I Saw A Film Today… The Lego Movie

Like many young and supposedly ADD afflicted boys in the 90’s, I had, and continue to have, an affinity for Legos. And, if I can take the rare moment to commend myself, had quite a talent at building. Too bad I didn’t realize at the time that I could turn this hobby into a career, because that would be a “dream job”. Thankfully, Legos lives on, and now has a firm stand in cinemas with a strong freshman film.

Everything is awesome for Emmet Brickowski (Chris Pratt). He lives in a metropolis, works construction, and purchases over-priced coffee everyday. He is happy being a pawn under the awesome Orwellian utopia he calls life, all under the control of President Business (Will Ferrell).

But when Emmet decides to stray from his precious rules in pursuit of a strange girl named Wyldstyle (Elizabeth Banks), he stumbles upon more than a foxy block-y lady. He comes across an odd artifact called “the Piece of Resistance”, a device that will stop President Business from using the Kragle to end the world.

Now Emmet teams up with Wyldstyle, Batman (Will Arnett), Superman (Channing “Alloverher” Tatum), Wonder Woman (Cobie Smulders), Green Lantern (Jonah Hill), Unikitty (Alison Brie), 1980’s-something astronaut Benny (Charlie Day), and Metal Beard (Nick Offerman) to fight President Business and Good Cop/Bad Cop (Liam Neeson) for the many Lego Worlds.

A movie for everyone is the best way to describe The Lego Movie I believe. It has, well, all the stuff that kids love about animated movies. The film is a full-fledged energy shot thrill ride injected right into the blood stream that clocks in around just at a hundred minutes with credits. It’s plenty of fun and comedy for all ages and all types. Unless you don’t like legos and humor.

The vibrant colors pop off the screen with brilliance, with no help from the stereoscopic 3-D. Sadly, save your cash and just see this in 2-D. Aside from a moment or two during an action sequence, wearing the plastic wayfairers only serves to not make your movie blurry. You know, because there is so much 3-Dness.

The themes in this film are something unexpected, being this film is on the outside a seemingly cash cow blockbuster. There is a heart here and not an empty soul. For children, there are life themes like being original and not just a cog in society. For adults, there is the reminder that imagination and fun doesn’t die with age. All beautifully culminate in the third act of the film, where the differences between legos and  homo-sapiens are very little.

I usually reserve the latter part of my reviews for performances… which is usually quite difficult when it comes to American animated films. In fact, it’s pretty much useless nowadays with modern recording technology. I can tell you how great a match Chris Pratt was for the Emmet character. Or how Liam Neeson does a Good Cop/Bad Cop. Or Will Arnett for Batman. Really, I guess you should really congratulate the casting office instead of the actors really. So kudos to those people, because everyone was a brilliant match.

The term “the years first must-see film of the year” gets thrown around a lot around this time. I usually hate it, but because it’s true, The Lego Movie is indeed the years first must-see film of the year.

Verdict: See it!

*Rated PG/UK:U for mild action and rude humor. 100 minutes. Directed by Phil Lord and Christopher Miller.

** Thanks to my friend Cody for seeing this with me.

I Saw A Film Today… Her

Why do I love movies? It is something I know but can’t explain. It is something that is constantly evolving and morphing in definition. A good film will transform you I believe, make you a more whole person or give you a new outlook on the purpose of life. You have to experience them completely the way the filmmaker intended you to. You have to blindly jump head first into the unknown abyssal beginning and let it encompass your whole being for two hours until the credits roll.

Maybe that makes me odd, that films affect me and shape me like that. I can see the glazing eyes and draining interest when trying to talk to a “normal” person about some symbolism or interpretation in something I recently saw. It’s uncomfortable and embarrassing mostly, but what parts of anyone’s life are not really?

I guess to tie this up neatly, we all have personal philosophies. For some it comes from a singular source. Some many. Some well founded. Many dangerous. But they are our philosophies. They are why we live, why we love, why we hate, why we lift ourselves up in the morning.  Mine happens to be movies. I live for movies. And I live for movies like Her.

In a slightly distant future Los Angeles, Theodore Twombly (joaquin Phoenix) makes his living writing personal letters for people who have trouble articulating emotions. Outside of his job, Theodore is an introverted man still having trouble getting over the split from his wife Catherine (Rooney Mara).

