Here's a tip. If you don't want people to think you are a child molester, pick out different frames than the ones Paul Dano wears in 'Prisoners.'
When neither Jake Gyllenhaal (as Detective Loki - yeah, you read that right) or his CSI crew can find any evidence that suspected molester Dano abducted two little girls that went for an unsupervised walk through a Pennsylvania suburb after Thanksgiving dinner, it's up to one of the two fathers of the girls - Hugh Jackman - to take matters into his own hand...
It's clear from the start that 'Getaway' is not a good movie. The opening sequence is a mess of different video stocks and flashbacks, an easy tell that a team of editors tore out their hair trying to skip as much boring exposition while leaving the first scenes cogent. But once former race car driver Brent Magna (Ethan Hawke) is behind the wheel of his stolen souped-up vehicle and is receiving crazy, destructive orders from the disembodied voice of Jon Voight, there's at least plenty of smashy-smashy to keep you occupied. The bad guy has some master plan – kidnapping Hawke's wife so that he'll be a mobile slave to his chaotic whims is part of laying the ground work.
But more than seeing traffic destruction on the streets of Sofia, Bulgaria (this month's production location low-bidder) there's a bigger catastrophe. Fifteen minutes into the movie, Selena Gomez shows up.
How could something that is so gorgeous also be so damn dull? Well, where there's a will, there's a Wong Kar Wai.
The jazzy, experimental arthouse darling of the 1990s ('Chunking Express,' 'Fallen Angels,' 'Happy Together') fails to get out of his '2046'/'My Blueberry Nights' slump with 'The Grandmaster,' a strong contender for most boring picture of 2013. The version I saw is the Weinstein Company's “American Cut,” not to be confused with the homegrown successful “Chinese Cut” or the intermediary cut that played at festivals like Berlin.
'We're the Millers' is a vexing film. It's just funny enough to keep from being truly bad, but too preposterous and predictable to be anything close to good. For every laugh there's something that will make you want to hurl an object at the screen. When it flubs, it flubs hard, allowing each of the four main characters a chance to embarrass themselves. And yet, if you wait 'til the next scene, there's the possibility that whoever just served up a would-be joke in a humiliating fashion will do something inspired. As such, 'We're the Millers' wins some respect for at least being a very odd moviegoing experience.
Here's one of my favorite jokes of all time. There's no punchline, it's just a sentence. "I've been rich and miserable, and I've been poor and miserable. And I'll tell ya: rich is better."
I don't know if this is what director Neill Blomkamp had in mind as the ultimate message of 'Elysium,' his visually stunning follow-up to 'District 9,' but beneath the dazzling spectacle, there isn't much else beyond that aphorism to cling to.
I am not a monster. I want to be very clear and upfront about this. Yes, those little squibbling yellow marshmallows called “minions” in 'Despicable Me' and 'Despicable Me 2' are adorable. I don't care how much of a tough guy you think you are, when these little buggers are vrooming about the screen and warbling and wobbling and making exaggerated facial expressions; it is biologically impossible for a human being not to smile. They're wonderful and the design team that creates them (and the scientists who code the array of imaging rendering computers) should all continue to take a bow. With this qualifier out of the way, allow me to warn anyone over the age of 10 or 11 that 'Despicable Me 2' stinks.
The title is 'World War Z,' but I can think up two other letters: "O" and "K."
'World War Z' is okay because it zips along with the fury of a computer-generated cascade of fast zombies. 'World War Z' is okay because Brad Pitt is a great leading man, even if his character has no depth. 'World War Z' is okay because there is always a fatalistic draw to see our social order tumble and great cities reduced to cinders.
It is also, unfortunately, merely okay because there's nothing in this movie you haven't seen before.
With 'Star Trek Into Darkness,' Abrams' follow up to the 2009 'Star Trek' reboot (or continuation of the series, if you are Spock Prime) he has solidified his position as a master of propulsive, visceral filmmaking. Dude knows where to put the camera, when the music should swell, when the characters should zing each another or when they should project pathos to the cheap seats. The 'Star Wars' films are mostly gut and little brains and, unfortunately, that is what we have here. The movie still works as an exemplary thrill ride – I laughed, I cried, I cheered – but woe be to anyone who gets caught in a conversation afterwards trying to explain the overly complicated and, at times, silly plot. If you expect something a little sharper out of 'Star Trek' you may come away with some mixed emotions.
You can buy replicas of Richard Attenborough's amber-tipped cane or you can listen to ten minute loops of Jeff Goldblum's oddball laugh but there's something you haven't been able to do in twenty years: hear the roar of a T. rex fighting two Velociraptors from thunderous, surround sound of big cinema speakers. Something you've never been able to do is see it in 3D or in IMAX. Until now. And you don't want to miss it.
To watch 'The Place Beyond the Pines' is to observe characters making discoveries. Discoveries about their past, their environment, their heritage. When the revelations come they aren't met with gasps or dropped objects, but with an understanding, an acceptance that, yes, this is, indeed, the way things are.
While you'd swear with every bone in your body that this vast, rich, symbol-heavy tale was surely based on a thick doorstopper of a novel, the surprising fact remains that it is, actually, an original screenplay. It seems, though, a natural progression after the character portraiture of Derek Cianfrance's last film 'Blue Valentine.' This new one has the essence of 'Blue Valentine' but blown open far and wide.
'Mud' is a great story, but not a particularly great film.
Dripping in regional specificity and broad metaphor, Jeff Nichols' new film feels more like a big, fat American novel you get assigned in 10th grade than the follow-up to 'Take Shelter.' That earlier film's ominous tone and psychological portraiture is traded-in for large, gestural story beats that itch to be broken down and discussed for their symbolic meaning. When you are done explaining just what Boo Radley represented, then you can sink your teeth into Joe Don Baker's character "King."
Who is May? She's a half-American, half-Palestinian Christian, born and raised in Amman, Jordan and living as an author in New York City. That's a lot of labels, so you can somewhat understand why she's having trouble figuring out what she wants in life.
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