Movie Review: Mary and Max by Adam Elliott

Title: Mary and Max
Director(s): Adam Elliott
Genre(s): Animation, Comedy, Drama
Release Date (USA): January 15, 2009
Rating: NR

"People often think I am tactless and rude. I cannot understand how being honest can be improper. Maybe this is why I don't have any friends.” -Max Jerry Horovitz

In the mid-1970's, a homely, friendless Australian girl of 8 picks a name out of a Manhattan phone book and writes to him; she includes a chocolate bar. She's Mary Dinkle, the only child of an alcoholic mother and a distracted father. He's Max Horowitz, living alone in New York, overweight, subject to anxiety attacks. He writes back, with chocolate. Thus begins a 20-year correspondence, interrupted by a stay in an asylum and a few misunderstandings. Mary falls in love with a neighbor, saves money to have a birthmark removed and deals with loss. Max has a friendship with a neighbor, tries to control his weight, and finally gets the dream job. Will the two ever meet face to face? (synopsis from IMDB)

Though most cartoons are meant for younger viewers, Mary and Max most certainly is not. The seriousness of its topics like death, sex, suicide and mental illness definitely requires a more mature audience. But, trust me, as serious as it sounds, you don't wanna miss it! It's a simple story with a BIG message about the value and beauty of oddness and unconventional friendship. You don't quite know if you're watching a tragedy or a comedy and perhaps it's a mix of both. But ultimately, it doesn't matter. The point is to feel something and you feel a lot of everything when you're watching the life-long journey of these mismatched friends. The characters, Mary and Max, are like the Odd Couple meets Sigmund Freud.

Mary and Max is touching, poignant and funny in a very raw and immature sort of way. But what makes this little gem so fantastic is the juxtaposition of the artsy sophistication when contrasted against the emotional crudeness. For starters, the animation is impressive. The whole movie is desaturated, lacking vibrancy that cleverly mimics the vulnerability in both Mary and Max's lives. I'd venture to say that the animation rivals that of Tim Burton's The Nightmare Before Christmas or, dare I say it, a Pixar flick.

I know! But seriously, it's an art form, one that Elliott's got down. It's pretty incredible.

Quirky, charming and eclectic. Those are just a few of the words I'd use to describe this film. Seriously, it's hard to do it justice with my meager words because I don't think I've ever seen anything like it. While I recognize this movie won't be everyone's cup of tea, Mary and Max is one of those hidden gems that you should give a chance. I promise, you won't regret it.

Summary Prognosis

Mary and Max is not your average cartoon. Raw, poignant, funny and charming, this Sundance Film Festival opener is a touching story about friendship, self-acceptance and love. This won't necessarily be everyone's cup of tea, but for an eclectic and appreciative few, this compelling little gem is a MUST SEE! 

Rating: ★★★★★

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Movie Review: Don Jon by Joseph Gordon-Levitt

Title: Don Jon
Director(s): Joseph Gordon-Levitt
Genre(s): Comedy, Drama
Release Date (USA): September 27, 2013
Rating: R

"There's only a few things I really care about in life. My body. My pad. My ride. My family. My church. My boys. My girls. My porn.“ -Don Jon

Jon Martello (Joseph Gordon-Levitt) is a good ol' Jersey boy. He loves his family, goes to church every Sunday and regularly hangs with his friends. He's handsome, has a sweet ride and takes pride in his pad. Aptly named the "Don" due to his smooth moves with the ladies, Jon has got it going on. Barbara Sugarman (Scarlett Johansson) is a determined, beautiful, good ol' fashioned girl. She's a "Dime." Craving the romance found only in the movies, Barbara seeks a Prince Charming to call her own. Instead, she finds Jon. Things are seemingly perfect between the Don and the Dime, that is, until his little porn habit threatens to tear them apart. It's a good ol' fashioned guido/guidette love story.

Indie sensation, JGL had a lot to prove when he set out to make his writing/directorial debut. Folks, let me tell you right now, he did it. Don Jon is a theatrical masterpiece. I say masterpiece because it manages to be a dramedy that both men and women can enjoy, as well as a smart cultural commentary on the misrepresentations of the sexes. Don Jon also explores the impossible expectations that set the foundation for many romantic relationships and it does so in both a thought-provoking and funny way. It's a breath of fresh air.

Just as JGL's character is trying to find himself, you can see where he struggles to find his directorial voice. Don Jon feels too meticulous and familiar at the start, a little like a Darren Aronofsky film, but eventually he settles into a comfortable rhythm, one that feels uniquely his. He's got a great narrative voice, his timing is impeccable and, most important, there's actual depth underneath all the tongue-and-cheek humour. JGL wisely balances the bawdier material with a touch bold honesty. Don Jon does the impossible by turning the notion of GTL into a work of art, and if JGL can start off with this much of a bang, I think he's got a very promising career ahead of him.

On the surface, Jon is your stereotypical Jersey Shore asshole. But underneath that macho exterior lies a man who needs to lose himself in something. And that something just so happens to be porn. On the surface, Barbara seems like his perfect girl. But Jon quickly learns that what you see is not always what you get. JGL is charming and charismatic as the leading stud, Don Jon. He actually makes a man-whore likeable. Who knew?! But then again, are you really surprised?

I'm sorry, I was distracted. What were we talking about again?