Looking for something that will lift him from his slump, Theodore get an OS- an artificially intelligent operating system. His system is named Samantha (voiced by Scarlett Johansson), and they both quickly fall in love with each other.

The idea to make a film of a man falling in love with, basically, a phone app is quite a bold concept. But I was admittedly puzzled when talking with many people before it came out. They scoffed at that concept, someone falling in love with technology. But it’s not really all that strange if you think about it. Think of that one person you know who constantly is buried in a smart phone or tablet- is it so implausible that a human could fall in love with technology in an intimate way?

What really made this madly enjoyable film work is that director Spike Jonze simultaneously makes you recognize the hurdles of loving an artificial life and making you forget that Samantha is artificial at all. She is as real to the audience as she is to Theodore. The nakedness of sharing. The joy of a kiss. The electricity of the first time skin touches skin. The insecurity of staleness. The sadness of distance. The abandoned tundra of loss. Jonze breathes a quirk and irresistible smile or frown into these facets of the life experiment of love.

The cast of this film, which if broken down into a pie chart, the majority of the circle would be Joaquin Phoenix. A smaller portion would be Scarlett Johansson’s voice. And an even smaller portion would be miscellaneous other fair-skinned people (you’d really think there would be less white people, eh?) such as brilliant ladies Rooney Mara and Amy Adams. The chemistry between Phoenix and Johansson, as previously mentioned, is the magic of the film. Phoenix has now fully stepped out of the madness of the I’m Still Here era of his career, which is nice to see honestly.

Her is a truly great love film, one that reminds of Sofia Coppola’s Lost in Translation, and just as good.

Verdict: See it!

*Rated R/UK:15 for language, sexual content, and brief graphic nudity. 126 minutes. Directed by Spike Jonze (Where the Wild Things Are, Being John Malkovich).

** Poster by Vero Navarro (unconfirmed).

*** Thanks to my friend Cody for screening this with me.

I Saw A Film Today… Thor: The Dark World

As I look back on my review of Thor, and having re-watched it recently as well, I’ve come to realize I was very generous by giving the film a “See it!” pass. It is a really mediocre effort from Marvel in reality. It has an uneven plot, alright action, and sporadic pacing that makes it a rather lame flick. Granted, most of the special effects and casting are rather spot on, but not much else really delivers like other films offered in the so-called “phase one”. So expectations weren’t the highest going into it. To say I was surprised by the end result though would be an understatement.

Two years from where the first film left off, Thor (Chris Hemsworth) has been a busy little Asgardian prince. He and the Warrior Three have been restoring peace throughout the nine realms and after many battles, have accomplished their task. Time to clean up and head home, right?

Well, this is a Marvel film, so some city needs to be excessively destroyed. Why not London, where Jane Foster (Natalie Portman), Darcy (Kat Dennings), and the unhinged Dr. Erik Selvig (Stellan Skarsgård) are researching anomalies that are linked with the nine realms aligning. Then an ancient race of elves hellbent of destroying the realms begin attacking and all kinds of chaos breaks loose.

Much to my surprise, The Dark World may be one of my favorite films Marvel has made in the last few years. Sure, it is mostly mindless action and many times the plot is fairly predictable, but the film remains light enough to make a pleasantly entertaining film. Some of the side gags are a little unnecessary at times but ultimately they lend to the charm of the film.

The action sequences are nothing original here and at times are somewhat silly. Most are what you’ve come to expect in recent years, Slow motion moments of masculinity followed by Thor actually throwing the hammer down. The visual effects aren’t much different from any of the other either, but regardless they are very enjoyable to watch. Although I do suggest skipping it in 3-D. Much like 98% of the films released this year in the medium (Pacific Rim and World War Z are the exceptions), it is unnecessary and adds little to nothing to the experience.

The next two paragraphs may slip slightly into spoiler territory. So fairly thee warned.

One thing that I’ve come to find most annoying about Marvel releases in the last few years is the romanticizing of the villain, and the best example I can thing of is Loki. In the comics, Loki is evil. Plain, simple. Yet the common trend recently is to make fans more sympathetic towards the villain. Enough so that fandoms and other individuals can cheer for them and take their side. In this film, Loki dies… in the arms of his teary-eyed brother as he draws the final breath from his body. But then he appears at the end (shocker, I know), and the fandoms and fans rejoice, knowing that ridiculously adorable murderous trickster will continue doing the baddie game.

