Author: MCDave

I'm a Mathematics Professor at West Chester University in Pennsylvania and my relaxed work environment enables me to spend time writing about my passions ... movies, music, and everything baseball.

Geekscape Movie Reviews: Rush

by MCDave

It’s hard to discredit the extensive filmography of the Academy Award Winning director Ron Howard. On the other hand, it’s impossible to ignore a noticeable decline in the filmmaker’s work of late. That’s why the release of Howard’s newest feature, Rush, was initially surrounded by an enormous amount of skepticism. Yet, after a vocal outpouring of praise following its world premier in London and a screening at the Toronto International Film Festival, the doubters have all but faded.

Formula One racing took the world by storm in the 1970s. One major reason for its success was the highly publicized rivalry between speedsters Niki Lauda (played by Daniel Brühl) and James Hunt (Chris Hemsworth). Very different in their approaches, Lauda being known for his methodical commitment to the sport and Hunt living up to his reckless bad-boy reputation, these legends of racing faced off in one of the greatest Formula One seasons of all time.

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After turning up my nose at its theatrical trailer and writing off Howard’s latest film as a mediocre offering in the vein of other recent works such as The Dilemma,Angels and Demons and The Da Vinci Code, it can be humbling to admit that you should never judge a book by its cover. It’s an understatement to call Rush a gratifying resurgence for the once heralded director. Instead, I’ll give the action-packed drama a more warranted description. Make no mistake about it, Rush is one of the year’s finest films. The full-throttle racing sequences wisely take a back seat to an even more impressive story. Screenwriter Peter Morgan pens a brilliant script that develops such interesting characters. But in addition to Howard’s stellar direction and Morgan’s well-crafted screenplay, Rush benefits from a breakthrough performance from its leading man Daniel Brühl. Although Hemsworth is undoubtedly the bigger household name, Brühl completely steals the film. Thanks to a fantastic collaborative effort that even stretches as far as Hans Zimmer’s immaculate score, Ron Howard’s Rush is a clear-cut winner.

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The blemishes found in the feature are few and far between. With an ever-so-slightly bloated running time that barely surges past the two hour mark, there are a couple of lulls to be expected. However, as soon as you recognize a low-point in the film, Howard shifts gears and takes the movie in another direction. Furthermore, it’s undeniable that Niki Lauda’s character is far more intriguing and impressionable than James Hunt’s. Partially due to the fact that Brühl’s performance is superior and also because the writing and real-life story dictates as much. Consequently, it creates a small mismatch and imbalance to the film. But after really searching for criticisms and being overly picky, there’s no question that Rush‘s highs obviously outweigh its lows.

I’m man enough to admit when I’m wrong, and boy was I wrong! Rush has just about everything you can ask for in a great film. The racing scenes feel a bit lengthy, but they definitely get the adrenaline pumping. And Howard’s feature delivers a knockout story with plenty of effective dramatic moments. This is an excellent sports movie that stacks up well against the competition. Rush is one picture you won’t want to miss.

GRADE: 4.5/5

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Geekscape Movie Reviews: Don Jon

by MCDave

Joseph Gordon-Levitt is far from a new face in Hollywood. His time in the industry dates back to the early 1990s, most prominently with his first real breakthrough role in the family film Angels in the Outfield. Almost two decades later and the gifted actor has decided to expand his artistic ability. Gordon-Levitt tackles his first attempt behind the camera with his directorial debut, Don Jon.

Jon (played by Gordon-Levitt) is a smooth-talking, physically fit bartender whose weekend streak of pulling “randoms” has landed him the nickname “Don Jon”. But despite the confident young man’s success with the ladies, Jon has a secret obsession with porn. Therefore, when he falls head-over-heels for a demanding woman named Barbara (Scarlett Johansson), Jon’s secret becomes too difficult to hide.

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Joseph Gordon-Levitt’s Don Jon is a big-hearted comedy that ultimately falls victim to a cyclic and monotonous approach. Underneath all of the recurring trips to the gym, Sunday confessionals and family dinners, resides a deeply dramatic story that’s worthy of acknowledgment. However, Gordon-Levitt bogs down the most notable aspect of his film with redundant scenes that we’re forced to sit through over and over (and over …) again. Throughout all of this repetition very little is actually gained or lost, making Don Jon‘s mere 90 minute running time feel more like an eternity. In fact, the feature’s most interesting character, Esther (who is brilliantly portrayed by Julianne Moore), fails to play a significant role in the film until it’s already too late. While Joseph Gordon-Levitt’s directorial debut offers a meaningful story that culminates quite well, Don Jon gets lost in a tiresome cycle of ineffective moments.

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Although the movie suffers from its shortcomings, there are plenty of hilarious scenes and a strong uplifting moral to the story. Don Jon‘s side characters develop a winning sense of charm and charisma. The star’s onscreen friends are full of silly one-liners and outlandish behavior that help keep the jokes coming. They prove to be a breath of fresh air as you wade through the slower-paced moments of the film. But despite the fine work from Don Jon‘s entire supporting cast, an over-embellished vibe and an unchanging delivery are too much to overcome.

I’ve been a longtime fan of Joseph Gordon-Levitt for many years now. He can be found all over my home collection of DVDs. And although Don Jon is a missed attempt, there’s still a commendable heart and soul to the feature that the budding filmmaker can clearly build on for the future. I wouldn’t count him out just yet. But in the meantime, you won’t miss much by avoiding the new comedy, Don Jon.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Spectacular Now

by MCDave

It’s official, you should probably get used to hearing the name “James Ponsoldt”. The young director has swarmed onto the scene with impressionable debut and sophomore works such as Off the Black and Smashed (both are worth checking out if you haven’t already). But in 2013, just one year after his previous release, Ponsoldt returns with what many are calling his best picture to date, The Spectacular Now.

Sutter Keely (played by Miles Teller) is a fun and energetic senior in high school who fails to take anything seriously. But after a misunderstanding leads to a breakup with his current girlfriend, the budding alcoholic responds the only way he knows how to … with a rowdy night of binge drinking. The following morning a bright and shy senior named Aimee Finecky (Shailene Woodley) stumbles across Sutter’s passed out body on a random front lawn. The two teenagers end up spending the day together and that begins their unlikely and presumably doomed relationship.

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The Spectacular Now shines by riding a wave of emotions on the shoulders of its endearing lead characters. Proving to be the role of a lifetime for Miles Teller, the convincing young actor embraces the opportunity by delivering a multidimensional character with legitimate struggles that lure the audience in with ease. Perhaps the greatest achievement regarding The Spectacular Now is the authenticity of its characters. Each and every individual you encounter in the film has their own set of flaws. No one is all knowing or perfectly content with their situation, and that feels like a rarity in movies these days. Along with screenwriters Scott Neustadter and Michael H. Weber who collaborated to adapt the screenplay from a Tim Tharp novel of the same name, director James Ponsoldt utilizes his leads in a unique way. Sutter and Aimee are very different people who complement one another quite well. As their relationship blossoms, the teenagers are able to break from their shells and face the world in front of them. Therefore, The Spectacular Now is a gratifying film that examines the transition from youth to adulthood in a bold and honest light.

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The third feature from Ponsoldt rarely moves along without a hitch. The initial roadblock comes in the form of Sutter’s obvious drinking problem. The ease at which he can obtain alcohol and weasel his way into bars seems all too unbelievable. The film could have simply avoided such a contrived subplot by offering a more plausible personal struggle. There’s rarely a scene without Sutter sipping from a flask or mixing a cocktail, and it becomes a bit too overbearing. But despite flaws with a few secondary and minor aspects of the feature, The Spectacular Now hurdles these obstacles and wins over its audience.

As yet another winning effort from this year’s crop of Sundance Film Festival selections, James Ponsoldt’s The Spectacular Now is both compelling and forthright. While it lacks credibility in certain areas and the ending was about one scene too long in my opinion, The Spectacular Now is another strong film from a very promising up-and-coming director. Check it out in select theatres now.

GRADE: 4/5

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In Case You Missed It – September 2013

by MCDave

What’s up with the price of movie tickets these days? They’re a bank-buster, am I right? One way to circumvent draining your life savings is to hold off until the movies you want to see make their way to DVD. Here’s a look at the best films coming to Redbox and Video-On-Demand this September.

#1. The Kings of Summer

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One of the year’s best comedies also happens to be one of the most overlooked indie films of 2013. The Sundance Film Festival entry The Kings of Summer (formerly titled Toy’s House) delivers all of the nostalgic and carefree goodness you could possibly want. When two best friends decide that their overbearing parents are too much to handle, they decide to run away and build their own house deep in the woods. With an odd-ball wildcard named Biaggio tagging along for the ride, these three teenagers learn about life, love and responsibility. One of the greatest aspects of The Kings of Summer is its refusal to cater to the sentimental and sappy storylines that always manage to plague a stellar comedy. The laughs are non-stop and the journey is beyond enjoyable … it’s epic. This is one indie gem you won’t want to miss. (SEPTEMBER 24TH)

#2. World War Z

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Brad Pitt’s coddled and long-awaited baby, World War Z, proved to be one of the summer’s biggest hits. But not only was it a box-office smash, the zombie action film was a massively energetic and engaging thrill ride. When fast-moving and flesh-eating undead spread like wildfire, government officials take shelter on aircraft carriers in the middle of the ocean. Pitt stars as Gerry Lane, a former U.N. investigator who is literally “forced” to seek out a cure to this apocalyptic disease. World War Z is a high-octane adventure that’s sure to appeal to action enthusiasts, zombie lovers and fans of a strong story. If you missed out on this big-budget summer blockbuster, be sure to catch it later this month. (SEPTEMBER 17TH)

#3. The East

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One often criticized facet of modern Hollywood is the lack of originality and clever ideas. Well one of 2013’s most unique and intriguing screenplays came in the form of Brit Marling and Zal Batmanglij’s The East. As another Sundance Film Festival selection, The East centers around a private intelligence firm operative (played by Brit Marling) who infiltrates an anarchist group wreaking havoc on major corporations. A rare diamond in the rough that’s highly psychological and makes you question your own personal morals, The East satisfies on a multitude of levels. Thanks in large part to a collection of supporting roles from big names like Ellen Page, Patricia Clarkson and Alex Skarsgard, this feels a lot less like an independent film and more so a modestly-budgeted game-changer. (SEPTEMBER 17TH)

Honorable Mention: It’s also worth taking a flier on the illusionist thriller Now You See Me (SEPTEMBER 3RD) starring Jesse Eisenberg, Mark Ruffalo and Woody Harrelson. And although I can’t vouch for either film, I’ve heard solid feedback on both Disconnect (SEPTEMBER 17TH) and The Iceman (SEPTEMBER 3RD). Finally, who could forget J.J. Abrams’ Star Trek Into Darkness (SEPTEMBER 10TH).