That just speaks to his raw talent as an actor. While I usually find Scar-Jo to be wooden, she is both a bombshell and willful bitch here. There's a surprising subtlety to her performance that I haven't seen from her before. And behind strong leads there's a solid secondary cast. Tony Danza and Glenne Headly are PERFECT hamming it up as Jon's parents. I have to say, Tony Danza absolutely kills it! And though Brie Larson's part is small, as Jon's tech-absorbed sister, her character is what perpetuates such a dramatic shift in the film. I thought the casting was pretty spot on sans Julianne Moore's role. It's not that her character wasn't believable, because it was --- she's a no frills, observational truth-seeker. Everything that character needed to be. It was just her as that character that I wasn't quite buying.

But as a whole, I thought the film was nearly perfect. There is more than meets the eye with Don Jon, which is ironic because that notion is pretty much the core of the entire movie. You watch it to be entertained but walk away with something meaningful to talk about. Don Jon is about letting people in so that they can see the deepest parts of you. It's about the ability to really let yourself go, to know what it feels like to be free. I don't know if I've ever seen a movie that explores the intricacies of love, friendship and sex with as much finesse as Don Jon does. And while it IS a love story, it's also very much a movie about self-discovery. Let's just say, I haven't felt that emotionally satisfied walking out of a theatre in a very long time.

Summary Prognosis

Don Jon is a solid debut by Joseph Gordon-Levitt. He's written a touching movie about love and sex, men and women. It's a movie that teaches us how to recognize when we've become victims of false fantasies and shows us the meaning of true intimacy. Don Jon truly is a dime with a smart soul and heart of gold.


Rating: ★★★★½


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Movie Review: Gangster Squad by Ruben Fleischer

Title: Gangster Squad
Director(s): Ruben Fleischer
Genre(s): Action, Crime, Drama
Rating: R
Release Date (USA): January 11, 2013

"Every man carries a badge. Some symbol of his allegiance. His were the scars of a boxer who'd used his fists to climb the social ladder of the mob. A Jew who'd gained the respect of wops through a homicidal lust. He'd sworn an oath of violence. And his master? His own insatiable will to power. He wanted to own this town. His name was Mickey Cohen."-Sgt. John O'Mara

It's Los Angeles in the 40's. There's booze a plenty and cash to be had, so long as you don't double-cross the wrong man --- and Mickey Cohen (Sean Penn) is that man. He happens to be the most powerful mobster in LA and his uncontrollable thirst for power and total disregard for the law threatens the sanctity of the entire West Coast. In an effort to take back the city, Police Chief Parker (Nick Nolte), tasks Sergeant John O'Mara (Josh Brolin), with cleaning up LA. Thus is born "The Gangster Squad," a covert group of undercover officers who will stop at nothing to bring Cohen down. This roving band of misfits slowly facilitate their take down of Cohen's empire in the most unorthodox of ways, one operation at a time. But when Wooters (Ryan Gosling) falls for Cohen's girl (Emma Stone), the whole operation is suddenly at stake. The group must now prepare for a war that has the potential to destroy the entire city and them.

Gangster Squad was one of those movies that didn't generate a lot of buzz on the movie circuit but had me all hyped up anyway. With a cool premise and all-star studded cast, coupled with the fact that it's supposed to be inspired by true events (a story I'm vaguely familiar with), I figured I was in it for the win. God, I hate it when I'm wrong! Movies that are "inspired by true events" should always be followed by a disclaimer that it will play fast and loose with both the historical accuracy and details of the actual story. In all fairness, I really should've should known better.

Basically, Gangster Squad is one of those movies that talks the talk but it doesn't walk the walkIt's superficial in that it looks the part but in no way can it run with the big boys. It's all bark and no bite, see. I think you get the point. It actually reminded me a lot of my recent Great Gatsby experience in that the focus seems to be more on the outer surface than the inner core. There's no arguing that it's a beauty to look at --- it's slick and stylised with a neo-noir sort of feel---but the violence is cartoonish, the dialogue hollow and the characters are all parodies of what mobsters and cops should be.

And I think that's the thing that surprised me most. We have this amazingly talented cast, yet no one really manages to break out of their stock gangster stereotype. It felt like they were all fighting eachother for the spotlight and the result was that not one of them managed to shine. I guess you really can't do much with a bland character thanks, in part, to poor development and writing. I'd also like to note that the Sean Penn - Emma Stone coupling really creeped me out here. Just... gross. And while we're on the subject of Sean Penn (and his character)--- he's too much. There's too much drama, too much make-up, too much tie. I mean, seriously. Those giant lapels look gluttonous like they are practically vomiting up that awful tie.

 

Sorry, I was distracted by the tie and the 4 lbs of make-up he's wearing. I digress. Sean Penn was way over-the-top with his characterisation of Cohen and hecame off comical, not dangerous. Essentially, he was the embodiment of every stereotypical villainous trait you could think of. Controlling over his woman. Oh yeah. Former boxing champ. Yep. Maniacal laughter. Yep. Cheesy bad-guy quips. Yep. Inefficient henchmen. You betcha. It was near impossible to take him seriously! Even Gosling, who is apparently super choosy about his roles, was less than impressive. Well, as less than impressive as a specimen such as himself can possibly be.