This subject of the modern role of heroes and villains was discussed extensively this weekend at a local comic con and there is a lot more to discuss. More so than this review can delve into. Maybe an article in the future can open up a discussion. Regardless, we’re moving on reluctantly.

The casting in the two Thor films are a pretty impressive choice. Chris Hemsworth is spot-on, giving a depth to this character that was missing from the previous film and The Avengers. On the opposite side, Tom Hiddleston is brilliant and crafty as Loki, which makes what I brought up in the previous paragraphs all the more annoying. Anthony Hopkins is enjoyable in a cheesy type of way. He’s half Shakespearean, half Games of Thrones. The supporting cast is great just as well. Maybe the greatest achievement of this film is giving each person more depth.

With all it’s minor falters, Thor: The Dark World delivers a Marvel film in the best possible way.

* Rated PG-13 for sequences of intense sci-fi action and violence, and some suggestive content. 112 minutes. Directed by Alan Taylor (Palookaville, Kill the Poor).

** Poster by Doaly.

*** Thanks to mi hombre Cody for seeing this with me.

 

 

I Saw A Film Today… The Family

I’ve never thought about peanut butter and it’s consumption and availability outside the grand ole U.S. of A before. That is, until I viewed The Family. Now, this film is a bit misleading on the views of Europeans on Peanut butter. According from some internet user research (which I concede isn’t the most reliable source of information), it’s something that is eaten but rarely.  But it’s pretty interesting to think about, all the food that we don’t get here stateside. I’ll admit an affliction for UK goodies, like Jaffa Cakes and Jammie Dodgers and the like. I’ll also admit I have no idea where I’m going with this. This is by far my worst introductory paragraph I’ve done. Maybe there is a lesson in this somewhere…

Giovanni Maznoni (Robert De Niro) fondly remembers being a big shot in a Brooklyn mafia a few years back. But six years later Gio is in Witness Protection after snitching on a Don along with his wife Maggie (Michelle Pfeiffer), daughter Belle (Dianna Agron), and son (John D’Leo). The family has been relocated to Normandy, where apparently all the stereotypicalized-French citizens of that country live.

LIfe isn’t too terrible here. Yeah, in order for the family to get a little help and respect, they have to break a bone or two or twelve. But each member deals with their time there in their own personal way- that is until the people they are trying to hide from learns where they are. Now they must all work together in order to make it out alive.

The Family is, on the surface, a rather fun film. If you just watch the film and don’t think much about it, you will have a pretty good time. But once you begin thinking about it, it’s a messy mash of unfulfilled plot alleys. Nearly nothing is ever fully realized or has resolution, which works for some films, but not one in this genre. This all culminates in a disappointing last act that really puts a damper on the whole experience.

Even worse than this hole-filled plot is the uneven shift in tone, like a teen’s virgin experience of driving a manual car. One moment comedic farce, the next serious. From violent to sentimental. But never a combination of two, which can occasionally work. But at times just one of these elements briefly works, most notably the comedy. Especially when a certain popular Martin Scorsese film is mistakenly sent to a local film society instead of Some Came Running, where De Niro’s character is the special guest.

The highlight of this film is the casting. Bob De Niro doesn’t seem to act in this film, but rather live it. It says something about his level of skill that it seems like he merely walked on set the first day and was said “so, what this film about? Do I need a script, really? Nah, I can do this in my sleep”. He also has this ability to make the stuff that is not or should not work do so. There is a pretty great bit where a plumber is trying to screw his over on a job. De Niro casually responds by breaking his legs and then drives him to the hospital. Here, he tries to explain that the plumber fell down his steps even though the doctor tries to explain to him that it is not possible that he broke so many bones by simply falling down steps. Bob just shrugs it off charmingly.

Michelle Pfeiffer is brilliant opposite Mr. De Niro. She has fun with the role and performs it naturally, much like her on-screen hubby. The kids, Dianna Agron and John D’Leo, are pretty enjoyable as well. Agron is a classical beauty, but she can kick you berries in if you piss her off. What she does in her future outside of television will be an interesting thing to watch indeed. I just hope she doesn’t become just another horror show scrub. And who can complain about Tommy Lee Jones? Me, because he did not have more screen time.

