LIFE ITSELF Review

It feels a bit backward to write a critique about a documentary that holds the subject of the man who arguably made film criticism what it is today. While there have been plenty of minds and influential voices in the industry of film criticism there is no argument that both Gene Siskel and Roger Ebert cast a shadow over that world and are the most recognizable names on the pull quotes of your childhood VHS tapes. I always wondered as a child what made these two particular men that much more qualified to give us their opinion on movies and what made that opinion more valid. It wasn't until after Siskel passed that I came to appreciate the anticipation that came along with waiting to see what Ebert and Richard Roeper or whoever might be joining him in the balcony thought of the new films opening that weekend. It was a safe environment, a world where arguments could be had, creative endeavors discussed and yet there were no hard feelings because despite the often difference of opinions everyone always realized that ultimately art will always be subjective. What helped me understand and what made it comforting though was that the point of Ebert and his shows criticism was to tell the audience to strive to seek out the best kind of entertainment possible. I remember realizing you didn't have to completely trash a film to be a critic and you didn't have to necessarily like every indie movie because it was an indie movie or that it was "okay" to take a film for what it was intended to be and judge it on that basis alone. At The Movies never felt like criticism in the vein of making fun or demeaning, but was always constructive. After seeing the entirety of Life Itself it seems such romantic ideas of Ebert and his criticisms were just that and instead the man who gave the "two thumbs up" slogan a life of its own was as much a flawed individual as the most flawed person you might know. Ebert had his bouts with alcohol, his indulgences in narcissism and his arguments with Siskel that highlight some of the more interesting parts of this doc, but to see him near the end of his road, in his most fragile state, is to put a full life in real perspective and understand what it means to live a life in your own movie and not in the trailer for it.

First Trailer for EXODUS: GODS AND KINGS

While Ridley Scott may not have had the best luck in terms of critical or commercial success lately with his latest he has seemed to place all of his figurative eggs in the baskets of those that have whether it be in story or the actors conveying it. This year alone we've had several religious-themed films made on small budgets only to reap big rewards (God's Not Dead, Heaven is for Real) as well as secular takes on bible stories such as Noah that maybe didn't make as much money as expected ($359 million worldwide on a $125 million budget), but were well-received by the majority of critics if not as ecstatically as one might expect a new Darren Aronofsky film to be. Into this mix Scott will place his take on the story of Moses and in doing so has recruited the likes of Christian Bale and Joel Edgerton to bring this famous, well-worn story to life. This kind of precedent didn't exactly bode well for Noah which the studio felt it had to place a label in front of and ultimately seemed too grand a jump for those resting comfortably in the Bible belt, but if Scott's filmography is any indication this film will be more in the tradition of grand historical epics than innovative interpretations and artistic expression. That is what the trailer seems to hint at anyway as the focus is on the scope of the kingdoms and the richness of the detail as much as it is the character and story. Scott knows how to make an epic in the vein of old Hollywood though and has had success in doing so. Is he simply re-hashing one of his last great original efforts with the packaging of the now reliable religious angle? We'll see, but if the trailer is any indication this will at least be a thrilling picture if not necessarily an insightful, motivating work as its source material intends to be. The film also stars Aaron Paul, Sir Ben Kingsley, John Turturro, Sigourney Weaveopens and opens on December 5th. Hit the jump to take a look at the new Exodus: Gods and Kings trailer and posters.