Geekscape Movie Reviews: The World’s End

by MCDave

Over the course of the past nine years, writer/actor Simon Pegg and writer/director Edgar Wright have worked together to mold a fresh comedic voice in the industry. With previous overwhelming successes such as Shaun of the Dead and Hot Fuzz, Pegg and Wright return with their third collaborative effort, The World’s End. And once again, critics and moviegoers alike are raving about the final product.

Former legend in his own mind, Gary King (played by Simon Pegg), makes a desperate attempt to reunite with an old group of friends in order to successfully complete a drinking marathon that they failed to accomplish 20 years prior. But as Gary and his odd-ball buddies embark on the evening’s festivities, the drunken fools quickly discover that they may be the planet’s only hope of surviving an alien presence.

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Edgar Wright’s The World’s End is exactly what you’d expect it to be. Fans of his and longtime writing companion Simon Pegg’s earlier work will be more than content with their latest film. The jokes are constant and the outlandishness is off the charts. While I openly admit that I’m not a huge fan Wright and Pegg’s previous efforts (I find them to be a little more mediocre than the general masses), I can recognize when I’m a minority. Don’t get me wrong, I am a fan of both men separately. Run, Fatboy, Run can always brighten my day and Scott Pilgrim vs. the World has a rugged and unique style that lures me in effortlessly. Therefore, as I watched The World’s End, I was upset to find consistent well-written and exceptionally timed jokes fall victim to an overly long and absurdly boring plot. I understand, however, that most other viewers will appreciate the quaint humor and charming characters enough to disregard the ludicrous story that’s used to hold the film together.

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One of the most impressive facets of the feature is Wright’s wonderful cast of actors and actresses. As we all know, Simon Pegg and co-star Nick Frost have the capability to elevate just about any movie they’re in. But it’s Ray Donovan‘s Eddie Marsan along with Paddy Considine and Martin Freeman who all shine in their own right and allow The World’s End to exceed all of Wright and Pegg’s other previous collaborations. In addition to its main stars, the film has one other area that really stands out and surprises the audience. I was shocked by the amount of highly-choreographed fight scenes that were all executed flawlessly. The action is believable and immensely detailed, something I really wasn’t expecting to see. However, although the jokes are clever, the performances are strong and the action is a pleasant surprise, The World’s End manages to numb the audience with a far-fetched sci-fi twist that clearly makes a mockery of itself by the time the credits roll.

Despite my lack of unfettered love for Edgar Wright’s The World’s End, it’s definitely a film worth seeing if you enjoy his other work. Personally, I demand more in terms of story and effective subplots. Take a chance if you must, but consider yourself warned. Mediocrity reigns supreme.

GRADE: 2.5/5

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Geekscape Movie Reviews: ‘I Declare War’

by MCDave

After watching a movie such as Jason Lapeyre and Robert Wilson’s I Declare War, it’s becomes extremely easy to remember all the reasons why I love independent movies. Having journeyed around the festival circuit for well over a year now, I Declare War is anything but your “average” film. Remarkably original and blissfully imaginative, you won’t believe your eyes. And you shouldn’t.

The rules have been laid out and the game is simple. Twelve child acquaintances embark on an adventurous and tactical game of capture the flag. PK (played by Gage Munroe) is the undefeated leader who finds his army pitted against Quinn, his untrustworthy soldier Skinner and a band of minions. But with individual agendas and vendettas coming to light throughout the battle, which side will win the war?

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I Declare War feels like a very difficult film to get made these days. Yet, I’m thrilled that it did. With no adult actors whatsoever and a child-filled vulgarity-fest, it seems like a difficult sell. But as a polar-opposite of the stereotypical big-budgeted action dreck that haunts me every summer, I Declare War is a fresh idea that proudly stands out from the rest. It’s a movie that’s brilliantly executed and superbly edited. There’s an unbelievable amount of balance to the film. Tense yet witty. Genuine yet surreal. I Declare War delivers an ever-evolving tone that never feels out of place. It’s a difficult and rare feat that filmmakers Jason Lapeyre and Robert Wilson perform with such ease.

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While I thoroughly enjoyed enjoyed the film, I Declare War clearly isn’t perfect. Its second act struggles to move the story forward and causes a sustainable lull. For boasting a running time barely north of 90 minutes, this little indie film really manages to drag on. However, some cleverly-crafted characters and a fantastically unique blend of reality verse imagination make for a constantly engaging movie experience. Outside of a few minor pacing issues and a couple weaker over-acted subplots, I Declare War represents another shining example of innovative independent filmmaking.

As an admitted harsh critic of action films, I Declare War is certainly one of the good ones. The special effects are limited and nothing is over-the-top. An original never-been-done story filled with wacky characters and an inescapable immature charm, I Declare War reminds us all just how thankful we should be for independent film.

GRADE: 4/5

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Geekscape Movie Reviews: ‘Short Term 12’

by MCDave

Sometimes you stumble across the greatest treasures when you least expect it. As it turns out, the South By Southwest Film Festival Winner for Grand Jury Narrative Feature and the Narrative Audience Award, Short Term 12, is every bit as good as advertised. The independent drama journeys through a myriad of emotions on its way to a perfectly-timed finale, representing one of 2013’s finest features.

Grace (played by Brie Larson) is a supervisor at a foster-care facility. Nurturing and gentle, the youth in her care truly appreciate everything she does for them. Along with the aid of her co-worker boyfriend Mason (John Gallagher Jr.), the couple must navigate through the troubles at work as well as the problems in their own lives.

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I’ll cut right to the chase, Destin Cretton’s Short Term 12 is a premier example of how impactful a film can be on its audience. Tender and sweet, you rarely find a movie as innately compassionate as this one. There’s plenty of evil in the world and, rather than trying to shy away from it, Short Term 12 stares it right in the eyes. Following a facility full of impressionable at-risk youth who find themselves teetering on the edge of transcending this evil or being consumed by it, the viewer is placed right in the center of these struggles. But it’s the aptly named “Grace” who shelters her own personal troubles by waking up every day and offering unconditional love to these children who so desperately need it. Brie Larson is the glue that holds the film together. Her Oscar-worthy performance is both mesmerizing and masterful. The gifted young actress is so unbelievable in the role that the audience becomes a part of her character. You’ll smile when she does and your heart will break alongside hers. However, Larson is far from the lone shining star. Her onscreen boyfriend, played by John Gallagher Jr., is almost equally as impressive. And in addition to an entire well-rounded collection of cast members, Short Term 12 succeeds in conjunction with a stellar script and fabulous direction from Destin Cretton.

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While the indie drama tugs at the heartstrings with hopes of moving its viewers, the film drowns itself in a hopelessness only to culminate a little too gleefully for my liking. As Short Term 12 zips along, it feels extraordinarily authentic. Therefore, I found its resolution to be slightly bittersweet. “Sweet” in the sense that I left the theatre as uplifted as I should, and “bitter” in the sense that the finale feels forced and slightly unrealistic. But despite this minuscule blemish, Short Term 12 shines through and ends up as one of 2013’s most noteworthy films.

Many filmmakers break into the “biz” determined to make their audiences feel an array of emotions. Short Term 12 stands out as the premier example of such films. Gripping and moving there’s plenty to love about this little indie drama. It’s the type of movie that deserves to be viewed and enjoyed by the masses. Short Term 12 is a strong feature by all accounts and hopefully it will catapult Brie Larson to the stardom she deserves. Do whatever it takes and check out one of the year’s best films, Short Term 12.

GRADE: 4.5/5

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Geekscape Movie Reviews: ‘Ain’t Them Bodies Saints’

by MCDave

The Sundance Institute’s Writing Lab has become one of the most instrumental stepping stones for amateur screenwriters to bring their stories to the big screen. Earlier this year we witnessed the shining example, Fruitvale Station. Well, another Sundance Institute’s selection comes in the form of David Lowery’s much talked about feature, Ain’t Them Bodies Saints. Nontraditional and undoubtedly unique, Lowery’s work has opened up many eyes within the industry.

Bob (played by Casey Affleck) and Ruth (Rooney Mara) are young lovers from Texas expecting a child and desperate for a better life. But when their aspirations turn them into outlaws, the couple finds itself in the midst of a shootout with local authorities. Bob claims responsibility for their actions and is sentenced to 25 years in jail, while Ruth plays naive and merely walks away with a slap on the wrist. As a few years pass and Ruth raises their young daughter, Bob escapes from prison with hopes of reuniting with his family.

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Budding filmmaker David Lowery’s Ain’t Them Bodies Saints delivers profound aesthetics and very little more. Ambiguous to a fault, the feature claws its way to the finish line by offering a minimal amount of substance. Although the love story is sincere and the characters have a reasonable amount of depth to them, Ain’t Them Bodies Saints would rather focus on its pristine cinematography than crafting a fluid and crowd-pleasing story. Make no mistake about it, Lowery’s breakthrough film is flat out boring and uninformative. While I understand the director’s intention by omitting various details, the plan ultimately backfires and fails to enhance what Lowery feels are the more important aspects of the story. Therefore, Ain’t Them Bodies Saints is a polarizing feature that will be lauded by some and alienated by others.

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No matter how you may feel about the movie, one thing is certain. Director David Lowery deserves to be recognized for his daring attempt at straying from the standard love story. There’s something dark and ominous about their fiery relationship, and Ain’t Them Bodies Saints refuses to shy away from that significant fact. However, the film generates a vibe that never wavers and, as a result, the conclusion lacks bravado. Conversely, another commendable facet of the film is its talented cast. Rooney Mara clearly gives the most impressive turn, yet Casey Affleck and Ben Foster are both exceptional as well. But despite these towering performances, Ain’t Them Bodies Saints drowns in its tragic strive for artistic beauty.

David Lowery molds together a genuinely poetic feature, one that’s intended to move the audience. Ironically, for as branched out as Ain’t Them Bodies Saints feels on an artistic level, the film’s story remains trapped inside of its shell. Breaking from the norm is always challenging. And although I praise director David Lowery for his efforts, his feature never successfully withstands the test.

GRADE: 2/5

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Geekscape Movie Reviews: Blue Jasmine

by MCDave

After the ballooned success from writer/director Woody Allen’s imaginative indie comedy, Midnight in Paris, the legend of Hollywood continues to please audiences in the twilight of his career with Blue Jasmine. Allen’s latest release not only marks the theatrical return of Andrew Dice Clay, it also has the writer/director matching talents with Academy Award Winner Cate Blanchett. With all of its parts perfectly in place, Blue Jasmine is another winning effort filmed in typical Woody Allen fashion.

