MCDave | Geekscape

Geekscape Sundance Reviews: Infinitely Polar Bear

by MCDaveJanuary 19, 2014

Nominations have been handed out and we’re fresh in the swing of Oscar season. While many of us are using these precious moments to reflect on the past cinematic year, ironically, Sundance premiered one of the finest performances we may witness in 2014. Maya Forbes’ Infinitely Polar Bear has pounced onto the scene, firmly grabbing a stranglehold atop the list of films I’ve seen at the festival.

Cam (played by Mark Ruffalo) is a loving husband and father of two outspoken young girls, but Cam is also bipolar. When his temperamental breakdowns and inability to hold a job or function like an adult reach a tipping point, his wife Maggie (Zoe Saldana) separates from him and demands he seek treatment in their hometown of Boston. After stints in a hospital and a halfway house where Cam slowly learns to assume responsibility, Maggie receives an offer to get her MBA at Colombia in New York and improve their family’s insufficient financial situation. What does that mean for Cam? He must prove he can handle his manic depression and play “Mr. Mom” to his two young girls all while his wife is away at school for 18 long months.

Infinitely Polar Bear shows a family in ruins. Clearly depicting the old adage that “sometimes love just ain’t enough”, the film wavers like the up-and-down mental state of Cam. When things are going well, the family thrives and bonds strongly together. But when times are tough, they crumble and wither into despair. Infinitely Polar Bear hits all the right keys and tackles this delicate issue with an earnest respect, one that isn’t overly sentimental. While the script is strong and the direction is on point, it’s obvious to say that the film works so well thanks in large part to another brilliant turn from Mark Ruffalo. The actor gives a realistic first-hand look into living with this illness and the horrors it can create in the family dynamic. With lunacy and tenderness blended perfectly together in his chain-smoking character, Ruffalo shows a remarkably complex individual that’s absolutely endearing. His performance alone makes Infinitely Polar Bear a great movie-watching experience, but there’s still plenty of other elevating factors to the film.

More so than its dramatics, Maya Forbes’ phenomenal feature hammers home the comedy. Ruffalo and the pair of gifted young female actors who portray his daughters all assist in keeping the humor flowing. The gap between laughs is always short and the emotional storylines dispersed throughout are merely icing on the cake. Infinitely Polar Bear opens your eyes and makes you see the world in a different light, one that seems difficult but magnificent all at the same time. You grow with Cam and his family, in a way that makes the journey fun-filled and life affirming.

Watching Ruffalo at the top of his game makes me even more excited for another 2014 release of his, Bennett Miller’s Foxcatcher. But without getting ahead of myself, there’s greatness right here scattered throughout Infinitely Polar Bear. Ruffalo is unforgettable and his film is a fantastic ride from start to finish. Make a note, because this is one movie you won’t want to miss when it receives a general release.

GRADE: 4.5/5

Geekscape Sundance Reviews: Blue Ruin

by MCDaveJanuary 18, 2014

Audiences and press have come to expect an abundance of slow-burning dramas playing throughout the Sundance Film Festival. Park City’s movie-mecca is rarely known for dishing out revenge thrillers, but this year they’ve got one worth flaunting.

Macon Blair stars as Dwight, a homeless man rummaging through the Delaware shore-line eating out of trash bins and sleeping in his car. His big bushy beard and out-stretched baggy clothes give off a downtrodden and dismal appearance. But when a friendly local officer informs Dwight that a man from his past is being released from prison, the homeless man seeks vengeance against the parolee.

Blue Ruin is a revenge-film done right. Its main character is flawed and perhaps unjust in his pursuit, but you still helplessly root for him. Macon Blair perfectly portrays the odd and few-of-words protagonist. Blair feels like an ideal fit for the role and his excellent performance should certainly pave the way for future roles, but we’ll just have to wait and see on the diversity of his skill set. Another welcoming turn comes from Devin Ratray, a 2013 familiar face. Ratray has most recently impressed with his fine work as one of Will Forte’s character’s twin-cousins in Alexander Payne’s Nebraska. Here he plays a war veteran who offers his services to Dwight, a close friend from their days in high school. Despite its collection of fine performances, Blue Ruin also benefits from a well-paced script that delivers on the gore and violence, an absolute must for any successful revenge-flick.

More than just a bunching of stellar aspects regarding movies of its breed, Blue Ruin has a strong story with a voice. The film’s message of vengeance being a never-ending cycle is brilliantly executed. Writer/director Jeremy Saulnier paints a bleak picture, but it’s one that resonates. This somber feature also transcends past the stereotypical bloody revenge-thriller by incorporating a darkly comedic undertone that plays well. Not only does Blue Ruin generate tension and suspense, it’s guaranteed to elicit a surprising amount of laughs. All of which play to its favor.

Although Jeremy Saulnier’s Blue Ruin is far from unblemished, it’s a highly entertaining and extremely engaging feature. Surely it has some weak dialogue and unrealistic situations, but they become easy to overlook in order to appreciate the essence of Blue Ruin.

GRADE: 4/5

Geekscape Sundance Reviews: Whiplash

by MCDaveJanuary 17, 2014

The 2014 Sundance Film Festival kicked off with a bang. In fact, it kicked off with a whole lot of them. Damien Chazelle’s Opening Night selection, Whiplash, is a surprisingly provocative examination of “greatness” and a desire for perfection. Being the best at any facet of life requires dedication, sacrifice and a reasonable amount of obsession. And Whiplash brilliantly tackles this dynamic through the inconceivable backdrop of Jazz music. Implanted firmly in our nation’s roots, Jazz music has become a forgotten treasure that’s about as American as apple pie.

Andrew (played by Miles Teller) attends the finest music school in the country for one reason, and one reason only, he has every intention of being the greatest Jazz drummer of all-time. And with the guidance of the most skilled and feared instructor on the planet, Terrence Fletcher (J.K. Simmons), there’s no limit to Andrew’s success. That is, if his body and mind can handle the abuse.

Whiplash is a brutally realistic character study that succeeds on the shoulders of a pair of fine performances. This time last year, the young and impressive Miles Teller was virtually an unknown. But following the renowned critical success from 2013 Sundance selection, The Spectacular Now, we’re all very aware of his capabilities. Even more remarkable is how easily Teller stands toe-to-toe with the always overlooked and always sensational J.K. Simmons. While some may shortchange Simmons’ character by calling the film’s primary antagonist devious or even a bully, there’s far more depth to him than that. To the point where Whiplash transcends pure entertainment value and raises intellectual debates, such as whether or not this harmfully influential instructor is in the wrong. The way I see it, there’s a price you must pay to achieve greatness. Even if it means abruptly halting a relationship with the girl of your dreams, or spilling your blood to improve your hand speed. Our character’s darkly obsession leaves him fully capable of anything, and that’s the scariest part of all.

For as emotionally and physically draining as Whiplash is, there’s an equal amount of humor circulating throughout the screenplay. It isn’t your typical happy-go-lucky comedy, but these offensive and abrasive one-liners certainly do the trick. And whenever the continuous loud banging around starts to test your patience, Simmons is quick to crack a joke, simply reinforcing the wide spectrum of emotions that Whiplash forces you to encounter. It’s a unique story delivered in a compelling manner, all the way through to its bitterly prolonged finale.

You couldn’t have asked for a better way to kick off the 2014 Sundance Film Festival. I laughed, I cringed and I empathized. Already scooped up by Sony Pictures Worldwide, this definitely won’t be the last we’ve heard of Whiplash. Music fans everywhere, rejoice!

GRADE: 4/5

Oscar Update: Predicted Nominees!

by MCDaveJanuary 15, 2014

We’re less than 24 hours from one of the most exciting days on any movie prognosticator’s calendar, Oscar Nomination Day! This year, thanks to a wide spectrum of strong filmmaking, many of the races are overcrowded with talent dying to hear their name called tomorrow morning. Here’s how I envision the 6 major categories playing out, when the Nominations are announced tomorrow:

BEST SUPPORTING ACTRESS

This race seems fairly locked down, but teetering on the edge of in/out is ironically one of the most powerful women in the world, Oprah Winfrey. While I was on the anti-Oprah side of the argument, her star-power alone makes her a difficult omission by the Academy. Although the Golden Globes passes her over with ease, I don’t see the Oscars doing the same. As a result, Blue Jasmine‘s Sally Hawkins looks to be the odd-woman odd in this dogfight.

Nominees: Jennifer Lawrence (American Hustle), Lupita Nyong’o (12 Years a Slave), Julia Roberts (August: Osage County), June Squibb (Nebraska) and Oprah Winfrey (Lee Daniels’ The Butler)

BEST SUPPORTING ACTOR

No one quite knows where the biggest wildcard this year, The Wolf of Wall Street, stacks up in any of the major battles. Will the Academy embrace the excellent work from a legendary director, or will they turn their back to it amidst controversy that the film glorifies its subject matter? If the Oscars go all-in with Scorsese’s work, then Jonah Hill has a legitimate shot of hearing his name called tomorrow. However, with an always over-stuffed Supporting Actor race, I find Hill to be on the outside looking in, unfortunately. The Academy will find other ways of recognizing The Wolf of Wall Street, while Jonah Hill will sadly miss the cut like other Oscar-hopefuls such as the late James Gandolfini, the “never really had a shot” James Franco and Tom Hanks for Saving Mr. Banks.

Nominees: Barkhad Abdi (Captain Phillips), Daniel Bruhl (Rush), Bradley Cooper (American Hustle), Michael Fassbender (12 Years a Slave) and Jared Leto (Dallas Buyers Club)

BEST ACTRESS

Plenty has been made about Meryl Streep‘s surprising defeat this weekend at the hands of American Hustle‘s Amy Adams during the Golden Globes. But it’s important to remember that the Globes do their own thing, and it isn’t necessarily a sign of things to come. Streep has a proven track record with the Academy, and I’d put my money on those odds any day. Also, while attempting to ride the Amy-Adams-wave, I searched near and far for a proper exclusion on her behalf. Sure,American Hustle is backed by some much-needed momentum, but outside of Emma Thompson from the quickly fading Saving Mr. Banks, I just don’t see the room for Adams. Sorry, can’t sit here!

Nominees: Cate Blanchett (Blue Jasmine), Sandra Bullock (Gravity), Judi Dench (Philomena), Meryl Streep (August: Osage County) and Emma Thompson (Saving Mr. Banks)

BEST ACTOR

Leonardo Dicaprio in The Wolf Of Wall Street

Once again, we’re tasked with deciphering The Wolf of Wall Street‘s effect on the voting body. And while Jonah Hill is going to find himself couch surfing in early March, I anticipate that there’s enough love to catapult Leonardo DiCaprio into the final five. It’s a bold move considering the long documented history of Leo-snubs, even as recent as last year’s Django Unchained. Christian Bale always felt like an outsider and Inside Llewyn Davis‘ Oscar Issac never built a head of steam, but the biggest casualty at Leo’s expense is the wonderful Robert Redford. The All Is Lost star refused to play “the game” and it looks like he could very well miss out on a nomination because of of it.

Nominees: Bruce Dern (Nebraska), Leonardo DiCaprio (The Wolf of Wall Street), Chiwetel Ejiofor (12 Years a Slave), Tom Hanks (Captain Phillips) and Matthew McConaughey (Dallas Buyers Club)

BEST DIRECTOR

When it comes to the directing race, the Golden Globes seemed to reinforce what we already knew … How can you not reward Alfonso Cuaron‘s groundbreaking work in Gravity? While there’s three secure picks along with Steve McQueen and David O. Russell, any of the other five major players find themselves scratching and clawing for the final two spots. It’s really a coin flip as to how this could unfold, but I feel like Paul Greengrass (Captain Phillips), Spike Jonze (Her) and the Coen brothers (Inside Llewyn Davis) will be left of the list.