  
Really, you should just watch this GIF followed by the Gangster Squad trailer followed by some more of this GIF and it'll be better than the movie as a whole. This is one of those films you've seen before, only everyone else did it better. Don't let your expectations get the best of you like they did with me. While it's all wrapped up in shiny and pretty packaging, it's totally lacking where it counts the most. Very few movies can pull off being so high on action and artfully shot (i.e. - Drive). Gangster Squad is shooting blanks.

Summary Prognosis

Gangster Squad is a movie loaded with promise and potential but, unfortunately, it fails in the execution. While it's an aesthetically pleasing film to watch, it's predictible. The dialogue borders on cheesy, the characters read as inauthentic and hollow and the villainy is too over-the-top. It's a real shame, given the talent, that no one manages to break the mold. This movie, overall, is unsubstantial and wholly unsatisfying and that makes me sad.


Rating: ★★½


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Movie Review: The Great Gatsby by Baz Luhrmann

 
Title: The Great Gatsby
Director(s): Baz Luhrmann
Genre(s): Classic, Drama, Romance
Rating: PG-13
Release Date (USA): May 10, 2013

"Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter - tomorrow we will run faster, stretch out our arms farther... And one fine morning - So we beat on, boats against the current, borne back ceaselessly into the past." -Nick Carraway

I think most of us, at this point, have read Fitzgerald's famous work, The Great Gatsby --- and if you haven't read it, you've at least heard about it. The Great Gatsby is one of America's greatest literary achievements, and Gatsby, one of the most iconic characters written. When you take one of the most celebrated pieces of literature and turn it into a movie, I think it's safe to say, you have some pretty big shoes to fill.

To date there have been a number of movie adaptations of Gatsby, the 1974 version starring Robert Redford and Mia Farrow, being my favourite; so when I heard Gatsby was about to get the Baz Luhrmann treatment, I wasn't quite sure what to think. See, like the decidedly mixed reviews on this film, I share similar feelings about Luhrmann's movies in general. While I adored his modernised interpretation of Romeo + Juliet, I could barely make it through Moulin Rouge. Seeing Gatsby was a gamble for me because while there's no doublt Luhrmann has a monopoly on contemporary flare and visual excess, he also has a tendency to skim the surface, missing much of the underlying detail. So what was the end result?

His Gatsby fell somewhere in between the two.

It's hard to know where to start because my thoughts on this movie are all over the place. Though I did enjoy the theatrical experience in a visual sense, emotionally it was incredibly unfulfilling. Not exactly what you expect or want from an adaptation of one of the most hailed novels, like, ever. So yeah. But honestly, was I surprised by this? Not really. It ended up being exactly what I thought it might be: visually striking but lacking in depth and character. It all boils down to way too much focus placed on the aesthetic parts and not enough on the "meat and potatoes" of the film. Sure, there are brief sparks of something special, but overall, it lacked a lot of the heart and soul that comes from the original source material.

Luhrmann's Gatsby is imposing, in-your-face and brash which works both for and against it. This forwardness has a tendency to highlight the obvious making it lack the subtlety that makes earlier versions of the movie so much more effective. For instance, you're beaten in the face with the symbolism of the green light so much so that it feels like you're being insulted. Look Baz, the green light is important, I know, but we're not all that dense, okay? There's something to be said for leaving an air of mystery, of which this movie did none of. However, that being said, I do think he excels in creating striking cinematography which keeps you riveted to the screen. He makes you not want to look away because his world stands out from all the rest. The opulence of this movie matches the excess of the Roaring 20's to near perfection and it sets the stage well while enhancing the mood. I also really liked Luhrmann's use of contemporary music when contrasted against the vintage-inspired glitz and glamour. I know this isn't something that will please everyone, but it worked for me. It's Luhrmann's trademark and he does it well. 

That being said, good visuals aren't enough to carry a movie. I think my biggest issue was the lack of personality. Don't get me wrong, the setting had plenty of it but where it mattered, it had little to none. There was very little natural chemistry between Leo DiCaprio's Gatsby and Carey Mulligan's Daisy. They were solid individually, but not when they were together. I mean, this is the key relationship in the movie and it didn't feel real. And if I'm being real here, I wasn't vibing on Leo's take of Gatsby at all. He was too disingenuous and self-serving for my liking. If you ask me, Robert Redford pretty much has the monopoly on the multi-faceted character. He was self conscious and refined in all the right places. Leo's angry, angsty Gatsby was fitting only in bits and pieces. What I did enjoy, though, was Mulligan's Daisy. She brings a stronger, more defiant side to Daisy's otherwise flighty, dainty damsel-in-distress act. It's a refreshing twist on the character, for sure.

Another thing I noticed (and not in a good way) was how the story was told. More often than not, Nick Carraway's (Tobey Maguire) narrative was mistimed and misplaced, frequently jarring me out of the story. It made every second of the 2hr 23min running time seem that much longer. So that on top of the characters not feeling true to the characters in the book, it was hard to foster a connection to anyone of them --- and in a story that ends so tragically, you want to, no, need to be moved. I, on the other hand, couldn't care less. Baz Luhrmann's Gatsby, unfortunately, was a swing and a miss It's not that the movie is terrible, it's actually pretty enjoyable if you can take it at face value. It's got jazz in all the right places, if you know what I mean. I just happen to like prior versions better, that's all. 

And on a side note: I still think Baz Luhrmann's interpretation of Romeo + Juliet was the pinnacle of his directing career so he's definitely got that going for him because that movie is AMAZING.

