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: Stronger

by MCDave

Less than a year ago Peter Berg, a director increasingly known for tackling events from recent history, delivered a tense and thrilling recreation of 2013’s Boston Marathon bombing and the subsequent days-long manhunt for the suspects at large with Patriots Day. The film was effective but lacked a subtle and more personal feel to the Boston-Strong tragedy that rocked the world. Yet, nearly nine months later we’re given just that perspective from a mildly unexpected source. David Gordon Green, an indie filmmaker who finally broke through with his 2008’s stoner-comedy Pineapple Express, finally returns to his dramatic roots. Stronger tells the emotional true story of Jeff Bauman, a bombing victim who struggles to come to grips with the debilitating results of this tragic event.

Jeff Bauman (Jake Gyllenhaal) is an unreliable and immature jokester living in the Boston suburb of Chelmsford. And when he runs into his long-time on-and-off girlfriend Erin (Tatiana Maslany) at a local bar trying to raise money for the marathon, he promises to be there at the finish line to cheer her on as she finishes the race. But Jeff’s decision to finally come through on his promise leads to the greatest struggle of his life when he losses both of his legs in the bombing and reluctantly becomes a hero to the entire city of Boston.

David Gordon Green’s Stronger grips its audience with a compelling character-driven story that’s eloquently brought to the screen by Jake Gyllenhaal. The actor’s storied career adds another shining inclusion to his already long list of achievements as Gyllenhaal delivers the year’s most notable performance to date. But for as masterful as Gyllenhaal is on screen, co-star Tatiana Maslany complements his work with an earnest and skillful turn of her own. Stronger tells a nuanced story that’s thin on memorable scenes but effective because of its refusal to cater the the heart-tugging backdrop of its over-arcing tale. The film’s undeniable dramatic moments are supported by laugh-out-loud humor courtesy of Jeff Bauman’s family members, which add a layer of depth to the entire experience. Stronger isn’t anything exceptional, and it may not even end up in the Best Picture field, but David Gordon Green shows why he’s a capable storyteller and exemplary filmmaker.

GRADE: 4/5

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Geekscape Movie Reviews: Mother!

by MCDave

Darren Aronofsky is no stranger to crafting polarizing pieces of film. As the visionary behind works like Requiem for a Dream, The Fountain and even Noah, Aronofsky has a profound way of both dazzling and alienating select audiences. But perhaps none of his oeuvre has divided critics and moviegoers quite like his latest ambitious feat, Mother!, a dark and spiraling journey into madness and creation.

Jennifer Lawrence stars as the wife of a world renowned writer (Javier Bardem). But as she works tirelessly to restore his childhood home to the exact proportions from before it tragically burned to the ground, her husband can’t seem to find the inspiration he needs to create his next great masterpiece. However, when a strange cast of unexpected visitors (Ed Harris and Michelle Pfeiffer) arrive at their home, the ensuing chaos leads to a chain of events that send the writer’s career to even greater heights, which begin to threaten the sanctity of their marriage.

Equal parts bold and absurd, Aronsky’s Mother! rings familiar to the recent adapted work of another ambitious filmmaker, Ben Wheatley. Wheatley’s High-Rise serves as a metaphor for societal breakdown and anarchy in a lawless skyscraper where the higher the floor, the more power and wealth. Similarly, Mother! has much to say about the deterioration of society and structure. But where Wheatley’s effort unapologetically prides itself on the foolish lunacy of its story, Mother! half-heartedly masks the same goal with mystery and intrigue. And when Aronofsky finally reveals his hand, the bravado has already begun to wear thin. Mother! stands as a periodically gripping tale with committed performances from a rangy and impressive cast. Yet, much like the chintzy exclamation point thrown at the end of the film’s title, Mother! is as subtle as a sledge-hammer, mercilessly dragging the viewer to a far-off finish line that provides very little in terms of a reward when all is said and done.

GRADE: 3/5

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Geekscape Movie Reviews: A Ghost Story

by MCDave

David Lowery’s filmmaking career has been all over the map. He first stepped onto the scene with his uber-artsy Bonnie & Clyde-esque Sundance selected drama, Ain’t Them Bodies Saints, in 2013, only to follow it up with last year’s successful re-imagining of Pete’s Dragon. Lowery’s upward trajectory following his well-received summer-film reboot would normally send a director in search of his or her next big venture, but Lowery went in a completely different direction. He returns to his artistic prowess in the ambitious festival darling, A Ghost Story.

Casey Affleck and Rooney Mara stars as a loving couple who experience an unforeseen tragedy following a car accident  that results in Affleck’s character’s death. As the saddened widow confirms his passing at the morgue, Affleck’s spirit emerges from the bed as a sheet-covered ghost who transports back to his home where he watches his wife grieve the loss. But as she moves on with her life and leaves a secret note in the crack of a doorway as she sells and leaves the home, the ghost stays in the dwelling desperate to uncover the note’s contents.

A Ghost Story is a beautifully poetic expression of love, loss and countless other emotions. Lowery’s bold endeavor both captivates and mesmerizes throughout a loosely coherent storyline that becomes more and more muddled as it progresses. Nonetheless, uniqueness and originality effectively guide the audience through an existentially-crafted plot and mildly ambiguous resolve. Mara’s soulful turn and Affleck’s surprising depth, even cloaked behind a sheet for the majority of the film, are transcending enough to keep the effort afloat.

“Polarizing” would be an apt descriptor for Lowery’s latest critically-adored work. The filmmaker begins by utilizing excessively long takes that the audience is forced to muscle through. Thankfully, nearly all of these shots include a purposeful conclusion that help alleviate the frustration. Furthermore, A Ghost Story possesses a misleading title. The film is strictly a drama and fantasy, so don’t expect any horror whatsoever. In fact, the scariest moment in the film is a nearly five-minute shot of Mara sorrowfully spoon-feeding an entire pie down her throat following the loss of her husband. Symbolic of the film’s painfully slow demeanor, but also its poignant capturing of human emotion, A Ghost Story is a sluggish 90-minute indie that certainly pays off from a creative and artistic perspective.

GRADE: 3.5/5

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Geekscape Movie Reviews: The Glass Castle

by MCDave

Destin Cretton is anything but a household name. Yet, the gifted filmmaker turned heads with his massively overlooked 2013 drama, Short Term 12. The effort bridged together Cretton’s singular story and vision with the remarkable acting talents of Brie Larson. Since then Larson has gone on to win an Academy Award (Room), but her career comes full circle in her latest collaboration with Destin Cretton in the adapted film The Glass Castle.
Told non-chronologically through various flashbacks, The Glass Castle follows the unconventional childhood of gossip columnist and eventual Best-Selling author Jeannette Walls (Larson). Prior to her career as a writer, Walls grows up under the dysfunctional supervision of her alcoholic father (Woody Harrelson) and her amateur artist mother (Naomi Watts). But as Jeannette and her siblings begin to mature and fully comprehend their squatter-lifestyle and impoverished upbringing, they must work together to escape the clutches of their deadbeat parents.

