THE FLASH Review

The dominance of the comic book movie over the last twenty-something odd years has admittedly brought me plenty of joy and moments of pure cinematic euphoria, but as we reach what is at least our sixth multiverse film in the last five years (and the second in the last three weeks) I think I've reached the acceptance phase of letting go. Letting go not necessarily because I want to, but because it has become more and more apparent that it is time. While it would feel easy to be angry, depressed, or even regretful about the direction of the genre and what super hero films have collectively become over the past few years it would seem simpler (and easier) to just accept that The Flash is a prime example of why these types of films have begun to feel like they're eating themselves and thus, as much as I hate to say it, why it's time to take a break. 

Letting go, not just of the possibilities that have both been fulfilled and lost, but of the individuals who pioneered these characters as flesh and blood. Listen, I get it, letting go is hard because it means freeing one's self from aspects of their past, things that have become such a big part of a person's life they may even define part of their personality and it's understandable why, rather than moving forward, one might want to remain in this state of familiarity - there's a comfortability in it - but director Andy Muschietti's The Flash is a watershed moment in the super hero genre not because it breaks new ground or re-energizes the kind of escapism these movies can provide, but because it brought upon the realization there is a difference in being comfortable and being resistant and that one can only resist change for so long before what was once a source of comfort becomes discomfort as the seeds of doubt and truth that what once was no longer is begin to grow and further, that a person can only tolerate discomfort for so long before admitting that change is necessary.

KNIVES OUT Review

"The exception that proves the rule."

The movies are nothing alike in terms of what they're about, how they're directed, tone, nothing. There's nothing similar about these movies at all really except for that, from the moment they begin, there is a sense of supreme assuredness in where they're going and how they're meant to get there. This feeling arises at the beginning of a fair amount of movies because there are so many that begin with such promise yet so many of them tend to lose themselves along the way or lose momentum or more often than not encounter the issue of knowing where they want to go without being sure of the best, most effective way to get there. Nearly three years ago now, when Jordan Peele's Get Out began to play in front of me for the first time on that cold Thursday in late February, I was granted the sense of this supreme assuredness that continued throughout the entirety of the runtime and through to that perfect conclusion. It wasn't difficult to see every aspect had been labored over and planned to a to T; as if not only the script, but the way in which each shot was constructed and how each line was delivered held a certain weight and intention. Every element had seemingly been executed with precise detail so as to convey this strong, specific point of view. In short, Get Out was a movie where every piece held a purpose all of which led to a culmination that fully displayed the power of the narrative, the charisma of the characters and the masterful way in which the filmmaker used the genre he was operating in to make his complex ideas accessible. This is all said not in an attempt to remind readers of how satisfying Get Out is, but to say all of this is very much true of Rian Johnson’s Knives Out as well.

THE SHAPE OF WATER Review

Guillermo del Toro films are typically notable for their aesthetic choices, their production design, and their attention to detail. One can look back at the filmmaker's body of work and quickly see that there are countless themes that re-surface time and time again, much of this happening within the realm of the types of stories del Toro likes to tell and the visual prowess with which they are presented in. With his latest, The Shape of Water, the director is still very much working within his wheelhouse, but for the first time in some time it feels as if there is nothing more important to the movie no matter the extravagance of the sets and costumes or the practicality of the monster make-up than the story itself as well as the core relationship that both grounds this story and lifts it up. Now, if you know anything about The Shape of Water prior to going into the film then you know that this core relationship is formed between a human woman and a mysterious sea creature that is housed in the bowels of the top secret facility where she works as a maid. If that initially weirds you out a bit just think of it as the opposite of Ariel and Prince Eric; this way you can find some solace in the fact you at least understand you were holding a double standard against the picture. I understand there is a slight difference in the two because of the full-on creature feature being portrayed in this film whereas the scenes featuring Ariel and Eric being romantic in The Little Mermaid were ones where she was walking on land, but the concept still supports it and more, The Shape of Water completely owns this relationship from the moment we first glimpse our meager protagonist in Sally Hawkins' Elisa Esposito. Yes, of course The Shape of Water is a gorgeously rendered portrait of some alternate universe in the early sixties where government experimentation goes as far as studying a God-like merman and feels like a fairy tale of sorts for adults where not everything is perfect, ideal, or even necessarily magical, but what The Shape of Water does find and allow are these fantastical elements that breathe a fresh life and perspective into what are otherwise some dark and troubled times both in this universe and in the lives of characters who were seemingly never given a fair shot at life in the first place. This is effectively why The Shape of Water succeeds for as much as one can go on about all of the beautifully crafted extraneous factors it is this belief that comes to be sustained in this abnormal relationship and the beauty of the affection it conveys in its own right that we are, maybe unexpectedly, moved.     