Summary Prognosis

While Baz Luhrmann's signature flare worked in tandem with the rich excessiveness of the decade, his version of The Great Gatsby missed the mark in just about every other way. There were strong performances by each of the characters individually but when together, they lacked chemistry. I found caring more about the way the film looked than I did any of its characters which defeats the purpose of translating such a deep and meaningful story to the screen. This movie is all about face value in a world where there's so much more beneath the surface.


Rating: ★★★


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Movie Review: The Best Exotic Marigold Hotel by John Madden

Title: The Best Exotic Marigold Hotel
Director(s): John Madden
Genre(s): Comedy, Drama
Rating: PG-13
Release Date (USA): May 25, 2012

"Initially you're overwhelmed. But gradually you realize it's like a wave. Resist, and you'll be knocked over. Dive into it, and you'll swim out the other side." -Evelyn

Where do you go when you're elderly but still have a desire for adventure, are in need of a cheap medical treatment and/or left with no other place to go because your native homeland is far too expensive? You go to India, of course. It's affordable, exotic and a great place in which to find yourself. Lured by advertisements and bolstered with visions of a life of leisure, an eclectic group of British retirees arrives to find the Marigold Hotel a mere shell of its former glory. And though their living situation is less than expected, they are all profoundly affected by the experience of living in this foreign new land. In their own way, each of them walks a veritable path of self discovery and learns that life and love can begin anew even when you think you're way past your prime.

I rented The Best Exotic Marigold Hotel on a whim and I'm glad that I did. Based off a popular novel of the same name, the movie tells the story of several cash-poor English retirees who travel to India looking for sex, love, rebirth, closure and/or adventure. Naturally, things go awry for the bunch starting with their arrival at the less than desirable Marigold Hotel. But through a series of follies, trials and adventures the gang grows closer to one another and they manage to learn a valuable lesson in the process: it's never too late to seek out new beginnings. Played by the creme de la creme of British acting royalty, the cast of The Best Exotic Marigold Hotel, inspires and dazzles. 

Dame Maggie Smith plays the feisty and untouchable xenophobe, Muriel, who comes to India unwillingly to receive a hip replacement. If there's one thing Dame Smith can play, it's surly and she does so with a wryness and bitterness that is both sad and cheeky at the same time. And what makes her so lovable is not only the humour behind her situation, but the redemption that comes along with it. Actually, this goes for all of the cast. Then we have Bill Nighy and Penelope Wilton as your testy, argumentative old couple. Nighy is open, he's an explorer whereas Wilton is unwilling and set in her ways. They come face to face with a drastic decision regarding the nature of their marriage. Tom Wilkinson, as Graham Dashwood, comes to India looking for his long-lost love. Then there's Dame Judi Dench as our main narrator, Evelyn Greenslade. She goes to India after the death of her husband seeking closure but really as more of an escape. What she finds, however, is a fresh start and a new outlook on life.

Most of the action centers in and around the Marigold Hotel with Dev Patel playing its struggling manager, Sonny Kapoor. Every time he takes the screen, he steals the scenes with his fervent hope and optimism. Perhaps what I love the most, though, is that India itself is another prime character of the film. We're given a bird's eye view of the vibrancy of Jaipur from the crowded streets to the colourful markets and the serene customs. It's a whimsical and refreshing vacation folding out right in front of your eyes. I think what makes the setting stand out so much is the allusion created using the stark contrast between the India's progression and the old colonial habits of the British characters living there.  It's poignant and powerful.

My only real issues with the movie are that there's a number of cast members and story lines to follow and it can be a bit to keep up with. And it's inevitable that you are eventually going to connect with some of them more than others. I won't deny, the movie can at times, be a tad predictable especially near the end. You kind of know that everything is going to be wrapped up in a perfect little bow despite the issues that have arisen. But that's okay because it's supposed to be a feel-good kinda film and if there's one thing this movie has, great acting talent aside, it's heart. There's nothing more perfect than that because we all know, all's well that ends well, right?

Summary Prognosis

The Best Exotic Marigold Hotel is a sweet, irreverent, cheeky film featuring some of the greatest British actors of our time. While it can be a bit predictable at times, the movie's ultimate message is an endearing one that speaks to the heart. This isn't just a film for folks in their golden years, it's one of those powerful movies that can be enjoyed by adults of all ages because the themes are super relatablel. This movie will make you laugh and cry, smile and admire. And if anything, you'll be in a state of wanderlust for quite some time.


Rating: ★★★★


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Movie Review: Bad Ass by Craig Moss

Title: Bad Ass
Director(s): Craig Moss
Genre(s): Action, Drama
Rating: R
Release Date: April 13, 2012

" Bad ass. It's what they're callin' him." –Panther

War. It doesn't just affect those who fight while they're fighting it. For the Vietnam veterans, post-war is one of the biggest battles of all. Decorated war hero, Frank Vega, is no stranger to this. Upon returning home he learns that fitting in is no easy task. After being shunned by society and his childhood sweetheart, he is left to fend for himself. Forty years later and no longer the young dreamer he once was, a deplorable incident on a bus brings him back into the spotlight. But it isn't until his best friend is murdered that he begins the unyielding fight for justice that turns him into the Bad Ass.

