Reviews

The initial premise is a good one - how a tragedy can make someone lose his/her faith and the principles on which he/she has based living. And then (about 10 minutes into the movie) it goes off the tracks and devolves into a bad after school special - a really, really bad one.

Lamb (a very bad character name) is supposed to have been protected from the evils of pop culture but when she travels through Vegas she seems to know quite a few pop culture references. The bad girl activities which she undertakes are lame and tame. The "jokes" are even worse…"I'll have the Peach Shnap" as she misreads the bottle behind the bar. Ha Ha.

The backstory for 2 people who befriend her are glossed over - thereby wasting the talents of Octavia Spencer (and maybe Russell Brand if I am being generous in the definition of "talent"). Oh yeah, Lamb's parents (the extremely talented Holly Hunter and Nick Offerman) barely register any screen time or decent dialog and are additional examples of wasted opportunities.

Sure, Lamb grows some through her experiences but it all comes too easily and too readily to her. And the audience can see the resolution way before it happens.

Such a disappointment from a talented writer and director, and a gifted cast so badly misused.

I am not a fan of violence in movies, especially when done to excess. This movie pushes past my normal limit for body count, but it is done is such a way, i.e., without much gore, that I did not find it gratuitous or off-putting. Additionally, Denzel Washington turns in another stellar performance as a man of violence (e.g., Training Day, among others) that the viewer does not mind the extreme willing suspension of disbelief that the director requires.

Mr. Washington's character has very little in the way of backstory although his motivation is readily apparent. I suspect that some explanatory scenes were cut from the final print since the movie runs long at over 2 hours. Also I find it difficult to believe that both Bill Pullman and Melissa Leo, each leading actors in their own right, were cast as old friends of Mr. Washington's character with the original intention that they would have about 3 minutes of combined screen time. It seems that these characters would have been the time when the backstory would have been revealed.

While there is nothing really new in this movie that makes it a must-see, it is well-shot, action-packed, and, as stated above, well-acted thereby earning a viewing recommendation.

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"A colossal flop" - not only serves as an assessment of this movie's performance at the box office but as a valid assessment of the movie's overall quality.

With the exception of outstanding CGI, the plot, characters, acting and dialog are each seriously flawed. Intended tone filmed as a love story against the backdrop of a historic catastrophe, I have no doubt that this was patterned after the mega-success of "Titanic." As with Titanic, everyone knows the general story of the disaster so the ending cannot be a surprise. And as with Titanic, Pompeii tries to create a romance between an upper class woman and a man well beneath her standing. But unlike Titanic, there is no chemistry between the two romantic leads here, and there is no grand gesture of sacrifice which immortalizes the love story in our mind - and without these elements, the film is just another expensively filmed epic with nothing new to offer. Additionally, there are many historical inaccuracies regarding the volcano's eruption and the devastation of the city that the movie suffers from the attempted over-dramatization of already one of nature's most dramatic events.

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I went into this movie with mixed expectations. Since it just won the 2014 Oscar for Best Foreign Language Film, I was expecting greatness. But since I am not a huge fan of art movies, I expected that my "simple taste" would not be served well. Unfortunately, as much as I wanted to like the film, I just did not.

The story is set in early 1960s Poland. The lead character, Anna, is in a convent (and has been since she was abandoned during WWII) and is about to undertake her vows. Before she can do so, the Mother Superior requires her to travel to visit her sole living relative, Aunt Wanda. At first Aunt Wanda is cold and distant. Then, without any reason, Aunt Wanda warms up to Anna and offers to take her to find her buried parents. The majority of the movie then follows these two to discover how the parents were killed and where they are buried. Along the way, secrets are discovered and Anna's destiny is brought into question.

Shot in black and white, the cinematography is wonderful even though the scenes are barren and sparse. The dialog is also barren and sparse, which is my main problem. The viewer knows what is going on as the road trip unfolds, but the 2 main characters make dramatic choices which do not seem consistent with their prior acts. And nothing in the dialog indicates the possibility of these strange choices, thereby leaving the viewer to fill in way too many blanks. While many people laud the quiet in this movie, I found the lack of interaction (verbal and otherwise) between the characters to be uninteresting. As such, while I thought the story had potential, nothing in this film created or even tried to create any emotional connection between me and the characters. And without that connection, the viewer just leaves the film wanting some more than what he/she saw.

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This is an extremely well-made documentary about one man's curiosity, his relentless pursuit of an answer, and ultimately the possible solution of one of the art world's mysteries. But is that enough to recommend watching this movie? Not really. At times, this movie is as exciting as literally watching the paint on the canvas dry.

I applaud the dedication of the subject to re-create the exact supplies, tools, and environment used by Vermeer. However, his efforts to demystify the artist's creation does not do anything other than to propose that the art is nothing more than a something that can be created by a dispassionate exercise of skills. What his recreation misses is the art of creating a scene, the passion of a painter to express something original, and the genius of capturing it all.