Destin Cretton’s The Glass Castle serves as a heavy drama that illustrates the director’s keen vision and his cast’s stellar performances. There are many captured shots scattered throughout the film that transcend the normal standards of direction, reminding us just how impressive Cretton truly is. Likewise, Brie Larson continues to shine and reinforce her standing as one of the best actresses alive today. And her counterpart, the underappreciated Woody Harrelson, always has a knack for commanding the screen. Witnessing these two titanic performers deliver the goods over and over again for more than two hours is what keeps this film from crumbling at the hands of its weaker elements.

For starters, The Glass Castle begins its constant rewinding of time through flashbacks with a fluid approach that effectively links the present with the past. However, eventually, the film ditches its smooth transitions and forcefully breaks from its underlying format. And as Jeannette’s character begins to truly ponder the joy vs. sorrow of her childhood, deciding whether her father was an inspiration or a burden, the flashbacks become a hokey and contrived element rather than a useful and informative tool. But even through much of the screenplay’s over-extension and sloppiness, exceptional direction and performances keep the audience connected to this powerful tale of familial struggle.

GRADE: 3/5

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Geekscape Movie Reviews: Wind River

by MCDave

Oscar-nominated screenwriter Taylor Sheridan (Hell or High Water and Sicario) knows a thing or two about crafting a well-oiled story. But nowadays, the hot commodity has his sights set on a larger role as he directs his first feature film since 2011, the Wyoming-set crime thriller Wind River. Sheridan’s Cannes and Sundance selected feature takes a little time to get going, but it ultimately plays quite well by the time the credits roll.
Cory Lambert (Jeremy) works as a hunter and tracker for the Department of Game and Fish in the snowy mountains of Wyoming. And when Cory stumbles upon the body of a dead girl on a Native American reservation, he teams with a rookie FBI agent (Elizabeth Olsen) and the reservation’s head of police (Graham Greene) to investigate the murder. Together they battle jurisdiction complications and harsh wintry conditions while trying to solve the local crime.

Taylor Sheridan’s Wind River struggles through a moping first act that reaches boldly for distractingly ineffective dramatics. Leading pair Jeremy Renner and Elizabeth Olsen also stumble out of the gate, never feeling right for their roles at first glance. But as Sheridan’s cohesive story begins to take shape so do their characters, which allows the film to build momentum en route to its sleekly delivered “big reveal”. Wind River‘s mystery comes together through an original and remarkably fluid explanation that reminds us just how talented of a writer Sheridan truly is. And although his direction clearly plays second fiddle to a riveting murder mystery, Wind River improves with every passing minute and closes with an absolute bang, once again solidifying the writer/director’s standing in contemporary Hollywood.

GRADE: 3.5/5

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Geekscape Movie Reviews: Dunkirk

by MCDave

Christopher Nolan, a name that needs no introduction. As one of the most notable filmmakers in the world today, Nolan has earned the right to not be questioned. “Unconventional” is his calling card. So when it was reported that his new WWII epic, Dunkirk, boasts a running time of only 106 minutes, a far cry from the two and half and three hour staples we’ve come to expect from iconic war films, the only thought running through my head was “in Nolan we trust”.

In the early stages of World War II, the Germans have cornered Allied forces onto the beaches of Dunkirk, France. And rather than wasting valuable tanks to finish them off, the Germans bombard these helpless soldiers with an aerial attack of gunfire and bombs. But as word spreads to the common folk of Great Britain that their young fighters are stranded on the beachfront, they take matters into their own hands and embark on a heroic rescue mission across the channel to retrieve their soldiers.

Look no further than works such as The Dark Knight trilogy, Inception, Memento, Interstellar and many others to understand that Christopher Nolan has made a career off of unforgettable filmmaking. His latest entry is yet another spellbinding experience that refuses to waver in intensity. Nolan’s direction is sharp and on point while Dunkirk‘s cinematography is nothing short of majestic. But when all is said and done, the true all-star behind this film is Nolan’s regular collaborating partner, composer Hans Zimmer. His relentless score keeps your heart pounding as the bullets fly and the bombs explode throughout the entire duration of the film.

Although Dunkirk represents an exceptionally-made piece of cinematic art, it doesn’t come without its blemishes. Dialogue is rare to come by, not that it necessarily matters, but it leads to a lack of character development and any real semblance of a story that ultimately plagues the film and keeps it from being an absolute masterpiece. Instead, Dunkirk simply unravels as a sequence of events which capture a truly amazing real-life occurrence. And the film’s underlying dichotomy of both bravery and cowardice in the face of danger is delivered eloquently. Dunkirk is another strong piece of filmmaking from Nolan, something we’ve come to expect with each new release of his, but its complete disregard for character building and failure to offer a true narrative structure absolutely destroy the film’s re-watchability. Oscar chatter is already being thrown around for this July release and I really wouldn’t be surprised one way or the other. But if you’re in search of a gut-wrenching and high octane throwback to World War II, Christopher Nolan’s Dunkirk will certainly take you on a ride unlike any other.

GRADE: 4/5

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Geekscape Movie Reviews: Spider-Man: Homecoming

by MCDave

While many critics and outlets constantly insist that audiences are starving for the Spider-Man film that they deserve, it feels too much like revisionist history. Sam Raimi’s Spider-Man starring Tobey McGuire in 2002 (89% rating on Rotten Tomatoes, 73 Meta-Critic score) and Marc Webb’s The Amazing Spider-Man with Andrew Garfield in 2012 (72%, 66) both opened to strong critical approval. Yet, this rapid return to the Peter Parker character is a whole new ballgame with a completely different feel and trajectory. Marvel’s Cinematic Universe (MCU) enters the heart of its third “Phase” with a mountain of steam, but can Spider-Man: Homecoming deliver?

Set a few months after the events of Captain America:Civil War, a 15 year-old Peter Parker (Tom Holland) is operating under the watchful eye of Tony Stark (Robert Downey Jr.) and his loyal assistant Happy Hogan (Jon Favreau). But as Peter tries harder and harder to impress Stark with his superhero alter ego Spider-Man, he uncovers an underground arms creator and dealer (Michael Keaton) whose powerful weaponry bridges alien technology with human machinery. Instructed by Stark to stop his pursuit of the arms dealer, Peter disobeys the orders and finds himself face to face with a nefarious foe.