I have a confession... Danny Trejo is the sole reason I watched this movie. We have that type of relationship where if he's in it, I'll watch it. Because c'mon... he's a bad ass! And speaking of Bad Ass, if you hadn't already guessed by the no-holds-barred-title, this is a movie I lovingly classify "awesomely bad." So yeah, that should say a lot right there. It's a shame, really, that Trejo's not one of the more well-known action stars of today because he genuinely is a total BAD ASS. I mean, he's no spring chicken and he's still got some seriously impressive moves. I kind of adore him despite his choice in doing awesomely bad and just plain bad movies.

Just look at that face!

Bad Ass is one of those vigilante justice titles much like Grand Torino or The Brave One. I guess the biggest difference is that it takes on a more casual tone and lacks the depth and insight that most movies of this genre do. And it's not to say that Bad Ass is bad necessarily, it definitely makes a point, only it does so with a little less finesse than the others. And I have to give them credit because there's only so much that ass-kicking can make up for when you're working with a subpar screenplay.

One of the prerequisites for obtaining Nikki's seal of "awesomely badness" is that a movie must NOT take itself too seriously. So yeah, Bad Ass definitely doesn't. In fact, there are enough well-timed quips of comedy to make it enjoyable and tone down on the seriousness. It's also notable to mention that the comedy here outshines many of the cliched puns used in action flicks today. They might not be smart but they're original. Bad Ass has a good mix of action, comedy and drama so it never gets stale. And yes, I don't deny that there is a bit of the cheese factor to the movie, however, it's got a decent message at it's core so I'm willing to overlook all that. Plus, it's Danny Trejo and I heart him. 

Read this article and you'll understand why.



Image via

Summary Prognosis

If I had only two words to describe Bad Ass they would be: "awesomely bad." I bet you thought I was gonna say bad ass, right?! Well it's that, too! While not the savviest movie in the revenge department, it's not a total loss thanks to its explosive action and well-timed comedy. It's a fun and likeable and gets the point across without being to heavy handed or serious. And if anyone could get me a bad ass theme song like the one in Bad Ass, I'll give you 100 cool points. Because it's AH-MAZING. K, awesome.


Rating: ★★★


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Movie Review: Another Earth by Mike Cahill

Title: Another Earth
Director(s): Mike Cahill
Genre(s): Drama, Indie, Science Fiction
Rating: PG-13
Release Date (USA): July 22, 2011

" In the grand history of the cosmos, more than thirteen thousand million years old, our Earth is replicated elsewhere. But maybe there is another way of seeing this world. If any small variation arises-they look this way, you look that way-suddenly maybe everything changes and now you begin to wonder, what else is different? Well, one might say that you have an exact mirror image that is suddenly shattered and there's a new reality. And therein lies the opportunity and the mystery. What else? What new? What now?" –Richard Berendzen

Have you ever looked into the night sky and wondered what's really up there? I have. The universe is full of unknowns and maybe there's another planet out there similiar to ours. Have you ever wondered what it would be like to go there? Would there be life? Growth? People? And what if, somewhere out there, there was another you? In Another Earth, this all becomes a reality when a second habitabal planet, Earth II, is discovered. On the night of this ground-breaking finding, a tragic accident changes the course of two lives forever.

Rhoda Williams (Brit Marling) is a brilliant student with a bright future, until vehicular manslaughter lands her behind bars. John Burroughs (William Mapother) is a promising composer whose life is irrevocably damaged when a hapless teen driver kills his family and puts him in a coma. Flash forward to four years after the accident as John and Rhoda are restarting their lives. Little do they realize, Earth II is about to bring them together in a way that neither could predict or ever comprehend.

Another Earth revolves around Rhoda and John and the relationship they develop in the aftermath of the accident. Both, each in their own way, have become estranged from the world around them, mere shells of their former selves. She being wracked with guilt, decides one day to visit John and express her deepest regrets and sorrow. What she finds is a total mess of a man, and in a moment of weakness, she buckles. Instead telling him who she is and why she's there she can only offer, in the smallest of gestures, to help him clean up his life. Eventually, Rhoda becomes his salvation and John, hers. The two broken souls become involved in a torrid love affair until an unexpected opportunity leaves their relationship at a crossroads. Rhoda is now faced with the decision to tell John who she really is and what she's done. And if she does, can he still love her?

Don't let the name fool you, because Another Earth isn't really about another Earth. Another Earth is about redemption, forgiveness and the impact of second chances. It's a powerful film that captures both the imagination and the heart. This little indie film was born of grandiose vision while simultaneously facilitating deeper introspection which renders this particular viewer at a loss for words. In short, I felt ALL THE FEELS. And let me be honest, it isn't an easy movie to watch. It'll punch you in the gut, leave you conflicted and wondering "what if?". The entire time I was stuck in a love/hate battle with Rhoda and her situation, but at the same time, I couldn't help but care about the poor girl. She's got a good heart despite some of the questionable choices she makes. By the end, you learn to not judge as you ask yourself "what would you do if you were in her shoes." Spoiler Alert: It's not an easy question to answer. 

A little more drama than sci-fi, Cahill has done the impossible in making us realize you don't need millions of dollars accompanied by a frenzy of CGI SFX to leave a lasting impact. Sure, the science is slightly questionable but it doesn't really matter because the whole Earth II thing takes a total backseat to the relationship between our main characters. Watching it blossom and bloom and whither is a tragically beautiful thing. By the end of the movie, left open to interpretation, the one thing we learn is that forgiveness and truth lay in the inner spaces of our hearts rather than an entire universe away.