Cate Blanchett stars as Jasmine, an over-the-top socialite who is forced to move in with her adopted sister Ginger (Sally Hawkins) in the wake of her crumbling marriage to a crooked financial investor (Alec Baldwin). Completely self-obsessed and undeniably shallow, Jasmine can’t seem to escape the trail of destruction that follows her into the next phase of her life.

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Woody Allen’s Blue Jasmine deserves to be both lauded and bashed for a multitude of interconnected reasons. While scratching and clawing your way through the film’s sluggish 98 minute running time, you can’t help but revel in the onscreen brilliance of Oscar Winner Cate Blanchett. It’s extremely challenging to center a movie around such a despicable and unlikable character, however, the skilled actress delivers a seemingly effortless performance. Blanchett’s onscreen work definitely stands out as one of the finest Lead Actress performances that I’ve seen all year. So impressive, in fact, that even with highly anticipated roles such as Princess Diana (Naomi Watts) and Grace Kelly (Nicole Kidman) patiently waiting to make an awards-season strike, I still wouldn’t count her out of Oscar contention just yet. In addition to Blanchett, Allen maximizes the talent from his cast by sculpting secondary characters that demonstrate an enormous amount of depth. Extraordinary turns from Sally Hawkins, Bobby Cannavale and Andrew Dice Clay simply reinforce the fact that Blue Jasmine is a superbly acted feature.

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For as wonderful as its cast is, Blue Jasmine struggles to achieve in many other areas. For example, the film’s cyclic approach and repetitive nature help generate an interesting thought … not much really happens in the movie. We’re given a completely inexplicable title character who constantly drowns in her own self pity. She tells the same stories, lives by the same mantra and expects her life to change somehow. It’s an irritating facet that’s hard to ignore and even more difficult to overcome. In many ways I found solace in Allen’s work by convincing myself that Jasmine is simply the glue that ties together a collection of more engaging sub-stories concerning its secondary characters. Although Jasmine may never learn from her mistakes, perhaps those affected by her nonsense can improve for the better. Thanks to Allen’s universe of notable supporting characters, Blue Jasmine conquers its faults and makes for a worthwhile feature.

I’ve always enjoyed the carefully calculated blend of drama and comedy that’s prevalent in any Woody Allen film. The writer/director has his own style of telling what often feels like a fable, and Blue Jasmine is no exception. Allen’s latest effort has heart and meaning, even if you have to jump over some hurdles to get there. If you’ve found yourself enjoying other Woody Allen films of the past, then it’s worth taking a chance on Blue Jasmine.

GRADE: 3/5

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Geekscape Movie Reviews: Jobs

by MCDave

Steve Jobs was, without question, one of the greatest innovative minds to bridge the millennium. But before he was creating the iPod and other fun little gadgets that we enjoy using on a daily basis, Jobs helped change the world by helping bring personal computers to homes all across the globe. Now, less than two years after the passing of the late-great technological icon, Hollywood brings his story to life in the new biopic, Jobs.

Ashton Kutcher stars as Apple founder, Steve Jobs, who goes from college dropout to billionaire. But as you’d expect, no billion-dollar journey leaves a clean trail. Jobs finds himself tangled in a morally-corrupted web of lies and betrayal. And with obstacles at every turn, the innovative thinker will stop at nothing to change the mindset of the world.

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Although there are many to choose from, the biggest issue with Joshua Michael Stern’s recent work, Jobs, is the directors inability to generate a tone. You can have the greatest actors in the world and the most interesting story imaginable, but without purpose and direction, you’ll never have a great movie. Throughout all of the cliche moments and ironically uninspiring motivational-speeches, Jobs to find itself. And that isn’t to say that a historically mediocre-at-best Ashton Kutcher didn’t pour his heart and soul into this role, because it’s obvious that he did. It’s just that this overly-long and abundantly-bland feature is uncertain on all levels. The film never sets a path of course because Stern appears undecided on whether to vilify his subject matter or honor him. Ultimately, the director attempts to do both and the final result is an insincere and uneven ride.

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Jobs is certainly a missed opportunity, but one that doesn’t necessarily rest on the shoulders of its predominantly B-List cast. Ashton Kutcher and Josh Gad are most notable as Jobs and his Apple co-founder, Steve Wozniak. Their friendship stands as one of the most interesting relationships examined in the film. As portrayed on screen, Steve Jobs was the vision behind Apple, while Wozniak was the hands-on computer-developer who turned those visions into reality. But outside of those commendable lead performances, Jobs makes the mistake of openly criticizes its subject and showing him as an egotistical and pompous jerk. By taking such an appropriate, it makes humanizing Jobs and rejoicing in his return to glory a difficult sell. One that filmmaker Joshua Michael Stern never quite accomplishes.

Jobs carries a bloated running time north of two hours and only a few interesting plot lines. Many of the film’s intriguing angles and stories are left dangling and never elaborated on, making this biopic a frustrating watch. As the old saying goes, “there are plenty of fish in the sea”. I’d swim somewhere else.

GRADE: 2/5

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Geekscape Movie Reviews: Elysium

by MCDave

It’s widely accepted that 2009 was a “down year” for movies. However, one remarkably surprising diamond in the rough came from a then first-time director, Neill Blomkamp. Blomkamp’s debut feature, District 9, fused together riveting sci-fi and action with dramatic elements concerning social warfare. Blomkamp dazzled audiences and delivered one of the year’s biggest highlights. In 2013, the director returns with his followup blockbuster, Elysium. Being of a similar mold as its predecessor, Elysium marks a dissatisfying regression for the young filmmaker.

In 2154 Earth has become so overpopulated that the rich and privileged have abandoned their former planet and moved to a high-class and luxurious man-made space station called Elysium. Free of crime and disease, Elysium is merely a dream for the downtrodden and lowly citizens of Earth such as Max Da Costa (played by Matt Damon). But when a terrible accident leaves Da Costa with only five days to live, he’ll stop at nothing to venture to the forbidden space station and rid his body of the deadly effects.

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Four years in the making, it’s shameful to find that Neill Blomkamp’s Elysium is merely a hollow shell that attempts to recapture the poetic beauty of the director’s first feature, but misses entirely. Everything about Blomkamp’s sophomore effort holds tightly to District 9. The look, the feel and even the great social divide. In fact, committed performances from A-List stars such as Matt Damon and Jodie Foster still fail to keep Elysium afloat. Where District 9 felt realistic and believable, the director’s new release feels overblown and tacky. In addition to its mildly compelling story, Elysium suffers from a complete action overdose. Trading crafty dialogue and genuine drama for gunfire and more gunfire, this summer blockbuster culminates as nothing more than a cheap imitation of Blomkamp’s earlier work.

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If there’s any noteworthy silver lining in Elysium, it comes in the form of Sharlto Copley’s unforgettable villainous role. Copley, who starred as the meek main man Wikus in District 9, gives a transcending 180-degree turn as one of the film’s prominent antagonists, Kruger. The truly talented actor demonstrates his immense versatility and ultimately steals the show. But outside of Copley, Elysium is otherwise filled with mediocrity and countless disappointing aspects. Everything from a thoughtless and far-fetched story (only ONE person has access to the computer coding that controls ALL of the law enforcement robots … seriously?) to an unoriginal mood and tone. Instead of breaking out from the norm like he did with his debut effort, Blomkamp lazily attempts to draw from his own work and the lack of creativity proves vital.

For as groundbreaking as District 9 managed to be, I was completely let down by the director’s latest feature. Infused with an abundance of action and mind-numbing special effects, Elysium offers nothing more than a bland and mediocre movie experience. While those elements can sometimes make for a crowd-pleaser that many will enjoy, I’d rather get lost in a thought-provoking story with a unique vibe. Unfortunately, Elysium delivers none of the above.

GRADE: 2.5/5

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Geekscape Movie Reviews: Only God Forgives

by MCDave

Danish filmmaker Nicolas Winding Refn watched his career skyrocket after the critical success of his 2011 breakout film, Drive. While a small niche of fans have always been familiar with his unique style that’s present in earlier works such as the Pusher trilogy, Valhalla Rising and Bronson, Refn’s brand was placed front and center of the general public after his Best Director crown at the Cannes Film Festival. But love him or hate him, the filmmaker returns with another highly controversial and immensely polarizing piece of cinema in his latest work, Only God Forgives.

Julian (played by Ryan Gosling) and Billy are American-born drug-smuggling siblings living in the criminal underworld of Bangkok. But when Billy is brutally murdered through the oversight of a local police officer, their mother (Kristin Scott Thomas) arrives in town and demands that Julian seek vengeance for the death of his older brother.

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Writer/director Nicolas Winding Refn’s Only God Forgives is a perverse and depraved feature, one that alienates a large portion of any viewing audience. But despite the film’s ultra-violent approach and despicably uncomfortable sexual undertones, the Danish filmmaker’s most recent effort is both stylish and compelling. For all of its brutality and uncontrollable downward spiraling, Only God Forgives is exactly like the accident that unfolds before your eyes, but you can’t look away. There’s something dark and animalistic deep within humanity and Refn not only tries to capture that essence, he actually savors it. I applaud the director’s keen sense of wonder and the reckless ambition that drives him to make such a gritty and daring film. Because without filmmakers pushing the envelope and crossing boundaries, we’re left with nothing but summer blockbusters and mundane stories. If not for any other reason, Nicolas Winding Refn deserves a gratuitous amount of respect.

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Truth be told, Only God Forgives is messy feature with a slew of shortcomings. For anyone who felt that Drive was too sluggish of a film with minimal dialogue and drawn-out sequences, Refn’s newest release takes those aspects to a whole other level. Doing so merely for dramatic effect, the end result is a poorly paced and unfulfilled viewing experience. Rather than dialing up the adrenaline and keeping the movie up-tempo, Refn resorts to long sustained shots that force Only God Forgives to unwind at a crawling pace. And while I’m usually not the type of person to harp on about excessive violence, Winding leaves nothing to the imagination with his show-all approach. Clearly the type of film meant for a select audience, Only God Forgives is certainly an acquired taste.

Highly regarded stars Ryan Gosling and Kristin Scott Thomas find themselves in the forefront of Nicolas Winding Refn’s latest piece of work. Although many will question their decisions to jump on board this revenge-filled tale of murder and sexual deviance, it’s these gifted performers who truly make Refn’s unconventional story come to life. While I emphatically suggest staying away from this film for a multitude of reasons, any avid fan of Refn’s previous stylish work may find a bright spot just like I did. But only if you can stomach it.

GRADE: 3.5/5

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Geekscape Movie Reviews: The Conjuring

by MCDave

James Wan is a horror enthusiast, plain and simple. The director of the original Saw and Insidious has spent all of his rather young career refusing to break from the norm. He’s arguably as dedicated to his craft as any other director out there. The only problem being that his craft comes in the form of horror movies. A genre that’s often disregarded and kicked to the curb as if it were a piece of trash on the street. As a horror director, it proves difficult to garner the appropriate attention that you may actually deserve. Well finally, after years of providing quality scares to audiences all around the world, James Wan’s The Conjuring has become the main attraction.