DELIVER US FROM EVIL Review

The exorcism/possession movie should be retired for the moment and given some time to breathe. The idea of scaring people through a visual medium while relying on the inherent mysterious and otherworldly aspects of religion has officially become tired. Of course, if Hollywood were to stop cranking out horror movies centered around exorcisms it would pretty much be akin to them doing away with action movies based around super heroes. It's not going to happen so at the very least we should be able to hope for a film that is competently put together (which seems to be asking for a lot in these days of found footage) while also bringing something new to the table. Deliver Us From Evil has always had the potential to bring a fresh perspective on things to this tired genre given several factors including its director, Scott Derrickson. Derrickson has slowly been making a voice for himself over the past decade now as this marks his third trek into the realm of horror after 2005's The Exorcism of Emily Rose and 2012's Sinister. Yes, even he has already crafted an exorcism film which proves to be somewhat of a template for his latest that again melds the idea of a scary movie with another genre of film entirely. In Emily Rose it was that of a courtroom drama, Derrickson pulling back the small bubble of a world that these supernatural events seem to happen in on film with no repercussions on a larger society and showing us what would happen if they did. It is what happens when one takes their subject matter seriously and as both the director and co-screenwriter Derrickson is able to give his stories the utmost respect in terms of credibility and that type of approach can only work for a director as it has done again here in Deliver Us From Evil. All of that said, this latest addition (which feels like the end of a horror trilogy before Derrickson moves on to Marvel) is a lesser work than Emily Rose or Sinister in that it doesn't have the same edge or thrill to its pacing or proceedings. Where Emily Rose felt urgent and truly disturbing Sinister was a meticulous slow burn that, admittedly, has a clunky third act. Deliver Us From Evil has all the elements to keep us interested and intrigued from the get-go, but never does it feel as compelling as it should until the final scenes.

TAMMY Review

There was and seemingly remains something off about Tammy. Not just in the case of the titular character that Melissa McCarthy portrays, but in the nature of the film itself. After following up her breakout in Bridesmaids with successful runs in Identity Thief and The Heat along with a slew of smaller, supporting roles in major comedies and two stints on Saturday Night Live it became clear McCarthy was the real deal. Still, the idea she next chose to venture out on a low-budget road trip comedy directed by her husband Ben Falcone and was a project they wrote with one another seemed completely understandable. There was an intimacy to it that no doubt was unheard of in the mainstream crowd-pleasers she was taking part in before. McCarthy had earned her name above the title and so she was going to use that power to make something closer to her heart. This could only signal that the comedy and the execution of the story would be something that was cultivated by the husband/wife team and would certainly come across with more of an edge and better developed characters than most comedies these days, right? One would think so, but for all this pent-up optimism I held for Tammy she let me down in the toughest of ways in that not only did she not make me laugh or love her, but that there is essentially no reason for this movie to exist. That probably sounds a little more harsh than it should because it isn't the characters or even the situations that don't come up with anything it's just that they don't come up with anything new. I didn't really know what to expect from the film upon walking into the theater, but when it instantly became clear that this would be a film of self-discovery and redemption for a life without risk and full of regret through the format of a road trip comedy I was done. We've literally seen McCarthy go through this same evolution in the same way in the aforementioned Identity Thief so what was it that drove her and Falcone to make this movie over anything else? Likely a question we'll never get a satisfactory answer to, but nonetheless the point of Tammy was to capitalize on McCarthy's brand of humor and persona and while she is all over the place here she does no favors for herself or anyone around her as any laughs that came from the audience were more out of sympathy than anything else.

New Teaser Trailer for FOXCATCHER

After hearing about this film for what feels like well over a year and wondering what kind of shape it would take, what type of performances it would contain, and how it would look we now are beginning to get our first real look at the film in motion as Sony Pictures Classics has released another teaser trailer. Dierctor Bennett Miller, who's made both Capote and Moneyball, is a director I've been intent on watching and this story he's decided to tell now seems to perfectly mix elements of his previous two films. Telling the true story of Olympic Wrestling Champion brothers Mark and Dave Schultz (Channing Tatum and Mark Ruffalo) who develop a relationship with eccentric multimillionaire and sports enthusiast John du Pont (an unrecognizable Steve Carell). This teaser certainly captures the dark tone of the story it's telling while the marketing team has decided to highlight Tatum in a performance they are keen to get him an Oscar nomination for. I am ultimately more interested in what seems to be a genuinely chilling dramatic turn from Carell and would be surprised if he doesn't get an Oscar campaign as well. That this tragic story has been put in the hands of a director so adept at telling real life stories in the most effective of ways lends this project a great amount of credibility and hopes for something exceptional that might show audiences both a story about two men they would have otherwise never heard of and a film that truly moves people and pushes those involved to the limits of their talent. This thing is filled to the brim with potential and after recieving multiple prizes at this years Canne Film Festival, I can't wait until Oscar season. Foxcatcher also stars Sienna Miller, Vanessa Redgrave, Anthony Michael Hall and opens on November 14. Check out the latest trailer after the jump.