First Trailer for THE SHAPE OF WATER from Director Guillermo del Toro

Fox Searchlight has released the first trailer for Guillermo del Toro’s latest, The Shape of Water, and it certainly looks like a Guillermo del Toro film. I say that not to talk down about the project as I adore del Toro's visual style and his eye for detail, but I hope the filmmaker simply isn't treading familiar ground here. An original story with a screenplay by del Toro and Vanessa Taylor (Game of Thrones) the story follows a lonely, mute woman named Elisa (Sally Hawkins) who performs janitorial duties for a top-secret government laboratory. Within this mysterious facility a one-of-a-kind inhabitant is trapped and seemingly being tortured by something of a mad scientist/military hyprid as played by Michael Shannon. This inhabitant is not human, of course, because it is played by Doug Jones and is in a Guillermo del Toro picture, but he is more a humanoid creature who lives its life entirely underwater. Through what the lengthy trailer tells us we can discern that Elisa and the creature form something of bond with one another if not a close and intense relationship that sees each of them filling a large void in their life with the presence of the other. It is presented as a sweet, star-crossed love story of sorts within the context of a monster movie. It's something del Toro has done multiple times before with Pan's Labyrinth and Crimson Peak as he uses period pieces and real world events to inform a supernatural fairytale, but while the template may be worn I am certainly optimistic for what mysteries and adventures the director might ultimately bring to the table. And, of course, the film looks like a visual wonder and has an aura that each of del Toro's films possess reassuring us we're in a certain place and time to the extent we somewhat know what to expect, but don't all at the same time. The visionary filmmaker always tends to make movies that are fun to watch if not intriguing on a deeper level as well so despite the outline feeling somewhat familiar I hope there is enough unique stuff going on within this latest effort that will allow it to become its own entity. The Shape of Water also stars Octavia Spencer, Richard Jenkins, Michael Stuhlbarg, and opens December 8th, 2017.

NOCTURNAL ANIMALS Review

Editing. Editing is key in director Tom Ford's follow-up to his 2009 debut A Single Man titled Nocturnal Animals as the narrative begins by introducing Susan Morrow (Amy Adams) as a woman who seemingly has it all together, but whose world it tears to shreds in less than two hours. It accomplishes such a visceral effect on the viewer due largely to the skill in which it is cut. To unravel the neatly wrapped facade of Morrow's life is to cut back and forth between her present timeline, her past detailing how she reunited and fell in love with first husband, Edward Sheffield (Jake Gyllenhaal), as well as the story in which she is reading. The key factor being the story that she is reading comes to her from Sheffield as a novel he wrote that will soon be published, but as it was inspired by Morrow he thought she deserved to read it first. The book, also titled "Nocturnal Animals", is the story of a family on a road trip whose car is hijacked by a band of troublemakers that includes a nearly unrecognizable Aaron Taylor-Johnson where terrible things happen. The representation of this novel as put to screen is what will come to garner the most attention from the viewer as it is high-tension drama filled with moving and effective plot points as well as performances. What makes Nocturnal Animals, the film, more than just a stirring adaptation of the work within the work though, is the foresight it utilizes in the outside stories and how they will influence our reactions to the actions taking place within that most engaging storyline. How is this accomplished though? How are these two outlying narratives so effective in both supporting and drawing from the narrative that undoubtedly holds the weight of the film on its shoulders? Through the editing. The film is cut in such an extraordinarily unpredictable fashion that, as an audience member, when it cuts we are never allowed to know what it might be cutting to. There are even long pauses that fill the screen with darkness designed to make the audience think a certain segment is over only to drop us back into the same story moments later. This unpredictability not only ups the tension in terms of seeing where certain plot strands might go, but in ultimately structuring the story in such a way that when the payoff for everything each of the three individual storylines has been building to finally arrives it hits you. And I mean really hits you. Nocturnal Animals is an exercise in sheer audacity and nearly every one of its risks pays off.