Homecoming fits seamlessly into the MCU with a familiar foundation of humor and action. Built on the shoulders of an ingratiating and clumsy teenage geek, played wonderfully by rising star Tom Holland, Marvel’s latest release places the universe’s macro storyline back on course. Insane visual effects form a web-like cohesion with witty one-line zingers to help keep the action-train churning. These over-extended sequences occur frequently and dwindle in effectiveness with each recurring appearance in the film, yet they’re easily overshadowed by some clever maneuvering with the screenplay and Tom Holland’s alluring performance. And as I usually criticize the MCU for its lack of attention to its film’s central villains, Michael Keaton’s Vulture is birthed from a truly intriguing concept. Although Homecoming fails to adequately venture down that creative path, instead delving too deep into Peter’s buffoonish teenage quandaries, there’s enough meat on the bones to entertain in exactly the way a summer blockbuster should.

Grade: 3.5/5

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Geekscape Movie Reviews: The Big Sick

by MCDave

Kudos are in order as Judd Apatow has officially transformed an acclaimed filmmaking career into legitimate brand-name recognition. The “Apatow” name has become synonymous with comedy, and it’s been plastered all over television screens and billboards as a luring attraction for the general public. His film company’s latest production, director Michael Showalter’s Sundance Audience Award winner The Big Sick, brings hilarity back to the forefront of independent cinema, reminding us why it’s always worthwhile to take a chance on any creative endeavor cloaked with the “Apatow” seal.

Kumail (Silicon Valley‘s Kumail Nanjiani) is a Pakistani-born amateur comedian living in Chicago. After a performance one night, he meets a free-spirited white woman named Emily (Zoe Kazan) and their instant connection quickly turns into a meaningful relationship. But when the strict Muslim beliefs of Kumail’s family force a wedge in their relationship, Emily soon suffers a severe sickness that leaves her comatose, and the trying situation helps give Kumail the strength he needs to confront his loved-ones.


The Big Sick is a poignant and timely examination of the modern Americanized Muslim struggling with their own faith. In an era of division across all walks of life, Michael Showalter’s hysterical work addresses cultural and religious differences with nothing but sheer love. The tenderness displayed from scene to scene is effortlessly organic and stems from the real-life inspirations of star Kumail Nanjiani and his wife and co-writer, Emily V. Gordon. Scripted from their own crazy and true love story, taking creative license with only a few minor exceptions, Nanjiani and Gordon pen a wonderful screenplay that does a phenomenal job of setting up perfect comedic conclusions to the film’s more personal moments. No matter what direction the story wanders, The Big Sick always circles back to its humor-first foundation. This well-balanced dramedy also benefits from brilliantly crafted characters that come to life through unique chemistry and fearless performances. Nanjiani and Kazan light up the screen together, which allows for a bitterly outstretched third act to feel like nothing more than a mere hiccup in an otherwise exceptional romantic comedy.

Grade: 4/5

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Geekscape Movie Reviews: 47 Meters Down

by MCDave

The Discovery Channel’s “Shark Week” marathon is right around the corner and if you’re trying to find a way to set the mood for July’s annual festivities, you may want to consider Johannes Roberts’ new underwater thriller, 47 Meters Down. Roberts, who has also been handed the keys to the upcoming 2018 horror sequel The Strangers 2, brings a recognizable lead, Mandy Moore, on board for this new release. And with shark infested waters and bikini clad women dominating the screen time, what more could a horror fan ask for?

Sisters Lisa (Moore) and Kate (Claire Holt) are vacationing in Mexico trying to break Lisa out of her conventional and boring lifestyle. But when Kate convinces her sister to climb into a rickety cage in the middle of the ocean surrounded by enormous Great White Sharks, things go south quickly when the cage breaks from the ship and crashes 47 meters below to the ocean floor. Running out of oxygen and with blood-thirsty sharks hovering above, the sisters try desperately to formulate a plan for survival.

There are some noteworthy elements to Johannes Roberts’ tense new thriller. After a heart-pounding free-fall into the dark depths of the ocean floor, 47 Meters Down makes you feel the confinement of its lead characters. The film provides an inherent “ticking time bomb effect” with air-tank gauges that constantly remind the audience of the impending doom. Moreover, the visual effects with the sharks are superb, creating genuine fear during their timely arrivals on screen. But despite these effective attributes to the film, 47 Meters Down finds itself mired in a repetitious cycle of conflicts and resolutions that transform this 89-minute experience into an unimaginable marathon. And as the film crawls to its finale, Roberts and co-writer Ernest Riera miss the mark completely with a crafty ending that doesn’t quite provide the punch that they were expecting. 47 Meters Down is a frustratingly slow, albeit occasionally tense, thriller that turns its back on some golden opportunities.

GRADE: 2/5

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Geekscape Movie Reviews: Rough Night

by MCDave

Back in 2009 Paul Feig’s Bridesmaids launched the R-rated female comedy genre into the middle of mainstream cinema. And since then, stars like Melissa McCarthy, Tina Fey and Amy Schumer have carried the torch through a mostly unspectacular crop of releases. But in-steps the eye-popping Scarlett Johansson, an unlikely character actress who finds herself starring in Broad City director Lucia Aniello’s feature film debut, Rough Night.

The film centers around bride-to-be Jess (Johansson), a state politician caught in the middle of a neck-and-neck race. Her former college roommate (Jillian Bell) demands an elaborate bachelorette getaway weekend, and things go completely sideways when a freak accident leads to a dead stripper in their shore house. Jess and her best friends need to put their petty grievances aside and work together to avoid some serious jail time.

There are a few strong positives provided in Lucia Aniello’s Rough Night. Cleverly scripted humor is sprinkled throughout, allowing the film to do more than just rely on raunchy and vulgar jokes. In addition, Scarlett Johansson transitions from drama to comedy with exceptional ease. Her performance is the glue that holds the rest of this up-and-down cast together. Co-stars Jillian Bell, Zoe Kravitz, Ilana Glazer and SNL‘s Kate McKinnon, who sports her finest Aussie accent, each offer a handful of shining moments. Yet, they also suffer from grossly embellished characters and instances of all-out absurdity. Sometimes the craziness is effective, but other times it’s a legitimate concern. Futhermore, Rough Night‘s secondary storyline following Jess’ fiance Peter (screenwriter and co-star Paul W. Downs) is way over the top. If you’re seeking some easy and constant laughs with little regard for a sensible plot, Rough Night will surely suffice. But if you’re searching for a comedy that’s plausible and grounded in reality, then you should look elsewhere.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Book of Henry

by MCDave

Director Colin Trevorrow’s career has been on an odd trajectory ever since his impressive 2012 indie debut, Safety Not Guaranteed. The film’s sci-fi backdrop and critical success paved the way for Trevorrow’s emergence on the big-budget blockbuster stage with the money-printing franchise reboot, Jurassic World. Yet, before he closes out the latest Star Wars trilogy as the visionary behind 2019’s concluding Episode IX, Trevorrow changes course entirely with the new limited-release drama, The Book of Henry.

