SPIDER-MAN: BRAND NEW DAY Review

Destin Daniel Cretton takes over Tom Holland's Fourth Solo Spidey Film that Looks to Ground the Character while Allowing him to Fly Higher than Ever.

THE ODYSSEY Review

Christopher Nolan's Latest is an Ambitious Film Worthy of Homer's Epic Poem and One of the Most Exhilarating Theater Experiences Viewers Could Hope for.

MINIONS & MONSTERS Review

Dan Trachtenberg Continues to Expand on the Predator Franchise, this Time Making the Titular Antagonist a Protagonist we Root For and Want to See More Of.

MOANA Review

Director Luca Guadagnino's Latest May Not Have Been Made to Make Audiences Feel Comfortable, but it Might Have at Least Alluded to Something More Bold.

THE INVITE Review

Paul Thomas Anderson and Leonardo DiCaprio Team-Up for the First Time to Deliver a Thrilling, Timely and Ambitious Film that Delivers on Every Front One Might Hope.

852/

MONEYBALL Review

I'm not a big baseball fan. Sure, I can enjoy the atmosphere of the ballpark and the thrill of actually being present at the game but you will never catch me watching it on TV. I just never found the dynamics of the game as intriguing when sitting on the couch, but you wanna know what I could sit on my couch and watch all day that concerns baseball? "Moneyball". Going in I expected good things, Brad Pitt is a movie star, but more importantly, the man is an honest, gifted actor. As Billy Beane, the manager of the Oakland A's he is faced with the loss of three key players and a tiny budget as compared to some of the bigger franchise teams. Beane has to make some difficult decisions and chooses the route that goes against everything baseball scouts have done for years. Pitt commands the screen as Beane and is completely deserving of the Oscar talk that has been swirling around the project. This is an underdog story, but one that doesn't take on the sensational aspects of the story most movies would exploit. Like the story it is telling, the film goes against expectation, not relying on set pieces, special effects, or big dramatic scenes. It is a simply told, linear story that chronicles a mans effort to do something he truly believes in when the rest of the world is laughing at him.

Billy Beane (Brad Pitt) and Peter Brand (Jonah Hill)
check out their newly assembled team.
It is in the pre-season trading game that Beane comes in contact with Peter Brand, a Yale graduate who studied economics. Beane sees the reliance his Cleveland equals place on Brand and in a great scene where Beane approaches Band and intimidates him to the point of confession we see the wheels begin to turn in his head. In what might be the oddest pairing ever, Pitt is aligned with Jonah Hill who shows real promise here as he stretches his comedic chops to a more cut and dry role that asks him to restrain. He plays it right and he plays it well. While Pitt is the anchor of the film, Hill proves to be a worthy wunderkind that is the real reason for Beane's success. Beane was looking for a new way of thinking and Brand was searching for someone to listen. It is a match made in heaven and to watch these two men drool over stats and computer analysis of players that no one wants, that are underrated or simply throw the ball funny creates one of the most intriguing films I have seen this year.This is one of the biggest surprises of "Moneyball".

Art Howe (Philip Seymour Hoffman) is baffled
by the decisions his manager is making.
You may go in expecting a baseball movie, but in reality the sport itself is serving as a backdrop for a story that boils down to the business that goes on off the field. Don't worry, it's just as entertaining, and for a passive fan such as myself, it is all the more exciting. What this means though is that we are left with a tremendous amount of talking. Lucky for us Steve Zaillian is credited with the screenplay ( Schindler's List, Gangs of New York, American Gangster, and the upcoming Girl with the Dragon Tattoo) as well as Aaron Sorkin helping out who is known for his quick, witty dialogue. It may seem recognizable if you saw last year's "The Social Network" but both writers are able to draw us in with the logistics of the business and the skills it requires to garner what you need while at the same time defining these characters and what makes them good at what they do. Beane is a man who has been burned by the system of picking individual players on their promise. He was a high school all-star who had everything going his way, who's head was filled with the fact he was good enough by the same scouts and managers he is now surrounded with in Oakland. He knows that Brand is right in his theory, he knows that it will pay off just as much as if he were to try and replace Johnny Damon, the upside is that it could work even better.