Nominees: Alfonso Cuaron (Gravity), Steve McQueen (12 Years a Slave), Alexander Payne (Nebraska), David O. Russell (American Hustle) and Martin Scorsese (The Wolf of Wall Street)

BEST PICTURE

Finally, it’s the wacky and wild circus surrounding the Best Picture race. Ever since the rule changes have allowed anywhere from five to ten nominees depending on number of first-place votes, these predictions have become a refined art that many of us still can’t seem to master. For me, I expect nine titles to make the cut. Unfortunately, that means omissions to Blue Jasmine, Philomena, Lee Daniels’ The Butler and Saving Mr. Banks.

Nominees: 12 Years a Slave, American Hustle, Captain Phillips, Dallas Buyers Club, Gravity, Her, Inside Llewyn Davis, Nebraska and The Wolf of Wall Street

Sundance Film Festival Preview

by MCDaveJanuary 13, 2014

Sundance is known for producing many of the year’s finest in independent cinema, and I’m thrilled to be traveling to Utah in a few short days to experience it first hand. Today I’m previewing the Sundance selections that I’m most excited to see at this year’s festival. But before we get to the top 5, here are a few honorable mention selections that also have my attention.

Honorable Mention: Hellion (starring Breaking Bad‘s Aaron Paul), Infinitely Polar Bear (starring Mark Ruffalo), Laggies (starring Keira Knightley and Sam Rockwell) and Happy Christmas (starring Anna Kendrick).

#5. God’s Pocket

The always great Philip Seymour Hoffman will be sporting plenty of screen-time in more than one film at Sundance this year. First up is the drama God’s Pocket, which follows a man’s who gets more than he bargained for when he attempts to cover-up his step-son’s accidental death. Also starring John Turturro, Richard Jenkins and Ray Donovan‘s Eddie Marsan, God’s Pocket has the type of cast you simply salivate over.

#4. The Skeleton Twins

You don’t always need a drama or thriller to satisfy your movie-going needs. In fact, one of Sundance’s most anticipated features is the comedy The Skeleton Twins which stars Bill Hader and Kristen Wiig as estranged twins who miraculously escape death on the same day. As a result, they decide to reconnect and confront how their lives went so wrong over the years. An 88 minute running time sounds like an appropriate length to let these hilarious comedic actors do their thing.

#3. Calvary

I’ve become a huge fan of Brendan Gleeson’s work over the years. Recently, though, he’s make his mark as an outstanding comedic actor with hilarious turns in the massively underrated Irish-comedy, The Guard, and the better known In Bruges. With his latest work, Gleeson stars as a priest who’s life is threatened during a confessional one day. Unsure if whether the threats are true or not, this good-natured priest is forced to confront the evil that’s closing in on him. Co-starring Bridesmaids‘ Chris O’Dowd, Calvary has all the makings of another fine comedic offering from Gleeson and company. (FULL TRAILER AVAILABLE ONLINE)

#2. A Most Wanted Man

The second major Sundance title starring Philip Seymour Hoffman is an adaptation of a 2008 John le Carre espionage novel of the same name, A Man Most Wanted. Anton Corbijn directs this thriller that examines an escaped Chechen Muslim who finds his way to Hamburg, Germany. While hiding out, he becomes the center of an international war on terror. Headlined by a cast including Rush’s Daniel Bruhl, Willem Dafoe, Rachel McAdams and Robin Wright, A Man Most Wanted is certainly surrounded by a ton of intrigue.

#1. Locke

There hasn’t been much said about my most anticipated feature at this year’s Sundance Film Festival. Rising star and extraordinary talent, Tom Hardy, stars in Locke, an 85 minute thrill ride about a man whose life falls apart while in a race against time. Making its way around the European festival circuit last year, Locke has been lauded by just about everyone who’s seen the film. Hardy’s long list of impressive work makes him one of my favorite actors and I definitely can’t wait to see this latest feature.

*** Stay tuned for regular updates live from the Sundance Film Festival

Geekscape Movie Reviews: Lone Survivor

by MCDaveJanuary 10, 2014

Imagine this … you’re walking down a dark and desolate road when you’re approached by a stranger wielding a gun. How would you feel? Scared? Uncomfortable? Just the sight of such a deadly weapon would make almost anyone feel these types of emotions. Now, imagine the amount of fear our brave young soldiers must feel on a daily basis serving overseas in dangerous countries like Afghanistan, fighting against armed militants who don’t abide by the typical rules of war. Peter Berg’s Lone Survivor is for them. The strong men and women who protect our right to kiss our family goodnight and sleep safely in our beds. Perhaps no film has ever made me feel as proud and thankful for each and every member of our armed services. You are all heroes.

Lone Survivor tells the remarkable true story of a botched 2005 mission where four brave members of SEAL Team 10 found themselves under siege by an army of Taliban soldiers. Thankfully, someone lived to recount their harrowing tale of heroism and brotherhood. One that cuts right through the skin and penetrates straight to the center of your heart, where it belongs.

This isn’t Peter Berg’s first go-around with a middle east centered war film. The director already has 2007’s solid effort, The Kingdom, nestled away in his back pocket. However, his newest release, Lone Survivor, reaches insurmountable heights with an inarguably strong showing from its action-loving director and a relentless true story that goes far beyond anything you’d ever imagine. In a packed afternoon showing you couldn’t even hear the person next to you breathing, because chances are they weren’t. The feature’s intensity is numbing, almost paralytic. You don’t just watch these four soldiers combat against an army of dedicated religious fanatics, you experience it. Berg puts you in the center of the action, so much so that you feel every cut and you suffer with every gunshot wound. It’s mesmerizing and something you can only understand by witnessing first-hand.

Another impressive quality to the film is how expansive the story actually becomes. The most interesting facets of this real-life account exceed beyond what you’ll find in any trailer. There are moments of compassion and sympathy that play out in such a beautiful and earnest sequence. In addition to an exquisite story, Lone Survivor benefits from gutsy and respectful performances from all of its four main stars, Mark Wahlberg, Ben Foster, Taylor Kitsch and Emile Hirsch. Without question, there’s pressure to taking on roles that hold as much important as these ones do. The entire cast does a dignified job of bringing them to life, and perhaps no one is better than the regularly overlooked Ben Foster. He’s just marvelous, and I’ll leave it at that. There’s plenty to appreciate across the board, making Lone Survivor my new top film of 2013.

Okay, I’ll finally stop with the outpouring of love and quickly address one of the few shortcomings surrounding the feature. For example, its title … completely unnecessary! My guess is most people are unaware of the story’s details going into a viewing, so why give away the ending right off the bat? There are some moments in the third act where Berg attempts to build some tension and anxiety, but they’re weakened by a predisposed knowledge garnered from the film’s title. Yet, we can easily look past this error in judgment and its effects on the progression of the movie to appreciate Lone Survivor for what it truly is, one of the most gripping and worthwhile true stories you’ll ever encounter.

GRADE: 5/5

Check out Movie Critic Dave’s Golden Globe Predictions and more HERE

In Case You Missed It – January 2014

by MCDaveJanuary 4, 2014

Although the DVD and Video-On-Demand selections have been weak the past few months (December’s picks), January makes up for it in a big way. This month is loaded with some of my favorite films of the year, as well as a couple Oscar-possibilities. It was difficult to narrow down my top three picks of the month with a long list of worthy releases, but here’s what I came up with.

#1. Rush

Until the December release of David O. Russell’s Academy Award Best Picture contender, American Hustle, Ron Howard’s Rush spent a large portion of 2013 atop my favorite movies of the year. One could argue it was low the expectations I had upon entering the theatre, but in actuality it has everything to do with a dynamite performance from Oscar-hopeful, Daniel Bruhl, and a thrilling sports story superbly executed by its director. Formula 1 racing captured the attention of the entire world during the 1970s, and two of the fiercest drivers on the planet, James Hunt (played by Chris Hemsworth) and Niki Lauda (Bruhl), embarked on a legendary rivalry. Rush is far more than a high-octane racing movie, it has layers and depth that enable it to stand on its own as one of the finest sports dramas in years. It’s an absolute Must-See feature. (January 28th)

#2. Short Term 12

One of the year’s most tender, yet heartbreaking, films comes in the form of Destin Cretton’s directorial debut, Short Term 12. This unknown indie drama packs an enormous amount of emotion thanks to a genuine script and an unbelievable performance from Brie Larson. The gifted young actress is more than deserving of Oscar-notoriety, however, she appears to be on the outside looking in. Larson is far from the lone shining star in the film, the cast is flooded from top to bottom with authentic performances. In fact, supporting star John Gallagher Jr. even landed on my year’s Most Underrated Performances list. Watch as these twenty-somethings spend their workdays consoling and molding youth at a foster-care facility for at-risk children. It’s an eye-opening journey into the lives of our forgotten youth. (January 14th)

#3. Captain Phillips

The major consensus is Tom Hanks will find his way into the Best Actor race for his showing in this year’s true-story action adventure, Captain Phillips. This would mark the 6th time Hanks has been handed an Oscar Nomination, and he truly earns it once again. Captain Phillips follows a cargo vessel taken under siege by a band of Somali pirates. Through the guidance of their tactical captain, the vessel’s crew must work together to survive the ordeal. Director Paul Greengrass is best known as the visionary behind the second and third installment of the Bourne franchise, and here the action is equally as effective. Well paced and highly compelling, Captain Phillips is another strong effort from one of the greatest actors the world has ever seen. (January 21st)

Honorable Mention: There’s no shortage of other sensational selections finding their way to DVD this month. Two Sundance Film Festival entries that are both worthy of checking out are The Spectacular Now (1/14) and the gut-wrenching true-story of Oscar Grant in Fruitvale Station (1/14). As for some Oscar-Caliber movies, Cate Blanchett is a frontrunner in the Best Actress category for her fine role in Woody Allen’s Blue Jasmine (1/21) and there’s a few fringe players fighting to make the Oscar cut from Lee Daniels’ The Butler (1/14). Another rising Oscar contender comes in the form of a potential posthumous nomination for the late-great James Gandolfini in the romantic-comedy Enough Said (1/14). Horror fans have some interesting options arriving on DVD in January, Carrie (1/14) and the buzzed-about You’re Next (1/14) are available this month as well.

A “Bored to Death” Movie? … No, I Want More!

by MCDaveDecember 31, 2013

For nearly a year we’ve been living with the news of a return for one of HBO’s most under-appreciated television shows. Back in January of 2013, it was first reported that the once-cancelled, 30-minute comedy show, “Bored to Death”, would rise from the grave … but this time, in feature length form. While any news of a resurrection had my attention, the truth is, I wanted more. Call it greed, call it wishful-thinking, call it whatever you want. Bottom line: “Bored to Death” NEEDS TO MAKE A COMEBACK!

While the television show’s typical small-mystery format would translate nicely to a longer feature-length film boasting a more complicated and developed riddle, simply giving “Bored to Death” the movie-treatment is like trying to cover a gunshot wound with a tiny band-aid. Clearly ahead of its time and undeniably original, “Bored to Death” developed a trio of characters that were lovable and laughable all at the same time. Leading star and unlicensed private detective, Jonathan Ames (played by Jason Schwartzman), helped relieve boredom from all of our lives. His quasi-dangerous and often hilarious mysteries transformed the mundane into a spectacle, giving each of its “trapped in a 9 to 5 lifestyle”-viewers a method of escape.