The Conjuring follows the real life story of famed paranormal investigators Ed and Lorraine Warren (played by Patrick Wilson and Vera Farmiga) as they work diligently to help rid the Perron family of an evil and demonic presence that’s terrorizing their newly purchased farmhouse.

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While it’s easy to write off such a bland and generic premise to a scary movie, it’s a simplistic approach that actually helps Wan’s latest effort resonate so well with moviegoers. Much like the horror classics that I grew up loving such as John Carpenter’s Halloween, Wan has finally begun to realize that sometimes it’s a lot scarier to give a little less. And as a result, The Conjuring succeeds by allowing the audience to frighten itself. In his similarly based earlier work, Insidious, Wan showed a lot of promise with his attention to key horror elements such as sound, suspenseful build-ups and successful timing. However, where he shows a dramatic improvement over his earlier paranormal effort is in his restraint. With Insidious, Wan demonstrated a lackluster need to give an overly detailed and contrived explanation for the evil presence in the film. An unnecessary but often forced fatal flaw for many scary movies. Yet, in The Conjuring, the director shifts his focus from the origins of the demon to the characters themselves, and it pays off handsomely.

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Now, for as much as I thoroughly enjoyed The Conjuring from start to finish, there are a few issues that arise with the film. For example, there aren’t many distinct differences between James Wan’s newest release and the other dozens of paranormal movies that have found their way to the big screen over the last decade. It’s a difficult sub-genre to find a sense of originality. But despite the deja vu feeling that you’ve seen plenty of the same before, The Conjuring elevates its game by crafting meaningful characters and offering a solid collection of fine actors and actresses. The performances aren’t groundbreaking, but they’re all stellar and convincing enough to carry the film. Moreover with The Conjuring‘s diluted sense of originality, Wan tries to mimic the the comedic elements from last year’s horror release The Cabin in the Woods. Characters such as the Warren’s helper Drew and the police officer Brad are both meant to lighten the mood at times. I didn’t find them to be necessary to the film at all and Wan could have done without them. However, The Conjuring ultimately leapfrogs all of the blemishes surrounding its creative shortcomings and wins the audience over with its clever scare tactics and strong performances.

Let me be frank, this is by no means an amazing film. In fact, most horror movies aren’t. But if you enjoy a good scare and you can tolerate some of the awful talkers and laughing-to-hide-their-fear people that are guaranteed to flock to the theatre for this one, then I highly recommend taking a chance with The Conjuring. It’s well paced and delivers some really interesting special effects that are worthy of praise. With high expectations, even I wasn’t disappointed.

GRADE: 4/5

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Geekscape Movie Reviews: Fruitvale Station

by MCDave

Opportunity is something you have to embrace in life, just ask the young up-and-coming writer/director Ryan Coogler. The 27 year old bay area born filmmaker found a story he was passionate about and helped turn Fruitvale Station into the 2013 Sundance Film Festival Grand Jury Prize Winner for a Dramatic. Having grown up around the same time and on the same streets as his movie’s protagonist, the saddening tale surrounding Oscar Grant felt like the right story for Coogler to tell. He used a huge backing by producer and Academy Award Winner Forest Whitaker in order to assemble an unfathomable collection of actors and actresses including The Wire‘s Michael B. Jordan and The Help‘s Best Supporting Actress Winner, Octavia Spencer. And as they say, “the rest is history”.

Fruitvale Station follows a troubled young man named Oscar Grant (played by Jordan) as he spends his New Year’s Eve determined to correct his path. Desperate to provide stability for his 4 year old daughter and his girlfriend Sophina, Oscar makes a heartfelt resolution to walk the straight and narrow. But as the day winds down and Oscar travels to San Francisco with Sophina and other friends to watch the fireworks, his past ultimately catches up with him on this fateful evening at the Fruitvale Station terminal.

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While writer and director Ryan Coogler’s Fruitvale Station is a glowing example of dramatic filmmaking, he leaves himself completely vulnerable by addressing such a widely controversial story. However, disregarding the often-debated facts surrounding the tragic events of New Year’s Eve at the terminal, Coogler opens our eyes to a different, more personal, story. With the aid of an unquestionable standout performance from Michael B. Jordan, Coogler brings his own version of Oscar Grant’s story to life. Showing us a previously incarcerated young man who falls victim to the streets, where it’s always easier to say yes to things like selling drugs than it is to walk away from the game. But not on this day, not for Oscar. Although the loving father knows how difficult of a struggle it can be to change, it has to start somewhere. Michael B. Jordan’s convincing turn helps create a gentle and warm main character, one that is clearly flawed but easy to connect with. Therefore, Fruitvale Station becomes a well-made and effective dramatic effort.

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Despite the film’s knack for dramatic flair, it becomes impossible to ignore the contextual discrepancies and highly controversial facts surrounding the real-life story of Oscar Grant. While Coogler hopes to appear somewhat neutral regarding the facts of the evening and clearly portrays Oscar as an imperfect man, by approaching the film through the clean-slate perspective in which he does, Fruitvale Station can’t help but become an agenda-driven piece. I don’t wish to harp on that notion or even debate the black & white labeling that comes hand in hand with a controversial topic such as this. Instead, let me also point out that Fruitvale Station is a drawn-out and slow burning film. Although the director admittedly uses this tactic in juxtaposition to the fast-paced third act that flies by without a chance to really process the moment, the slow progressing opening and mid-section of the movie make for an overall dragging experience.

The major motion picture debut from Ryan Coogler, Fruitvale Station, is an undoubtedly flawed film that pushes through its faults and wins the audience over with a talented cast, a heartwarming story and superb direction. It’s clearly an imposing piece that’s meant to make you feel a certain way, but at the end of the day, Coogler was able to pull me into the story. If you enjoy a well-made character-driven film, then you should take a chance on this year’s Sundance Film Festival Winner, Fruitvale Station.

GRADE: 3.5/5

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Geekscape Movie Reviews: The Way, Way Back

by MCDave

Things aren’t usually better the second time around. Looking at real world examples like Hollywood remakes, cover songs and leftovers from last night’s dinner, it becomes a pretty difficult notion to refute. Therefore, when I heard about the back story surrounding this summer’s release, The Way, Way Back, I justifiably became a bit skeptical. From the same producers and featuring many of the same stars as the 2006 indie sensation, The Way, Way Back has been unfairly labeled as “the next Little Miss Sunshine“. While in actuality, The Way, Way Back stands tall enough on its own.

Duncan (played by Liam James) is an awkward and lonely teenager “forced” to spend the summer months at his mom’s boyfriend’s shore house. As Duncan’s mom (Toni Collette) appears blind to Trent’s (Steve Carell) harsh belittling of him, the teenager ventures off to be as far away from her boyfriend as possible. Duncan eventually stumbles across a water park and sparks a unique friendship with the manager, Owen (Sam Rockwell). Owen senses the youngster’s loneliness and offers him a summer job at the park. It’s there where Duncan finally learns how to open up and be his true self.

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The Way, Way Back represents yet another fine indie selection from this year’s exceptional Sundance Film Festival class. While it’s inevitable to pit this effort against its festival foe, The Kings of Summer, The Way, Way Back is an overall small step down, but clearly a delightful film all on its own. The heart and soul of the feature resides in the role-model relationship built between Sam Rockwell’s and Liam James’ characters. The vastly underrated Rockwell once again shows why he belongs in the same conversation as Hollywood’s best actors. He delivers his one-liners with remarkably-timed precision and his dramatic moments with profound tenderness. Through the use of his affable see-through “cool guy” exterior, Rockwell commands the screen and demonstrates that he can just about do it all. Furthermore, the always respectable Steve Carell goes against the grain and shows some versatility as a despicable and unforgivable confidence-crusher to the film’s teenage protagonist. Having grown accustom to Carell as an often-lovable character, he is regrettably convincing and most likely setting the stage for his Oscar-bound role in this 2013’s late-year release, Foxcatcher. Although I could continue to go on-and-on in detail about all of the other fine performances in the film, instead I will couple them together by reaffirming that The Way, Way Back is a wonderfully acted and heartfelt coming-of-age film suitable for just about any viewer.

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Despite the picture’s all-around winning vibe, there are a few blemishes to discuss. For starters, many of the film’s characters feel like completely overblown and animated caricatures. While the “good” are VERY good and the “bad” are VERY bad, The Way, Way Back suffers from a black and white approach to its onscreen roles. Therefore, expressing its characters in such a way creates an inauthentic and disingenuous feel. In addition, the feature opens in a very unusual manner. Although the first act fails to adequately hook the audience, it does serve a unique purpose to the film’s bigger picture. But when all is said and done, The Way, Way Back hurdles these faults and offers laugh-out-loud humor and an assortment of endearing characters.

While The Way, Way Back comes close to, but never quite reaches, the heights of 2006’s Little Miss Sunshine and its festival competitor The Kings of Summer, it’s still a praiseworthy coming-of-age tale all on its own. And since the jokes are abundant and the performances are stellar, there’s plenty to enjoy. When The Way, Way Back reaches theatres nationwide in July, you won’t be disappointed by catching another indie gem such as this one.

GRADE: 4/5

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Geekscape Movie Reviews: World War Z

by MCDave

In the new age of sequels, remakes and quick turnarounds, it’s easy to forget how difficult it can be to release a major motion picture. Just ask Brad Pitt’s Plan B Entertainment, who first bought the screen rights to Marc Forster’s World War Z back in 2007. After a half-decade of development, filming and post-production that included multiple re-writes and threats of pulling the plug on the project altogether, Brad Pitt refused to let his “baby” get lost in the abyss. And finally, six years in the making, World War Z‘s long-awaited release has arrived.

Gerry Lane (Brad Pitt) is a former U.N. employee who, along with his wife and children, is rescued from a widespread zombie attack and brought in by officials to help put an end to the epidemic. In a race against time, Gerry must leave behind his loved ones and travel the world in hopes of finding a cure to this never-before-seen disease.

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Along with the release of Zack Snyder’s Man of Steel, World War Z stands out as one of the most anticipated blockbusters of the summer, and it doesn’t disappoint. Brad Pitt’s passion project benefits strongly from his make or break performance. While it’s a far cry from his previous Oscar-caliber work in Moneyball, Pitt’s latest effort clearly surpasses most performances you can expect to see this summer. Along with Pitt’s excellent leading role, World War Z delivers enough non-stop action to cure all of your blockbuster blues. Inarguably riveting and gripping beyond belief, Marc Forster’s zombie-apocalypse film offers a unique vision in what’s become an extremely watered-down genre. Moreover, World War Z moves every bit as fast as its rage-filled fleet of foot monsters, making it an absolute adrenaline rush.