Summary Prognosis

Another Earth is remarkable indie film full of heart and soul. It's one of those movies that makes you think and wonder "will she, won't she," the entire time. You're given more questions than answers but it's satisfying to be given the power to draw your own conclusions. Just make sure you have a box of tissues handy because it's emotionally jarring in a very profound sort of way.

Rating: ★★★★★


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Movie Review: Jeff, Who Lives at Home by Jay & Mark Duplass

Title: Jeff, Who Lives at Home
Director(s): Jay & Mark Duplass
Genre(s): Comedy, Drama
Rating: R
Release Date (USA): May 11, 2012

"Everyone and everything is interconnected in this universe. Stay pure of heart and you will see the signs. Follow the signs, and you will uncover your destiny." -Jeff

Jeff (Jason Segal) is someone who believes in the divine, that there is a reason for everything and everyone has a unique destiny to fulfill if only they follow the signs. Jeff is also an unemployed 30-year old living in his mother’s basement, so yeah, there’s that. Jeff’s brother, Pat (Ed Helms), is a clueless salesman who doesn’t realize his marriage is on the rocks until the day he catches his wife (Judy Greer) with another man. Jeff’s mom (Susan Sarandon) struggles to deal with her two deadbeat sons. Throughout the course of that day, Jeff and Pat are determined to find out if Pat’s wife is having an affair. Instead, their journey allows them to find themselves and each other. 

When I saw that the cast consisted of Jason Segal, Ed Helms and Judy Greer, my thoughts immediately drifted to Judd Apatow’s raunchy productions. Friends, don’t let the title or casting fool you, this movie is no such thing. I can’t ever recall watching something directed by the Duplass brothers so this was my first experience with their style of directing. Though it wasn’t quite what I expected, admittedly, I was impressed. I thought this movie was going to be your run-of-the-mill comedy with little meaning or value, but I was mistaken. Jeff, Who Lives at Home is a dramedy that functions as a character study more than anything. It takes us deep into the lives of three exceedingly unhappy people and their meaningless existences. There were definitely comedic moments but the movie also had me crying at the very end (which is a rarity for me). 

Another notable thing is the lack of a big budget which allows for the focus to be more on the dialogue and in character development. But this isn’t a problem because it’s these things that make the movie so special. The Duplass brothers have shown us seemingly unlikable characters and managed by the end of the film to make them very likable. This is also a testament to the strength of the actors as well. Segal, Helms and Sarandon are totally believable in their portrayal of the unhappy family dynamic and yet are still completely charming at the same time. They are realistically flawed and they suffer, lacking in purpose and looking for redemption. The Duplass brothers use that suffering to fuel much of the comedy in the film and the juxtaposition, in this case, works. These characters get you thinking and reflecting on their growth both as individuals and as a family. 

I think the thing that is most impressive about the film is how it begins with a sign (the movie Signs, actually) and each action and interaction builds upon the one before it. Jeff, Who Lives at Home starts off with the characters, each on their own, but during the course of the film their stories steadily collide and intertwine, showing us that these people are more connected than they ever realized. Fate is a key theme here and all events culminate in them figuring out what his/her own destiny really is. It’s a truly remarkable movie because of its honesty and sincerity. It will tickle both your funny bone and your heartstrings. 

Summary Prognosis 

Jeff, Who Lives at Home is a bit of a thinker that leaves you reeling by the very end. It’s an endearing story about destiny, family and love. Chalk full of smart humour, it’s totally worth the time if you’re looking for a memorable film that takes a deeper look into the flaws of man (and woman). If you’re looking for hope, watch this film, like right now. 


Rating: ★★★★ 


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Movie Review: Young Adult by Jason Reitman

Title: Young Adult

Director(s): Jason Reitman

Genre(s): Comedy, Drama

Rating: R

Release Date (USA): December 16, 2011

"Everyone gets old. Not everyone grows up." -Tagline

Dynamic duo, Jason Reitman and Diablo Cody, return with a vengeance with their dramatic comedy, Young Adult. Mavis (Charlize Theron), a former “it” girl and successful YA author, is fresh off a divorce and looking to escape her stagnant city life. She heads back to her small-town home with hopes of winning back an old high school flame (Patrick Wilson). Here’s the catch: he’s now married and father to a newborn. So what’s a successful girl to do? Throw in a home distillery, a disabled former classmate (Patton Oswalt), a manipulative plan and what do you get? A whole lot of soul-searching.

It’s safe to say, I did not expect Young Adult to be what it was. From the previews I was anticipating more of a comedic romp with mild substance. Young Adult, however, is not that type of film.There are touches of comedy, sure, but it’s a darker humour that’s inspired more by the dramatic narrative than anything else. Cody (of Juno fame) is masterful at crafting a touching story and I think her writing resonates with me because she creates such amazingly relatable characters. There is a realness to them and the desperate situations in which they find themselves. These aren’t your average stock characters—each one is beautiful, funny, ugly and tragic in their own way. I liked them, I hated them and empathized with them all and that’s what made this movie so damn memorable.