Henry (Jaeden Lieberher) is a remarkably gifted and bright 11 year old boy who serves as the voice of maturity in a household that includes his waitress mother Susan (Naomi Watts) and younger brother Peter (Jacob Tremblay). But when Henry discovers that his next door neighbor and classmate Christina (Maddie Ziegler) is being abused by her police-chief stepfather (Dean Norris), he concocts a deadly plan to help free her from this miserable home life. Yet, unable to take care of matters himself, Henry pens a precisely detailed book so that his mother can carry out the plan.

At its core, The Book of Henry tells a heartbreaking, albeit somewhat uplifting, tale that satisfies with minor elements of humor, suspense and tenderness. Yet, an unforeseen sappy mid-section, one that would typically crumble under normal circumstances, plays surprisingly well thanks to a pair of Hollywood’s most talented young performers. Jordan Lieberher and Jacob Tremblay. Lieberher broke into the industry as Bill Murray’s sidekick in the affable comedy St. Vincent, while Tremblay is best known as the youngster in recent Best Picture nominee, Room. Together, these two stars in the making guide the audience through a messy and flawed story. Trevorrow and screenwriter Gregg Hurwitz attempt to wrap everything up in an inspiring fashion, yet force puzzling and unrealistic behaviors onto characters in order to make this narrative fit. Henry’s cerebral and premeditated nature constantly preaches the notion that any miscalculation can throw off a plan entirely. Sadly, in opposition to what The Book of Henry teaches, flimsy and imperfect writing transforms this fun and heartfelt drama into a wildly mediocre film.

GRADE: 2.5/5

Geekscape Movie Reviews: It Comes at Night

by MCDave

Having experienced both of his films, it’s clear that Trey Edward Schults cares more about how his movies make you feel rather than the boldness of their stories. Consequently, the young filmmaker has maneuvered a stranglehold over the independent filmmaking world with his festival-darling debut feature, Krisha. Countless accolades from the most prominent indie awards groups bridged Schults’ accessibility to bigger talent and larger funds in order to return with his shamefully mis-marketed follow-up, It Comes at Night.

A highly infectious disease has dwindled mankind and a former history teacher (Joel Edgerton) has managed to keep his wife and teenage son alive in a secluded and enclosed shelter in the middle of the woods. But when a stranger arrives at their safe-haven seeking water and refuge for his family, they agree to stay in the shelter together and combine resources. Yet, tensions arise when both families quickly discover that they’ll do whatever’s necessary to stay alive.

I can’t understand why It Comes at Night has been branded as a horror film when its most terrifying scenes all occur in a handful of brief dream sequences. If you’re chasing scares, then look elsewhere. Instead, Schults’ sophomoric effort blends feelings of claustrophobia, paranoia and fear into a rangy psychological drama that offers rare and thinly-spread moments of suspense. Trey Edward Schults uses a manipulation of aspect ratios and clever camerawork to frame instances in the story that elicit various emotions from the viewer. It’s a unique ability that resonates well, but one that also needs a complement of other factors to fully appease the audience. Therefore, despite the film’s narrowly developed story, exceptional performances from the entire cast help ease its slow-building tension that mounts like a well-choreographed dance as the stakes for survival grow higher and higher. It Comes at Night shows a darker side of humanity through a largely ambiguous lens. Personally, I enjoyed connecting the dots and cementing my own belief to the film’s events. However, if you’re someone who needs to know every little detail of a story, then expect to be frustrated. But either way, we’ll all remember exactly how the film’s explosive finale made us feel.

GRADE: 3.5/5

Geekscape Movie Reviews: The Gifted

by MCDave

Most directors would envy a debut as successful as Marc Webb’s 2009 Golden Globe-nominated film, (500) Days of Summer. Webb then took a bit of a leap by following-up his rom-com with superhero blockbusters, The Amazing Spider-Man and its 2014 sequel. But success is fickle in this industry and, like many do, the filmmaker has gone from being handed a major franchise to taking on the new limited-release drama, Gifted.

Chris Evans trades in his Captain America uniform for a much simpler life as Frank Adler, a boat repairman raising his deceased sister’s child, Mary (Mckenna Grace), who’s firm understanding of advanced mathematics is a rarity. But as Frank pushes Mary towards a conventional childhood built on playing and making friends in the public school sector, rather than a taxing life of studying rigorous mathematics at a specialized institution, his mother (Lindsay Duncan) resurfaces and takes legal action with a custody battle over guardianship of the seven year-old girl.

As a professor of mathematics myself, Gifted‘s distinct premise certainly raised my interest. Marc Webb’s latest work attempts to master the delicate balance between a hearty drama and frequent humor. Chris Evans’ sarcastic delivery feels organic and newcomer McKenna Grace offers an impressive turn as well, however the entire cast ultimately becomes limited by a one-dimensional screenplay. At it’s core, Gifted merely scratches the surface of its fundamental moral quandary regarding whether or not a truly exceptional child prodigy should be pushed towards a lifetime commitment of study and research as a duty to humanity, or if they’re should also be entitled to a “normal” upbringing. But rather than tackling this issue head-on, Gifted tip-toes around the predicament with an overly sentimental examination of its story. Regrettably, co-stars Octavia Spencer and Jenny Slate find their talents wasted as expendable characters who are written into the script as obvious fillers. Yet. while Gifted does manage to boast a few tender moments of cinematic expression, they are far to0 sporadic to withstand a fatally flawed screenplay from writer Tom Flynn.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Zookeeper’s Wife

by MCDave

Ever since her near-Oscar win for the role of CIA Operative Maya in Kathryn Bigelow’s Zero Dark Thirty, Jessica Chastain has built a career portraying strong female characters in the films she’s tackled. This trend continues in Niki Caro’s World War II drama, The Zookeeper’s Wife. But even with the feature’s amazing true story and its formidable lead actress, Caro’s work lands as an early-year release and not an Oscar-season contender for a reason.

As Nazi Germany begins its invasion of Warsaw, Poland in 1939, Zoo-owners Antonina and Jan Zabinski (Chastain and Johna Heldenbergh, respectively) lose many of their animals due to the bombing of their facilities. And as the Nazi occupants begin rounding up Jewish residents and relocating them to an enclosed ghetto, the Zabinskis devise a creative plan to help these persecuted individuals escape from the ghetto and take refuge in their Zoo. But under the watchful eye of German soldier Lutz Heck (Daniel Bruhl), the Zabinski family finds themselves taking an enormous risk.