Although World War Z is a worthy and above average summer action blockbuster, the feature leaves much to be desired with its dramatic elements. There lacks heart in Gerry Lane’s family’s subplot. Instead of creating depth to this portion of the story, director Marc Forster remains content in showing off his high-octane zombie sequences. Thus, World War Z delivers very little substance and feels slightly incomplete. In fact, outside of watching cities crumble at the hands of a flesh-eating epidemic, not much happens in the film. And once the movie begins to test the audience’s patience with a merely glossed over plot line, Forster has the good sense to quickly roll the credits. As entertaining as you could hope for, World War Z is a successful summer release despite its unfulfilled screenplay.

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You can expect a handful of certainties with Marc Forster’s World War Z. Edge of your seat suspense and a fresh take on the zombie-phenomenon can be assured, while Forster’s direction and Pitt’s performance are just icing on the cake. However, a repetitive feel and a surreal plane crash scene leave World War Z as a good, but not great, film. Chances are you’ll enjoy this made-for-summer treat (especially if you’re looking forward to it), therefore I suggest taking a shot on producer and star Brad Pitt’s latest piece of work.

GRADE: 4/5

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Geekscape Movie Reviews: This Is the End

by MCDave

Seth Rogen’s first legitimate major motion picture impact came in 2005’s The 40 Year Old Virgin. It’s hard to believe that Rogen’s stranglehold on the comedy market hasn’t even lasted a full decade yet. However, the actor/writer and now director uses his latest platform, This Is the End, to reiterate the fact that he’s not quite done yet.

When the longtime friendship between Canadian-born pals Seth Rogen & Jay Baruchel begins to slowly wither away, Baruchel takes one last trip to California to salvage the relationship. Desperate to include Jay in his new group of friends, Rogen invites his childhood buddy to a party at James Franco’s pad. But rather than spending the evening renewing their friendship and, from Rogen’s standpoint, building new ones, the party full of celebrities must find a way to survive the apocalypse.

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Crude, vulgar and downright hilarious, This Is the End is a refreshingly pleasing comedic affair. While some pundits may argue that the film offers nothing more than cheap jokes and excessively immature humor, I would refute that writers/directors Seth Rogen and childhood friend Evan Goldberg stay loyal to their story. Even by the film’s satisfying conclusion (prior to the strange cameo-filled finale), This Is the End is a movie about “friendship”. Surely the jokes are overtly simple and frequently vile, yet they’re also plentiful and consistent. One huge selling point to the comedy is the fact that its characters are based on the real-life actors, actresses and entertainers we’ve grown to love over the years. In doing so, the cameo’s are absolutely hysterical and the viewer becomes transported into the story. Perhaps the finest one comes from Michael Cera. The scrawny and pale actor is uproariously funny playing the party animal role. Cera’s brief but impactful cameo is just one of many effective elements in the summer blockbuster.

Despite the fact that This Is the End is a worthwhile flick, its weaker elements certainly can’t be ignored. For example, the film’s midsection clearly drags on while the plot appears indecisive about where it wants to go. Therefore, the comedy feels every bit of its 107 minute running time. Moreover, since This Is the End addresses apocalyptic themes, there are a great deal of special effects needed to sell the feature. Some are convincing, but many aren’t. But although the movie includes a slowly progressing storyline and weak visual effects, This Is the End accomplishes its ultimate goal of generating a plethora of laughs.

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The beauty behind This Is the End is the hilarious interaction between its celebrity stars. Danny McBride, Jonah Hill and Craig Robinson all deliver valuable supporting turns that aid in welcoming the moviegoer into the inside joke that is the film. With no shortage of laugh-out-loud moments and a purposeful “message” hidden somewhere in its moderately flimsy story, This Is the End feels like a summer comedy standout. If you find yourself searching for a fun-filled good time, I suggest taking a shot on This Is the End. Just make sure that you go in with tempered expectations.

GRADE: 3.5/5

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Geekscape Movie Reviews: The Purge

by MCDave

If marketed correctly, a horror movie/franchise can be an absolute gold mine. In fact, writer/director James DeMonaco’s latest widespread horror phenomenon, The Purge, had already received the green light for a sequel, even though the first installment hadn’t officially opened yet. It’s absolutely crazy when you think about it, but that’s the world we live in now. All it takes is a clever premise and a hypnotic two and a half minute trailer to fool a nation of paying customers. And please take my word for it, The Purge is just another shining example of how misleading a theatrical trailer can be.

Set in the near future of 2022, the United States is a new nation. After unemployment, crime and poverty become too big of an issue for our country to handle, we adopt a new plan known as “The Purge”. The Purge is one 12 hour period during the calendar year in which all crime (even murder) is legal. There’s no police, there’s no ambulances or hospitals, just good old-fashion human survival. Surprisingly, this newly adopted idea helps restore the United States back into a crime and poverty-free nation. But after a suburban family known as the Sandins decide to harbor the target of a group’s annual Purge, they must find a way to survive the evening.

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Sadly, The Purge represents a completely mishandled and poorly utilized idea. On the surface, it’s nothing short of a genius premise. Easy to grasp, highly original and essentially limitless. The Purge should stand as a horror genre’s dream come true. However, James DeMonaco’s script and direction are entirely off the mark. No one can deny DeMonaco’s brilliant idea for a story or his politically charged subplots that truly add depth to such a well-conceived notion. But instead, he receives a lion’s share of criticism for his complete mishandling of a remarkably original premise. First, The Purge takes far too much time to get into the swing of things. And once the ball finally gets rolling, DeMonaco maneuvers the film in a poor direction. Where it hints at social class warfare and natural selection, The Purge hits all of the wrong notes in the process. The feature takes these deep rooted psychological ideas that branch off of its premise so easily, and turns them into a laughing stock of a finale. Hence, The Purge stands as nothing more than a huge disappointment.

In addition to the film’s botched storyline, another irritating facet of The Purge is the irrationality of its characters. Surely we’ve all seen characters make poor decisions in horror movies. “Don’t go up those steps” or “why are you moving towards the noise” have crossed our minds time and time again. Yet, The Purge places its entire focus on a mother and father desperate to protect their family. Can someone explain to me how this family shows absolutely no interest in finding one another once the power goes out in their home and they’ve been separated? And after the father fights off an ax-wielding woman and her male companion, his son asks about the matriarch (who is wandering the house all alone) and the dad simply responds that he’s sure she’s all right. There are contradictions galore and a substantial amount of nonsensical behaviors exhibited by the characters. At the end of the day, The Purge can be tallied up as yet another Hollywood blunder.

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Admittedly, I counted the days until the release of James DeMonaco’s The Purge. Yet, an enticing trailer and a strong general idea are squandered by poor writing and a lack of attention to detail. While production company insiders are aware that they have a box office smash on their hands, we can only hope that a stronger script will make the sequel a much more desirable final product than this first installment. The scares are too sporadic and the tension is short lived. Virtually, there’s no good enough reason to waste your money on The Purge. Please avoid.

GRADE: 1.5/5

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Geekscape Movie Reviews: The Internship

by MCDave

Having grown up in the 90s, I have a difficult time deciding on my favorite comedy movie ever. Classics such as Ace Ventura: Pet Detective, Dumb & Dumber and Happy Gilmore seem to perfectly embody my younger years. In 2005, a younger generation found their identifiable comedy classic with Wedding Crashers. The over-extended, but overly funny, R-Rated release matched the surging success of a fast-talking Vince Vaughn with the hopeless-romanticism of Owen Wilson. Eight years after they changed the face of comedy, the duo return with a more tempered and more reserved effort, The Internship.

After sales partners Billy (played by Vaughn) and Nick (played by Wilson) surprisingly lose their jobs, they are forced to enter an extremely difficult job market. Feeling completely inadequate and essentially prehistoric by comparison, the pair enroll in an online college and sign up for an internship at Google. With a group competition deciding  who will receive the available jobs, Billy and Nick are teamed up with a bunch of oddballs who seemingly have no shot of winning.

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The Internship proves to be a very difficult film to dissect. In many regards, there’s plenty to both love and hate about director Shawn Levy’s latest effort. For starters, I have always been a huge outspoken voice against two hour (or longer) comedies. Clocking in at a hefty 119 minutes, The Internship takes a usually negative aspect and actually moves along fairly well. What’s so difficult to dissect about that? It sounds like an irrefutable positive, right? Not so fast. Although the comedy moves along quite well and never bogs down the viewer, The Internship takes an overused “team of misfits” approach and delivers the same reusable jokes over and over again. Vastly unoriginal and predictable, The Internship can be easily be summed up the following way. Imagine a genius comedy such as 2003’s Old School with a weaker supporting cast (warning – there are no Will Ferrell circa 2003 type of characters here) and a PG-13 rating. It’s about as teenybopper and mainstream as a comedy blockbuster can get.

Despite a more restrained crop of jokes and a depleting Vince Vaughn and Owen Wilson, The Internship is sure to appeal to a large portion of the general masses by simply playing it safe and sticking to the formula. With such an approach, it becomes difficult to criticize the film for being a semi-appealing piece of fluff comedy. The Internship does nothing to turn audiences away, but instead wallows in the shadow of previous Vaughn and Wilson work from nearly a decade ago. However, I was astonished to see that, in the last five years, Vaughn hasn’t been in a single film I have recommended to my audience. While The Internship is no where near as bad as dreck such as The Dilemma and Couples Retreat, it’s still a far cry from the level of film that helped catapult his career.

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The Internship is a two-trick pony that rests solely on the PG-13 shoulders of its heralded stars, Vince Vaughn and Owen Wilson. To its advantage, the feature moves along without a hiccup and generates many chuckles. Yet, if you’re expecting an elevated and unforgettable laugh-out-loud movie experience, you’re aiming way too high. The Internship is a generic comedy that swims comfortably in the waters of mediocrity. Personally, I’d avoid rushing to a theatre to catch The Internship. Save its timid PG-13 humor for an appropriate cable television setting.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Kings of Summer

by MCDave

Serving as the most notable platform for independent film, the Sundance Film Festival’s contributions toward improving the industry go far beyond the recognition that it receives. In 2012, audiences were graced with one of the finest crop of Sundance selections in recent memory. Titles such as The Sessions (formerly The Surrogate), Safety Not Guaranteed and the Academy Award Best Picture Nominee The Beasts of the Southern Wild (love it or hate it) headlined an unforgettable class of films. However, the 2013 festival lineup appears to be another exceptional collection of independent movies. Perhaps none are finer than Jordan Vogt-Roberts’ The Kings of Summer (originally titled Toy’s House).