Schwartzman was hardly the lone highlight in HBO’s lost, but never forgotten, masterpiece. Along with his pot-smoking sidekicks George (Ted Danson) and comic-book creator, Ray (Zack Galifianakis), the trio of bone-headed heroes made for some of television’s finest moments during its short-lived run from 2009-2011. These three comedic actors are all household names in their own right, yet still, “Bored to Death” feels like the pinnacle of their performing careers. With each progressive season outshining its predecessor, this is truly the best you’ve ever seen Zack Galifianakis, Ted Danson and Jason Schwartzman … and I do mean EVER (yes, I’m including The Hangover and “Cheers”)!

“Bored to Death” also landed a ton of fantastic cameos from Kevin Bacon, Kristen Wiig, Olympia Dukakis, and the list goes on. In fact, one season three regular,Wedding Crashers co-star Isla Fisher, spoke out emphatically about the show after receiving word of a potential movie in development. Fisher would be thrilled to reprise her role in a “Bored to Death” feature length film, however, fans of the show desperately need to come together and clamor for more.

With the recent string of television show revivals over the past decade, including “Family Guy” and “Arrested Development”, now is as good a time as any to band together and stand up for “Bored to Death”. Fans of the show, and I know you’re out there, need to be vocal in our efforts. Social media has become a modern tool for spreading messages, and I have one message that I want heard LOUD AND CLEAR …

BRING BACK “BORED TO DEATH”!

The time is now.

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OSCAR UPDATE 12/27: Sizing up the 6 Major Races!

by MCDaveDecember 27, 2013

There’s a bit of significance in today’s date. Oscar voting officially begins and for the second straight year they’re going with an electronic voting system. Members of the Academy will be eligible to make their selections in every race until Weds, January 8th. At that point, the votes will be collected and organized over the course of the next week, just in time to make the first official Oscar Nominations announcement on Thursday, January 16th. So now that we understand the process and some key dates along the way, let’s examine the 6 major races.

BEST PICTURE

Stone Cold Locks: It feels safe to say that 12 Years a Slave, American Hustle and Gravity are all destined to reach the final field of Best Picture combatants. This 3-headed monster could end up battling it out until the very end.

Safe Bets: At this point the next tiered group of films that you can expect to see in the Best Picture pool are comprised of some Oscar regulars from Alexander Payne’s Nebraska and the Coen brothers’ Inside Llewyn Davis. Another feature that won’t seem to fade away is Captain Phillips, which feels like a strong second rate contender that will definitely find its way into the field.

In the Mix: With at most 10 nominees allowed in the race, the remaining spots expect to be made up of newcomer wild cards Her and The Wolf of Wall Street, or other conventional possibilities such as Dallas Buyers Club and Saving Mr. Banks.

Long-Shots: Blue Jasmine, Philomena, late-year release Lone Survivor and Lee Daniels’ The Butler all have an outside chance of sneaking into the the big dance.

BEST DIRECTOR

Stone Cold Locks: There’s really only two directors you can count on making it into the final race, they are Steve McQueen (12 Years a Slave) and Alfonso Cuaron (Gravity). The rest are, as they say in politics, “too close to call”.

In the Mix: The Best Director field is awfully crowded this year and it wouldn’t feel like a shock to see any of Alexander Payne (Nebraska), David O. Russell (American Hustle), Paul Greengrass (Captain Phillips), Spike Jonze (Her), Martin Scorsese (The Wolf of Wall Street) and Joel and Ethan Coen (Inside Llewyn Davis) rounding out the top 5.

Long-Shots: Although they seem to be against all odds, there’s the slimmest of chances that any of Woody Allen (Blue Jasmine), John Lee Hancock (Saving Mr. Banks), Lee Daniels (Lee Daniels’ The Butler) and J.C. Chandor (All Is Lost) could weasel their way into the race.

BEST ACTOR

Stone Cold Locks: There appears to be a trio of lead acting performances that you can bet the farm on making it to the final five. Chiwetel Ejiofor (12 Years a Slave), Matthew McConaughey (Dallas Buyers Club) and Bruce Dern (Nebraska) all solidify a stranglehold atop the Best Actor competition.

In the Mix: The next tier of actors are made up of strong performances that have been acknowledged by all different types of precursors, and we still can’t get a handle on who has the inside track to sneak into the final five. Chances are it will be any of Tom Hanks (Captain Phillips), Robert Redford (All Is Lost) and Forest Whitaker (Lee Daniels’ The Butler)

Long-Shots: Joaquin Phoenix (Her), Leonardo DiCaprio (The Wolf of Wall Street), Christian Bale (American Hustle) and Oscar Isaac (Inside Llewyn Davis) feel a little less like long-shots and more so right on the heels of the Hanks, Redford and Whitaker class.

BEST ACTRESS

Stone Cold Locks: While there’s quite a bit of intrigue surrounding most of the Oscar races, Best Actress certainly isn’t one of them. The pool of 5 is seemingly set with Emma Thompson (Saving Mr. Banks), Cate Blanchett (Blue Jasmine), Sandra Bullock (Gravity), Meryl Streep (August: Osage County) and Judi Dench (Philomena).

Long-Shots: The only possible threats of dethroning the top 5 are a personal favorite of mine in Brie Larson (Short Term 12), Amy Adams (American Hustle), Adele Exarchopoulos (Blue is the Warmest Color) and Julie Delpy (Before Midnight).

BEST SUPPORTING ACTOR

Stone Cold Locks: The Best Supporting Actor contest is shaping up as a slug-fest between Michael Fassbender (12 Years a Slave) and Jared Leto (Dallas Buyers Club).

In the Mix: With only 3 remaining spots, it’s still too early to count out supporting roles from Daniel Bruhl (Rush), Barkhad Abdi (Captain Phillips), Jonah Hill (The Wolf of Wall Street), Bradley Cooper (American Hustle) and an always difficult to overcome posthumous performance from James Gandolfini (Enough Said).

Long-Shots: As the darkest of horses with the tiniest outside chance of having their names called, I’ll still mention Tom Hanks (Saving Mr. Banks) and Will Forte (Nebraska).

BEST SUPPORTING ACTRESS

Stone Cold Locks: While I feel a little less secure calling them “locks” in the Best Supporting Actress race, the pool of 5 appears to be set. It’s fair to say that anything less than a competition between Jennifer Lawrence (American Hustle), Lupita Nyong’o (12 Years a Slave), June Squibb (Nebraska), Julia Roberts (August: Osage County) and an overrated turn from Oprah Winfrey (Lee Daniels’ The Butler) would be a surprise.

Long-Shots: The only possibilities of taking down one of the top 5 seem to come from Sally Hawkins (Blue Jasmine) and an even darker horse in Scarlett Johansson (Her).

*** Remember to keep checking back for regular Oscar updates and have a safe and Happy New Year!

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Geekscape Movie Reviews: The Wolf of Wall Street

by MCDaveDecember 24, 2013

You can leave your doubts at the door. If you’re one of those contemporary Martin Scorsese skeptics who feel like his recent work has diminished greatly, then perhaps the famed director’s latest adventure, The Wolf of Wall Street, can set you straight. The undeniable bro-mance between Scorsese and his leading man, Leonardo DiCaprio (who stars in 5 of the filmmaker’s previous 6 features), carries on in grandiose fashion. This is both Martin and Leo like you’ve never seen them before. It’s wild, energetic and exactly what the doctor ordered.

Centering on the real-life story of stockbroker Jordan Belfort (DiCaprio), The Wolf of Wall Street follows the rise and fall of this ambitious and carefree go-getter. Determined to become a millionaire and left jobless after the 1980s stock market crash known as “Black Monday”, Belfort dabbles in penny stocks and discovers a way to build an empire. Starting his own company with friend and side-kick Donnie Azoff (Jonah Hill), the duo lie and cheat there way to the pinnacle of success, only to find themselves under the watchful eye of the FBI.

For the most part, Scorsese’s elongated three-hour affair moves swiftly through the life of Belfort thanks in large part to a surprising amount of comedy infused into the screenplay. The humor is consistent and never-ending, from the moment the film opens, all the way to its final scene. It’s misleading to label The Wolf of Wall Street as a drama. Scorsese and company understand that the film’s tiresome length and overall success hinge on the effectiveness of its comedic tone. One that is delivered with such excellence and precision. The dialogue is off the charts and the flow is rhythmic, enough so to keep any audience comfortably tuned in to the movie. Furthermore, The Wolf of Wall Street isn’t only an enticing and hilarious spectacle for its viewers, the entire cast obviously had a blast while filming all of Scorsese’s designed debauchery. It isn’t difficult to spot laughs and smiling faces from the “extras” on screen, a sure sign of a fun-filled affair. And although the director’s long-time friend and film companion, Leonoardo DiCaprio, is given the keys to the ride, it’s actually co-star Jonah Hill who stands out most among the plethora of fine performances. Hill, who has been mostly ignored throughout the early going of this awards season race, offers his finest performance to date, one that will be remembered for its expansive range. Hysterical, dramatic and everything in between, Jonah Hill is certainly deserving of a Best Supporting Actor Nomination. All in all, The Wolf of Wall Street just may be the most engaging three hours you’ll ever spend in a movie theatre.

Despite completely captivating its audience, Scorsese’s newest feature has a few select shortcomings. For starters, Leo is more than fine in his leading role, however, the gifted actor never creates a sympathetic character. And as a result,The Wolf of Wall Street suffers in the drama-department and relies solely on humor. This is all well and good, yet there’s another deeper element that’s missing, perhaps one that could have catapulted The Wolf of Wall Street to insurmountable heights. But instead, the credits roll with an unfulfilled conclusion and a gaping disconnect between Belfort and the viewer, which may surely hurt the film during a long journey to the Academy Awards.

Martin Scorsese is a genius and an artist. He envisioned an epic tale of ambition and greed during a period when our nation’s economy finds itself struggling to sustain. The timing is perfect for his feature. When the cinematic year has been flooded with mainly cerebral and emotional options, we’re handed a seductive treat. With a surplus of nudity and enough cocaine on screen to put the entire country of Columbia to shame, I’m amazed that The Wolf of Wall Street only received an R-rating. But no matter what the MPAA says, be sure to buckle up and prepare for a wild ride, as Marting Scorsese returns to form and delivers the goods.

GRADE:4/5

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Geekscape Movie Reviews: The Secret Life of Walter Mitty

by MCDaveDecember 24, 2013

It’s easy to label Ben Stiller as a typecast actor who’s perfect in any awkward and nerdy shy-guy role. But truth be told, that’s simply a cop out. Stiller has played a major part in the writing, directing and acting prevalent in well-regarded films such as Reality Bites, Zoolander and Tropic Thunder. And when The Secret Life of Walter Mitty finally reaches theatres this Christmas Day, we’ll get to add his finest work to the top of that last.

Walter Mitty (Stiller) is a boring and unsociable day-dreamer who constantly uses his imagination to escape reality. Throughout all of these fantasies, Walter partakes in unfathomable acts of heroism in order to win the affection of his co-worker Cheryl (Kristen Wiig). But when reality sets in at the office and he can’t find the vital print of Life magazine’s final cover, Walter must live his ultimate fantasy in order recover the image and impress the woman he desires.