Considering the film’s heavy-handed source material, The Zookeeper’s Wife sadly elicits only artificial emotion that feels expected rather than earned. Perhaps this vital flaw emerges because the audience never truly believes that the Zabinski family is at risk of being exposed. This unforgivable omission of necessary conflict leads to a flat dramatization filled with weakly developed characters that ultimately fails to break ground on the often highlighted World War II era. Thankfully, though, The Zookeeper’s Wife manages to tell a fascinating story that deeply examines the methods of the Zoo-owner’s harboring. Jessica Chastain delivers another fine performance, but one that seems very unlikely to linger deep into the awards season run. Niki Caro adapts an exceptional true story in a very mediocre and sluggish way, leaving plenty to be desired with The Zookeeper’s Wife.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Discovery

by MCDave

Non-traditional film studios have carved a niche in the movie industry as both Amazon Studios and Netflix earned Oscar wins this past year. One of Netflix’s most recent purchases includes the Sundance selection, The Discovery, which releases globally on the streaming platform this weekend. After a snubbed performance for his elite portrayal of American author, David Foster Wallace, in The End of the Tour, Jason Segel continues his dramatic push in Charlie McDowell’s fascinating examination of the afterlife.

Set in the near future Segel stars as Will, son of the famed Dr. Thomas Harbor (Robert Redford) who proves that our consciousness travels to a different plane of existence after we die. Once news spreads of a definitive afterlife, suicide skyrocket by individuals looking for “a fresh start”. And when Will disrupts a young woman’s (Rooney Mara) attempt at suicide, they travel together to Dr. Harbor’s research compound where they discover the truth behind where our consciousness goes.

Ambitious and artsy almost to a fault, The Discovery ponders bold ideas and stirs the imagination with a thought-provoking finale that explodes with possibility. However, Charlie McDowell decides to spend the wide majority of the film developing a slow-burning story of love and loss that merely uses this cerebral conclusion as an afterthought. Rooney Mara grips the audience with a nuanced performance. Her onscreen prowess is further complemented by Jesse Plemons’ energetic supporting work. Sadly, lead star Jason Segel, whom I have defended and supported in the past with all my might, provides a monotonous turn that constantly strikes the same chord over and over again. The Discovery isn’t the most entertaining or exciting watch, but once everything finally pieces together, there’s a satisfying bit of beauty to this somewhat muddled and arduous affair.

GRADE: 3/5

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Geekscape Movie Reviews: The Belko Experiment

by MCDave

Guardians of the Galaxy writer and director, James Gunn, lends his twisted and unusual imagination with the screenplay for Greg McLean’s latest horror film, The Belko Experiment. In this wicked blend of The Hunger Games meets corporate America, 10 Cloverfield Lane‘s John Gallagher Jr. learns just how far human decency and compassion goes when society’s rules and structures are thrown out the window. So if you’re a horror fan with a taste for violent and visceral behavior, The Belko Experiment isn’t exactly groundbreaking material, but it definitely delivers on the gore.

Nestled away in the farmlands of Bogota, Columbia, a United States Government facility houses many local and American workers. Yet, something rings different when Michael Milch (Gallagher Jr.) notices heavily armed guards greeting employees at the front gate and turning away all the local workers. And not long after their work day begins, security panels turn the building into an inescapable fortress as a random voice comes over the intercom system informing all 80 employees that they’re now involved in a game of kill or be-killed.

The Belko Experiment leaves little to the imagination by putting its graphic R-rating to good use. If you’re seeking a grotesque movie experience filled with blood, guts and other unspeakable acts of violence, then director Greg McLean certainly delivers in that regard. Yet, it can’t be ignored that James Gunn’s writing is a bit fundamentally flawed. The audience is forced to accept that all of these workers would have allowed the government to implant tracking devices into their heads for their own safety abroad, something that clearly seems far-fetched and unfathomable. Yet, if you can withstand sporadic head-scratching plot points that are necessary to allow this deadly game to unfold, then The Belko Experiment will definitely please a niche audience. McLean’s film eases through its effortless 88-minute running time with escalating tension and a subtle darkly comedic tone that isn’t stressed nearly enough. Lead actor John Gallagher Jr. plays his role as the sensible and level-headed employee well. But when all hell breaks loose, James Gunn’s writing proves strongest through Michael’s clear character arc. The Belko Experiment offers a somewhat flat finale, but the brisk and brutal ride there is a treat for the sickest of horror fans.

GRADE: 3/5

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SXSW Movie Reviews: Us and Them

by MCDave

Without getting overly political, it’s impossible to ignore the growing divide between the wealthy and the working class in developed nations all across the globe. Such an observation serves as the core principle behind Joe Martin’s feature film debut, Us and Them. This SXSW selection also stars newcomer Jack Roth, son of Quentin Tarantino regular Tim Roth (Pulp Fiction, Reservoir Dogs and The Hateful Eight), in a diabolical role that shows the apple doesn’t far from the acting tree.

Danny (Roth) is a bitter and frustrated working class Brit who’s fed up with the class warfare that plagues society. In a plan to get back at the wealthy elite, he and two fellow accomplices hold a prominent banker and his family hostage and broadcasting the entire ordeal over social media in hopes of starting a political revolution. Yet, things fall apart quickly when Danny’s helpers begin to deviate from his big-picture objective.

Joe Martin’s Us and Them represents a worthwhile achievement that benefits most from its clever non-chronological storytelling and a brilliant lead performance from Jack Roth. Told through multiple chapters, the film offers laugh-out-loud British wit to complement its thrilling kidnapping tale. In its brightest moments, the film rings reminiscent of iconic Guy Ritchie works like Snatch and Lock, Stock and Two Smoking Barrels. However, writer and director Joe Martin eventually loses sight of his overriding voice on the focal point of the feature, watering down his once-poignant socio-political message. However, Us and Them still manages to impress with its unpredictable characters and an unforeseen resolution that ties a satisfying bow on the debut feature.

GRADE: 3.5/5

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SXSW Movie Reviews: Like Me

by MCDave

With enormous crowds swirling all over Austin, Texas, sometimes it’s to your benefit to pass up a more anticipated screening at SXSW for a smaller, more intimate, one. And after catching Robert Mockler’s first credited feature, Like Me, I was grateful for taking a shot on this unknown title. Blending together elements of experimental filmmaking with a traditional narrative core, Mockler stands out against the other directorial debuts at this year’s SXSW festival.

The film opens with a lonely teenage sociopath named Kiya (Addison Timlin) holding up a drive-thru market clerk and broadcasting the entire robbery live on her social media feed. From there she continues on a crime spree that she uses to connect with her followers online, and results in the kidnapping of Marshall (Larry Fessenden), a pedophile hotel owner she lures into captivity. Kiya begins to interact with Marshall more and more and the human connection may or may not be enough to stop her vile behavior.