Joe Toy (played by Nick Robinson) is a typical teenager who’s growing increasingly irritated by his single father (played by Nick Offerman). Joe’s best friend Patrick Keenan (played by Gabriel Basso) also can’t take his overwhelming parents. The duo, along with an oddball teenage wildcard named Biaggio, decide to run away from home and build their own house hidden deep inside the woods. Free at last, the trio of friends experience the most important summer of their lives.

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Shockingly original and insanely hilarious, The Kings of Summer is a rare R-Rated coming-of-age gem that stands up against classics such as The Sandlot and Stand By Me. As with any accomplished film of its type, The Kings of Summer succeeds on the the shoulders of its trio of young actors. Starring as the recluse Biaggio is Moises Arias, a budding talent who has already mastered the art of the delivery. Arias steals the show as the movie’s main source of laughs and humor. Each bringing their own unique presence to the big screen, Arias and co-stars Robinson and Basso all give stellar performances. On the other end of the spectrum, the older Parks and Recreation star Nick Offerman dishes out a healthy dose of clever one-liners himself. With no shortage of laugh-out-loud scenes, The Kings of Summer makes for nothing less than an entertaining and enjoyable movie experience.

Clearly a comedic standout, The Kings of Summer offers less in terms of story and substance. While the writing does a fine job of generating an enormous amount of laughter, there isn’t much depth below its paper-thin jokes. As a result, nothing ever legitimately feels “at stake” for the characters, leaving The Kings of Summer as a one-dimensional affair. However, to the film’s credit, director Jordan Vogt-Roberts never tries to mold the feature into something it isn’t. He openly embraces the comedy genre and even circles the more dramatic moments with a lighthearted tone. By sticking to the blueprint, The Kings of Summer thrives as a satisfying and delightful comedic effort.

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Backed by a somewhat surprising R rating (for a fair amount of adult language and teenage drinking), make no mistake about it, The Kings of Summer is an adolescent tale perfectly suitable for an adult audience. With very limited resources, many independent films fall through the cracks and become vastly under-seen and under-appreciated pieces of work. Hopefully, The Kings of Summer avoids such an unwarranted demise. Currently standing out as my favorite comedy of 2013, make sure to check out The Kings of Summer later this month.

GRADE: 4/5

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Geekscape Movie Reviews: The Hangover Part III

by MCDave

2009 seems like such a short time ago. Yet, almost four years have passed since Todd Phillips’ The Hangover helped set the bar for modern day comedies. Then, like clockwork, Phillips and the people at Warner Bros. decided to milk this cash cow for all it’s worth. With dollar signs in their eyes, they began a four year plan releasing The Hangover Part II in 2011 and the third installment this weekend. While many may feel that the franchise has run its course, especially after the disappointment of “Part II”, the newest inclusion is definitely a step up over its immediate predecessor.

Freshly off his meds, Alan (Galifianakis) has reclaimed his impulsive ways and becomes too much for his friends and family to handle. After agreeing to check into a facility, the Wolfpack ventures to Arizona to help Alan receive the treatment that he needs. However, the trip is quickly derailed when a drug lord named Marshall (played by John Goodman) takes Doug hostage and threatens to kill him in three days unless they bring him Leslie Chow (played by Ken Jeong), who has robbed the kingpin of millions of dollars.

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Breaking from the tiresome and formulaic structure of the franchise’s first two installments, The Hangover Part III is a fluctuating adventure filled with an abundance of hysterical moments alongside a downtrodden dose of Mr. Chow’s character. Clearly an improvement over Phillips’ previous visit to the Wolfpack universe, the film dishes out a healthy portion of outrageously hilarious scenes. It’s also moderately gratifying to watch the franchise come full circle. Taking a Seinfeld finale approach, The Hangover Part III marks the return for many of the original’s memorable characters (thankfully, there’s no Mike Tyson). Phillips gives a valiant attempt at wrapping everything up with a nice little bow. However, the post credit clip reminds us that when it comes to a brand that’s grossed north of $500 million dollars in box office revenue, the door must be left open for a return. Representing another unfitting and unjustifiable decision from the director.

Although The Hangover Part III has no shortage of laughs, there is plenty to dislike about the Wolfpack’s alleged final adventure. It became apparent during the less-than-acceptable sequel that Mr. Chow is a leech, sucking the blood and life out of the entire franchise. Therefore, his inexcusably grand role in this third chapter ultimately deflates the film. Chow receives far more onscreen attention than every other character except Alan. Moreover, much to its detriment, these two oddballs have managed to attract an increasing level of absurdity throughout the course of the trilogy. The beauty behind the original was the collaborative comedic efforts from its trio of stars. Yet, Cooper and Helms, along with an under-utilized cameo by the always phenomenal John Goodman, take a back seat to the shenanigans of Alan and Chow, merely making them props to the story. Consequently, it does the film a huge disservice, leaving plenty to be desired with The Hangover Part III.

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If you’ve poured enough of your hard earned dollars into the first two inclusions of the franchise, then there’s nothing lost by avoiding The Hangover Part III in theatres. Despite being a step up from the second installment, the newest effort is still a huge drop off from the timeless magic captured in the original. Hardcore fans will inevitably enjoy the full-circle approach taken by director Todd Phillips, yet there’s no valid argument against waiting to catch The Hangover Part III on DVD.

Grade: 2.5/5

Check out other work from MCDave at Movie Reviews By Dave

Geekscape Movie Reviews: Now You See Me

by MCDave

Despite being in the full swing of the summer blockbuster season, one less-than-typical big budget film to hit theatres this month is Louis Leterrier’s Now You See Me. Leterrier, who’s best known for his direction of Clash of the Titans and Transporter 1 & 2, gives a high octane dose of magic. This mystery-thriller surprisingly delivers enough action and energy to help warrant its “blockbuster” classification. Therefore, when you head to the theatre this summer seeking out the gaudiest box-office hits possible, writing off Now You See Me as a minuscule magic-centered movie simply means, the joke’s on you.

A quartet of extremely talented street-performing illusionists and mentalists (played by Jesse Eisenberg, Woody Harrelson, Isla Fisher and Dave Franco) are summoned together to accomplish some of the grandest feats in history. But after robbing millions of dollars from a Parisian bank as their Las Vegas stage finale (without ever leaving the room), the FBI must unravel how and why these magicians are up to no good. Yet, the closer agent Dylan Hobbs (Mark Ruffalo) and famed magic-debunker Thaddeus Bradley (Morgan Freeman) get to figuring it all out, the less they actually know.

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Now You See Me is an above average thrill ride possessing a completely star-studded cast and a unique story. First and foremost, Jesse Eisenberg and Mark Ruffalo lead a superb collection of new and old Hollywood greats. Legends such as Morgan Freeman, Michael Caine and the always amazing Woody Harrelson cross talents with a newer generation of stars. The result is a set of wonderfully branded characters that undoubtedly raise Now You See Me to the next level. While Eisenberg and Ruffalo lead the way, Harrelson offers his usual scene-stealing supporting efforts that never leave a dull moment for the audience. In fact, Eisenberg admittedly stated that once Harrelson was on board, the script was slightly reworked to better fit his comedic talents. And believe me, the results show. Another significant glowing aspect to the film is its carefully crafted story. Thanks to a commendable amount of originality to the script, Now You See Me constantly feels fresh and new. With all of the remakes, sequels and rehashed ideas floating around the industry, it’s refreshing to find an energetic and singular story.

Although Louis Leterrier’s Now You See Me successfully grabs the audience, the feature still manages to illustrate some significant flaws. For starters, as a film about illusionists and magicians, there was an immense focus on delivering an abundance of stunning visuals. While I can understand their desire to do so, I found some of the effects to be completely unnecessary and distracting to the movie’s finer elements. Furthermore, Now You See Me caters to a summertime audience by doing all of the work for you. As an active-viewer who enjoys thinking for himself (to a reasonably attainable and not overly-ambiguous degree), the film refuses to allow the moviegoer to dissect the mystery on their own. Containing an almost insurmountable amount of unrealistic sequences followed by an undetectable conclusion, Now You See Me requires that the audience simply watch and be entertained. At least the thrills and uniqueness make the ride enjoyable.

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There will be plenty of hits and even more misses during this summer’s blockbuster season. Now You See Me is one of those films that lands somewhere in between. For sheer entertainment value, it’s well worth the price of admission. The jokes are a nice little touch, the action is beyond what you’d expect and the story isn’t very robust, but compelling nonetheless. While I wouldn’t recommend flocking to theatres to catch Now You See Me (a DVD rental will do just fine), you won’t be disappointed if you do.

Grade: 3/5

Check out other work from MCDave at Movie Reviews By Dave

Geekscape Movie Reviews: The East

by MCDave

In the eyes of many, Brit Marling has truly become the Queen of Sundance. In 2011 she erupted onto the independent scene as a writer and star of two very well-received films, Another Earth and Sound of My Voice. She followed up her sparkling debut at the festival by returning in 2012 with another solid supporting turn in the suspense-drama Arbitrage. Completing the “hat-trick” in 2013, Marling officially became the “bell of the ball” with this year’s provocative thriller, The East. As the writer and star, once again, Marling and her Sound of My Voice director, Zal Batmanglij, continue to raise the bar. Leaving only one question left. How high can it go? Perhaps we’ll find out at next year’s Sundance Film Festival.

Sarah (Marling) works as an operative for a privately owned intelligence firm. Some of their biggest clients are many of the world’s largest companies. When an underground eco-terrorist group called “The East” publicly threatens to attack three major corporations in the upcoming months, Sarah is sent to infiltrate the elusive anarchist collective. While working undercover, she begins to form a strong connection with the group and its charismatic leader Benji (played by Alex Skarsgard), forcing Sarah to re-think almost every aspect of her life.

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Without a doubt, The East is the finest work yet from writer/actress Brit Marling and her long-time friend, director Zal Batmanglij. Having previously worked together on Sound of My Voice, which follows a similarly-themed group of investigators into a growing cult, Marling and Batmanglij perfect the “outsider” storyline. For as wonderful as Marling is on screen, alongside other massively convincing performances from co-stars Ellen Page and Alexander Skarsgard, her writing ability truly shines the brightest. To her discredit, however, all three of her motion picture screenplays to date have centered on characters weaseling their way into a situation where their true identity is unknown. That being said, I’d love to see her expand her creativity by tackling different themes. Don’t get me wrong, The East has a magnificent screenplay, but I believe Marling is capable of delivering a breakthrough story that goes off in a separate direction from her past work. Furthermore, The East offers multi-dimensional characters throughout a slow-burning and suspenseful thrill ride. What the film lacks in action, it makes up with fine-tuned creativity and an interesting collection of subplots circling faith and religion. There’s no shortage of memorable scenes, making The East an intriguing option against this year’s crop of summer blockbusters.

