“THE IMITATION GAME” My rating: B+
114 minutes | MPAA rating: PG-13
“THE IMITATION GAME” My rating: B+
114 minutes | MPAA rating: PG-13
Posted in Uncategorized | Tagged "The Imitation Game", Alan Turing, Benedict Cumberbach, Enigma Code, Kiera Knightley, Matthew Sweet | 1 Comment »
“THE GAMBLER” My rating: C
111 minutes | MPAA rating: R
The protagonist of “The Gambler” is an infuriatingly self-centered, stubbornly self-destructive mess. Except that he’s being sold to us as a romantic, devil-may-care rugged individualist.
Sorry, I’m not buying.
In the opening moments of director Rupert Wyatt’s film (a remake of the Karel Reisz melodrama from 1974), Jim Bennett (Mark Wahlberg) drops in on an illegal casino in the basement of a sprawling seaside LA mansion. He heads immediately for the blackjack table.
Jim doesn’t mess around with strategy. He bets everything he has — $10,000 — on a turn of the card. When he wins, he then bets all of that on the next hand. This continues until he loses everything and walks away with empty pockets.
Actually, his pockets aren’t empty. They contain $250,000 in I.O.U.s from Mr. Lee (Alvin Ing), the Korean gangster who runs the establishment, and from Neville (Michael K. Williams), a well-heeled local banger who sagely observes: “I think you’re the kind of guy who likes to lose.”
Owing so much to such unpleasant characters would be enough to make most of us curtail our gambling activities. But not Jim. He wheedles and begs until he gets another loan, loses that money, and then shrugs when the heavies show up to demand payback.
Jim is what is known in the trade as a “degenerate gambler,” a guy who couldn’t stop if his life depended upon it — which in this case it does. Ironically, during daylight hours Jim is kinda respectable — a published novelist who teaches college-level English lit — although from what we hear of his lectures, his class should be called “Early 21st Century Pretentiousness.”
Posted in Uncategorized | Tagged "The Gambler", gambling, Jessica Lange, John Goodman, Mark Wahlberg | 1 Comment »
“BIG EYES” My rating: B-
105 minutes | MPAA rating: PG-13
In “Big Eyes” Tim Burton takes on the oddball odyssey of Walter and Margaret Keane, who a half century ago launched an art-world/cultural sensation with cartoonish paintings of children with huge, sad eyes.
Despite being savaged as tasteless kitsch by the critics — the eyes were compared to “big stale jelly beans” — these “Keane Kids” became hot commodities. Fame and fortune followed. Think of it as a pre-Tomas Kinkade display of bad taste.
Eventually the Keane Kids generated a scandal when it was proven in court that Walter Keane, who claimed to be the artist, was in fact no more than a hack taking credit for his wife’s work.
Burton has two very fine actors in Christoph Waltz and Amy Adams. His recreation of ‘60s San Francisco feels authentic. And the subject matter promises something along the lines of “Ed Wood,” for my money the director’s most heartfelt work.
After all, both films are about “artists” who specialize in…well, not art.
But whereas “Ed Wood” was a very funny celebration of a tasteless filmmaker — often cited as the worst director of all time yet obsessed with capturing his questionable vision on celluloid — “Big Eyes” is a more conflicted affair.
Posted in Uncategorized | Tagged "Big Eyes", Amy Adams, Christoph Waltz, Keane Kids, Margaret Keane, Tim Burton, Walter Keane | Leave a Comment »
2014 wasn’t a year of great movies.
Great performances, yes, but often in movies that were only good.
Which poses a problem for the critic assembling a 10 Best List. Is a spectacular piece of acting enough? Just how far can it lift a movie that in other regards fails to reach the stratospheric atmosphere of cinema art?
Examples: Eddie Redmayne’s astounding work as cosmologist Stephen Hawking in “The Theory of Everything.” Robin Wright in “The Congress.” Ralph Fiennes in “Grand Budapest Hotel.” Or Jake Gyllenhaal in “Nightcrawler.”
Ultimately you have to fall back on the basics, looking not at a film’s parts but at its totality, at the personality it presents to the world. Does the experience stick with you, burrowing into your consciousness so effectively that months or even years later you can recall the thrill of viewing?
These are the films that did it for me this year. There are several documentaries (the genre least insulting to the intelligence of audiences), one foreign title, and several independents (a couple of which came and went in the blink of an eye).
There’s only one mainstream release because…well, because Hollywood is less into discovery than into recycling the tried and true. I find it too late in the day to be treading water.
So here they are no particular order:
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“WILD” My rating: B+
115 minutes | MPAA rating: R
Man-against-nature stories are fairly common. Women-against-nature…well, that’s a rarer breed.
In “Wild” a perfectly unglamorous Reese Witherspoon plays real-life writer Cheryl Strayed, who some years ago hiked more than 1000 miles along the Pacific Crest Trail, which begins at the Mexican border and ends in Canada.
Strayed‘s story, as recorded in her 2012 memoir Wild, was both an escape from a tormented past (a failed marriage and drug addiction, for starters) and a long trek toward self discovery.
That journey, and the agonizing personal history that got it all started, have been effectively realized by Witherspoon (another Oscar nomination seems inevitable) and director Jean-Marc Vallee, who guided Matthew McConaughey to a best actor Oscar in “The Dallas Buyers’ Club.”