Billy shares a rare moment with his daughter
Casey (Kerris Dorsey).
"Moneyball" is a movie about strategy, it shines in brief moments of comedy when sharp conversations are exchanged over the phone in the midst of the trading game and shines even brighter when we feel the tension building as the A's close in on the longest winning streak of all time. The supporting cast is stacked with players like Philip Seymour Hoffman, robin Wright and Chris Pratt who makes all kinds of leaps here with limited screen time. Still, this is Pitt's movie and he owns it, strutting around as the man with everything to prove and even more to lose. His self doubt so big that he can't even watch the games in person. It is this man, and his ideals and dreams that drive this experiment. The desire not only to win, but to change the game completely and the reasons why is summed up perfectly by a late in the film pep talk and job offer from the Red Sox owner. "Moneyball" has a few flaws in that it is a bit longer than it needs to be and features a few scenes with Billy's daughter that feel necessary but underdeveloped and not enough a part of the story that it leaves the mark on his day to day or for that matter the conclusion that the makers claim it to have. But like the players Beane and Brand pick to play on their roster, this movie surprises you over and over again with how good it is and how interesting this odd subject matter can be. It is not just an inspirational sports film, but a movie that is smart and cheer-inducing. You will definitely cheer, but probably not for who you expected to.


MONEYBALL Review

I'm not a big baseball fan. Sure, I can enjoy the atmosphere of the ballpark and the thrill of actually being present at the game but you will never catch me watching it on TV. I just never found the dynamics of the game as intriguing when sitting on the couch, but you wanna know what I could sit on my couch and watch all day that concerns baseball? "Moneyball". Going in I expected good things, Brad Pitt is a movie star, but more importantly, the man is an honest, gifted actor. As Billy Beane, the manager of the Oakland A's he is faced with the loss of three key players and a tiny budget as compared to some of the bigger franchise teams. Beane has to make some difficult decisions and chooses the route that goes against everything baseball scouts have done for years. Pitt commands the screen as Beane and is completely deserving of the Oscar talk that has been swirling around the project. This is an underdog story, but one that doesn't take on the sensational aspects of the story most movies would exploit. Like the story it is telling, the film goes against expectation, not relying on set pieces, special effects, or big dramatic scenes. It is a simply told, linear story that chronicles a mans effort to do something he truly believes in when the rest of the world is laughing at him.

KILLER ELITE Review

There is always an element of grunge to a Jason Statham film. He is easily the top billed action star of the moment and though he seems to continuously pick roles that are a mirror image of his prior ones it is hard to deny the charisma of the guy. As I said in my review of "The Mechanic", Statham's January release that is very much along the same lines as this, is the fact we can count on the chrome domed actioner to deliver the thrills. What is surprising about "Killer Elite" though is the fact it allows that action to take a back seat to the importance of characters (even if most are rather dismissible archetypes) and story. The plot of the film is "based on a true story" and allows for the film to be set in the 80's which could have easily been updated to modern day, but lucky for us this time tainted element is critical to the essential plot of the film and also adds a visual stamp to the movie that allows the film to feel like an old school guy's flick that doesn't dispute the fact that it is what it is and doesn't care if you like it or not. Rookie director Gary McKendry keeps things moving quick enough we don't notice too many of the unnecessary side stories and the presence of Clive Owen and what is essentially an extended cameo by Robert DeNiro combine with Statham to deliver a solid action flick if not a completely standard one.
Danny (Statham) must rescue Hunter (DeNiro)
after coming out of retirement.
The slightly convoluted storyline revolves around Statham's Danny who, when we are introduced to him, is one of the most elite special ops agents who decides he has had enough of a life filled with death when on assignment with his long time mentor Hunter (DeNiro). A year later when Hunter turns up as being captured Danny is forced back into action with the task of killing three assassins that are responsible for the deaths of a dying leaders three sons. From the beginning we know something isn't right, thus enters the somewhat funny named Spike (Clive Owen) a man who is essentially the attack dog for a secret society within Britian. The story has its moments of promise that peak at what might have been more than just a pure shoot em up and leave with the money story, but in the end, that's what it is. "Killer Elite" positions the audience in a way that we are rooting for Statham's character, but we are never sure if he is in fact doing the right thing. As for Owen's character, he seemed extremely underdeveloped, almost to the point I wondered what about him attracted the actor to the role. We aren't given clear direction as to who is the good guy and who's on the wrong team until about ten minutes or so remain in the movie and at that point it honestly doesn't matter. We are just there to see how awesome Statham is because he can be strapped to a chair and still kick your ass.