Though this film is messy and suffers from a disappointing ending, it’s still rather fun to watch, in only a way that director Luc Besson can do.

Verdict: Rent it!

*Rated R for language, violence, and brief sexuality. 112 minutes. Directed by Luc Besson (La Femme Nikita, The Fifth Element).

**Thanks to my friend Cody for viewing this with me.

I Saw A Film Today… The World’s End

Edgar Wright’s Shaun of the Dead and Hot Fuzz both hold a special place for me, some of which I’ve already expressed here on many separate occasions. But one aspect I haven’t expressed yet, which may be the most important aspect of all, is friendship. It is the central theme of all three film in the so-called Cornetto Trilogy. My love of these films has been shared mainly with one Mr. Justin Gilbert. And though we couldn’t share The World’s End together, I did get to spend it with Mr. Cody Billings, who I see most films with recently and is an all-around ginchy hombre. Point being, friends are awesome. So make sure you tell yours that bit of information.

In the summer of 1990, five high school friends living in the small English village of Newton Haven set out to accomplish the golden mile- a pub crawl that entails visiting 11 pubs before arriving at the final establishment, The World’s End. Gary King (Simon Pegg), Andy (Nick Frost), Peter (Eddie Marsan), Oliver (Martin Freeman), and Steven (Paddy Considine) never make it to the end and after a few years they all drift apart.

Fast forward to the present and Alcoholic Gary is feeling nostalgic and wants to get the lads back together for another attempt at the golden mile. The thing is, where Gary is relatively unchanged from that night, the others have grown up and have dull jobs and lives. Reluctantly, they all agree to go back to their home town.

But what they find upon arriving there is that everything is a bit off. And from pub to pub, they find out why- the town has been overrun by alien robots.

The World’s End may have been a few years wait, but it was well worth it in the end. It is a hurricane of brilliant humor and heart-warming story, all set at a blinding pace. And for fans of Wright’s earlier work, going back to the Spaced days, there are plenty of great nuggets of fried gold sprinkled throughout.

The action in this film is top-notch. I mean, it puts nearly all the other fight sequences I’ve had to sit through this summer, with a possible exception of Elysium and Pacific Rim, to shame. Actually no, this beats those two as well. This has a flow and balance that most action films wish they had. And this really is not an action flick. It’s a wickedly hilarious one- A perfect blend of what made both Shaun and Fuzz as great as they are.

The greatest accomplishment of this ambitious film is that in the midst of high-energy action and humor, there is a hearty story about the disappointments of growing up and the minefields of friendships. It explores the high and lows, and the loyalty during both, and all the emotions that accompany it.

The cast is the bread a butter of this film. Whatever praise I’ve given so far, aside from those that rightfully go to Edgar Wright, is all because of the cast. The chemistry between Pegg and Frost is as electric as ever here, and they get to share that with three other brilliant English actors. And again, for those who have been fans since Spaced, there are plenty of little appearances to get chuffed about. And a Bond shows up too. Nice little nugget.

I highly doubt this will be the last time Wright, Frost, and Pegg will work together. Working with friends is a gift, and you do it whenever you can. Which is sadly why Schwarzenegger and Stallone keep making crap films together. But to bring this odd little trilogy of dual-genre films connected together by more than a simple ice cream cone, The World’s End is no better way I believe.

Verdict: See it!

* Rated R for pervasive language including sexual references. 109 minutes. Directed by Edgar Wright (Shaun of the Dead, Hot Fuzz).

** Thanks to my friend Cody for sharing this cinematic adventure with me. And to all friends.

*** Poster by unknown. If this is your poster, tell me so I can credit you. It’s great work mate.

I Saw A Film Today… Kick-Ass 2

I don’t really know what to think of Jim Carrey. I understand his stance against gun violence, as any person with an ounce of humanity in his heart would, but I don’t really understand why he agreed to appear in Kick-Ass 2. Surely he must have known at least a bit what the film was going to be about with such a blunt title as Kick-Ass. Even if he had not seen the original film, he did read the script… didn’t he? Like I said, I understand if he objects to the material, but he did contribute. But if anything, his objection is doing more to drive people to see the film than it is not. Few people look at Carrey and say “huh, if he objects, well darn tootin’ so do I”. I don’t know if this is some sick marketing ploy or just Carrey not understanding how controversy works.