Let’s start with Mavis. Mavis was that perfect girl in high school, you know the type—the one that all the guys wanted to be with and all the girls wanted to be. Like, gag me with a spoon! Yeah.To the townies she’s seen as this successful hot-shot living the royal life in the big city. But almost immediately we learn that appearances aren’t always what they seem. Mavis has become a neurotic egoist struggling to cope with a crumbling life and dwindling fame. She lacks any sort of moral compass and she quickly crosses the line into shallow bitch when she plots stealing her ex away. It quickly becomes clear that Mavis has some serious personal issues. First, can I just say—Charlize Theron has totally outdone herself and created nothing short of a cinematic masterpiece playing the anti-heroine. Theron is brilliant at bringing both the depth and range needed to play such a fucked up individual. Not many people could pull off this type of role so successfully. The subtle nuances of her performance had me completely riveted and still rooting for Mavis despite how unlikable she really is.

Now enter, Matt, the only seemingly reasonable person that Mavis hooks up with while visiting her hometown. In high school he was bullied and abused by people in the popular crowd, and though still bitter, manages to have a firm hold on who he is and what he wants. He is the only one who’s not blinded by Mavis’ fame and doesn’t hold back when trying to bring her back down to reality. In short, it’s hard not to feel sorry for Matt. He’s a pawn that people push around both physically and emotionally and he bears the scars to prove it. Mavis uses him for her own selfish reasons, yet you admire the sense of inner strength he’s gained because of it. He’s somewhat of a dorky character who carries his own personal demons but is altogether still loveable. Oswalt did a phenomenal job conveying the loneliness and wit needed for such a role. He’s the most likable person in the entire movie and I spent the whole time wishing I could give him a big ol’ bear hug.

So I won’t spoil the ending, but believe me, it left me wondering—do people ever really change? We’re not necessarily given the happiest of conclusions but at least it’s a brutally honest one. Reitman, once again, has done wonders at making supremely complicated people seem so utterly fascinating with appropriately timed comedy and engaging dialogue. He’s given us a film that enables us to look deep within ourselves and question our own intentions as well as the intentions of the characters on screen. Mavis isn't always likable and that's the beauty of the film. Upon face value we see a pretty perfect life but by the end of the movie we know it's what's below the surface that counts—and that right there, folks, makes for an incredibly grown-up notion indeed.

Summary Prognosis 

Young Adult, is at its core, a story about people—one that is wonderfully written and brilliantly delivered. If you’re looking for a movie that generates some serious self-reflection you’ve come to the right place. Much like Reitman and Cody’s former hit, Juno, this movie is definitely a thinker. Highest of accolades to Theron and Oswalt for their stellar performances!

Rating: ★★★★

Watch It: Amazon | Target

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Movie Review: Snow White and the Huntsman by Rupert Sanders

Title: Snow White and the Huntsman
Director(s): Rupert Sanders
Genre(s): Adventure, Drama, Fairy Tales, Fantasy
Rating: PG-13
Release Date: June 1, 2012

"Snow White and the Huntsman reinvents the legendary story in a film of astonishing beauty and imagination." -Chicago Sun Times

Let’s take a moment to re-imagine the classic fairy tale, Snow White, as something other than the whimsical version we all know. The story remains much the same-- A noble King and Queen give birth to a lovely daughter (Snow White). Shortly thereafter the Queen dies, and in all his grief, our King takes on a beautiful new bride. Little does the King know this will be his undoing, for his new wife, Ravenna, is an evil, man-hating sorceress. Soon the King is dead, Snow White is imprisoned and our quiet kingdom plunged into darkness and despair. With a little bit of “Mirror, mirror on the wall” action, Ravenna learns just how much her and Snow White’s fates are intertwined. Snow will bring about Ravenna’s destruction or she’ll bring her total immortality. Naturally, you can guess which option Ravenna prefers. But in this version of the tale, Snow isn’t as helpless as her Disney counterpart. She manages to escape her cell and goes on the run through the big, bad forest. Ravenna is mad, like steaming mad, so she enlists the dashing (but drunk) Huntsman to capture our much revered, Snow. During their epic journey, both the Huntsman and Snow White discover the grandeur of the destiny they’re bound to fulfill and learn just how much they need one another.

In a world full of reboots, it’s hard to keep a fresh perspective but Rupert Sanders somehow managed to pull it off in Snow White and the Huntsman. He’s turned this familiar tale into a medieval epic adventure and made our seemingly docile heroine a total warrior. He has a distinctive and original directing style and its quick-cut nature works with the story he’s decided to tell. I like what Sanders has done here and it works given the darker nature of the source material. The original Grimm story was not a happy one--it was dark and foreboding and, well, grim. I like that he wasn’t afraid to take it to a darker place and he did so without losing the magic and whimsy of Disney’s version. There are still dwarves and magic mirrors and poisoned apples and they all fit naturally in their own way. Without a doubt, this is the type of movie you want to watch in a movie theatre. But stunning as the cinematography is, the film does have its weaknesses.

I guess my main beef is the fact that the character development is somewhat lacking. We’re given interesting back-story on Ravenna and Snow and the Huntsman and not nearly enough time to take it all in. It’s enough to want to know more but not enough to satisfy. This causes the story to feel somewhat rushed and underdeveloped. It’s like we’re given the Sparknotes version of the story, not the whole thing. One of the movie’s stronger elements was the great cast. What more could you want out of a movie featuring the likes of Charlize Theron, Chris Hemsworth and Kristen Stewart? Okay, majority of the cast is strong—I admit, I’m not a big fan of Stewart. I feel like she plays the same wide-eyed, mumbling girl in every movie she’s in. She barely registers any kind of emotion and when she does, it’s virtually indistinguishable from any other emotion. For example, there’s a moment when she turns from a panic-stricken princess into a strong soldier, but it was laughable. No offense Kristen, but I just don’t get the cut of your jib, if you know what I’m saying.