Robert Mockler’s thriller unfolds in a David Lynch-like manner, intense from the get-go and increasingly creepy as the story progresses. Like Me solidifies Mockler’s voice and vision as a progressive filmmaker, and someone I plan to keep on my radar in the future. While some may refute the narrative structure of the film, claiming Mockler’s obsession with style over substance as a detriment to the finished product, I’d combat those claims by addressing the story’s phenomenal ability to develop its characters. It’s no easy feat to turn an admitted pedophile such as Marshall’s character into a sympathetic figure. Yet, Like Me plays along to an unpredictable beat with a unique approach to story-telling that’s both unconventional and effective. Addison Timlin delivers a spellbinding performance that’s immaculately counter-balanced by co-star Larry Fessenden. Like Me appeals to all the senses and propels director Robert Mockler to the forefront of the indie scene by making one of the most memorable impressions at this year’s SXSW festival.

GRADE: 3.5/5

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SXSW Movie Reviews: T2 Trainspotting

by MCDave

It feels like ages ago, but back in 1996 an unknown filmmaker named Danny Boyle madehis mark on the industry by shaping an entire generation with the revolutionary heroin-addiction drama, Trainspotting. Two decades have passed and Boyle has emerged as one of Hollywood’s elite directors thanks to the overwhelming success of films like Best Picture Winner Slumdog Millionaire, for which Boyle won a Directing Oscar, and Best Picture Nominee 127 Hours. So what’s left for a man who’s clearly reached the pinnacle of his profession? How about a return to his roots with the wildly anticipated sequel, T2 Trainspotting. As this year’s official SXSW “secret screening” selection, unsuspecting audiences were given a wonderful treat.

Renton (Ewan McGregor) returns to the streets of Edinburgh 20 years after ripping off his best friend Simon (Jonny Lee Miller) by running away with their 16,000-pound score following a successful drug deal. Renton hopes to make things right with his friend and ultimately agrees to help Simon with a new money-making scheme. They bring Spud (Ewen Bremner) on board to help with the plan, all while trying to avoid the craziness of Begbie (Robert Carlyle), who’s back on the streets after escaping from prison.

There is so much to enjoy about Danny Boyle’s long-awaited return to the boys from Edinburgh, but it all begins and ends with his direction. Boyle’s sharp-style continues to impress as he plays with elements of time both visually and physically. We bear witness to decades of wear and tear to these former kings of the street, but their sense of desperation is as strong as it’s ever been. Ewan McGregor and company jump back into their roles without ever missing a beat, infusing a nostalgic energy that eases the audience into the beautifully chaotic world of Trainspotting. Clever writing also resurfaces throughout the work, transforming timely jokes into necessary plot points, all of which remind us of John Hodge’s exceptional ability to craft a story. Yet, perhaps the most fascinating element to T2 is how well the film plays as both a stand alone effort, and not just a continuation of the 1996 saga. But beyond all of the double-crossing and redemption that unravels throughout the film, Danny Boyle shows us all how a special kind of dedication and a distinct love for the characters are essential pieces to making any sequel a successful one.

GRADE: 4/5

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SXSW Movie Reviews: Small Town Crime

by MCDave

One of the greatest perks to attending the SXSW festival is having the opportunity to view world premieres of films. One such example is the comedic thriller, Small Town Crime, from the minds of California-born sibling writers and directors, Eshom and Ian Nelms. The film bridges a taut story with immense acting talent, namely Academy Award Winner Octavia Spencer and the Oscar-nominated SXSW favorite, John Hawkes, to create a uniquely pleasant movie experience.

An alcoholic ex-cop (Hawkes) awakes in the middle of a field after an evening of binge-drinking and somehow avoiding a DUI. As he climbs back into his car and begins driving away, he soon discovers the body of a pretty young woman on the side of the road. The man’s former police instincts take charge as he dives deep into an unauthorized investigation of the girl’s murder that uncovers a small-town secret which puts him and his adopted sister’s family (Octavia Spencer) in grave danger.

Brothers Eshom and Ian Nelms craft an amusing and suspenseful tale that satisfies on many levels. Channeling their inner Coen brothers, the siblings utilize moments of comedic levity to fill the gaps between a remarkably-paced game of cat & mouse. Veteran performer John Hawkes has always been a personal favorite of mine, and once again he offers a multi-dimensional lead character that resonates with the audience. He’s certainly flawed, but his passion and overall kind-nature help form an instant bond between him and the viewer. Joining Hawkes is the always capable Octavia Spencer who also puts her emotional prowess on full display. It would be unjust to ignore some other fantastic supporting turns which come from Robert Forster, Anthony Anderson and Clifton Collins Jr., all of whom infuse a heavy dose of humor that adds a vital element to the film. Small Town Crown checks-off nearly all the boxes and unfolds as a well-scripted and superbly-told thriller that stands as one of SXSW’s finest offerings this year.

GRADE: 4/5

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SXSW Movie Reviews: Gemini

by MCDave

Lola Kirke first caught my eye in Noah Baumbach’s 2015 indie-comedy, Mistress America. Even standing alongside the versatile indie starlet, Greta Gerwig, from scene to scene, Kirke’s performance jumps off the screen and immediately commands your attention. The same can be said for her latest work in Aaron Katz’s new L.A. mystery, Gemini, which completely reaffirms that Lola Kirke is an emerging star.

Jill (Kirke) is a personal assistant and best friend to her famed Hollywood-celebrity boss, Heather Anderson (Zoe Kravitz). Throughout the course of the day, Heather’s odd behavior ultimately makes mortal enemies out of her now ex-boyfriend, and a filmmaker whom she leaves hanging out to dry. Therefore, when Jill returns to the actress’ home the next day and finds her dead body on the floor, she becomes the lead detective’s (John Cho) number one suspect in a sea of possible murderers, prompting her to manipulate her appearance and dig deeper into the mystery herself.

Aaron Katz delivers another fine piece of filmmaking with his latest feature, Gemini. Katz’s direction continues to embolden itself with every subsequent project. It’s been an absolute pleasure to watch his progression as both a writer and filmmaker, which culminates into this new career-best effort thanks to brilliant performances and a clever screenplay that help propel his overall vision. Leading star Lola Kirke possesses a hypnotic ability as a performer, one that takes you on her chaotic journey through Katz’s smartly written murder mystery. Zoe Kravitz also provides an exceptional supporting turn by molding a complex and conflicted character. Gemini swiftly navigates through a bleak Los Angeles backdrop, disjoint from all the glamour and glitz of Tinsel Town, in order to tell a unique story. And despite the film’s mildly unsatisfying finale which leaves a little to be desired, this twist-filled “whodunit” tale still proves to be completely worth the ride.