The Secret Life of Walter Mitty is one of those movies that you can’t help but enjoy. With reserved expectations, Ben Stiller’s latest project is a surprisingly strong effort. The film blends together beautiful cinematography with a well-acted and meaningful story. Stiller deserves all the credit as both the leading actor and the visionary director behind this whimsical adventure. He creates an affable character that commands the audience’s adoration. Walter becomes someone worth rooting for, and that makes all the difference in the success of the feature. As a result, his journey ends up more marvelous and salient than you ever dreamed possible.

Despite its greatest of intentions, The Secret Life of Walter Mitty is occasionally off-the-mark. Stiller’s hard-headed desire to create such a perfect and delightful little story leads to a weak conclusion, one that panders to the unnecessary fairy-tale ending that feels oddly misplaced. Walter’s expedition and transformation are purposeful enough, the rest is just fluff and overkill. Give me a pair of scissors and five minutes in the editing room, and I’d take about 10 minutes or so right off the end. However, Stiller has the final say and he misses badly by tying a pretty bow on everything.

Although it has its flaws, The Secret Life of Walter Mitty is completely entertaining and definitely worth a watch. The imagery is phenomenal and the soundtrack is definitely on point. You’ll be swept away by its characters and there are plenty of elements to enjoy with Ben Stiller’s most recent addition.

GRADE: 4/5

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Geekscape Movie Reviews: Saving Mr. Banks

by MCDaveDecember 19, 2013

The Academy Awards is certainly vain. The voting body is continually enamored with movies about the history of cinema. Needless to say, Disney’s latest biographical feature, Saving Mr. Banks, which couples the legendary talents of Emma Thompson and Tom Hanks in the story of Walt Disney’s exhausting efforts to acquire the rights to Mary Poppins, flaunts it’s Oscar-baity agenda with dignified pride. My guess, the Academy will once again swoon over director John Lee Hancock’s historical account.

When Walt Disney (Tom Hanks) made a promise to his daughters in the 1940s that he would bring their favorite literary character to the big screen, no one could have imagined the struggles he’d endure along the way. After two decades of begging author P.L. Travers (Emma Thompson) for the rights to her famed character, Mary Poppins, Walt brings the financially strapped author to Los Angeles. While there, he must discover the secrets behind the Banks’ family and their whimsical nanny in order to entrust Mrs. Travers that her beloved character is in good hands.

John Lee Hancock has suddenly become the poster boy for sentimental biographical films. In 2009 he guided Sandra Bullock to a Best Actress statue alongside a Best Picture Nomination for his real-life adaptation of the Michael Oher story with The Blind Side. His knack for tugging at the audience’s heartstrings returns once again in his latest endeavor, Saving Mr. Banks. Yet, Hancock’s lucid game-plan isn’t the glue that holds this film together, rather it’s the Oscar-caliber performances from Emma Thompson and Tom Hanks that make it stick. With these two lifelong masters of their trade, we’ve been spoiled rotten, expecting nothing but greatness every time they appear on the screen. Luckily for Hancock, his duo delivers at the highest level imaginable, Hanks with his cheery friendliness and Thompson as an argumentative curmudgeon, which clearly elevates Saving Mr. Banks slightly beyond the realm of mediocrity.

Although the film is an indisputable success that will ultimately find itself in the awards season mix, Saving Mr. Banks is flooded with faults. I’ll preface by saying that the feature contains a story that isn’t overly elaborate, and nor does it need to be. However, along with director John Lee Hancock, writers Kelly Marcel and Sue Smith unfortunately milk everything they can out of this straightforward tale and transform the film into a ballooned 126-minute affair. Saving Mr. Banks meshes together two non-concurrent stories. One pertaining to the childhood of Emma Thompson’s character, and the other paralleling those experiences with her “present-day” struggle of relinquishing the rights to Mary Poppins. The portion of the movie that examines P.L. Travers’ youth becomes over-extended and nothing more than a weight on the film. Its purpose is understood, but its execution is lackluster. The “present-day” moments throughout Saving Mr. Banks are what the audience will love and remember. Unfortunately, these highlights are broken up in excess by a middling other half of the feature.

There exists a wondrous aura surrounding John Lee Hancock’s Saving Mr. Banks. It’s comedic elements are a bright complementing aspect to its dramatic nature. However, an abundance of sentiment and a slight mishandling of the story deter from the movie’s otherwise glowing attributes. But thankfully, Thompson and Hanks dazzle just enough to keep that spark alive.

GRADE: 3/5

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Geekscape Movie Reviews: American Hustle

by MCDaveDecember 18, 2013

To steal a quote from Woody Harrelson in the 1992 comedy White Men Can’t Jump, filmmaker David O. Russell is “in the zone”. Russell finds himself in the midst of an unbelievable directorial stretch that will surely bring him his third consecutive Best Picture Nomination when they’re officially announced early next year. In his latest masterpiece, American Hustle, the writer/director puts a clever fictionalized spin on the FBI’s ABSCAM operation which took place in the late 1970s. So clever, in fact, that we may have found our next Academy Awards Best Picture winner.

After con man Irving Rosenfeld (Christian Bale) and his seductive mistress, Sydney Prosser (Amy Adams), are arrested for loan fraud by up-and-coming FBI agent Richie DiMaso (Bradley Cooper), they have two options: either face some serious jail time, or help DiMaso bring down four other high profile criminals. Needless to say Irving and Sydney choose the latter, assisting DiMaso in a sting operation that couples New Jersey politician Camine Polito (Jeremy Renner), countless political officials and dangerous members of the mafia. The only wild card in the matter is Irving’s wife, Rosalyn (Jennifer Lawrence), whose instability could put the whole operation in jeopardy.

With David O. Russell’s American Hustle, you can expect a big-time splash that will leave a ripple effect on just about every major Oscar race out there. The filmmaker has coached his two previous casts to 7 … let that sink in for a minute … 7 Oscar nominations with their work in both Silver Linings Playbook and The Fighter. Current cast members Christian Bale and Jennifer Lawrence understand the greatness of Russell as he helped lead both of them to their only Academy Awards victories. As expected, American Hustle delivers no shortage of fine performances. From top to bottom the cast is excellent. It all starts with leading man Christian Bale who packs on the pounds and shaves the center of his head to truly capture the art of the comb-over. Not only does Bale display onscreen excellence yet again, he continues to remind us of his dedication to the craft. There may not be a more committed actor on the entire planet. But he is far from the only shining star, perhaps Bradley Cooper is most impressive with a towering turn as Richie DiMaso, a young FBI agent who becomes more and more obsessed with making the biggest bust in U.S. history. And let’s not forget Jennifer Lawrence. While the young actress moseys along and embraces all of the onscreen recognition and public love she’s been receiving, her performance actually feels like one of the least convincing roles in the film, although still fantastic. American Hustle‘s ensemble is spectacular and, without question, the finest of the year.

You’ll need to search for flaws in David O. Russell’s American Hustle, but one irritating aspect is the director’s fixation on the time period. There’s no subtlety to it whatsoever. Russell continually throws the 1970 vibe right in your face by purposely calling attention to it throughout the entire film. In some ways it feels as though he sacrifices substance for style and it’s a shame. Furthermore, American Hustle does tend to drag on in its latter stages. You can sense where the movie’s headed, but Russell takes his merry old time getting there. Thankfully, the writer/director has mastered the art of story-telling and uses a sharp comedic tone to help balance his out-stretched tale of power, greed and pushing the limits. By the time American Hustle is all said and done, it’s obvious that Russell has a winning effort on his hands, one that’s assured to garner plenty of attention on its road to the Oscars.

With the clock winding down and the cinematic year coming to a screeching halt, 2013 finally has a film that stands out above the rest. American Hustle is an energetic and hilarious adventure. And despite the fact that its dramatics aren’t overly “touching” or “moving”, nor should they be, American Hustle is a fun and engaging ride that you won’t want to miss.

GRADE: 4.5/5

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In Case You Missed It – December 2013

by MCDaveDecember 15, 2013

While November brought very little in the form of worthwhile newly released DVDs, it’s a typical expectation as the calm before the Christmas storm. However, as it stands now, December isn’t shaping up to be a particularly great month of releases itself. While I was less than impressed with big-named titles like Prisoners (12/17), Elysium (12/17), and the critically-loved indies Drinking Buddies (12/3) and Ain’t Them Bodies Saints (12/17), all of these films will be reaching the shelves just in time for the holiday season. But outside of those offerings, here are my DVD selections for the month of December.

#1. Shameless (The Series)

Last month I had no other choice but to praise the completion of my favorite television drama of all-time, Breaking Bad. Now this month, due to a week offering by the DVD-release gods, I’m sticking with what works and recommending my new favorite show on TV, Showtime’s Shameless. This holiday season is as good a time as any to start from the beginning and catch up on an extremely underrated series. Admittedly, the first season is a little strange and peculiar, but stay strong, because season two and three offer some of the best laughs and drama you’ll see anywhere on television. The Gallagher family is both lovable and despicable all at the same time. There’s no shortage of fantastic character development and you’ll be hooked, guaranteed! (December 17th)

#2. Despicable Me 2

I’m going out on a limb here and giving a blind recommendation for Despicable Me 2. If you’re sitting around this Christmas and looking for the type of movie the entire family can enjoy, why not take a chance with Despicable Me 2? It’s first installment offered plenty of laugh-out-loud hilarity, and I’ve heard that the sequel keeps up with a healthy dose of comedy itself. (December 10th)

#3. Don Jon

Although I ultimately gave it a completely mediocre review, a lackluster crop to choose from is forcing me to throw Joseph Gordon-Levitt’s Don Jon into the ring. He delivers the triple threat as the writer, director and star of his own passion project about a porn-addict who’s been discovered by his new girlfriend (Scarlett Johansson). Despite being a heart-warming tale of self discovery and maturation, Don Jon suffers from a cyclic (albeit intended) approach that repeats itself over and over again, to the point of ad nauseam. I was extremely conflicted on this indie, which was fresh out of the Sundance Film Festival, and saw it twice before I could make a final decision. Perhaps you’ll find a little more enjoyment in Don Jon than I did. (December 31st)

Honorable Mention: Despite missing out on all of them myself, action fans may want to take a chance on any of The Wolverine (12/3), Fast & Furious 6 (12/10), The Lone Ranger (12/17) or Kick-Ass 2 (12/17). As a huge horror buff, I definitely plan on catching the sequel Insidious: Chapter 2 (12/24) even though I was underwhelmed with the ending of the original. And finally, one of the most raved about foreign films of the year is The Hunt (12/10), I hear it’s a must see. Until next month, have a wonderful holiday season!

Geekscape Movie Reviews: Inside Llewyn Davis

by MCDaveDecember 11, 2013

At the exact moment the final credits rolled, leading man Oscar Issac scurried from the back of the theatre to discuss his newest film, Inside Llewyn Davis. And much to the surprise of the audience members, the handsome clean-shaven actor resembled nothing of his shaggy and depleted onscreen persona. Issac talked at length about famed sibling directors Joel and Ethan Coen’s latest offering and the warm reception it received earlier this year at the Cannes Film Festival in France. The multi-talented actor/musician expressed that, at Cannes, the crowd just “got it”. Much like the woes and hardships prevalent in 1960s American folk songs, the Coens mirror their main character’s life to the same brand of music that flows naturally from his lethargic body. It’s clever and it’s creative, but its also uninspired.

Lleywn Davis (Oscar Issac) is a struggling folk musician living in New York at the start of the 1960s. While spending night to night crashing on the couches of various acquaintances and friends, Llewyn makes one last push at jump-starting his career before he decides to walk away from it all. But no matter how skilled and talented the performer truly is, Llewyn appears to be his own biggest hurdle.