LOVING Review

Much goes unspoken in Loving, but that shouldn't be a surprise given it comes from director Jeff Nichols who has given us such restrained and meditative pieces as Take Shelter and Mud, not to mention his slight venture into genre territory earlier this year with Midnight Special. Still, Loving is something of a different beast. As with most of Nichols films the multi-hyphenate again deals in its main male character working through a particularly life-altering time in his life. Whether it be a man working through understanding an illness, heartbreak, or a parents love for their child Nichols is clearly attracted to these leading male characters that carry burdens of one type or another-none of which can actually be drawn as distinctly as I've just done. In Loving, this Nichols quality is born in the form of Richard Loving as played by Joel Edgerton who is a simple man who loves a woman just as simply, but is told he can't due to the race laws that plagued the time in which he was born. What separates Loving from Nichols filmography thus far is the fact Nichols has yet to adapt a true story or any other source material for that matter for one of his films. They have all been original concepts and ideas that have allowed the writer/director his own ways/styles of telling his own stories, but with Loving he has crafted a film very much in the vein of his previous works while still seemingly allowing the genuine spirit of those who actually lived this story to come through. Nichols accomplishes this by not making up much of his own dialogue for the real-life people to say. Rather, Nichols allows much of what needs to be said to be said through the performances of Edgerton and his co-lead Ruth Negga as Mildred Loving. In doing so, Loving ends up not as an overly schmaltzy or sentimental love story or even a melodramatic courtroom drama, but instead a subtle study of how simple true love can be despite how complicated our world can make it.

First Trailer for NOCTURNAL ANIMALS Starring Jake Gyllenhaal

The second directorial effort from fashion designer Tom Ford (A Single Man) was undoubtedly one of my most anticipated of the year and after the largely glowing reviews it received out of both the Venice and Toronto film festivals I am only all the more excited to finally see the follow-up to Ford's striking 2009 debut. With the likes of such top tier talent as Jake Gyllenhaal and Amy Adams in your film it is hard to imagine how one could go completely the wrong way, but given the short teaser for today's full trailer that I saw yesterday and the fact it immediately called to mind Ridley Scott's curiously questionable The Counselor (which had a beyond amazing line-up of stars) I can only be reassured by the positive reviews in that Nocturnal Animals will not share the same fate as that 2013 misfire. With this film, Ford has adapted the Austin Wright novel Tony and Susan with the film actually taking its name from a story within that story. In the film, Adams plays Los Angeles-based art dealer, Susan Morrow, who receives a novel called "Nocturnal Animals" that was written by her ex (Gyllenhaal) after her husband (Armie Hammer) leaves on a business trip. From here, the narrative is described as, "weaving in and out of this book that can be interpreted as a veiled threat." The idea of seeking revenge or vindication from an ex-lover is nothing new, but doing it through such symbolic ways as mailing her a copy of your book that intentionally elicits many an interpretations is certainly an intriguing way to go about framing such a tale. The full trailer certainly makes such intrigue all the more inviting as its clear Ford has again brought his impeccable sense of style to the medium of film and each of the high profile performers seem to be giving invested performances. Here's to hoping the positive reviews can be trusted on this one. Nocturnal Animals also stars Michael Shannon, Aaron Taylor-Johnson, Laura Linney, Isla Fisher, Ellie Bamber, Karl Glusman, Andrew Riseborough, Michael Sheen, Imogen Waterhouse, and opens on December 9th, 2016.

First Trailer for Director Jeff Nichols' LOVING

A few weeks back I saw the trailer for Loving, the latest from auteur Jeff Nichols, in front of the screening I attended of The Neon Demon, but if you've seen that film you'll understand why I forgot to comment on the Loving trailer. While I was certainly happy to see the unexpected preview given I'd heard very little about the film since its Cannes debut earlier this year I wondered when it might be making its way to masses via the internet and it seems that day is today-almost two weeks after I saw it playing in theaters. While I won't go into how nice it was to be surprised by a trailer I hadn't seen before playing in front of a movie I was watching in theaters I will say that rush is certainly one of the things I miss about the pre-YouTube days. We're here to discuss the latest from director Jeff Nichols though and the trailer in question marks the directors second feature film this year. Early word out of Cannes declared the film as a strong Academy Award contender and after Focus Features picked up the film and set an early November release date it seems that is certainly the plan. The film tells the story of Mildred and Richard Loving, the Virginia couple who were arrested in 1959 for violating that state's anti-miscegenation law. They pleaded guilty to the charge, but later challenged it in court with the case eventually reaching the Supreme Court as Loving v. Virginia. It is interesting to see Nichols take on a pure love story as most of his films have dealt more with love of the less romantic kind-namely that of the love between parents and children, of the love that creates legacy, and in his other film this year, the fantastic Midnight Special, that of a love between a father and his gifted child. While most of Nichols' films have premiered in the spring only to be forgotten by the Academy by the time awards season rolls around if Loving is indeed as good as the early reviews suggest it will be nice to see Nichols finally get some recognition on a bigger scale. Loving stars Joel Edgerton, Ruth Negga, Marton Csokas, Michael Shannon, Nick Kroll, Bill Camp, Terri Abney, Alano Miller, David Jenson, Jon Bass, Christopher Mann, and opens on November 4th, 2016.