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For all of its glowing attributes, there are a few small deterrents to the film. The East flows a little slower than the falsely advertised action-packed trailer that it proudly displays. Instead of the big-budget special effects and gaudy action sequences we’ve come to expect during the summer months, the feature prides itself on a gradual intensity that never feels overbearing, but never lets up. Moreover, as the eco-terrorist group proclaims, it will attack three major corporations in the upcoming months. Therefore, the audience is forced to submit to the cyclic approach taken by screenwriters Marling and Batmanglij. It’s by no means a burden, but rather a similarity that slightly waters down the appeal as the running time continues to mount.

For what it’s worth, The East is another commendable piece of work from the young up-and-comers Brit Marling and Zal Batmanglij. It’s always refreshing seeing the undeniable talents of youthful artists, with hopes that they haven’t even scratched the surface of their abilities. I would expect many more joint efforts from the duo in the future. However, I strongly suggest getting ahead of the curve and keeping an eye out later this month for the release of The East. It’s one of the good ones.

Grade: 4/5

Check out other work from MCDave on his regular host site Movie Reviews By Dave

Geekscape Movie Reviews: Graceland

by MCDave

Reaching a few select theatres this weekend is director Ron Morales’ foreign film, Graceland. Arnold Reyes stars as Marlon Villar, a loyal long-time driver to a corrupt Filipino Congressman named Manuel Changho (played by Menggie Cobarrubias). After picking up his daughter Elvie and Congressman Changho’s daughter Sophia from school one afternoon, Marlon finds himself in the most inconceivable situation after a plan to kidnap the politician’s child goes terribly awry. Desperate beyond belief, Marlon must do everything in his power to save Elvie from the men holding her hostage.

Graceland is a Filipino thriller that unfolds comfortably on the shoulders of writer and director Ron Morales. With the simplest of premises, the film crashes through the “mundane” barrier by paying close attention to detail and allowing the story to unravel fluently. This taut and suspenseful crime-drama develops with such intensity and unrelenting flavor that the credits roll before you even have a chance to let it all soak in. Graceland is a dark and devious ride that never feels easy, but never feels wrong.

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Rarely does a movie begin and end without a scratch or blemish. Graceland generates some fair criticisms that ultimately address the subject matter more so than the film itself. Tackling some serious issues regarding underage prostitution, Graceland takes a moral stand but hardly delves deep into the heart of the problem. Rather than exposing the audience to the harsh reality of it all, Morales tip-toes around getting his film too caught up in the  issue. Perhaps in doing so, Graceland ends up trading some credibility for a stronger, more direct, final project.

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A convincing turn by Arnold Reyes, an evolving script from Ron Morales and a dark subject matter all manage to lift Graceland far past sustainable heights. A shocking and entertaining journey, Graceland is another glowing example of the exceptional world-wide films that often sneak past the typical American moviegoer. This 84 minute revenge thriller delivers the goods and never looks back. If the opportunity presents itself, Graceland is one movie experience you won’t regret.

GRACELAND is currently available on VOD and will also be in theaters this weekend. Visit the film’s website to see if it’s playing near you.

Grade: 4/5

Other work from MCDave can be found at his original site Movie Reviews By Dave

Geekscape Movie Reviews: ‘Mud’

by MCDave

Matthew McConaughey has captured plenty of headlines lately as news of him joining Christopher Nolan’s sci-fi blockbuster, Interstellar, made its way across entertainment outlets everywhere. McConaughey, who received plenty of recognition for his supporting turn in 2012’s Magic Mike, has shifted his talents from rom-com star to legitimate dramatic actor. But perhaps he’s never been better than he is in Jeff Nichols latest release, Mud.

Mud tells the coming-of-age story of a 14 year old boy named Ellis (played by Tye Sheridan) who ventures out with his friend Neckbone (Jacob Lofland) to restore a trapped boat. While scouting out the boat, they discover that it’s being inhabited by a fugitive on the run named Mud (McConaughey). The boys decide to make a pact with the outlaw, agreeing to help Mud fix up the vessel and escape the bounty hunters and law enforcement officers who have been tracking him down.

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American filmmaker Jeff Nichols follows up his 2011 critically acclaimed indie film, Take Shelter, with another well-written, character driven movie. Although Mud offers a completely different vibe than Nichols’ debut work, both pictures succeed on extraordinary performances from a talented crop of actors and actresses. Although McConaughey delivers one of his finest roles to date, it’s youngster Tye Sheridan who shines the brightest. With a deep-rooted subplot of love, Mud follows a young and impressionable boy who begins to discover the inner workings of life’s most powerful emotion all on his own. While the boy experiences a rocky marriage between his parents on a daily basis, Ellis becomes enamored with Mud’s stories of true, unbreakable love. As a main character himself, Sheridan’s performance becomes a huge “make or break” aspect to the film. However, Sheridan astonishes without a hiccup and completely impresses the audience by demonstrating a level of work that far surpasses most youthful performances.

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Despite all of its obvious accomplishments, Mud does manage to suffer from a slightly bloated running time. Nichols, who also writes his own screenplays, uses a smooth blend of one-liners and appealing quips to help ease the audience through the first hour and a half of the film. However, the 40-minute finale ends up feeling too drawn out and tiresome for its own good. But all in all, Mud‘s tiny flaw is overlooked thanks in large part to top-flight direction, well-crafted character development and a uniquely talented cast.

After premiering at the Cannes Film Festival in France last year, Mud will finally be making its way to American theatres. By evolving his work and tackling a more endearing subject matter, Nichols serves up an affable feature that will surely appeal to a much larger fan-base. Take Shelter was a brilliant piece of work, but his sophomore release is the type of movie that can be enjoyed by a grander audience. Mud is one of the finest efforts so far this year and I highly recommend checking out this great up-and-coming American filmmaker’s latest feature.

Grade: 4/5

Check out plenty of other work from writer MCDave at Movie Reviews By Dave

Geekscape Movie Reviews: The Place Beyond The Pines

by MCDave

Derek Cianfrance is an artist. The writer/director imposes a rare ambition that enables his lifelong passions to make it to the big screen. Cianfrance’s sophomore effort (but first real major motion picture release), Blue Valentine, was a project 12 years in the making. However, the director used the film as a platform to make his mark as a visionary filmmaker set on exploring the deepest, and sometimes darkest, depths of humanity. And as we saw with Blue Valentine, Cianfrance is no sucker for a happy ending. Instead, when making an impressive feature such as his latest release, The Place Beyond the Pines, the director demonstrates immense loyalty to the most important people around him, his characters. For example, when Cianfrance was looking for a financier and pitching his film, he was told to trim down his lofty 158 page script to 120. How did he respond? Cianfrance widened the margins and shrunk the text, never deleting a single word. Loyalty.

The Place Beyond the Pines is a three-chapter story following a multitude of characters. First, there’s the danger-seeking stunt motorcyclist named Luke Glanton (played by Ryan Gosling). Traveling from city to city as an entertainer, Glanton returns to Schenectady, NY for the first time in over a year only to discover that a one-night stand has turned him into an absentee father. Desperate to offer support and remain in his child’s life, Luke uses his unique set of skills to execute a few bank robberies in an attempt to provide for his son. Next up is the ambitious and youthful newbie police officer, Avery Cross (played by Bradley Cooper), whose world changes after he thwarts one of Glanton’s robberies. However, these men’s decisions have long-lasting effects on their children and loved ones, proving that life is never as black and white as it seems.

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Embodied by the impressive prolonged and uncut scene which begins the movie, The Place Beyond the Pines is a lengthy, but engrossing, effort from mastermind Derek Cianfrance. The writer/director delivers a grand story filled with harrowing subplots and sincere themes. And although the film fails to unravel with the smoothest of rides, The Place Beyond the Pines becomes a shining example of an entire feature being greater than the sum of its parts. Broken down and dissected on a microscopic level, Cianfrance’s latest work is faulty and imperfect. On the other hand, The Place Beyond the Pines measures up as a carefully-calculated piece of filmmaking that survives on sheer sincerity and realism. Like each and every one of us, Cianfrance’s characters are flawed human beings who face difficult choices in life. But no matter their intent, the consequences live on and effect everyone around them. The Place Beyond the Pines explores generational burdens with a brutal honesty and integrity that Cianfrance has clearly mastered in his brief career.

Despite the film’s grand intent, The Place Beyond the Pines is far from unblemished. Operating as a slow-churning three chapter story, each progressing chapter manages to be weaker than the last. Therefore, the feature begins with a solid hook revolving around Gosling’s affable character, but then it undoubtedly loses its flare as the running time begins to stockpile. Yet, to its benefit, Cianfrance generates a suspenseful conclusion that can end in only one of two ways. Perhaps the beauty of The Place Beyond the Pines is the fact that either ending would make for a fitting resolve to the story (although they’d be completely different in mood and purpose).

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Derek Cianfrance has made his mark as a risk taker, all of which have paid off extremely well. Unfortunately, over the years, Hollywood has begun to rid itself of such filmmakers. Living in fear of financial repercussions and a lack of an artistic-appreciative audience that flocks to movie theatres nowadays, directors like Cianfrance are finding it difficult to make purposeful films. The Place Beyond the Pines is a challenging movie that’s wonderfully shot and wonderfully acted. Despite all of its shortcomings, it deserves to be lauded for its underlying themes of cause and effect as well as forgiveness. Far from the watered-down and superficial fluff that finds its way across screens all over America, The Place Beyond the Pines is a welcoming return to the art-form of storytelling.

GRADE: 4/5

For more work from MCDave visit his site at Movie Reviews By Dave

Geekscape Movie Reviews: Spring Breakers

by MCDave

If you’ve seen the trailer for Harmony Korine’s Spring Breakers, chances are you’re somewhat intrigued. You’re probably wondering if the outlandish looking crime-drama is a laughable farce or an original piece of filmmaking from a director best known as the writer of the controversial 1995 film Kids. Truth be told, Spring Breakers is a lot of both.

Childhood friends Faith, Brit, Candy and Cotty (played by Selena Gomez, Ashley Benson, Vanessa Hudgens and Rachel Korine) want nothing more than to escape their small town life and travel to Florida for Spring Break. Having saved nowhere near enough money for the trip, the three girls (minus a somewhat ethical Faith) rob a local restaurant and secure enough funds to embark on their journey of personal discovery. However, while enjoying their time in the sun a little too much, they end up arrested and charged with some hefty fines. Consequently, a local drug-dealer/rapper named Alien (James Franco) bails the ladies out of jail and introduces them to a world of crime.