There’s a somber and sorrowful ambiance surrounding Inside Llewyn Davis, something that’s both elegant and depressing all at the same time. Like a magnet, the title character attracts each and every hardship that he encounters. Yet, Llewyn is still shown nonchalantly laughing off the proposed notion that he welcomes these burdens. You see, it’s very important to remember that Llewyn is an artist, perhaps even ahead of his time. His perspective on life and music is slightly off-center, which makes for a remarkably fascinating, but not always likable, character. Thankfully, the Coens bring Drive‘s Oscar Issac to the stage, where he delivers a knockout performance that provides buoyancy to the film. During the periodic moments where Inside Llewyn Davis struggles to thrill the audience, Issac never disappoints. He trudges on, just like his character stomping through the frigid Chicago snow. Although the feature feels more like a mediocre effort from a Coen brothers standpoint, Inside Llewyn Davis still manages to be beautifully filmed and superbly acted. Both of which are regular staples in Joel and Ethan’s long list of accomplished work.

While the Coens have obviously mastered the craft of storytelling, Inside Llewyn Davis has an heir of incompleteness. The tale’s metaphoric foundation and soulful delivery are enough to keep it afloat, but the picture lacks resolve and closure. Despite the rumblings regarding Joel and Ethan’s ineffective endings that have been heard throughout their brilliant careers, Inside Llewyn Davis is definitely worthy of such criticism. Don’t get me wrong, I completely understand the clever purpose behind a final Bob Dylan reference and the slamming of the barred door leading into the dark alleyway. However, I envisioned a bleaker more indelicate conclusion, a place the siblings clearly weren’t willing to go. Occasionally wading through a tiresome and exhausting expedition en route to an unsatisfying resolution, Inside Llewyn Davis suffers from a few self-inflicted limitations.

Trapped in the midst of a cinematic year that feels so feeble in comparison to 2012, all eyes shifted to the Coen brothers. Looking for some film, any film, to run away with this awards season race, it’s suddenly apparent that Inside Llewyn Davis isn’t “the one”. But in conjunction with a collection of fine roles from Oscar Issac, Carey Mulligan and many more, a solid humor-induced script and a smattering of phenomenal live-music performances help guide you along Llewyn’s bumpy journey.

GRADE: 3.5/5

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Geekscape Movie Reviews: Ms. 45 (1981)

by MCDaveDecember 10, 2013

Drafthouse Films is synonymous with creative independent filmmaking. They’ve made their mark by serving up original works of art such as I Declare War and Cheap Thrills, just to name a few. But this time around, they are resurrecting a lesser-known crime thriller in the form of 1981’s Ms. 45. Disturbing and gut-wrenching enough to spoil the holiday season for just about anyone, fans of ultra-violent B-movie cult classics should thank Drafthouse for giving them a reborn-masterpiece.

A mute seamstress named Thana (played by the late Zoe Tamerlis) works in New York City circa 1981 and finds herself emotionally and psychologically violated after experiencing two sexual assaults just moments apart from one another. But rather than playing the victim, she attacks back. Thana takes a handgun and goes on a vengeful rampage through the streets of New York, killing any despicable male she encounters.

Director Abel Ferrara’s stylish no-holds-barred revenge tale delivers countless iconic moments, such as Thana’s night-time gang execution and her unforgettable nun-dress finale at a work Halloween Party. And although leading actress Zoe Tamerlis has sadly passed, her talents live on with this riveting and breakthrough performance. Speaking less words than this year’s assumed Best Actor Nominee Robert Redford in the survival film, All Is Lost, Tamerlis embarks on an eye-opening transformation into pure insanity. Her onscreen presence is beyond brilliant while we watch idly as the sweet and innocent Thana morphs into a crazed and psychopathic murdering machine. Her performance is remarkable, one that will haunt my memory for a very long time. Yet, Zoe Tamerlis isn’t the only person worth complimenting, Ferrara captures the audience with a sleek technique of his own. The filming angles generate immense intensity from scene to scene, solidifying Ms. 45 as a wonderful exploitation film of the 1980s.

For all of its amazing accomplishments, there’s one area that deserves criticism in Abel Ferrara’s Ms. 45. With Drafthouse’s newly remastered in HD version, the color is more than a bit off. The “reds” on screen are almost unbearable to look at. The visual quality is clearly disrupting, but certainly not enough to ruin the main character’s gritty metamorphosis into a deranged killer. Although I haven’t seen the original Ms. 45 and its initial picture-quality, this new version leaves plenty to be desired in the enhancing department.

For what it is, Ms. 45 deserves to be held in the highest regard. Many films attempt to model themselves in its image and fall victim to an over-saturation of gore and torture. While Ms. 45 certainly contains plenty of violent material, it doesn’t become obsessed with this aspect of the film. Rather it fully commits to the story and stays true to its feminist retribution game-plan. If you can appreciate a twisted and gritty revenge film of its kind, then Ms. 45 should be at the top of your Christmas wish-list.

*** Be sure to check it out in select theatres this December and January or on Blu-Ray at Drafthouse Films’ website.

GRADE: 4.5/5

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Geekscape Movie Reviews: Out of the Furnace

by MCDaveDecember 7, 2013

For a large portion of 2013, Scott Cooper’s Out of the Furnace was one of the year’s most anticipated releases. It’s taken 4 years for Cooper to return from his successful writing/directing debut, Crazy Heart, one that earned Jeff Bridges an Academy Award for Best Actor. This time around he brings an army of reinforcements with an all-star cast of past Oscar Winners and Nominees including Christian Bale, Casey Affleck, Woody Harrelson, Forest Whitaker, Sam Shepard and Willem Dafoe. And although early reviews have been extremely mixed with many critics openly speaking out against Cooper’s sophomore effort, I’m here to stand up and say that Out of the Furnace is by no means a bad movie. However, it fails to mask many of its sub-par elements.

Christian Bale stars as Russell Baze, a blue collar mill worker who’s struggling to make ends meet in the economically depressed steel town of Braddock, PA. His brother Rodney (Affleck) is a troubled soldier who bears the psychological scars from multiple tours in Iraq. But as Rodney refuses to give in to the steel-worker lifestyle, he finds himself caught up in a dangerous underworld of organized bare-knuckle fighting run by a ruthless criminal named Harlan DeGroat (Harrelson). When Rodney leaves one day and never returns, Russell must desperately take matters into his own hands and confront the ring-leader, DeGroat.

The backbone of Scott Cooper’s Out of the Furnace is the director’s remarkable capacity to develop strong central characters. It was evident in his first film, where Jeff Bridges stole the show. But here, Cooper has more pieces to work with and, for the most part, he does an excellent job of giving each character a purpose and a voice throughout the movie. Another productive aspect is the manner in which the feature begins. Out of the Furnace is an unmistakably dark and saddening film, a tone that Cooper embraces from the opening scene and never looks back. And as the feature progresses, its story is both captivating and deep, impressively developing in a rather unforeseeable fashion that helps hook the audience. With Bale, Affleck and Harrelson all in premier form, Out of the Furnace is a supremely acted and gripping tale of despair.

Despite an alluring appeal, Cooper’s second effort is tainted by many shortcomings. The Baze brothers are both wonderfully developed characters that resonate with the audience, it’s Cooper’s specialty. Yet, the writer/director leaves plenty to be desired with Willem Dafoe’s massively unfulfilled sleazy character, John Petty. Furthermore, the feature is haunted by second rate dialogue, unnecessary inclusions (i.e. Rodney’s letter to his brother) and unrealistic sequences that become impossible to overlook. The scene where Russell searches out DeGroat by organizing a drug deal is so off the mark, it’s unforgivable. Clearly, Out of the Furnace is bogged down by blatant errors. However, its intriguing subject matter and strong performances are enough to sustain the film.

While many hoped that Cooper’s follow-up to Crazy Heart would shape the awards season outlook, the truth is it won’t. In fact, Out of the Furnace will ultimately stand as nothing more than an entertaining film with a fair share of miscues. There are elements to enjoy and reasons to watch, but keep your expectations in check.

GRADE: 3.5/5

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Geekscape Movie Reviews: Delivery Man

by MCDaveNovember 22, 2013

Stealing creativity from all over the world and remaking it with an American twist is nothing new to Hollywood. Beloved films like The Departed, The Ring and Scent of a Woman are just a few of the many foreign remakes that we’ve enjoyed over the years. Yet, in 2013 we’ve added a little spice to the mix with Vince Vaughn’s latest blockbuster, Delivery Man. Because rather than simply adapting from the successful 2011 foreign film, Starbuck, Disney and Dreamworks went even one step further by securing the same director for the project, Ken Scott. The result is an almost line for line and scene for scene carbon copy of the original.

David Wozniak (Vaughn) is a middle-aged deadbeat with zero order in his life. But after a surprise visit from a stranger breaks the news that David’s previously donated super-sperm has been mishandled and used to impregnate over 500 woman, his life is turned upside down. He enlists the help of his best friend and lawyer, Brett (Chris Pratt), to guide him through the decision of whether or not to break the confidentiality agreement and reveal himself to these now full-grown children who seek the identity of their biological father.

Delivery Man, the latest comedy starring Vince Vaughn, is both short on laughs and drowned in sentiment. The feel-good film attempts to win over audiences with a gentle blend of PG-13 humor and Vaughn’s trademark slacker charm, however that cupboard has been empty for quite some time. It’s been eight years since the energetic and fast-talking actor raised the comedy bar with a hilarious turn in Wedding Crashers, and each subsequent release continues to pull him further and further from that historic peak. Despite Vaughn’s grandest efforts, Delivery Man is nothing more than an average collection of situational jokes with blatant tugs at the heartstrings. As a whole the dramatic effort is futile and unconvincing, making director Ken Scott’s second go around with the story completely unwarranted.

For as irritating as it is to sit through conveniently placed plot builders, Delivery Man scratches its way to the finish line with the occasional comedic highlight. Although Vince Vaughn isn’t nearly as funny as he used to be, the always hysterical Chris Pratt picks up the slack as frequently as possible. However, since Vaughn undoubtedly dominates the screen time, the film mainly rests on his shoulders and he never puts it all together. Surely there are moments within Delivery Man, they’re just too few and far between.

With plenty of other fish in the sea, you’re better off spending your time and money on a more enjoyable and authentic film such as Richard Curtis’ About Time. Delivery Man feels like a movie made simply for profit instead of the sincere dramatic-comedy we all expect. Unless you know that you’ll swoon over the film’s positive family-first message, there’s plenty of reasons to look elsewhere.

GRADE: 2.5/5

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Geekscape Movie Reviews: Dallas Buyers Club

by MCDaveNovember 21, 2013

It’s the type of news story the media adores. When word spread like wildfire that heartthrob Matthew McConaughey was planning to shed the pounds for a daring Oscar-bait role, all eyes focused on the Texas native. But there’s an even bigger story at hand, the former romantic comedy star finds himself in the midst of a remarkably impressive string of fine dramatic turns, including his latest effort in Dallas Buyers Club. Forget about the excessive weight-loss, McConaughey channels his southern roots and delivers a dynamite performance that stands tall against any other acting role of 2013.