ELVIS & NIXON Review

In December 1970 Elvis Presley apparently wasn't feeling too great about the direction America was headed in. If one wasn't aware, Presley was largely a conservative; a man who feared communists, the general tone around the Vietnam War, and the seeming lack of respect for the office of the President. And so, being the King, he assumed he could take such matters into his own hands and indeed planned on doing as much by taking his concerns straight to the White House. In December 1970 Presley's career was as big as it had ever been. The iconic one-piece jumpsuits debuted earlier in the year and the signature karate moves were now an even bigger part of his stage show. His shows at the Las Vegas International Hotel had sold out, set, and broke records throughout the year, but by the end of 1970 it seemed Presley's head was in a very different place. This brings us to the new film from director Liza Johnson, Elvis & Nixon, which discusses little to nothing about the music career of Elvis Presley, but more offers insight into the man Presley was outside of his well-known (and well-worn) persona. It's an interesting take and the film overall is a slight 86-minute excursion that strictly covers the how and why of this infamous meeting offering little to no commentary on the actual events leaving plenty of room for audience interpretation. This lack of any real angle, but rather pure intent to tell the story of a rather strange and unexpected set of events is admirable given today's highly peremptory society and especially considering the topic, but Johnson seems to care little for her characters actual beliefs or motivations, but simply accepts such feelings as fact and follows them with her camera to where such impulses led these actual men. Does this provide a compelling or complex film? No, not really, but it would have been next to impossible to make a film of this meeting not interesting and at the very least Elvis & Nixon is an interesting and straightforward history lesson if not being as necessarily notable as its main characters.

MIDNIGHT SPECIAL Review

There is comfort in the familiar. There is comfort in understanding a certain feeling, but there is also peace in being able to give up control. Giving up control might not always be comforting though. It is the amalgamation of the familiar, the unsettling, the insecure, and the eventual calming notions that ultimately make the tone of Midnight Special one we find both comforting and grandly mysterious. Both soothing and simultaneously unnerving. In essence, director Jeff Nichols latest is all about tone. Were it not for the tone of a late seventies/early eighties mesh of John Carpenter and Steven Spielberg it would be difficult to contemplate what exactly Nichols was attempting to say with this film. Instead, every aesthetic choice helps to inform the interpreted meaning behind the narrative. Without the score from David Wingo or the cinematography by Adam Stone (both who have worked numerous times before with Nichols) the emphasis on the juxtaposition between the mundane world of the southern region of the U.S. and the magic of Alton Meyer (Jaeden Lieberher of St. Vincent) would be lost. The somewhat arrested progression of architecture and the numerous cracks in the freeways combined with the tired areas of suburbia and run-down motels our protagonists venture to throughout all possess that strangely comforting feeling of being lived in and yet the reasons these characters venture so quickly through these places is of uncertain consequence. Why they feel the need to put cardboard on all of the windows in whatever domain they enter or who exactly this young boy is and why he's so strikingly different from the rest of us is anyone's guess. Nichols, who also penned the screenplay, layers on the mysteries one after another for much of the film delivering one unexpected turn after another with just the right amount of answers to the countless questions that pop up. These elements of tone and style, story and emotion come together and go hand in hand to create a damn near perfect film that is too nuanced to be about one thing in particular, but rather has the rare ability to convey different yet subtle shades of meaning to each individual in the audience.

Movies I Wanna See Most: 2016

As always, there is a lot to look forward to this year at the cinema. In attempting to look through all of the major releases for the upcoming year that are already on the calendar I've come across more than enough movies to keep a variety of audiences entertained, but what follows is not just a list of films I'm most excited to see (though that is surely the bulk of it), but also commentary on just how difficult it's become to both look forward to and be excited about the onslaught of super hero films I know we will inevitably receive. I'm a fan of comic book movies and am looking forward to seeing all seven of the major ones that will be released over the course of 2016, but to allow them to take over seven individual spots on my list seems ridiculous and something of a waste. Everyone who's been to the movies in the last two months (and if you've seen the Star Wars numbers coming in you'll know that's a lot of people) know there is a new Batman V. Superman movie coming out and another Marvel movie where Captain America and Iron Man face-off. They may even know that Ryan Reynolds is playing some kind of version of Ryan Reynolds in a red suit, but while I'm as hopeful as the biggest fanboy that Deadpool turns out to be as great as the wonderful marketing campaign has led us to believe-it's an obvious choice, an obvious movie to anticipate. Does that mean every film on my list is a smaller film that you probably haven't heard about yet? No, not at all. There are of course films like Fantastic Beasts and Where to Find Them, Star Trek Beyond, and Star Wars: Rogue One sprinkled throughout because, guess what? I like Harry Potter, Justin Lin, and Star Wars so I'm genuinely excited to see how those movies turn out. By stating the obvious at the beginning though, by saying that, "Look, there are going to be this many super hero movies this year and yes I'm pumped for all of them, but here are a bunch of other movies that might interest you that I'm excited about," this list might provide insight to a film you didn't know was coming down the pipeline prior.