That earlier film was a middling movie elevated by a terrific lead performance. “Wild” raises the bar considerably — not only is Witherspoon superb (for much of the movie it’s just her and the scenery), but the storytelling technique proffered by Valee and screenwriter Nick Hornby (“High Fidelity,” “About a Boy,” “An Education”) almost perfectly captures the key elements of Strayed‘s tale through visual and aural poetry rather than conventional narration.
The film begins with Strayed, a tenderfoot in both the literal and figurative sense, setting out on the trail maintained by the National Park Service.
She has crammed her backpack with so much equipment that she moves like Atlas straining to lift the entire Earth. The damn thing is so heavy it constantly threatens to flip her onto her back and leave her clawing the air like a helpless turtle.
Her new hiking boots are too tight, resulting in blood and blisters. Initially she’s lucky to cover five miles a day. She has never pitched a tent before, or tried to cook on a propane camp stove. She’s not sure how to deal with the rattlesnake in her path or the coyotes that howl all night.
But she’ll learn, just as she’ll learn to deal with heat and snow and physical exhaustion.
Posted in Uncategorized | Tagged "Wild", Cheryl Strayed, Cliff de Young, Pacific Crest Trail, Reese Witherspoon | 1 Comment »
“THE HOBBIT: BATTLE OF THE FIVE ARMIES” My rating: C
144 minutes | MPAA rating: PG-13
I am so over Peter Jackson’s Tolkein obsession.
It’s not that “The Hobbit: Battle of the Five Armies” is incompetent filmmaking. Rather, it’s empty filmmaking.
It’s got plenty of spectacle — beginning with a dragon and ending with an hour of uninterrupted combat — but it seems not to be inhabited. The characters are paper thin, and even those with whom we’ve developed some an affinity aren’t on the screen enough for genuine emotions to emerge.
Maybe this is what comes of taking a simple children’s adventure and ballooning it into a 9-hour trilogy.
Perhaps Jackson long ago emptied his quiver of tricks and is now reduced to repeating himself.
And the stuff that once wowed us — the CG that made the original Ring Trilogy such a technological marvel — now seems rather old hat. So many of the effects on display here look patently artificial rather than real.
For hardcore fans, of course, none of this matters. Having invested at least 15 hours in the first five Tolkein-inspired films, they’re not about to bail on the big conclusion. They’d probably stick around to watch Bilbo read from the White Pages.
Basically “Battle of the Five Armies” can be broken down into three segments.
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“THE BABADOOK” My rating: B+
93 minutes | No MPAA rating
The Australian-made “The Babadook” so seamlessly merges the supernatural with the psychological that it’s impossible to say if what we see on the screen is really happening or if it’s unfolding in its tortured heroine’s head.
Either way, writer/director Jennifer Kent has given us an unnerving experience, marked by two superlative performances that grab us by the throat and won’t let go.
Amelia (Essie Davis) is a widow raising her seven-year-old son Sam (Noah Wiseman). Like a lot of single moms, she’s struggling — financially, emotionally, sexually.
But Amelia has a special cross to bear, for Sam is, well, different. The kid is cute and bright and is working on a magic act. But he’s also a handful, a tyke who so fears monsters under his bed that he has fashioned his own dart-shooting crossbow and a shoulder-mounted catapult to hold them at bay.
That’s only the beginning of Sam’s behavioral problems. He rarely sleeps through a night, usually waking Amelia to search his room for supernatural invaders (she is majorly sleep deprived). During waking hours Sam demands his mother’s undivided attention and he’ll throw a grand mal temper tantrum when he doesn’t get it.
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“TOP FIVE” My rating: B
101 minutes | MPAA rating:R
Posted in Uncategorized | Tagged "Top Five", Chris Rock, Gabrielle Union, Jerry Seinfeld, Rosario Dawson, Tracy Morgan, Whoopi Goldberg | Leave a Comment »
“EXODUS: GODS AND KINGS” My rating: C
150 minutes | MPAA rating: PG-13
Ridley Scott’s “Exodus: Gods and Kings” runs for almost 2 1/2 hours — and that still isn’t enough time for it to figure out why it’s here or what it wants to say.
It’s based, of course, on the Old Testament story of the exodus of the captive Hebrews from Egypt, but the filmmakers are obviously ambivalent over matters of faith. Heck, they explain away the story’s supernatural elements as the result of a bump to Moses’ noggin.
This is the second monster-budget biblical epic of the year (it follows Darren Aronofsky’s over-produced and over-thought “Noah”). If Hollywood doesn’t believe, why does it bother?
In a word: spectacle. Scott and his visual wizards pull out the stops to create the thriving Egyptian capital of Memphis, the parting and unparting of the Red Sea, a slam-bang battle with an invading army.
But on a spiritual and dramatic level “Exodus” is a creaky affair.
Most of us are familiar with Cecil B. DeMille’s 1956 “The Ten Commandments,” an alternately silly and awe-inspiring affair. DeMille may have had the dramatic instincts of a snake oil salesman, but he was a fierce believer in his own showmanship, and if you can ignore the absurd emoting, his epic remains ridiculously entertaining.
Scott, on the other hand, delivers a film that is, well, grumpy. For all the f/x wizardly, there’s not much joy or discovery to be had. “Exodus” feels like a paint-by-numbers job assembled by an indifferent committee
Posted in Uncategorized | Tagged "The Ten Commandments", Ben Kingsley, Christian Bale, Egypt, Exodus, Joel Edgerton, Memphis, Moses, Passover, plagues, Ramses, Red Sea, ridley scott | Leave a Comment »