Dallas Buyers Club tells the real life story of Ron Woodruff (McConaughey), an electrician who lives life by breaking all the rules. And in 1985, after years of binge drinking, cocaine use and unprotected sex with countless women, Ron discovers that he’s HIV-positive. The life-altering realization sends Woodruff on a renegade mission of illegally transporting the latest unapproved AIDS treatments from all over the world to his home state of Texas. And with the assistance of a transsexual named Rayon (Jared Leto), Woodruff opens up the exclusive and expensive treatment providing Dallas Buyers Club.

Director Jean-Marc Vallée’s character driven Dallas Buyers Club is a fine cinematic conquest that provides arguably the most notable acting ensemble of the year. There’s no question, McConaughey is absolutely electric in his role. So good, in fact, I can say without reservation it’s the best lead performance I’ve witnessed all year. Whether the Academy agrees, we’ll just have to wait and see. If there’s one obstacle standing in McConaughey’s way, it’s his own onscreen sidekick, Jared Leto. Leto’s emotional supporting turn as a drug-addicted transsexual is brilliant enough to almost overshadow McConaughey, which should make for a very interesting awards season. But Dallas Buyers Club is more than just a showcase for towering performances, it’s a platform for a captivating and authentic true story. Vallée does a profound job of placing the viewer into the heart of 1980s Texas, where HIV runs rampant throughout the homosexual community and fear is in the front of everyone’s mind. Due to a strong collaborative effort from the cast, director and screenwriters Craig Borten and Melisa Wallack, Dallas Buyers Club brings a realistic and engaging true story to life.

Although the film is a successful effort for nearly all parties involved, Dallas Buyers Club does include a few notable miscues. For example, Jennifer Garner doesn’t warrant the amount of screen time her character is given. And as her face time mounts, she leaves plenty to be desired. In Garner’s defense, it’s difficult to pinpoint whether her character is under-developed or if she just squanders the opportunity, but either way it’s ineffective. In addition, one of the biggest disappointments in Dallas Buyers Club revolves around the fact that Ron Woodruff is never allowed that quintessential moment of triumph. While this slowly-paced drama falls into a repetitious coma where Woodruff is halted by the authorities and then finds a way to circumvent their roadblocks (and so begins the cycle), the finale finds itself rather anti-climactic. Leaving nothing more to savor than a wonderful character arc for McConaughey.

Jean-Marc Vallée’s Dallas Buyers Club culminates like almost every other highly anticipated film released this year, extremely commendable, but far from perfect. While this feature is one of the better ones, Dallas Buyers Club is an exceptional character study that admittedly moves slow and lacks a knockout punch. Fans of groundbreaking performances and superior filmmaking will find much to enjoy. But if you’re looking for an entertaining blockbuster, then look elsewhere.

GRADE: 4/5

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Geekscape Movie Reviews: The Book Thief

by MCDaveNovember 15, 2013

Australian author Mark Zusak’s novel-turned-motion picture, The Book Thief, spent more than 230 weeks on the New York Times Best Seller list and captured numerous “Best Children’s Book of the Year” awards. Therefore, you could feel the enthusiasm from the packed house of parents and children all throughout the sizable theatre. And when the film finally concluded, they eagerly voiced their appreciation by erupting into a thunderous applause. However, notice that I said “they”.

After Liesel (played by Sophie Nélisse) discovers her first book beside the grave site of her younger brother, she continues on her journey to the heart of Germany to live with a set of foster parents just prior to the start of World War II. Hans (Geoffrey Rush) and Rosa (Emily Watson) welcome Liesel into their home, where she quickly grows comfortable and eventually learns to read. Time elapses and as World War II gets under way, Hans and Rosa put all of their lives at risk by providing a safe haven for a Jewish refugee named Max.

Director Brian Percival is best known for his pioneer work with the hit drama series Downton Abbey. Yet, with his newest effort, The Book Thief, the filmmaker supplies a bloated story that barely glosses over the cruel and heinous realities of Nazi Germany. Keeping in context the feature’s PG-13 rating and its adaptation from a children’s novel, one could justify such a sugar-coating. However, Percival’s sluggish pacing and exhaustively unentertaining approach counteract The Book Thief‘s sentimental and endearing qualities. For every compliment there’s a detractor, simply reminding that this effort is mired in mediocrity. Furthermore, the lack of development involving the narrator makes for an ineffective inclusion in the film. Having looked into the specifics regarding the book, the narrator becomes a strong central character to the story. While in the film, they provide nothing more then a sporadic voice-over. Illustrating another miss on the part of screenwriter Michael Petroni and director Brian Percival.

Despite the multiple areas where blame can be assigned for all of the movie’s shortcomings, acting cannot be one of them. Geoffrey Rush continues his spectacular career with another magical performance as the lovable adoptive father to Liesel. His onscreen significant other, played by Emily Watson, also delivers in a wide-ranging role. In addition to her foster parents, Sophie Nélisse’s acting is mightily impressive for a 13 year old girl. Hollywood can safely expect to see plenty more of her in the future. Although The Book Thief is flooded with sound acting, issues surrounding the script and an over-extended running time build too big of a roadblock for the feature to overcome.

With a niche audience that notoriously flocks to movie theatres and a PG-13 rating that caters to their demands, The Book Thief could make a pretty penny if it expands to a wide release. But ultimately, the feature is what it is, an overly long and mildly entertaining fluff piece. Outside of the fantastic performances, there really isn’t much else to be seen. Unless you’re a faithful fan of the novel, take a pass on The Book Thief.

GRADE: 2.5/5

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In Case You Missed It – November 2013

by MCDaveNovember 9, 2013

Let me be the first to tell you that the DVD and Video-On-Demand selections for November include a feeble cluster of mediocre options. Therefore, it might be a good idea to check out something from October’s releases instead. Otherwise, here’s my suggestions from all the new titles for the month.

#1. Breaking Bad (The series)

Honestly, there’s nothing to be more thankful for this November than the DVD release of Breaking Bad: The Final Season. I suggest you go out of your way and either start, or resume and then finish, the greatest drama television series of all time. Yes, I’m aware. It’s a bold claim to label something as “the greatest” of its kind, but I believe it whole-heartedly. Vince Gilligan crafted an amazing transformation story, unmatched by anything we’ve ever seen before. Breaking Bad is a pioneer, setting the bar well beyond imaginable heights and doing so on a cable television network. Nope, Breaking Bad never got the HBO or premium channel treatment. It opened the door for a world of possibilities, showing that immaculate writing and creativity far exceeds budget and marketing. So if you want to know my number one recommendation for the month of November, it’s to get your hands on the entire series of Breaking Bad and begin to be transformed. (November 26th)

#2. Clear History

What an easy segue. From the greatest drama show to the man behind the greatest sitcom/comedy, Curb Your Enthusiasm, Larry David’s latest HBO project finds its way to DVD this month. David stars as Nathan, a man who jumped ship on a rising car manufacturer and cost himself billions of dollars. Living under the dark cloud of his decision, he moves to Martha’s Vineyard where he begins a whole new life under the name Rolly. Yet, while thriving with his new identity, Rolly’s former business partner moves to the island and threatens his new existence.Clear History has plenty of laughs and includes a remarkable cast made up of Jon Hamm, Kate Hudson, Danny McBride, Michael Keaton, Liev Schreiber and the list goes on. (November 5th)

#3. I Declare War

One of the most compelling blends of reality and make-believe ever caught on film can be found in the independent film I Declare War. General PK has never lost a game of capture the flag. But on this day, his arch-nemesis Skinner has big plans of his own. Without an adult actor appearing throughout the entire film, I Declare War delivers the ultimate childhood nostalgia. While the feature is clearly imperfect and it comes with its ups-and-downs, the imaginative approach taken by directors Jason Lapeyre and Robert Wilson serves as a formidable foundation for a war movie unlike any other. (November 12th)

Honorable Mention: There are quite a few selections that I haven’t seen, but look forward to catching this month. First up are the indie films Frances Ha and Prince Avalanche (both on 11/12). While I have my complaints about earlier features released by both of their directors, I still have enough of an interest to check them out. One major release that I failed to see during its theatrical run was the comedy We’re the Millers (11/19). Although I’ve heard mixed reviews, it could also be a film worth watching. As far as documentaries go, one of the most buzzed of its kind is the feature Blackfish (11/12). Finally, although I wasn’t a fan of Zack Snyder’s action overdose, Man of Steel (11/12), I’d do a big disservice by failing to mention that it comes to DVD this month.

Geekscape Movie Reviews: Labor Day

by MCDaveNovember 6, 2013

This year’s closing night feature at the 22nd annual Philadelphia Film Festival was Jason Reitman’s upcoming drama, Labor Day. While the selection felt a bit puzzling from the onset, I still managed to arouse some excitement for an ultra-early screening of the Christmas Day release. But despite having Academy Award Winner Kate Winslet in a starring role and Oscar-regular Jason Reitman set to direct, Labor Day is a hapless reminder that Christmas won’t be coming early this year.

Adele (Kate Winslet) is the depressed and divorced mother of her teenage son Henry. When they venture out to the grocery store to make some routine purchases, a recently escaped and wounded criminal named Frank (Josh Brolin) bullies them into harboring him for the night. Yet, what’s only intended to be a short term disruption, turns into an unexpected set of circumstances that extend throughout the entire Labor Day weekend.

Jason Reitman’s Labor Day is a grossly dramatic affair that falls victim to an unlikely and inordinate collection of situations. Nothing about the feature makes any logical sense. Brolin stars as an escaped convict on the run who decides to spend his newly found freedom fixing cars and cleaning gutters in the middle of the day while a community-wide manhunt is under way. Although Kate Winslet and Brolin try their best to mask Reitman’s glaring onscreen absurdities with a pair of heartwarming performances, the baffling situations that arise time and time again make their efforts a lost cause. And at the end of the day, Labor Day is an imposing piece of fluff that never resonates or holds much weight.

For all of its weaknesses, none of the blame deserves to be placed on Reitman’s fine set of cast members. Winslet and Brolin are beyond serviceable in their leading roles and additional praise should be given for youngster Gattlin Griffith’s admirable performance. Griffith truly captures the essence of a bashful and lonesome teenager struggling with his entry into adulthood and understanding of the world around him. However, outside of Reitman’s cast, the director’s latest attempt is completely off the mark. Whether it’s the hokey usage of flashbacks in the story or the off kilter manner in which the sequence of events unfold, nothing about Labor Day feels natural.

With expectations of history repeating itself, many anticipated that Labor Day would mark a triumphant return to the heart of the awards season debate for Jason Reitman. But to the contrary, elements of charm and charismatic humor that reigned prevalent in the director’s past work are nowhere to be found. As a big fan of Up in the Air, Juno and even the under-seen and under-appreciated Young Adult, Reitman strays from the norm and appears extremely lost. With the success of his previous films, Reitman clearly has discovered his niche. Let’s just hope he returns there sooner rather than later.

GRADE: 2.5/5

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Geekscape Movie Reviews: ‘About Time’

by MCDaveNovember 4, 2013

Nobody quite exemplifies that “British Charm” like filmmaker Richard Curtis. But before Curtis stepped behind the camera to direct popular films such as Love Actually and Pirate Radio, he began as a renowned screenwriter more than 20 years ago. His lifelong journey has brought him to his third major motion picture, one that propels Curtis’ work to groundbreaking heights. Molding together dramatic heart-filled and heart-breaking elements with an appealing comedic allure, Curtis’ newest feature, About Time, is one of the year’s finest delights.