THE NIGHT BEFORE Review

Sitting down for a Seth Rogen comedy now means one of two things in that 1) we're either going to get a stoner comedy extravaganza with over the top comedic bits or 2) we'll still get those things, but they will be balanced out by some type of life lesson that typically holds real dramatic weight. Which Seth Rogen movie we end up getting usually depends on who he's collaborating with and lucky for us, with The Night Before, Rogen and Joseph Gordon-Levitt have reunited with their 50/50 director Jonathan Levine. 50/50 was one of my favorite films from 2011, but I haven't felt the need to re-visit it as often as I'd initially imagined. While The Night Before isn't as impactful simply by virtue of not dealing with as serious a subject as cancer it is a film I could see myself returning to more often than not, especially during the holiday season, due to the fact it's solid, raunchy fun. While the gist of the film is just that, to be a dirty, filthy, drug-fueled and foul language-filled R-rated Christmas comedy, there is clearly something more at play here and we can sense that from the opening sequence in which Tracy Morgan narrates as if reading a classic Christmas storybook. The film is framed and presented as something of a spoof on the traditional Christmas movie where everything is softly lit as if every viewer is cuddled up next to a fireplace watching and finding solace in the thought that things will never change and traditions will hold up for decades upon decades, but that is the exact theme in which The Night Before hopes to tackle. One has to wonder how long Rogen and his writing partner Evan Goldberg (who is credited as a screenwriter here along with Levine and two other writers) were going to continue to harp on the themes of boys becoming men and growing up even if it's something you don't necessarily want to accept. They have more or less been harping on these ideas for ten years now as here Rogen is playing the opposite of his Knocked Up character and the movie overall is something of a Superbad eight years down the road. The catch is, it works, and it puts a kind of kibosh on the theme as each character either comes to realize these truths or is able to get over the hump of revealing them to the ones they care about most.

First Trailer for Jeff Nichols MIDNIGHT SPECIAL

Jeff Nichols latest, Midnight Special, was easily one of my most anticipated of the year and then, unfortunately, this past summer it was delayed from it's original release of next week until March 2016. Typically, delaying a movie is a bad sign as far as the quality of the final product is concerned, but with Nichols there isn't the slightest hint of doubt in his skill. The move, while mainly fueled by rumors of reasons that additional work was needed after test screenings, was probably for the best financially as well given the film would have been facing off against Mockingjay-Part 2 and Creed (both franchise films) as well as a new Pixar film that would have certainly buried what could potentially be a great family film. In discussing the film before even beginning production Nichols was quoted as saying, "I want to make a 1960's biker film. I want to make a big, PG summer blockbuster family film, kind of like I want to revamp Tremors. I've got an idea for that. That kind of movie." Given that Midnight Special tells the story of a father and son who go on the run after learning the child possesses special powers it seems Nichols might have captured a story that could convey such a tone and with the release date change it takes Nichols idea of being a "big, PG summer blockbuster" one step closer to becoming a reality. Midnight Special stars Michael Shannon, Joel Edgerton, Kirsten Dunst, Adam Driver, Bill Camp, Scott Haze, Paul Sparks, Sam Shepard, Jaeden Lieberher and opens on March 18, 2015.

Red Band Trailer for THE NIGHT BEFORE

Joseph Gordon-Levitt is putting in work in some high caliber projects this fall by portraying real-life figures Edward Snowden and Philippe Petit in movies for Robert Zemeckis and Oliver Stone. Seth Rogen is also portraying a real-life figure as Steve Wozniak for director Danny Boyle while Anthony Mackie will play a supporting role alongside Sandy Bullock in director David Gordon Green's Our Brand is Crisis that just received an Awards-friendly release date yesterday. Needless to say, these three young actors from varying backgrounds have a lot going on later this year, but that hasn't stopped them from getting together to make a comedy about getting together and continuing a tradition. In The Night Before (formerly titled X-Mas) Ethan (Gordon-Levitt), Isaac (Rogen) and Chris (Mackie) come together for one last debauchery-filled Christmas Eve reunion before officially becoming too old for the tradition. Chris is apparently some sort of sports star which makes it difficult for the three to carry out their tradition without some sort of interruption and Isaac is getting ready to become a father which will mean holidays equal family only from this point on. There is the glaring omission of any reasoning behind Ethan's need to move on, but I'm sure that is where co-writer/director Jonathan Levine (50/50, Warm Bodies) will find his opportunity to include the more dramatic and emotional side of things. Taken on its own though, this red-band trailer delivers some serious laughs and looks to be a nice deviation from the family-friendly material that will crowd the cineplexes during the "most winderful time of the year." The Night Before also stars Mindy Kailing, Lizzy Caplan, Jillian Bell, Kanye West, Lorraine Toussaint, Heléne Yorke, Michael Shannon and opens on November 25th.