Dave (Aaron Taylor-Johnson) is no longer fighting crime as Kick-Ass, and he’s bored to death. When he decides it’s time to get back into the game, his friend and fellow masked crime fighter Mindy (Chloe Grace Moretz) decides to drop out of the game.

Which is fine, because there are plenty of other masked vigilantes for Dave to pick from. He eventually joins up with a team called “Justice Forever”, Lead by Colonel Stars & Straps (Jim Carrey). The other members that patrol the night with them are Battle Guy (Clark Duke), Night Bitch (Lindy Booth), Insect Man (Robert Emms), and Doctor Gravity (Donald Faison).

But when Chris D’Amico (Christopher Mintz-Plasse), whose father was killed by Dave in the previous film (spoiler alert), learns that Kick-Ass is patrolling the streets again, he decides to form his own group of stereotyped villains to take down “Justice Forever”. Masks are going to collide in Manhatten, and plenty of CGI blood will be flowing.

There is a point in this film where ten NYPD officers are killed in varying ways such as being blasted from their cruisers by a propane tank, being chopped to bits by a lawnmower, and many stylized ways of having a bullet tear through their bodies. Is there a real purpose to this scene? No. In fact, it isn’t really connected to the scene at all. It’s just a vignette that comes from nowhere.

It is here, amid an already splotchy story, that I realized that where the first film had an ironical humor on Hollywood violence, this sequel glorifies it. It turns into something perverted and sexualized, like a view into Sarah Palin’s wet dreams. Peoples arms breaking and CGI spurts of blood, Diarrhea, and vomit is not really entertaining nor humorous. I may have gave a short chuckle once or twice, but most of the time I spent with my head in my palm and my face scrunched up.

The plot is very flimsy. Maybe because there is just too much trying to be squeezed into a two-hour time frame. And way too much time was spent exploring the world of female teenage drama, even a creepy scene in a forest that thankfully didn’t lead into the rape situation I thought it was going. Then again, this is based on a work by Mark Millar, so inevitably that sense of relief was short lived for a character later on. That too, thankfully though, didn’t visually lead to where it was going either. But you don’t get away from it without hearing Mintz-Plasse utter the phrase “It’s time to see what evil dick taste like”.

Casting is rather mediocre for the most part. The best of which also sadly has the shortest screen time. Oh course I’m talking about Mr. Carrey’s Colonel Stars & Stripes. To think Jim’s comedic tank is empty would be a mistake as proof by this role. If he could find a decent script and give it a proper go… that would be a thing to see. The rest of the cast sadly would be quite entertaining if they were purposefully trying to act like they were in some odd, ironical Lifetime special, but they’re not and it’s just overdone.

I wasn’t too keen on the original Kick-Ass. It was something I probably won’t ever watch again. I could respect what Matthew Vaughn attempted with the first film mostly, But not this mess written and directed by Jeff Wadlow. I cringe at the idea that in a few years there will inevitably be a Kick-Ass 3.

Verdict: Skip it!

*Rated R for strong violence, pervasive language, crude and sexual content, and brief nudity. 113 minutes. Directed by Jeff Wadlow (Cry Wolf, Never Back Down).

**Thanks to my friend Cody for seeing this with me.

 

I Saw A Film Today… Pain & Gain

I’ve not always been kind to Michael Bay. But then again, he makes it very easy to do so (his highest Rotten Tomatoes rating is a wee 67% for The Rock, which is just a terrible film). For a man who has the ability to make blockbusters with such ambitious and grand visuals, he certainly has a small concept of coherent storytelling. Look, I’m all for suspending reality for a film, but to have that luxury you must compensate with a compelling story. Bay doesn’t understand that I believe. He has a “get it done, don’t think about it” mentality that leaves little room for originality.