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Attempting to stand out as an original art-form, Harmony Korine’s Spring Breakers offers a unique approach backed by very little substance. With overly repetitive dialogue (I swear you hear the sound clip of James Franco saying “Spring Break” about a hundred times) and a minimally progressing plot, the film serves as nothing more than a platform for director Harmony Korine’s artistic expression. However, the director takes full advantage of the opportunity and conjures up a rare stylistic gem. With enough quick-cuts in the editing room to trigger a seizure, Korine continually interweaves images of the present moment with short glimpses of the future. It becomes a highly anticipated and clever way of approaching an otherwise hollow story. Given such a bland foundation to build from, Spring Breakers blends together a high-octane score (courtesy of Drive‘s Cliff Martinez and Skrillex) and profound direction that can definitely be classified as avant-garde.

Another glowing aspect of Spring Breakers is a convincing enough cast that helps transform a ridiculous concept into an engaging movie. Most notable is an often up-and-down James Franco who never disappoints in his role. I was blown away by the actor’s Oscar Nominated performance in 2010’s 127 Hours, but still await a return to such heights. Although Franco’s onscreen efforts are by no means as transcending as his 2010 work, they represent a glimmer of hope that the potential to achieve similar results is still there. In addition to Franco, it deserves mention that all four of the girls leave their own impression on the story. Through the cast’s ability to generate memorable personas, it’s evident that director Harmony Korine has a deep understanding and purpose for each of his film’s characters. Yet, as a writer, Korine fails to deliver a reasonable enough script and dialogue to elevate Spring Breakers to something better than a lavish tale of social deviance.

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When you look back on Spring Breakers you’ll appreciate the feature for its innovative direction, rare style and memorable imagery. However, the memories will far surpasses the level of enjoyment you’ll experience while watching the film. This unorthodox consequence is the result of a flimsy foundation built on a one-dimensional story concerning multi-dimensional characters. Spring Breakers proves to be immensely bittersweet. You appreciate Harmony Korine’s keen vision, yet his work never feels as groundbreaking as it should. It’s worth waiting for Spring Breakers on DVD unless you’re absolutely dying for a disoriented rave-like party with some Dolby Digital sound mixing.

Grade: 3/5

For other work from MCDave you can visit his personal site Movie Reviews By Dave

Geekscape Movie Reviews: Oz The Great And Powerful

by MCDave

It’s safe to say that famed director Sam Raimi likes to “dabble”. He burst onto the scene in 1981 with his cult-classic horror film The Evil Dead. Continuing down a similar circuit for over the next 15 years, Raimi tweaked his strictly horror approach with 1998’s well-received crime thriller A Simple Plan starring Bill Paxton and Billy Bob Thornton. From there, the director tried his hand at a sports film (For Love of the Game) and a superhero franchise (Spider-Man). But now, in 2013, Raimi has ventured somewhere very few people have ever gone … somewhere over the rainbow.

 

Oz the Great and Powerful follows Oscar Diggs (played by James Franco), a small-time circus magician with extremely questionable morals. But when his one true love is proposed to by another man, Oscar is whisked away from Kansas to the Land of Oz where he meets three witches (played by Michelle Williams, Mila Kunis and Rachel Weisz), a monkey named Finley, a “China Doll” and a whole bunch of munchkins who help turn him into a great wizard and an even greater man.

 

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With all due respect to the Late-Great King of Pop, Michael Jackson, director Sam Raimi’s journey to the Land of Oz serves as the most memorable addition since 1939’s The Wizard of Oz. Raimi’s repeated and systematic approach offers moviegoers a friendly reminder of childhood nostalgia without ever breaking much new ground. An over-pouring of visual effects and vibrant imagery make for embellished technological achievements and diluted substance. Hence, Oz the Great and Powerful plays out like a living conundrum. For each of the film’s various glowing aspects, there lurks revisited ideas and flashy visuals. Much like the original journey to Oz that we’re all so familiar with, Raimi pays attention (and homage) to its distant predecessor by molding the entire experience around a wholesome and well-intended “moral to the story”. In doing so, Raimi’s Oz the Great and Powerful makes for a rather fun and affectionate film.

 

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Although Oz the Great and Powerful can be chalked up as an acceptable prequel, many of the feature’s shortcomings keep the movie straddling the line of mediocrity. While many will and should expect a visual extravaganza, the special effects aren’t all fantastic. The audience’s introduction to “the wicked witch” is a rather big letdown. Visually unappealing and completely unrealistic-looking, the big “reveal” becomes one of the picture’s most notable disappointments. In addition to some faulty visual aspects, Oz the Great and Powerful suffers from an almost unforgivable amount of poorly-acted scenes. Even relatively well regarded cast members such as James Franco and Rachel Weisz deserve an occasional “shame on you”. However, neither of the two disappoint as a much as an immensely miscast Mila Kunis. Despite many blatant flaws, Oz the Great and Powerful utilizes a simple brand of innocent humor and a kind-hearted nature to almost force the audience into a thumbs-up submission.

 

Sam Raimi’s broad perspective on filmmaking helps make for an enjoyable return to the Land of Oz. Even though Oz the Great and Powerful will never come close to standing up to the towering effect of the original, Raimi wins over the moviegoer by serving up a reminiscent and similar enough story. While I would normally suggest waiting for DVD for a film of this standing, most of its visual mastery warrants a trip to the big screen. If you’re up for the prolonged 130 minute journey, then take a chance with Oz the Great and Powerful.

 

GRADE: 3/5

 

To view more work from MCDave visit Movie Reviews By Dave

Geekscape Movie Reviews: 21 And Over

by MCDave

First-time directors Jon Lucas and Scott Moore are anything but amateurs. Best known as being the writers of the smash hit comedy The Hangover, the duo have written a fair share of other well known comedies such as The Change-Up and Ghosts of Girlfriends Past. But this time out, Lucas and Moore have settled comfortably into their director chairs for this weekend’s release 21 and Over. Unfortunately for the screenwriters and directors, 21 and Over is far from genius of The Hangover.

 

Jeff Chang (played by Justin Chon) seemingly has it all. Attending an Ivy League school and fast on the path to becoming a doctor, Chang’s best friends from high school, Miller and Casey (played by Project X‘s Miles Teller and Pitch Perfect‘s Skylar Austin), pay him a surprise visit on his 21st birthday. Refusing to go out because of an important medical school exam the next morning, Miller won’t take “no” for an answer. What’s suppose to begin as an innocent night out turns into a wild tale of obscene debauchery.

 

 

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Attempting to recapture the glory from their part in the 2009 hit The Hangover, Jon Lucas and Scott Moore stir up a frothy beverage of a similar taste. In retrospect, there’s far too many similarities between the pair’s newest effort 21 and Over and their previous blackout blockbuster. Although the wolfpack’s outrageous journeys have them retracing their steps from a forgotten evening, Chang’s drunken and indistinguishable sounds leave his best friends on a quest to remember where he lives. Following the smallest of clues possible, the trio embark on an uncontrollable night of humiliation and embarrassment. While 21 and Over has no shortage of laughs, the jokes are unoriginal and extremely short-lived. In addition to a lack of well written humor, the movie relies on the most over-the-top situations imaginable to elicit laughter from the audience. Shock-humor has become the latest craze and its flavor has quickly soured. Therefore, 21 and Over becomes just another example of ineffective modern day comedies.

 

 

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Although no one will confuse 21 and Over for anything other than the comedy that it is, Lucas and Moore force-feed a handful of dramatic subplots into their feature. Every instance of banter about “people changing” and “lost friendship” illustrate just how indecisive the entire final product feels. Lost somewhere within the story themselves, writers/directors Jon Lucas and Scott Moore fail to properly blend their dramatic themes with the film’s immature and outlandish comedic aspects. Once again reiterating that 21 and Over is an unfortunate swing and miss.

 

If you can find joy in the simple and thoughtless shock-value that has imprisoned the genre of comedy over the past five years, then 21 and Over will be a suitable movie experience for you. However, I pine for the carefully crafted and well written jokes from earlier 21st century classics such as Wedding Crashers and The 40 Year Old Virgin. If you happen to feel the same way that I do, then you should definitely take a pass on Friday’s release 21 and Over.

 

Grade: 2/5

 

Be sure to check out other reviews, trailers and movie nonsense at Movie Reviews By Dave

Geekscape Movie Reviews: Warm Bodies

by MCDave

Attempting to circumvent fans of the 2008 Sundance Film Festival Audience Award winner, The Wackness, director Jonathan Levine’s first real burst onto the scene came in the form of his 2011 hit 50/50. The indie drama resonated with audiences all across the country and impressed me enough to land in the #1 spot on my Top Ten Films of 2011. Levine returns nearly a year and a half later with the zombie comedy Warm Bodies. Boasting a main cast far less impressive than his previous hit, Levine and his employer Summit Pictures hope to gain a stranglehold on the teenybopper Valentine’s Day market.

 

Warm Bodies follows R (played by Nicholas Hoult), a free thinking zombie who ends up falling in love with the girlfriend of one of his victims. However, the more time that R spends with Julie (played by Teresa Palmer), the more he begins to feel human again. This shocking revelation sets these unlikeliest of lovers on a journey to save the world.

 

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At it’s heart, director Jonathan Levine’s Warm Bodies puts a clever spin on the prototypical love story. Although much like its contemporary counterpart the Twilight franchise, plots holes galore and unpredictable behavior consequently deteriorates an otherwise fun-filled affair. For example, Julie’s character constantly begs R to let her return to her new zombie-free barricaded hometown. Yet, when given the opportunity to do exactly as she wishes, instead Julie ultimately drives a car back to her old neighborhood for no apparent reason. Warm Bodies clearly loses its focus and attention to detail, creating a frustrating piece of filmmaking that aspires to get by on charm and heart alone. However, Teresa Palmer feels too much like a spitting image of the often unimpressive Kristen Stewart, and the result is an emotion-less “other half” to this charismatic love story.

 

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For as unpredictable and nonsensical as its characters are, Warm Bodies follows a rather generic and predetermined path to resolution. Unfolding exactly as you would imagine, there’s nothing outside of a few creative components to the effects of eating brains to help keep the viewer’s interest level elevated. All in all, it’s a simple story filled with generic performances. Other than being an assured Valentine’s Day box office success, Warm Bodies is clearly an average movie that never really wavers above or below the level of mediocrity.

 

As a HUGE fan of Levine’s previous work 50/50, my hopes were pretty high for his latest effort, Warm Bodies. Instead, Levine delivers a to-be-expected final product that’s superficial and often fun, but completely lacking in long term appeal. If you’re looking for a solid date movie during the Valentine’s Day holiday, then Warm Bodies is a decent choice. Otherwise, there’s no loss in waiting for DVD and catching this film sometime down the line.

 

Grade: 2.5/5

 

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