MAN OF STEEL Review

To first put my perspective of Superman in check would be to inform you of what I've seen before. There are of course the first two Christopher Reeve movies (I skipped out on III and IV simply because I've heard nothing but terrible things) from which I moved onto Bryan Singer's 2006 Superman Returns. I enjoyed the romanticism and meditation of that film despite it now being panned by pretty much any fan boy you talk to. I've never seen an episode of "Smallville" and sans for a couple of animated features my knowledge of the DC mainstay is somewhat limited. Thus it was with great anticipation that I looked forward to a new vision, a re-booted film interpretation in line with Christopher Nolan's Dark Knight trilogy that has defined the space that films based on DC comics characters will occupy in this Marvel world. Personally, and as much as I enjoy the Marvel movies, I was more intrigued and engaged by the bleak and more serious moods that hung over the Nolan films as they were appropriate to the central characters tone. Though I was slightly concerned with this same tone not applying to the guy commonly referred to as the ultimate boy scout it seems that persona was not always true and director Zack Snyder along with Nolan as a producer and David Goyer (who also penned the screenplay for Batman Begins) have adapted the Superman story to not only exist in a similar universe with Nolan's Batman films, but within his own, more realistic world that doesn't simply pit the classic superhero against a bad guy in order to champion truth, justice and the American way. What they have done here and what makes me appreciate the film all the more is that while keeping in step with the kind of movies Nolan has made DC could attempt a Justice League movie in the future with this as a good place to start, but it also doesn't limit itself to that same completely realistic world of what we know because Superman is an alien and with that they ask the question of what would happen in a real world setting if Superman were to show up. It is that basic set-up that guides the film throughout and, despite a few flaws, had me gushing with excitement for what may come next.

THE ICEMAN Review

Michael Shannon has consistently proven himself to be a rather intense presence in films. No matter what type of genre those films might fit into it has always been clear that the guy has a certain set of abilities and he knows how to channel them into his characters with just the right amount of calculated terror, of social awkwardness, and just a hint of the scarce realizations of his own characteristics. He is a captivating actor to watch whether it has been in leading roles in smaller films such as Take Shelter or as a supporting character in major Hollywood productions such as his scene-stealing performance alongside Leonardo DiCaprio and Kate Winslet in Revolutionary Road. What he has done in his latest role is to meld those two types of mindsets together and bring to the screen the truly demented and troubled life of Richard Kuklinski, one of the most infamous contract killers for the mafia who is suspected to have killed at least one hundred people between 1948 and 1986. Shannon is an ideal actor for this type of role and he brings the layers of a man who is mentally able to go out and murder people in cold blood, sometimes allowing them extra time to pray to God to see if he will intervene, and then come home to his family and act like a typical family man who works a nine to five desk job. There is a consistent unnerving sense to Shannon's performance that elevates what is otherwise a rather typical genre film in The Iceman. Sure, there is a twist of particular intrigue surrounding this man and there are a few redeeming qualities about the film that help coast you through the hour and a half run time, but it is never enough to make this story as interesting as it should have been.

MUD Review

Though my opinion might be slightly biased as director Jeff Nichols is from my hometown of Little Rock, Arkansas and is certainly the most prominent filmmaker to come out of here in quite some time it is also nice to see the south receive authentic representation in a film that receives wide, and mostly positive recognition. This isn't Nichols first foray into depicting the south in all its bare normality's and simplicities though as he has ventured here twice before in 2007's deadly family feud drama Shotgun Stories and 2011's Take Shelter that perfectly encapsulated the inner demons and slow unraveling of the human psyche. In his latest, Mud, Nichols has kept his location the same as he is able to so naturally create a sense of place and that is key here as our two young protagonists live on and off of the river that guides them to an island where they meet the titular character. The atmosphere and the way in which Nichols crafts his story lend an almost mythical quality to the tone. It is as if this could just have easily been a southern fable that parents told their children at night so as to keep them from wandering where they aren't supposed to go. Still, even with these vibes of a folk legend the film is able to say and do so much more than simply teach a moral lesson. I expected the slow pace, the southern setting, and the bigger implications the story might make other than what is on the surface, but what continues to surprise is the renaissance of a period that Matthew McConaughey is having in his career at the moment. All of the performances here are strong and Nichols has rounded up a solid cast, especially in his two young stars, but it is McConaughey's turn as the title character that will have you thinking about the film long after the credits roll and what he stood for, what he wanted from life, and most inconspicuously, who he really was.