After his 21st birthday Tim (played by Domhnall Gleeson) is confronted by his father (Bill Nighy) and informed of a long-time family secret, he can time travel. But rather than using his unique ability for power or wealth, Tim makes his special gift all about love. He packs up his things and moves from the Cornwall coast to London where he meets Mary (Rachel McAdams) and they fall madly in love. However, as time moves along Tim discovers that no matter how rare his gift is, there are things in life even he can’t control.

What begins as a quest for love, About Time transforms from an endearing romantic comedy into a sincere and earnest tale about the realities of life. Director Richard Curtis hits the nail on the head and serves up a whimsical story built around fabulous characters thanks to a brilliant collaborative effort from the film’s cast. The onscreen chemistry between Domhnall Gleeson and Rachel McAdams sets the table for a whirlwind of emotions, most of which come at the hands of the always amazing Bill Nighy. His supporting turn is the heart and soul of the feature, and one that humanizes a far-fetched and surreal notion such as time travel. Through all the ups and downs, the hurdles and obstacles, About Time reminds us that the adventure of living everyday life is the greatest form of time travel there is.

Although Richard Curtis’ wonderful new feature is a tremendous success, many will attempt to thwart its greatest of intentions. Clearly tugging at the heart strings with an outpouring of sentiment, About Time doesn’t try to mask its purpose. Rather, the film embraces its emotion and strives to view life in a more vibrant light. Furthermore, the feature walks a very delicate line by using the sci-fi notion of time travel as a backdrop. In doing so, Curtis and company conjure up some clever ideas, yet flaws in their logic are certainly evident. But all in all the feel-good nature surrounding About Time circumvents these bumps in the road, carefully illustrating that Curtis’ sentimental approach is all the more worthwhile.

Don’t be fooled, About Time exceeds far beyond the “romantic comedy” label. Mirroring our own lives in so many ways, the feature continually grows and expands into something much larger and abundantly greater. And while Curtis’ latest effort delivers effective dramatics, you can’t take the comedic aspects for granted. The jokes are non-stop and the laughs are plentiful, making About Time a witty and moving film. One that I strongly recommend for all types of audiences to enjoy.

GRADE: 4.5/5

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Geekscape Movie Reviews: Nebraska

by MCDaveOctober 25, 2013

In his still rather young career, acclaimed director Alexander Payne has almost become an “automatic” with voting Academy Members. Having earned a pair of Oscars, both in the Best Adapted Screenplay category for his two most recent works (The Descendants and Sideways), Payne’s often characterized deadpan humor always manages to glaze over a tender and dramatic story. Apparently it’s a recipe for success, and one that the filmmaker carries over with his newest addition, Nebraska.

Bruce Dern stars as Woody Grant, a confused and muddled old man (thanks to many years of aggressive drinking) who believes he’s the winner of a million-dollar sweepstakes. While Woody’s wife (played by June Squibb) and eldest son (Breaking Bad‘s Bob Odenkirk) continually tell him it’s nothing but a scam, his youngest son David (Will Forte) decides to humor his father. Together they embark on a sentimental road trip from Montana to Nebraska to redeem the prize money.

You can expect the norm from Alexander Payne’s latest feature as he sticks to a similar formula and crafts another worthy achievement. Nebraska offers top-notch performances and a healthy surplus of laughs. While Bruce Dern was the toast-of-the-town during his Best Actor win at the Cannes Festival as the binge-drinking patriarch of the Grant family, none shine brighter than his onscreen significant other, June Squibb. Her comedic ability and perfectly-timed humor fuse together and generate one of the year’s finest supporting roles. And in a surprisingly fresh turn, comedian and Saturday Night Live star, Will Forte, shows a spectacular amount of range. Forte’s transition from comedy to drama goes without a hitch, as it’s safe to assume he’s officially paved the way for a prolonged and expansive career. Alongside a compilation of satisfying performances, the beautifully shot black and white film echoes a modern-day Depression Era vibe that gives Nebraska the heart and soul it needs.

Although Payne’s career path has been an irrefutable success, the recognized filmmaker still hasn’t elevated his level of work. Payne’s resume is flooded with solid features that most directors could only dream of matching, yet Nebraska feels almost no better or no worse than the rest of his films. While the movie is intended to be a heartwarming and dainty tale, Nebraska flourishes more as a comedy than a drama. The laughs are plentiful and the charm is exquisite, but Payne’s examination of the Grant family dynamic is far less impressionable.

Nebraska is a pleasant viewing experience that succeeds in the moment, but whisks away from your memory soon after the credits role. June Squibb’s Oscar-bound performance is one of the film’s few long-lasting aspects. While Nebraska is a far cry from the Best Picture Winner that we all wish to see in Payne’s near future, it’s a gratifying expedition to say the least.

GRADE: 4/5

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Geekscape Movie Reviews: 12 Years a Slave

by MCDaveOctober 23, 2013

It always begins around this time of year. Prognosticators and hardcore fans of cinema make their initial claims for the upcoming awards season. And in 2013, many are pitting Alfonso Cuarón’s epic sci-fi adventure, Gravity, verse Steve McQueen’s candid period piece, 12 Years a Slave. When broken down, it’s a tantalizing match-up that could very well survive the annual December barrage of Oscar-bait films. Although it’s only October and there’s still a long road ahead, one fact remains assured. Be prepared to hear all of the clamoring and outpouring of love for 12 Years a Slave and its entire collection of cast members.

Solomon Northup (played by Chiwetel Ejiofor) is a free black man living with his wife and children in Saratoga, New York prior to the Civil War. As an accomplished violinist and fan of the arts, two men arrive in Saratoga and offer Solomon a chance to earn a lofty amount of supplemental income playing music with their traveling circus for the next two weeks. Unable to refuse such a gracious offer, Solomon kindly accepts and begins his travels with the pair of gentleman. When they finally reach Washington D.C., Solomon is drugged by his associates and sold into slavery under the false name of Mr. Platt.

It’s impossible to turn a blind eye to the cruel and inhumane history of slavery in the United States. Director Steve McQueen refuses to do so and addresses the harsh realities of that time period in his gripping new drama, 12 Years a Slave. The true life story of Solomon Northup is both horrific and astonishing, much like McQueen’s film. Similar to the southern servants and field workers prior to the Civil War, 12 Years a Slave gives you no choice in the matter … you’re hooked. With a deep emotional attachment to Solomon’s character, thanks in large part to an almost guaranteed Oscar-style performance from leading star Chiwetel Ejiofor, the feature embarks on a difficult, but necessary, journey. For as mesmerizing as Ejiofor is in his leading role, Michael Fassbender, a McQueen-regular, occasionally overshadows him with a devilish supporting turn. It rings eerily similar to Mo’Nique’s Academy Award Winning effort in Lee Daniel’s Precious. And while this is a proper platform to rave on and on about the onscreen brilliance from McQueen’s entire cast, failing to mention the phenomenal debut work of supporting actress Lupita Nyong’o would be a huge injustice. In addition to the director’s admirable ability to evoke these towering performances from his stars, Steve McQueen’s vision is grandiose and executed favorably.

Despite the overwhelming number of successful aspects surrounding 12 Years a Slave, there are a few obvious detractors. For starters, the film suffers from what I like to call “Schindler’s List Disorder”. Now, I’d have to be outside of my mind to discredit Steven Spielberg’s timeless classic, and almost the same thought applies to this contemporary reflection. However, filmmakers ultimately desensitize the audience when they continually depict scenes of brutality. The first time it’s shocking. The second time it’s still appalling. The 13th time it’s just flat-out excessive. But to combat my own criticism, I will laud McQueen for shying away from being overly graphic with the savage nature of slavery until the third act when it becomes completely necessary. Any run-of-the-mill director could rely on a simplistic approach of showing torturous moment after torturous moment, and McQueen recognizes this. Instead, he brushes past many of the barbaric realities of slavery using them only as a complement to Solomon’s unforgettable tale.

There are all different kinds of films. Some are intended to make you laugh, others to strictly entertain. Then, there are the movies meant to arouse deep-rooted emotion. This film is a prime example. While 12 Years a Slave is a worthwhile and spellbinding endeavor, it isn’t a film intended for everyone. Yet, any fan of colossal performances, distinguished direction and compelling dramatics will find plenty to love.

GRADE: 4.5/5

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Geekscape Movie Reviews: ‘All Is Lost’

by MCDaveOctober 20, 2013

Academy Award Winner Robert Redford is a legendary icon with over a half century in the film industry. The actor/director has truly mastered the art of cinema. In 2013, during the twilight of his career, Redford returns with another Oscar-level performance in J.C. Chandor’s All Is Lost. With last year’s release, Life of Pi, receiving a copious number of nominations throughout the awards season extravaganza, an alone-at-sea survival tale feels all too familiar. However, using merely a fraction of Ang Lee’s Oscar-Winning budget (an estimated $9 million vs $120 million), Redford and Chandor combine to deliver a superior survival-film adventure.

In the midst of an independent journey through the Indian Ocean, a man (Redford) is awoken by the onslaught of water in the cabin of his sail boat. He quickly investigates the issue only to discover that his vessel has struck a huge metal shipping container floating aimlessly in the sea. The surging water has destroyed his radio equipment and, therefore, the lone resourceful sailor is forced to survive trying ordeals as he faces his own mortality.

Being the forefather of the Sundance Film Festival and an advocate of insightful small-budget independent cinema, it’s only fitting that Robert Redford’s acting career returns to insurmountable heights on the backbone of a feature such as this. J.C. Chandor’s All Is Lost is a heart-pounding and agonizing adventure into the human spirit’s will to survive. With almost as little dialogue as recent Best Picture Winner and “silent film” The Artist, there’s a great bit of irony in describing Chandor’s transcending work as action-packed. Yet, Redford’s one-man show (he’s the only actor in the movie) and speechless approach somehow elevate the picture’s situational intensity. Crafted by what the director has admitted was only a 31-page script, All Is Lost is a straightforward and forthright example of exceptional artistry.

For all of its intensity and dramatics, Redford’s latest film offers a meager amount of entertainment value. A far cry from the typical big studio release, All Is Lost requires a level of cerebral devotion and emotional investment. Both of which build a formidable foundation for the movie to prosper. Although the feature boasts an indisputable appeal to the more human elements of life, All Is Lost is by no means a viewing pleasure for all occasions. However, if the mood is suitable and understood, J.C. Chandor’s sophomore effort is an emotionally undulating ride.

The “survival tale” has become a recent norm throughout Hollywood. As the box-office smash Gravity, which is mesmerizing in its own right, is sure to attract audiences throughout the world with flashy special effects and a pair of mega-stars in its leading roles, it’s easy to overlook a superb film such as All Is Lost. Robert Redford’s gritty Oscar-caliber performance and J.C. Chandor’s direction are both stellar and worthy of recognition. My only hope is that the rest of the world will take notice.

GRADE: 4/5

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2013 Philadelphia Film Festival Preview

by MCDaveOctober 17, 2013

There’s plenty of reasons why I always argue that October is my favorite month of the year. First, there’s the weather. The beautiful sunny days followed by chilly nights, I spend the Summer months just craving Fall’s immaculate forecast. Next, October boasts my favorite holiday, Halloween. With all the horror movies and delicious candy floating around to keep us occupied, there’s plenty to love about the tenth month of the year. But none of these irrefutable arguments can compare to my biggest reason why October is the best. It’s the host month of the annual Philadelphia Film Festival. In its 22nd year, I decided to examine this year’s 5 most anticipated film festival screenings. For east coast dwellers like myself who haven’t had a chance to get to Sundance, Cannes or Toronto, the Philadelphia Film Festival, which runs from October 17th to 27th, is the best way to get an early look at many of the biggest Oscar-contenders. But before I begin the countdown, here’s a look at some intriguing films that didn’t make the cut.