GRADE: 4/5

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SXSW Movie Review: This Is Your Death

by MCDave

Giancarlo Esposito may not be a household name, but for millions of Americans and fans of AMC’s Breaking Bad all over the globe, he will forever be known as “Gus Fring”. Yet, Esposito is far from a one-dimensional artist. His second directing credit belongs to This Is Your Death, another 2017 SXSW selection recently experiencing a world premiere at the festival.

After a deadly rampage is captured live on a reality tv show finale, the network head (Famke Janssen) and show host, Adam Rogers (Josh Duhamel), create a twisted new series where people take their own lives on air for the betterment of those they care most about in their lives. But as the fame and success of the show grows wildly out of control, Adam starts to lose a handle on why he wanted to go through with creating the show in the first place.

This Is Your Death begs to unveil a poignant message about the savage nature of our society and our fixation on exploitative reality television. Instead, Esposito’s muddled tale goes off the rails with illogical plot points and melodramatic writing. As a filmmaker, Esposito delivers fine direction that’s nothing spectacular, but completely adequate. Yet, the character development surrounding host Adam Rogers is both perplexing and drastically artificial. While the fault clearly belongs to co-writers Noah Pink and Kenny Yakkel, Josh Duhamel’s performance does nothing to improve the situation. Futhermore, Giancarlo Esposito steps out from behind the camera and offers a major supporting turn as well. While his role is executed slightly better than the film’s leading star, flawed writing once again tears down this emotional dynamic to the story. Due in large part to an influx of over-dramatization where you’re constantly being told how to feel rather than actually made to do so, This Is Your Death serves as a classic example of when a film’s premise far exceeds the overall delivery.

GRADE: 2/5

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SXSW Movie Review: Win It All

by MCDave

Joe Swanberg has been a staple in the indie film community as a writer, director and actor for the better part of a decade. His pinnacle of success came in the form of Drinking Buddies, a 2013 dramedy in which a pair of brewery co-workers, Jake Johnson and Olivia Wilde, wonder if their flirtatious behavior will ever develop into something more. Swanberg makes his return to SXSW this year for the world premiere of his newest collaboration with co-writer and star, Jake Johnson, in the indie dram, Win It All.

Eddie Garrett (Johnson) works odd jobs throughout the week to fund his late night gambling addiction at an illegal basement casino. But when a loan shark from his past returns with a simple proposition, Eddie agrees to watch a duffel bag while he goes to jail for 6 months. However, Eddie’s curiosity gets the better of him as he searches through the bag’s contents only to discover a huge collection of money. Things go south quickly when he burns through an insurmountable sum of the money and receives a surprising call that the loan shark is getting out of jail early due to a clerical error.

There’s humor, tenderness and conviction embroiled all throughout Joe Swanberg’s latest work. Jake Johnson is clearly the heart and soul of the feature, and the star of The New Girl delivers with a knockout performance. Addiction is a disease and it becomes painful to witness Eddie Garrett’s relapses into darkness, but Johnson does such a fantastic job of creating an affable and kind-hearted character that the audience becomes invested in his quest for a changed lifestyle. Win It All relies on organic humor to keep its story engaging and it does so effectively, even through all of the monotonous casino scenes where we see Eddie experience his ups and downs with the luck of the cards. In conjunction with Jake Johnson’s exceptional turn, performances from co-stars Joe Lo Truglio and Aislinn Derbez, who plays Eddie’s love interest in the film, can’t go unnoticed. It’s a complete team effort as Joe Swanberg’s direction continues to progress as well, making Win It All a new career best for the indie filmmaker.

GRADE: 3.5/5

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SXSW Movie Review: Person to Person

by MCDave

Indie filmmaker Dustin Guy Defa makes his return to the SXSW festival six years after his directorial debut, Bad Fever, premiered there. This time around he returns with a larger and more prominent cast in the hilarious new comedy, Person to Person. This thoughtful examination of human interactions is wrapped within a bright comedic shell that highlights the everyday humor in life and personal connection.

Set throughout the course of one day in the lives of various New York City residents, Person to Person follows a vinyl record collector (Bene Coopersmith) who stumbles across a rare find, a pair of magazine reporters (Michael Cera and Broad City‘s Abbi Jacobson) struggling to uncover the truth behind a murder (or was it a suicide?), a computer illiterate romantic (George Sample III) who does the unthinkable to the love of his life, and a cynical teen (Tavi Gevinson) unsure of her own sexuality. These mostly non-intersecting storylines tackle a wide array of personal issues and human connection with a hilariously tender approach.

Endearing and genuine, Person to Person captures the true essence of indie filmmaking with raw performances and modest city settings. Yet, even through its minimalist backdrop, Dustin Guy Defa crafts an assortment of enriched characters that are brought to life with skilled actors and actresses. You’ll recognize some of the talent involved such as Michael Cera, Philip Baker Hall, Abbi Jacobson and Isiah Whitlock Jr., but it’s a whole host of other unknowns that truly steal the show. Bene Coopersmith proves to be a naturally gifted source of laughs and the heartfelt performances of both Tavi Gevinson and George Sample III propel their complex characters to the forefront of the film. Person to Person lacks an all-encompassing message, but the film brings levity and originality to its dissection of human connection.

GRADE: 3.5/5

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Geekscape Movie Reviews: Kong: Skull Island

by MCDave

In an era full of reboots and remakes, chain reactions often open the door for classic characters and beloved films to make a return to the big screen. Inevitably, 2014’s $500 million worldwide box-office smash, Godzilla, ultimately paved the way for The Kings of Summer director, Jordan Vogt-Roberts, to reintroduce the world to King Kong. And with an infusion of energy and some fresh new ideas, we’re given a version of Kong that we’ve never seen before.

A pair of scientists (John Goodman and Straight Outta Compton‘s Corey Hawkins) piggy-back on an expedition to an uncharted island in the Pacific where they sense some strange occurrences are taking place. Escorted to this dangerous and unknown territory by an Army helicopter fleet headed by a war-hungry Lieutenant Colonel Preston Packard (Samuel L. Jackson), an unexpected encounter with Kong sends the surviving few deep into the woods of this mysterious island. Forced to withstand attacks from multitudes of different monsters inhabiting the strange land, they all hope they can make it home and live to tell the tale of Kong.