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While there are some funny moments in this black comedy (mostly due to Ellen Page's manic intensity as the sidekick and a few cameos), there are simply not enough of them to recommend watching this movie.

The spoof of a superhero's film is a welcome relief from the onslaught of Marvel releases, but the excessive and bloody violence committed by the self-made crime fighter greatly detracts from the absurdity of the concept and imparts a harsh reality on the protagonist's actions.

The characters do not evolve in any way so there is no morale of the story. And in the end, the conclusion leaves the viewer with just a bad taste of having wasted 90 minutes watching this movie.

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It was difficult to watch this movie as I am a big fan (along with many, many others) of the TV show that was based on this movie (and the book on which it was based). However, if you can leave behind your love for the fantastic casting of Connie Britton and Kyle Chandler as Tammy and Coach Taylor, you will also love this movie for the same reasons you loved the TV show. The depth of the character portrayals are as rich as those developed in the TV show, and the dialog rings as true there as here. And who does not love an underdog sports story.

"Being perfect is not about that scoreboard out there. It's not about winning. It's about you and your relationship with yourself, your family and your friends. Being perfect is about being able to look your friends in the eye and know that you didn't let them down because you told them the truth. And that truth is you did everything you could. There wasn't one more thing you could've done. Can you live in that moment as best you can, with clear eyes, and love in your heart, with joy in your heart? If you can do that gentleman - you're perfect!"

Or as the TV show condensed this speech: "Clear eyes, full heart, can't lose."

The movie is not perfect, but it is darn close.

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I was not sure what to expect with this film other than I expected it to be well-done given that Steven Soderbergh was the director. My assumption proved correct.

Since this is a mystery/thriller, I cannot discuss much for fear of giving away the plot, but I can say that there are enough twists in the movie to keep you guessing, that the actors all give good performances although Catherine Zeta-Jones may be slightly miscast, and the film is well shot. Sure there are a few flaws in the story and the viewer needs to suspend disbelief some (e.g., some of trial scenes and the behavior of the lawyers), but overall the story rings true (even though not probable). But overall, this is a smart thriller that exceeded my expectations.

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There is so much on-screen talent and good chemistry among them, it is a shame that this movie is not better than "just OK."

Set in a small New York town after the death of the family patriarch, the mother insists that the family all stay together in the family house for the 7 days of shiva per Jewish custom. The movie then tells the tale of each of the mother and the siblings, each with his/her own secrets and flaws.

But it seems as if the writer had a checklist of the dysfunctional family elements that should be crammed into the film and then went about doling them out amongst the numerous characters to be sure that all the bases were covered. Marital infidelity. Screw up younger brother. Unrequited love. Raunchy senior citizen. Infertile couple. Surprise pregnancy. May-December romance. Surprise gay relationship. And more. While each of these elements do provide ample opportunity for some funny scenes, it seems as if too much was being undertaken as many plot elements seem forced and included just to ensure each base was covered. Yet many of the jokes stand out as being true-to-life.

With all that being said though, the pros in this movie (outstanding performances by Jane Fonda, Tina Fey and Jason Bateman) make this movie infinitely more watchable and humorous than some recent blockbuster comedies, such as "Neighbors."

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A truly awful attempt at comedy. Not sure that there a single line or scene that had even the slightest chance of generating laughter.

Roughly set - the fraternity (led by Zac Efron, looking more and more like John Stamos) moves in next door and causes too much noise for the family (Seth Rogen, Rose Byrne) raising a baby. First, the neighbors attempt to win the boys over by being cool. Being cool meaning spending all-night at the frat party and watching the baby through the use of a baby- monitor. Good parenting at its best, but the premise can be overlooked in the pursuit of comedy.

When the boys have another party and do not respond to phone calls to keep it down, the neighbors call the cops who are as unsympathetic to their plight as could be imagined. And so, taking matters into their own hands, begins the ever-escalating attempts to get the frat boys to leave or to be banned by the school, and the counterattacks to make the neighbors truly miserable.

Nothing original. All over the top. Not grounded in any semblance of reality. The writers and director should rewatch Animal House to see how this genre was meant to be made.

And the "good news" - this movie made so much money that a sequel has just been announced. I cannot wait.

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I was very excited to finally see Boyhood on DVD as I had missed it in the theaters. All I had heard before seeing it was the daring and ambitious undertaking by director Richard Linklater to film the movie over a 12 year span using the same main actors throughout. And there were rave reviews. Lots of them.

OK, I do not get it.

While the acting and cinematography are good, the plot is basically non-existent other than the passage of time among the family. There is basically no conflict (a few abusive husbands but even that is passed over quickly). The children hardly even roll their eyes at their mother let alone rebel or act like real teenagers. They simply grow up.

Sure it is an nice character study but none of the characters have any real depth worth watching - just average teenagers and a single mom going through life. No surprises occur. I do not think I needed 2 hours and 45 minutes to see that. I get that the revolutionary concept of the long shoot was risky, but I cannot say it added any value. Of course there are those out there who will appreciate the "art of it all" but I am not one. I have liked many of Mr. Linklater's other films and hope that his future films no longer indulge in what essentially amounts to a gimmick.