Danny and Spike (Owen) duke it out in "Killer Elite".
"Killer Elite" does bring up some good questions though. Mostly, they have to do with how long Statham can go on making these types of movies before they really start to blur together. He has shown hints of good intuition before and has actually attempted branching out, but as of late he has stayed closer to his safe zone than ever. As of right now, looking at his IMDB page he has one film in the can where he again plays an elite agent who has to rescue a 12 year-old girl, he has another that is filming where he plays a thief that lives by the Robin Hood code and then he has "Expendables 2" in pre-production and yet another slated for next year were he plays an SAS agent who is caught between the Russian mafia and western agents who are trying to get their hands on a computer program. He had "Blitz" go straight to rental shelves a few weeks ago and has "13", a thriller that seems to have the most potential out of all of these but has been floating around since last year, and is scheduled for a DVD release in the states later this year. Getting to the point though, besides "Expendables 2" what about these is going to stand out? I have real concern because I genuinely enjoy Statham as an actor. I liked the "Transporter" series for their attention to detail and the two "Crank" films for their recognition and execution of the absurd. But when is Statham going to get down to business and offer up something that is the caliber of say, "The Bank Job"? He can do it, he has proved himself, but now he simply needs to try.

Jason Statham gets his jump on.
Getting back on track, and what that previous paragraph boils down to is the fact that if you enjoy a good action film, one that does indeed offer as much story and effort towards realizing an emotional connection; then "Killer Elite" is actually one of the better choices you will have. It is not a complete wall to wall action flick, but it provides them in good enough stride that we are both intrigued while applauding at the spectacle. I hate to really seem as if I am coming down on this movie in particular because in all honesty it could have been made with much less care and returned just as much money. There is real effort here and as a critical viewer I can see that, but trying doesn't always guarantee success and sadly, that is the case here. It's good, it is satisfactory, but while it doesn't do anything to take away from any of these actors cemented roles in pop culture it also doesn't do anything to push them further. The conclusion of the movie actually begs the question of a sequel and a small part of me hopes that there is one. There is always the possibility this could gain a big following on DVD and warrant enough interest that a sequel will be possible . If so, I hope Statham comes in ready and willing and that director McKendry will have then found his footing well enough that he will indeed be able to guide that film to the standard at which "Killer Elite" could have also reached.


KILLER ELITE Review

There is always an element of grunge to a Jason Statham film. He is easily the top billed action star of the moment and though he seems to continuously pick roles that are a mirror image of his prior ones it is hard to deny the charisma of the guy. As I said in my review of "The Mechanic", Statham's January release that is very much along the same lines as this, is the fact we can count on the chrome domed actioner to deliver the thrills. What is surprising about "Killer Elite" though is the fact it allows that action to take a back seat to the importance of characters (even if most are rather dismissible archetypes) and story. The plot of the film is "based on a true story" and allows for the film to be set in the 80's which could have easily been updated to modern day, but lucky for us this time tainted element is critical to the essential plot of the film and also adds a visual stamp to the movie that allows the film to feel like an old school guy's flick that doesn't dispute the fact that it is what it is and doesn't care if you like it or not. Rookie director Gary McKendry keeps things moving quick enough we don't notice too many of the unnecessary side stories and the presence of Clive Owen and what is essentially an extended cameo by Robert DeNiro combine with Statham to deliver a solid action flick if not a completely standard one.