All Daniel Lugo (Marky Mark Wahlberg) wanted from life was the ‘Murican dream, that 50’s suburbia perfect life that so many strive for but never reach. And giant muscles. But he’s not going to get the first at his current job as a charismatic trainer at Sun Gym. But when a shady deli shop owner named Kershaw (Tony Shalhoub) comes to the gym looking to bulk up, Lugo sees his path to the good life via theft. But don’t worry, he’s seen lots of movies.

To help with this heist are fellow lunk heads, Doorbal (Anthony Mackie) and the recently released convict/Jesus freak Paul (Dwayne Johnson). After barely capturing Kershaw and weeks later getting all his money, all that was left for the gang to do was kill their only witness… which they fail horribly at doing.

But that doesn’t matter, because the police don’t believe Kershaw’s story and the three gym rats are living the dream. But when Kershaw convinces a P.I. (Ed Harris) to help with his case, combined with the dwindling money of the three, things are not looking good for the gang.

Now, this is the type of film I like from Mr. Bay. One with macabre humor and an alright script, much like the Bad Boys films. His gritty, over-saturated scenes matched with neon tropics of the mid 90’s Florida is an entertaining set piece to view without being overloaded with brainless scenes, which has become a trademark of his.

This story is pretty unbelievable. So much so that if it wasn’t based on a true story it would be completely absurd. Well, it still is, but the fact that it is a well documented story adds a disturbing realism to it. I haven’t read the entirety of the articles written by Pete Collins, only skimmed, but most of the stuff seems to be there. Certain elements like the number of men involved and their past life and crimes are left out. Plus, certain physical and ethnic liberties were traded for big celebrity names, such as Wahlberg and Johnson’s. I guess in some way these offenses are excusable. In some eyes, probably not.

The casting in this film is close to sublime. Wahlberg, Mackie, and Johnson all are great as ambitious and dumb lunks (Imagine that). Johnson turns in a purely brilliant comedic performance here as the gullible loser of the bunch. Wahlberg personifies the arrogance of stupidity seemingly effortlessly. Mackie is kind of the buffer for the two. Together you get an almost Three Stoogian trio. But beefier and dumber. The supporting cast is pretty good too. Shalhoub, Rebel Wilson, Rob Corddry, and especially Ed Harris are great.

Pain & Gain is a very entertaining and different film from Michael Bay. One that I enjoyed. Then again, the more I think about aspects of the film, the more faults I find with it. So I’m just going to stop thinking about it and enjoy it for what it is, a jaded view of the mirage of the ‘Murican dream.

Verdict: Rent it!

*Rated R for bloody violence, crude sexual content, nudity, language throughout, and drug use. 130 minutes. Directed by Michael Bay (Transformers, The Rock).

** Thanks to my friend Cody for sharing this cinematic adventure with me.

I Saw A Film Today… Jack The Giant Slayer

Nicholas Hoult is a busy lad as of late. Only weeks ago Warm Bodies, a good little zom-rom-com starring the aforenamed, was successfully released to tween girls all over. And this weekend he once again appeared as the lead in yet another fairy tale transformed into an adventure film, and I’m happy to report director Bryan Singer has produced a fun romp with Jack the Giant Slayer.

This isn’t the Jack and the Beanstalk you grew up with as a wee one. Well, maybe it is. I don’t know your childhood now do I? I feel I’ve gone off topic. Right, so our story begins in a time when men fighting giants is only a legend told to children at bedtime in the kingdom of Cloister. This includes a young Jack and a young Princess Isabella.

Fast forward a few years and Jack (Hoult) is still a young peasant boy and Isabella (Eleanor Tomlinson) is still princessing. After losing his father to the plague, Jack lives with his grumpy uncle working off the land. But as money gets tight, time comes to sell off some possessions, including the family horse (sounding familiar yet?)

Up to this point, Jack has actually been a bit of a dull film. It has a flow but still seems to drag on with exposition. It is only when Jack receives the beans that things begin to pick up. That’s when Bryan Singer’s talent for storytelling really comes through.

It’s here that we are transported to the land of giants, via beanstalk obviously. Here is a land that is truly an achievement in CGI. Although, if you do see this film, skip the 3-D. There really are no moments where the stereoscopic photography was noticeable or held any factor of wonder.