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Here is a prime example of how a movie can surprise you, in a very good way.

The plot is simple: A grouchy old man believes that he has won a million dollar lottery and must travel from Montana to Nebraska (in winter) to collect it. His estranged son finally agrees to drive him there despite the disappointment he knows waiting at the end of the trip.

If that is not the epitome for the makings of a dull movie, then consider that it is shot in black & white, only adding to the gloominess of the story. Look at the poster for the film - does this inspire confidence that this will be a great movie?

So here is the surprise, the movie is excellent - emotionally moving without being maudlin. The witty dialog, the realism, the diverse characters, and the touching story, as well as the superb acting by the entire cast, including Oscar-nominees Bruce Dern and June Squibb for their roles here and Will Forte playing a non-comedic role, push this film beyond anyone's expectations. While the story is a little slow to develop, that time gives us a chance to let the characters shine in their own right. Director Alexander Payne adds to his string of excellent films (Election, Sideways, The Descendants).

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This is a well-intentioned film, based on a true story, of a sports agent trying to score a big break by being the first to raise interest in baseball to the potentially huge audience in India. Since it is a Disney film, it tends to follow the underdog-makes-good formula without detouring far from the predictable course. As such, it does not live up to the enchantment in director Craig Gillespie's prior work "Lars and the Real Girl," perhaps being constrained by the true story element or the oversight at the Mouse House. Still, it is a generally likable film and one that is pretty safe for the whole family.

Jon Hamm does a competent job as the lead sports agent finding his way in India and in his own life. Mr. Hamm is well cast as his considerable charm helps to raise the scenes above the dialog and plot which at times can fall to the level of the made-for-TV genre.

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If you are a fan of the music of Frankie Valli and the Four Seasons you will love this movie. If you are unfamiliar with their music, take a chance on this movie, and you may learn to love it too. If you do not like their music, well there is a chance you will like this movie anyway. I fall into the first category.

Adapted from the Broadway play, the movie traces the growth of 4 young teens from the gangster streets of New Jersey, to the rise to the top of the pop music world, the breakup of the group due to financial strains and internal bickering, the rise of Frankie Valli as a solo star, and their reunion at the induction in the Rock n Roll Hall of Fame. Throughout the film their music and the wonderful performances (both dramatic and musical) by the 4 actors will bring a smile to your face.

While the beginning is a little slow as director Clint Eastwood develops the background of their youthful interactions with the wrong side of the law, the pace picks up one the hits start coming. And come they do.

The film probably could have done without some of the vulgar language even if still trying to maintain the realism of the story. The R-rating may be a little harsh compared to other movies and it probably did hurt the film at the box office.

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This sequel to the surprise mega-hit 21 Jump Street (2012) follows the same winning formula and gets the same winning result. Again smartly relying on the excellent on screen chemistry between stars Channing Tatum and Jonah Hill, non-stop broad (OK, borderline vulgar) humor, massive explosions, exciting chase sequences, and knowing winks to the camera, 22 Jump Street will not surprise anyone. But if you liked the first movie, the sequel manages to provide the same level of entertainment without being boring.

Be sure to stay for the ending credits for some more laughs regarding some hypothetical sequels.

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A movie, that for the first 100 minutes is both fascinating and riveting, is spoiled by the contrived ending in the last 20 minutes.

Michael Shannon does a superlative job of portraying a man disturbed by nightly dreams of an upcoming apocalypse. He fears that the dreams may be the early symptoms of the same mental illness suffered by his mother. As the dreams increase in intensity, Mr. Shannon's character tries to hide his worries from his family while trying to determine his mental health. Risking his family's tenuous grasp with economic survival, he takes steps to save them from the destruction he fears approaching. The movie (for the most part) wisely leaves the audience free to decide whether Mr. Shannon's character is losing his grasp with reality or the dreams actually foretell an apocalypse. If you want to truly enjoy the movie, do not watch the last 20 minutes.

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Notable as Angelina Jolie's first movie as a director (and also as the screenwriter), this movie fails in many respects.

The movie mainly centers on the life of one woman in the Bosnian war as she is held captive by a soldier who alternately protects her from the severely harsh life as a prisoner and then physically abuses her and kills her kinsmen. Had the movie just focused on this story from her point of view, it may have succeeded. But the movie strays into plot lines of military strategy of the civil war, other prisoners and horrors they face, the politics of the "outside world" ignoring the on-going genocide, and more. Each of those could have also been a successful story, but when combined into a single film, we are left with a jumbled mess of a story all the while relentlessly bombarded with Ms. Jolie's message that "war is bad." Since the atrocities shown are all performed by one side, it is clear that Ms. Jolie is also lecturing us as to who she believes the bad guys are. While I do not expect a Hollywood movie to be the equivalent of a documentary, since Ms. Jolie intended to show more than just the story of the captive woman, she should have (and easily could have) included a little more balance to the political agenda.

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