Full-Length Trailer For MAN OF STEEL

Personally, and I am in the minority here, but I was surprised and anxious to see what would come of Christopher Nolan choosing Zack Snyder (300, Watchmen) to take over the Superman directing job. He would no doubt give the series its much needed reboot after Bryan Singer's 2006 Superman Returns failed to resonate with audiences (though again, I personally loved it). When we first caught a glimpse of Man of Steel before The Dark Knight Rises this past summer I was cautiously optimistic that Snyder captured a rough, gritty tone to a character who was always looked at as the boy scout of the super hero community. With this second trailer it seems the director has laid all doubt and worry to rest as this centers around the characters and more importantly the man at the heart of the film. As with Nolan's Batman series this seems to be grounded more in reality where what people might do if a being such as Superman really did exist. It will be an interesting take on the character and I am more than excited to see how this all turns out. We also get a first glimpse here at the Oscar-worthy supporting cast including Russell Crowe, Kevin Costner, Diane Lane, Laurence Fishburne, as well as Amy Adams as Lois Lane and Michael Shannon as General Zod. Henry Cavill seems to be handling the weight of playing such an iconic character with ease and a gravitas that may make even a God-like man relatable to us mere mortals.

PREMIUM RUSH Review

Who would have thought long sequences of people riding bikes could be so entertaining? I realize it's the oldest trick in the book to open with a question to draw a reader in but that was the question I kept repeating to myself every time Premium Rush continued to surprise me. The film had become a sort of throwaway piece of entertainment as there was no real push in its advertising campaign to give it any real chance of reaching a broad audience to embrace it, but I don't know why. This is a thrilling little piece filmmaking that doesn't take itself too seriously and whips by as fast as its characters do in the streets of New York. Many movies will claim that the setting is another character in itself and seldom does that ring as true as it does here. Everything about the film is influenced by its setting and for those of us that have never been to New York ourselves it is a fascinating, ground look at the pace of the city and the atmosphere it breathes. The films running time is a mere 90-minutes and the adrenaline never stops pumping that entire time. The plot unfolds with a non linear fashion that keeps us guessing even if we might see where the film is heading a scene or two ahead of it actually getting there. It doesn't go down the normal, easy route of dealing with any kind of drug or generic road that makes us care less about the story and care more about the action but instead sets itself up for the challenge of having its characters being as invested in their quest as we should be in the film. It may not serve as any metaphor for something bigger going on in the world right now, it isn't addressing any political issues outright and in general seems to have no agenda other than to entertain. Sometimes that is all you need. And with a cast led by two greats such as Joseph Gordon-Levitt and Michael Shannon you really can't go wrong no matter what kind of movie you're making.

Wilee (Joseph Gordon-Levitt) and Vanessa (Dania
Ramirez) hide from the cops in their race against the clock.

While I expected nothing flashy from the film other than the way in which the chase sequences were filmed, I was pleasantly surprised to find that Premium Rush was not simply going to tell its story and insert a few cool  sequences in between. In short, I was delighted that the film was actually going to be a thinking persons film. It starts out blasting those opening chords of The Who's "Baba O'Riley" and immediately jumps into this slow motion shot of Gordon-Levitt flying through the air and landing on the pavement in a state of confusion surrounded by concerned pedestrians and then a girl, close to tears drops in frame and is trying to keep Gordon Levitt's Wilee from slipping into unconsciousness but of course, he does. The film operates within a slim time frame. Starting initially at 7:30 and working its way back to 5:00 and then 3:30 to tell the complete story that includes all of the facets the story includes. There is some narration from Wilee in the beginning that educates us on the ins and outs of bicycle messaging and the complications that ensue in a city of speeding cars, cabbies (all of which include the nuisance of open doors at one time or another), and all those pedestrians walking the streets. The film quickly exemplifies these obstacles by showing Wilee's pre-meditated visions of how certain routes could end, most of which do with him hitting the pavement. He is in an on the rocks relationship with fellow messenger Vanessa (Danis Ramirez) while another of his fellow cyclists Manny (Wole Parks) insists on constantly trying to show him up in competing for Vanessa's affections and his status as the best messenger in the city.