The giants look spectacular, if not stereotypical sadly. They’re disgusting, uncivilized, and rather unintelligent beings, just like films before it featuring them. Why isn’t there a brainy one amongst them? Are there no giant fashionistas or hipsters? And all the giants in this film are old. No young giants, no female giants. So, is the land of giants just a giant sausage fest? What happens when a giant feels… lonely?

I’m nitpicking obviously. Jack is immensely fun. It doesn’t take it easy on the cheesy and it’s better for it. It’s a throwback with a fresh coat. It’s a bit sad that it’s opening weekend was not stronger than it was. It’s the first real thrill ride of the year. And it’s for all ages too.

Nicolas Hoult is a model straight-laced hero. He starts as a lowly farm boy and becomes a grand giant killer. But his connection with Eleanor Tomlinson, who is a very respectable princess, is a high point. She is strong and very adept at this sort of gig. Together, they’re quite romantic and entertaining. But not as entertaining as the supporting cast. Stanley Tucci is a complete ham in this as the all too obvious villain. all that was missing was an English mustache to twirl. And Ewan McGregor had fun will this role as an upright knight.

It may have started off slow but once it’s off, it’s nonstop fun.

Verdict: See it!

*Rated PG-13 for intense scenes of fantasy action violence, some frightening images and brief language. Directed by Bryan Singer (X-Men: First Class, The Usual Suspects).

I Saw A Film Today… The Perks of Being A Wallflower

High school, for most people, is a pretty hellish experience. The people in your age group are your heaviest, vocal, and most brutal critics of every thing you ever do. Mix that with the pains of a growing body and a growing sexual and emotional attraction to another, it’s a bloody confusing time of life, often embarrassing. Well, my experience was anyways. That’s why it’s a bit sad that Hollywood has rarely got this experience correct in the so-called coming-of-age film. These films promise the anguish most go through, yet it usually results in some candy coated version or overly dramatic. Thankfully, author and now director Stephen Chbosky’s The Perks of Being A Wallflower sheds most of that coating.

Charlie (Logan Lerman) is about to nervously begin his freshmen year of high school somewhere in the North-East of America. With heavy baggage in the form of family dysfunction and the recent loses of his friend and his Aunt Helen (Melanie Lynskey), Charlie struggles to make friends other than his English teacher Mr. Anderson (Paul Rudd).

But eventually Charlie is befriended by brother/sister duo Sam (Emma Watson) and Patrick (Ezra Miller). Patrick is a quirky gay teen senior who is secretly having a relationship with the quarterback of the football team (Future drama bomb? You bet). Sam is a sweet girl who was once a big party-goer but now less so. Immediately Charlie develops a crush on her.

The two siblings show Charlie a world he has never experienced before. They introduce him to new music, drugs, and other friends who in turn introduce him to sex. Oh, and they also introduce him to the supposed wonders of The Rocky Horror Picture Show. But with this new life, new troubles and haunting images from his past plague him.

The Perks of Being A Wallflower is a rare gem in the way that it is a frank and broad look at the highs and hells of high school. The brush stroke is wide here, ranging from the joys of friendship to the horrors of childhood issues and nearly everything in between. That is quite an accomplishment for a film in this peppered genre of hits and (mostly) misses. But it is not invulnerable to some of the stereotypes and melodrama that are hallmarks of the high school film unfortunately. Perks retains some of the after school special aspects, which lost its appeal in the late 90’s.

I think the greatest contribution to the pacing and success of this film is that Stephen Chbosky took the helm of the director’s chair. Who better to direct this material than the man who created it? After seeing this film I read Chobsky’s much hailed epistolary novel and there really isn’t much difference between the two. Things that were changed were for the betterment of the film and things emitted were mostly unimportant to the story. A faithful reproduction, to say the least.

Logan Lerman is so self-deprecating and fresh in this role as Charlie, which is basically the definition of the average teen, right? It’s quite a growing-up role for the Percy Jackson actor. He evokes sadness and virgin intrigue so effortlessly. Ezra Miller, hot off his stellar performance in We Need to Talk About Kevin, is brilliant. The troubles a gay teen faces, one in the 90’s no less, are portrayed effortlessly portrayed by him. The rejection, the pain, and ridicule are all on display, and Miller never holds back.