DRIVE Review

Though you may wander into "Drive" because the trailer makes it look like a top notch action thriller and it stars Ryan Gosling along with a sensational supporting cast, be prepared to get a whole lot more than you bargained for. It is with the utmost encouragement I urge you to stay in your seat when it becomes apparent this isn't exactly what it was made to look like in that trailer. Yes, it is a story centered around a stunt driver who also moonlights as a getaway driver and becomes entangled with the mob after growing affectionate for a woman. What it is not is the conventional Hollywood action flick and it isn't designed for the ADD generation. This is a carefully crafted, greatly directed piece of art with a film noir coating. It is reminiscent of a 70's action film that is glossed over with an electro-pop 80's soundtrack. From the opening chase and neon pink title credits the audience is given a taste of what this movie will feel like to experience. And it is just that, a true experience. This is a film all about tone and director Nicolas Winding Refn pins it perfectly. The story is rather standard gangster fare, but that tone, the composition, and overall direction make this the coolest movie of the year, if not one of the best.

Driver (Ryan Gosling) and Irene (Carrie Mulligan) are
roomates who might be something more.
Gosling is having a moment. After finally receiving deserved attention for last years "Blue Valentine" and not enough for what I thought was just as great a performance in "All Good Things" he has jumped to the forefront of the A-list with this summers "Crazy Stupid Love" the up and coming George Clooney directed "Ides of March" and this. "Drive" is almost like icing on the cake for the actor who delivers arguably the best performance of his career here. As the unnamed driver he gives us little to work with in figuring out who this man is. This is true of most of the characters here, we learn very little about them or how they have come to be in their current situations. This causes an extreme degree of engagement in the audience. We don't know these people, but we care for them. The prime example being Gosling's driver who barely utters a word for the first half hour of the film. Instead, Refn focuses his camera on the faces of each character, letting us into the thoughts and dilemmas going through their minds that are most of the time, ignored on film. "Drive" is based on a James Sallis crime novel that I haven't read, but I can imagine this might be one of the better book-to-screen adaptations ever seeing as this film just doesn't deliver the plot of the written word, but it gives us the motivations and the character study that no doubt made the book a hit.

Mobster Bernie Ross (Albert Brooks) becomes entangled
in a nasty crime in "Drive".
As said before though, tone is the key word here. "Drive" is quiet and cold, it pushes us to the limit on keeping us in the dark and then, out of almost nowhere, explodes into brutal action and violence that evokes alien emotions in our central character and us. The low-key performance of Gosling is truly like watching a master at work, he possesses such charisma that we are unable to take our eyes off what he might do next. It only helps that he is surrounded by actors like Bryan Cranston as the mechanic that shares his ambition to be a race car driver. In an attempt to make this dream a reality Cranston's mechanic enlists the help of local mobsters, played by Albert Brooks and Ron Perlman. To complicate things, the driver begins to show first signs of any kind of emotion when he meets Irene, a waitress with a young son who is awaiting the release of her husband from prison. The lovely Carrie Mulligan plays Irene and the underrated Oscar Isaac plays her imprisoned husband Standard. It is when Standard is released from jail and forced to do another job to pay back debts from jail that the driver becomes entangled to protect Standards family. The brutal action scenes here are underscored by the fabulous placement of bursts of electronic pop. It not only adds to the tone of this cold, mysterious film, but it makes those silent moments where the driver is alone and cruising the streets of LA even more powerful.

Ryan Gosling means business as
the unnamed driver.
What I like most about "Drive" though is it proves a film can truly be both greatly artistic and fun at the same time. I can't say that I have had a more engaging experience at the theater this year while also admiring the craft on hand. Every element of this film comes together to create a piece of cinema that is in a class all its own. It is a combination of the familiar to make something completely unique. It is a patient movie, it is a rush of adrenaline. And what is most beautiful is that the movie as a whole becomes the idea, an incarnation of our main character. It is cool and collected, stylish to the point of envy and exuding confidence even if everything about it might have been a gamble. Gamble it is not though, as this is one of my favorite movies of the year by far. The minute it was over I wanted to go right back in and see it again. "Drive" is no doubt an unnerving experience and sadly, one some people will not understand if they do in fact go in expecting that full tilt action flick the trailer promises it to be. I'm just glad that it wasn't the standard "Fast and Furious", I am thankful Gosling was wise enough to choose a director for the material who could really turn this into an experiment that at the end of the day is just as thrilling and ten times more artistic than what this could have easily become. Excuse me now, while I go pick up the soundtrack and drive around pretending to be a bad ass.