Honorable Mention: Cannes Film Festival Palme d’Or winner Blue is the Warmest Color, Judi Dench and Steve Coogan in Philomena, then there’s Marion Cotillard, Joaquin Phoenix and Jeremy Renner who star in The Immigrant, Le Week-End featuring Jeff Goldblum, Jim Broadbent and Lindsay Duncan and finally the thriller Grand Piano starring Elijah Wood and John Cusack.

#5. Labor Day

Director Jason Reitman has developed quite the fan base among voting members of the Academy with earlier works Juno and Up in the Air. While his previous release,Young Adult, failed to garner a nomination, the jury is still out on Reitman’s latest effort, Labor Day. Kate Winslet stars as a depressed single mother who won’t even venture outside of the house. But when she gathers up the courage to take a routine trip to the grocery store, she and her son end up helping out a fugitive on the run (Josh Brolin).

#4. August: Osage County

Whenever you mention Meryl Streep’s name, you have to assume that the Academy is listening. This year Streep stars as a recently widowed matriarch who takes center stage after a crisis brings her entire dysfunctional family back together. Co-starring Julia Roberts, Ewan McGregor, Chris Cooper, Benedict Cumberbatch and many more, August: Osage County undeniably has dreams of awards season glory.

#3. All Is Lost

Opening Night of the Philadelphia Film Festival marks the triumphant and talked about return of Robert Redford in the survival tale All Is Lost. In the twilight of his career, Redford is in the early Best Actor conversation with his turn as a sailor who faces mortality after his boat collides into a shipping container floating aimlessly in the sea.

#2. Nebraska

Believe it, anything director Alexander Payne touches turn to gold. He’s a modern-day “King Midas”. Payne returns in 2013 with his black & white comedy-drama Nebraska. Bruce Dern gives a highly buzzed-about performance as a befuddled old man who journeys with his estranged son (Will Forte) to Nebraska in order to claim his million-dollar sweepstakes prize. And not only does the Philadelphia Film Festival always offer a first look at Oscar-caliber features, they provide excellent insight with Hollywood insiders. Alexander Payne and Will Forte will be doing a brief Question & Answer session following the Monday screening of their film.

#1. 12 Years a Slave

Despite being a late addition (not even mentioned in the festival’s program), the film to be most-excited about is Steve McQueen’s festival darling that’s swept every competition it’s been nominated for, 12 Years a Slave. The reviews have been astounding and the cast is star-studded. Chiwetel Ejiofor plays Solomon Northup a free black man living in New York prior to the Civil War. However, Solomon is captured and transported to the south and sold into slavery where he suffers to stay alive and regain his freedom over the course of the next 12 years. Co-starring Michael Fassbender, Brad Pitt, Paul Giamatti and Paul Dano, 12 Years a Slave could be this year’s Best Picture Winner!

*** REMEMBER TO STAY TUNED FOR FREQUENT UPDATES FROM THIS YEAR’S PHILADELPHIA FILM FESTIVAL

In Case You Missed It – October 2013

by MCDaveOctober 10, 2013

Now, that’s more like it! October offers a wide variety of strong DVD and Video-On-Demand selections (click here to view my September picks). And just in case you happened to miss any of these movies during their theatrical runs, now’s your chance to make amends. So do the right thing!

#1. The Conjuring

Just in time for the holiday season (I’m talking about Halloween, not Christmas), James Wan’s horror throwback, The Conjuring, receives its DVD release. Real life paranormal investigators Ed and Lorraine Warren (played by Patrick Wilson and Vera Farmiga) attempt to help a desperate family being terrorized by a demonic presence in their new home. The story is strong, the scares are plentiful and the terror is authentic. James Wan delivers one of the finest gore-free horror films in recent memory. Turn the lights off and sit back and enjoy The Conjuring the way it’s meant to be seen. (October 22nd)

#2. The Way, Way Back

So you loved Little Miss Sunshine and you’re dying to see Steve Carell in more of a “bad guy” role? Whether you answered “yes” or not, Nat Faxon and Jim Rash’s The Way, Way, Back should be on your October “To-Do List”. The heartfelt and forthright coming-of-age tale delivers on both laughs and sincerity. Sam Rockwell shines brightest as Owen, an immature water-park owner who takes a teenage boy under his wing. The Way, Way Back is a suitable movie for just about any situation and it’s certainly one you won’t want to miss. (October 22nd)

#3. This Is the End

What could be better than an apocalyptic comedy starring most of the funniest actors, comedians and entertainers floating around Hollywood? Almost nothing! My third recommendation of the month is the hysterical and crowd-pleasing raunchy comedy This Is the End. Follow along as childhood friends Jay Baruchel and Seth Rogen attempt to rekindle a seemingly lost relationship all while trying to withstand the end of the world at James Franco’s house. It’s a no-brainer that This Is the End brings a healthy dose of laughs and outlandishness, but the icing on the cake is a stellar finale. (October 1st)

Honorable Mention: Since I wasn’t blown away by many of the other October DVD releases that I’ve seen, my secondary selections are filled with features I’m interested in checking out myself. One of the biggest Summer blockbusters makes its way to DVD. Pacific Rim (10/15) was an out-of-nowhere critical success and a film I plan on renting ASAP. For fans of romantic comedies, the third installment of Richard Linklater’s acclaimed indie trilogy, Before Midnight (10/22), is one I look forward to seeing. Finally, Joss Whedon enamored audiences with his superhero spectacle The Avengers. Now, he dabbles in Shakespeare. One indie release I wasn’t able to catch in theatres but intend to watch immediately is Whedon’s Much Ado About Nothing (10/8).

Geekscape Movie Reviews: Captain Phillips

by MCDaveOctober 8, 2013

It’s been more than a decade since Tom Hanks has landed a swoon-worthy kind of role for the Academy to recognize. With back-to-back Oscar wins in the Best Actor category for marvelous performances in Philadelphia and Forrest Gump, Hanks spent much of the 90s and early 2000s nestled comfortably at the peak of the awards season mountain. The brilliant artist returns in 2013 with a pair of highly anticipated true-story roles as Walt Disney in Saving Mr. Banks and Paul Greengrass’ self-titled Captain Phillips. As it appears, the stars have aligned once again and Tom Hanks is finally back atop the proverbial mountain.

Richard Phillips (played by Hanks) is a hard-nosed and dedicated Captain of the cargo vessel Maersk Alabama. On a typical voyage to deliver food and supplies around eastern Africa and the middle east, a band of Somali pirates hijack Phillips’ ship and unarmed crew. Desperate to keep himself and his team out of harm’s way, Captain Phillips demonstrates remarkable heroics throughout this trying ordeal.

Relentlessly tense and nerve-racking beyond belief, action guru Paul Greengrass summons one the most suspenseful movies of the year. Captain Phillips is a lengthy journey filled with highs, lows and just about everything in between. But rather than catering to an all-too-easy “good vs evil” approach implemented by many run-of-the-mill directors floating around Hollywood these days, Greengrass and writer Billy Ray mold together an honest and multi-layered film. Not only does Captain Phillips venture through the minute-after-minute terror experienced by the hijacked crew, the feature also dives deep into the desperate mindset of the vessel’s captors. The ambitious attempt to witness the entire story surrounding this historic event allows Captain Phillips to develop into a more authentic and believable thrill ride.

Despite crafting a captivating and gut-wrenching encounter, Greengrass misses the mark on a few key areas. For starters, the well-rounded director over-extends every single aspect of the film. He could have easily attained his goal by cutting many of the feature’s scenes in half. Whether it’s the intense bickering and power struggle between the pirates or the Red Light/Green Light back-and-forth by the Navy Seals team near the film’s conclusion, Captain Phillips is filled with anxiety-overkill and its clearly a deterrent. Furthermore, the movie’s third act rings all too familiar to last year’s Best Picture Nominee, Zero Dark Thirty. Therefore, being so fresh in our minds and far superior to this rehashed effort, Captain Phillips becomes a poor man’s version of Kathryn Bigelow’s hit … but still worth the price of admission.

Tom Hanks has always been a magnificent performer, and his role in the action/drama Captain Phillips reiterates that notion. It doesn’t matter if he’s winning Golden Statues or not, Hanks is one of the greatest actors of all-time. And once again, you won’t be disappointed with this one. If you can handle the anxiety and withstand the suspense, then you can’t go wrong with Captain Phillips.

GRADE: 4/5

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Geekscape Movie Reviews: Gravity

by MCDaveOctober 4, 2013

I’ve always heard the rumblings. But after finally getting a chance to screen the upcoming sci-fi drama, Gravity, it goes without question that director Alfonso Cuarón is one of the most ambitious filmmakers on the planet … and perhaps beyond. It’s been 7 years since the Mexican-born director captivated audiences with his previous groundbreaking work, Children of Men. And if one thing’s for certain, it’s the fact that Cuarón constantly struggles to out-perform himself. Just takes the soon-to-be instant classic, Gravity, for example. Even renowned director James Cameron is calling it “the best space film ever done”. That’s high praises from someone who always strives to raise the bar himself. Enough said.

Dr. Ryan Stone (played by Sandra Bullock) is on her first space mission along with a team led by the aging astronaut, Matt Kowalsky (George Clooney), who is overseeing his final voyage. However, during a routine spacewalk, debris from a satellite comes crashing into their space shuttle killing the rest of Stone and Kowalsky’s team. Stranded in space with no contact from earth and a nearly depleted air supply, the pair of astronauts must work together to survive the ordeal.

There are countless aspects of Alfonso Cuarón’s Gravity that deserve to be commended. With an uncut 13 minute opening scene that’s completely mind-blowing and inarguably impressive, the director’s latest work begins without a hitch. Then, once Gravity has hooked the audience with a tension-filled first act, Cuarón’s film whisks along effortlessly like an astronaut in zero-gravity all the way to an astounding conclusion. And if this newest sci-fi drama doesn’t sound pleasing enough, its triumphant visual effects are so mesmerizing that they can probably start handing over the Oscar statues for most of the technological categories already. Aesthetically brilliant and wonderfully paced, Gravity feels like the sure-fire Best Picture contender that many predicted.

While I thoroughly enjoyed Alfonso Cuarón’s long-awaited return, there are certain elements of the feature that irked me. First, there’s no question about it, George Clooney steals the show. So much, in fact, that it almost detracts from Sandra Bullock’s widely-lauded role. Although I’m a long-time fan of the Academy Award Winning actress, I didn’t “love” this performance. Once I recognized my complaint, I tried to break down the cause of the issue and I discovered that it stems from the movie’s dialogue. When it comes to comic relief, the verbal exchanges are spectacular. However, during the more dramatic moments, I found the screenplay’s dialogue to be elementary and trite. As a result, those pivotal onscreen scenes in which the audience is supposed to empathize with Bullock ultimately lack a “punch”. Therefore, Gravity never reaches the cosmic heights we’d all expect.

One thing is for sure, Alfonso Cuarón’s Gravity offers filming techniques and space photography that is far beyond anything we’ve ever seen before. Thus, an unbridled appreciation is certainly in order. On the other hand, I freely acknowledge flaws in Cuarón’s latest work. After viewing Gravity in the light of other epic survival stories such as Danny Boyle’s 127 Hours, it’s clear that it doesn’t offer the same level of impact. But either way, Gravity is definitely a well-paced and gripping feature that deserves to be savored with a big-screen experience.

GRADE: 4/5

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