, only then will I possibly forgive you.

CHRONICLE Review

I did not look kindly upon "Chronicle" when the first trailers came out. Not even four months after the terrible excuse for a "found footage" film that was "Apollo 18" comes another movie using the same technique on a different genre. Since "The Blair Witch Project" this idea of mock documentaries seemed to have been tailor made for the horror genre. It made a standard method the audience had grown tired with new again, by using its own unique way of telling a story that mounted the tension and scares in a way that never gave anything away but still made your blood run cold. It has evolved over the years giving us some winners (the Paranormal movies) and some that we would rather forget even existed (The aforementioned Apollo 18 and countless direct to DVD releases) . I can't say I didn't enjoy attempts like "Cloverfield" or even "The Last Exorcism" but again, they fit into the specific genre that can benefit from this type of technique. Could super hero movies? That is the question posed and the answer, surprisingly, is yes. The way in which "Chronicle" lures you in and sets up our three main characters is a refreshing and raw perspective on a tale we've seen countless times before. It has an exciting vibe from the moment these three guys discover what they can do. It is like watching home videos and putting yourself in their place because the powers they attain are what every little boy dreams about when they are little...and maybe still a bit now. I'm just saying, you try and watch this movie and not attempt to move stuff with your mind as you leave the theater.