Emma Watson disrobes of her Hogwarts uniform and sultrily steps in the role of Sam. She is friendly, caring, but has a past that she is trying to recover from. The character is supposed to be the free spirit, and Watson is. The supporting cast is great too. Paul Rudd puts his signature leisurely manner to work here as Charlies mentor. Scott Pilgrim alums Johnny Simmons and Mae Whitman also do well as the love interest opposite of Lerman and Miller.  Joan Cusack and Tom Savini even make appearances.

I fell in love with Perks. It’s honesty is what has drawn me towards it. Not shying from common “peer pressures” gives life. The examination of a serious mental issue and feelings of inadequacy are main points. Few coming-of-age films truly feel like you’re experiencing someone coming of age. But the three main performers are in their own separate ways coming of age in this film.

Verdict: See it!

*Rated PG-13 for mature thematic material, drug and alcohol use, sexual content including references, and a fight- all involving teens (Really, teen fighting is a rating? Alrighty then MPAA). 102 minutes.

**Perks of Being A Wallflower is available on home media February 12th.

I Saw A Film Today… Silver Linings Playbook

If you haven’t noticed, I have a love of original movie poster art and try to use the works of talented people as often as I can. I just want to showcase great art from great artist. Through this search I’ve come to know so pretty amazing artist. But occasionally there just isn’t anything available at the time of a review for an alternative. Or my search has turned up nothing. Either way, I feel slightly defeated when this occurs. And such was the case with Silver Linings Playbook, which is deserving of some great art frankly. You art peeps need to get on that. I’m joking. Not really.

Pat (Bradley Cooper) recently has been released into the care of his parents (Robert De Niro, Jacki Weaver) from a mental heath facility eight months after he was arrested for nearly beating the man who was having an affair with his wife to death. Diagnosed with Bipolar Disorder, Pat is trying to get in shape and reading books to convince his adulterous wife that they need to get back together.

By chance, while at a friend house for dinner, Pat meets Tiffany (Jennifer Lawrence), who recently lost her husband in an accident. The two form an instant but unusual bond with each other. She promises to help Pat deliver a letter to his wife if he helps her in a dance competition. Things get serious though when Pat’s dad places a bet on how well the two place in the competition.

Silver Linings is an exercise in how to make a proper Romantic Comedy. You don’t need the cute little “ah, I accidentally saw you coming out of the shower” hijinks, a romantic embrace in a dusky wheat field, or Nicolas Sparks’ name plastered on a recycled poster to make a winning Rom-Com. No, honest notions of emotions and love, great actors, and maybe in the case of this film a dash of crazy is how you make a winner.

Not to say SLR doesn’t fall victim to some of the stereotypes and pitfalls of the genre. The one issues that really stood out in David O. Russell’s latest film is just how neatly it all wraps up. For a film riddled with so much pain, craziness, and yes humor, the question comes to this: Does Pat deserve the silver lining he worked so hard for? He certainly makes a transformation, and for the better as well.  But for a story of such caliber, should the mythos of a silver linings be fully realized?

Jennifer Lawrence isn’t the young woman who most people who recognize her as “the girl from Hunger Games” here. She retains her edge but sheds any innocence from that film as the widow who uses sex as a coping mechanism. She is unpredictable, and we fully feel the confusion that Bradley Cooper’s Pat endures the entire film. The two participate in a cat-and-mouse game of their own devising, a game where motives are heavily veiled but rehabilitation is abundant. Both deserve the nominations and accolades they’ve received this award season. Both have their standout scenes. Lawrence when she confronts Cooper in a crowded street, raw and unadulterated. Cooper when maniacally searching for his wedding tape, waking up the entire neighborhood to the narration of Led Zeppelin’s “What is and What Should Never Be”.

This goes for the great Robert De Niro as well. This is one of his finest performances in years as an undiagnosed OCD father with a love for the Philadelphia Eagles. The scenes between him and Cooper are heartbreaking, and over the course of  the film you begin to understand where both come from and why they’re the way they are. The rest of the supporting cast shines as well. Jacki Weaver, Chris Tucker, and Anupam Kher all are pure magic.

Silver Linings Playbook is truly one of the best films of the year and sets the standards for what the Rom-Com genre should be. David O. Russell threw a touchdown with this one.

Verdict: See it!

* Rated R for language and some sexuality/nudity. 122 minutes.