As a bicycle messenger Wilee has to face many obstacles
in his day-to-day jobs.

It is when Wilee picks up an envelope from Vanessa's roomate Nima (Jamie Chung) that things start to deviate from the everyday routine. Wilee doesn't know what he's delivering, he just has a destination and a time to have it there by. That is all he needs to know and that is all he cares to know. Nima makes it clear the contents of the envelope are of the utmost importance and NYPD officer Bobby Monday seems to know why. From the moment Wilee is set to deliver the envelope Monday is on his case, chasing after him for reasons unknown. As Monday, director David Koepp (mainly known for his writing but has also directed the small charmers Ghost Town and Secret Window) has somehow managed to gather Michael Shannon to star in this slickly made if easily not seemingly forgettable film. Shannon, who is usually known for smaller projects or supporting roles turns up the intimidation here for what might be a little glimpse of how the actor will portray his villainous turn in Man of Steel next year. Not to get off topic, Shannon portrays the impulsive and angry detective with a flair for the dramatic and an overriding sense of entitlement that ultimately keeps the chase going and the complications piling. While Shannon hams it up with glee it is apparent he knows the kind of movie this is, but what separates he and Gordon-Levitt is that despite the younger leads understanding of what kind of film this is he still completely commits to making the guy the most genuine interpretation of the character he can. If there is one thing to be said for Gordon-Levitt and his sudden rise to the top of everyone's favorite list it is how versatile he is. Whether it be big budget actioners like Inception and The Dark Knight Rises, small indie fare such as (500) Days of Summer and 50/50, or even his underrated turn in Hesher and the upcoming sci-fi flick Looper, I don't know that the guy can make a bad film.

Wilee is under the pursued by detective Barry Monday
(Michael Shannon) because of a package he is
in possession of.

It was with both an element of surprise and appreciation that I took in Premium Rush with as much energy as it offered up. The added weight of the exposition lends the film a credibility it would have likely not had otherwise. It is a formula film that exceeds its own constructs. It speeds along at such a quick pace you don't have time to question its logic or look deeper into the lives these messengers lead. In short, it is more than I expected it to be. I went in expecting a forgettable, formulaic action movie and that would be the end of it. Coming out it is indeed all of those things, but what I didn't expect was to enjoy the journey of it as much as I did. I would watch it again, probably several time just because it is that entertaining and that fun. There may be an easier way to say that Koepp and his crew knew what they were making and didn't intend to leave any kind of mark or make any kind of statement with the film, but in the end it does turn out to be more of an experience than a distraction which lends to it being more than it may have ever intended to be. There is a certain weight to it that wouldn't come if we tried to put on the breaks as our protagonist always advises against. We simply take it in and accept it for what it is while marveling at the break-neck action sequences that see our heroes weave through the streets of New York all while communicating a story (props to the actors for delivering most of their dialogue while on the go). The film has an essence that takes you in whether it be the thickness of the plot, the characters, or just that hot summer day in New York City where we get a glimpse into the underground world of these bike messengers. You may not take much away from Premium Rush except for a desire to ride a bike more often, but no one can argue that it does in fact, deliver.

PREMIUM RUSH Review

Who would have thought long sequences of people riding bikes could be so entertaining? I realize it's the oldest trick in the book to open with a question to draw a reader in but that was the question I kept repeating to myself every time Premium Rush continued to surprise me. The film had become a sort of throwaway piece of entertainment as there was no real push in its advertising campaign to give it any real chance of reaching a broad audience to embrace it, but I don't know why. This is a thrilling little piece filmmaking that doesn't take itself too seriously and whips by as fast as its characters do in the streets of New York. Many movies will claim that the setting is another character in itself and seldom does that ring as true as it does here. Everything about the film is influenced by its setting and for those of us that have never been to New York ourselves it is a fascinating, ground look at the pace of the city and the atmosphere it breathes. The films running time is a mere 90-minutes and the adrenaline never stops pumping that entire time. The plot unfolds with a non linear fashion that keeps us guessing even if we might see where the film is heading a scene or two ahead of it actually getting there. It doesn't go down the normal, easy route of dealing with any kind of drug or generic road that makes us care less about the story and care more about the action but instead sets itself up for the challenge of having its characters being as invested in their quest as we should be in the film. It may not serve as any metaphor for something bigger going on in the world right now, it isn't addressing any political issues outright and in general seems to have no agenda other than to entertain. Sometimes that is all you need. And with a cast led by two greats such as Joseph Gordon-Levitt and Michael Shannon you really can't go wrong no matter what kind of movie you're making.