Theron as the Queen Ravenna, on the other hand, she made that movie. Every time she came on screen, I just couldn’t tear my eyes away. Not only was she absolutely stunning, she was utterly terrifying. I feared for the lives of everyone she came into contact with. She brought evil to a whole new level and it was frightening.  

THAT is what the face of evil should look like. Then there’s Hemsworth who is certainly talented enough but his character was overshadowed by the phenomenal performances of Theron and the bumbling of Stewart. I don’t think he was given enough of a chance to shine on his own. And the chemistry between him and Stewart felt too forced, I just wasn’t buying their love story. Where the main cast was lacking in chemistry, the supporting cast certainly succeeded. With the talents of Bob Hoskins, Ray Winstone, Nick Frost and Sam Spruell it’s hard to go wrong. They own the screen and some of the movie’s better moments are thanks to them. Despite its set-backs, I think Sanders has crafted a beautiful and strong retelling of Snow White. Overall, I think the Grimm brothers would be proud.

Summary Prognosis

As Sanders’ debut film, Snow White and the Huntsman is quite strong. It’s full of action, adventure, drama with even a touch of comedy—all the things you want in a summer blockbuster. In the same vane as the original Grimm fairy tale, we see Snow White in a darker light which makes the heroine’s arc that much more powerful. Well, at least it would if you actually cared for the heroine but this was one movie where I was rooting for the villain instead. A visually impressive film, it’s one that’s worth the money despite Stewart’s relatively bland performance as Snow. 


Rating: ★★★½


Watch It: Amazon | Target 
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Movie Review: The Artist by Michel Hazanavicius



Title: The Artist
Director(s): Michel Hazanavicius
Genre(s): Romance, Comedy, Drama
Rating: PG-13
Release Date (USA): January 20, 2012

George Valentin (Jean Dujardin) is quite possibly the most famous silent movie star of the late 1920’s. Peppy Miller (Bérénice Bejo) is a talented young dancer hoping to break in on the Hollywood scene. One day, in an incredible twist of fate, Valentin and Miller meet on set. Inevitably, sparks fly between the two as they create magic on screen. Their paths cross over the next several years, until the arrival of the “talkies” revolutionizes the film industry, sending their careers in completely opposite directions.

There was a lot of talk about The Artist prior to its release. Critics raved about it. It swept the Oscars winning a total of five Academy Awards, including Best Actor, Best Director and the crème de la crème—Best Picture. In an interesting side note, it’s the only silent film to take home the award for Best Picture in Oscar history, like ever. So with all the hype, was the movie even worth it? There’s only one answer to that question… YES.

Now, I don’t know if you’ve ever seen a silent film. I have and I have to say, they are a lost art. There’s something so beautiful about their way of storytelling—it’s poignant and meaningful, much more so than many of the movies produced today. And don’t let the “silent” part fool you. “Silent” is sort of a misnomer because it’s not like these movies are without sound. There are sound effects that echo strategically behind a masterfully crafted score. It’s these sound effects and music that set the mood for the audience, helping to tell a huge part of the story. Being filmed in classic silent film fashion, 1.33:1 aspect ratio, Hazanavicius has kept the true feel of that bygone era, allowing the viewer to really experience the film as it should be experienced. What we’re given is a collection of whimsical moments that rely on showing instead of telling. It becomes very clear that showing is one of Hazanavicius’ strongest suits.

When you have a silent film, I think the most important thing of all is creating chemistry. Without chemistry between the actors, you have nothing but jumble of random events. The chemistry that Jean Dujardin and Bérénice Bejo share on screen is undeniably strong, perhaps because of their work together on prior films. Dujardin exudes total charm and charisma, and Bejo, nothing but grace and enthusiasm. They move together with so much skill and flair, I could hardly pry my eyes away from the screen. They are completely mesmerizing. And with cameos by John Goodman, James Cromwell and Penelope Ann Miller, you’re hard pressed to find a more talented cast of characters. But the irrefutable scene stealer of this movie is Valentin’s precious pooch, Jack (aka Uggie). Seriously. Who can resist this face?

Yes. I do mean to say, the dog stole the show. But what I find most impressive about this film was the way it made me feel. I don’t think I’ve ever felt so much when I’ve watched a movie before. The Artist was compelling, endearing, funny, sad and wistful. It made me hope, laugh, smile and cry. Like it or not, this film latches on to your heartstrings and won’t let go. There is nothing you can do but surrender yourself to its magic and be genuinely happy that you’re along for the ride. Michel Hazanavicius has created something truly extraordinary, and like the silent movies of the past, something that is sure to become a classic for all time.

Summary Prognosis

Michel Hazanavicius has not only nailed it, he’s done silent films a great service with this masterpiece. I find it incredibly amazing that one film can say so much without really saying anything at all. Let me be candid with you, if I may. This. Film. Did. Not. Need. Words. In all my enthusiasm for entertainment, I rarely classify any movie as perfect, but The Artist was in every sense of the word, sheer perfection. It is, to date, the most joyful film I’ve ever had the pleasure to see.


Rating: ★★★★★


Watch It: Amazon  | Best Buy
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