Kong: Skull Island stands as a comedy-rich monster film with only one goal, to entertain the audience. From that perspective, Jordan Vogt-Roberts absolutely delivers the goods. The visuals are amazing and the footage of Kong leaves nothing to be desired. Nightcrawler writer and director, Dan Gilroy, pens a clever story surrounding an island full of new monsters that continues to surprise even as the running-time mounts. However, corn-ball dialogue purposely intended to deliver trailer-made one-liners masks a larger problem with the film. Gilroy lazily uses character interactions to explain the plot to the audience and progress the story. Consequently, Skull Island unravels as nothing more than a thoughtless popcorn flick guaranteed to generate gaudy box-office totals and propel a whole new franchise of films.

GRADE: 3/5

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Geekscape Movie Reviews: The Founder

by MCDave

“If my competitor were drowning, I’d stick a hose in his mouth and turn the water on”. And that’s all you need to know about Ray Kroc and the manner in which he transformed McDonald’s from a successful family-run restaurant into a global fast-food chain. Earning the biopic treatment, John Lee Hancock – director of The Blind Side and Saving Mr. Banks – teams with Michael Keaton to deliver a compelling examination of capitalism’s cutthroat nature in The Founder.

Once struggling milkshake-machine salesman Ray Kroc (Keaton) learns the ins and outs of the small California-based burger shop, McDonald’s, he envisions a golden opportunity for growth and expansion. Not look after, Kroc weasels his way into a limited partnership with sibling owners, Mac and Dick McDonald (John Carroll Lynch and Nick Offerman). But as this trio of business partners fails to see eye-to-eye on key issues, Kroc must take any means necessary to make his vision become a reality.

As a ruthless depiction of the American dream modestly tempered by well-scripted moments of humor, John Lee Hancock’s The Founder mirrors a hybrid of recent biopics such as The Social Network and The Wolf of Wall Street. Ray Kroc’s character becomes more and more interesting as we see his hunger for success grow wildly out of control, to the point where he gladly takes whatever he wants. Michael Keaton is the main attraction here, as he breathes a sinful likability into the real-life persona of an American entrepreneur. The film’s entertaining screenplay, which is wonderfully assisted by Keaton’s performance, crafts a complex character that the audience hates to love. There are a few deficiencies within the film, like its failure to break any new ground from a cinematic and storytelling standpoint, which creates a rather limited ceiling of achievement. But, if nothing else, The Founder stands as a smoothly-paced and enlightening watch, highlighted by a gifted lead actor and a realistic journey into the world of big business.

GRADE: 3.5/5

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Geekscape Movie Reviews: Live by Night

by MCDave

Despite a momentous start to his directing career, one that includes a Best Picture Oscar win for Argo, Ben Affleck’s latest film hasn’t even made it into the awards season discussion. His new endeavor, Live by Night, a gangster flick predominantly set during the Prohibition Era in Florida, represents a bitter free-fall for the previously unscathed filmmaker. Affleck offers nothing new to the genre and any hope that another adaptation from Dennis Lehane – who also penned the source material for Affleck’s phenomenal 2007 debut, Gone Baby Gone – would be a reason for optimism, quickly falls by the wayside during the film’s forgettable first act.

After a hidden romance with an Irish Mob boss’ mistress (Sienna Miller) nearly end his life, Joe Coughlin (Affleck) returns and sells his soul the rival Italian Mob in order to exact revengeon his nemesis. Consequently, Joe ventures to Florida during Prohibition where he monopolizes the Rum industry and falls for Graciela (Zoe Saldana), a woman whose inside connections help build the empire. But as Prohibition becomes repealed, Joe’s mismanagement of his supreme position makes him a vulnerable man in a dangerous industry.

Live by Night suffers immensely by writer, director and star, Ben Affleck’s, arrogance and misguided vision. It’s obvious that Affleck desires to deliver an ambitious gangster film reminiscent of classics such as The Godfather and White Heat. However, a bloated story continually introduces a wide assortment of characters without ever fully developing them. Therefore, once these flimsy characters meet their demise, empathy is never appropriately earned. Affleck’s screenplay is riddled with flaws, but it still doesn’t feel quite as problematic as the director’s unforgivable decision to cast himself in the lead role. Either Affleck’s perception of Joe Coughlin is remarkably off, or he isn’t quite talented enough to pull-off the necessary performance. Whichever way you dissect it, the blame falls squarely on his shoulders. On the other hand, there are a few select moments of captured creativity and originality, yet they’re swallowed-whole by an assortment of mightily flawed approaches. Notable supporting turns are offered by Chris Messina, who play’s Joe’s right hand man, and Zoe Saldana. But by the time the credits finally role – which follow a dull attempt at an emotionally-charged conclusion, Live by Night reveals itself as a sad and rapid decline for a once unblemished filmmaker.

GRADE: 2.5/5

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Geekscape Movie Reviews: A Monster Calls

by MCDave

Having given us one of the decades finest films in 2012’s The Impossible, it’s no exaggeration claiming J.A. Bayona as one of Hollywood’s most overlooked filmmakers. Bayona returns in 2016 with the late-year release, A Monster Calls, a touching examination the grieving process that’s gone completely unnoticed during the awards season frenzy. But no matter how often and for how long the Globes and Oscars continue to ignore his exceptional work, Bayona continues to represent a unique voice within the industry.

Newcomer Lewis MacDougall stars as Conor, a lonely boy struggling to come to grips with the painful reality of his mother’s (Felicity Jones) terminal illness. One night at 12:07pm, the imaginative boy is visited by an enormous tree monster (voice of Liam Neeson) who promises to return on three separate occasions to tell him three different stories. These visits and their messages serve as metaphors to Conor’s real-world experiences and help him confront the issues within his own life.

Visually masterful and superbly acted, A Monster Calls stands as another successful dramatic adaption from J.A. Bayona. Youngster Lewis MacDougall does a commendable job of carrying his first feature film, thanks in large part to a wide collection of supporting performances. Yet, it’s the always brilliant Felicity Jones who commands the spotlight with her soulful turn as Conor’s ill-stricken mother. Her omission from the awards season discussion in the Best Supporting Actress race is simply unfathomable, mainly because her quality of work refuses to go unnoticed. Structurally, there are a few contrived subplots sprinkled throughout the story, some of which unfold more effectively than others, but Bayona overcomes these flaws with sensational direction and eye-popping special effects. A Monster Calls isn’t an upper echelon entry like Bayona’s previous masterpiece, yet a clever and emotional finale allow the movie to stand as another formidable effort from an impressive filmmaker.

GRADE: 3.5/5

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Geekscape Movie Reviews: Silence

by MCDave

In many ways, the “passion project” is the backbone of all artistic expression. Surely, filmmakers and musical artists combat a “give and take” dynamic within their industries to advance their careers, but these special artistic endeavors are what fan the flames of creativity. In 2016, our cinematic year closes with a rare passion project from one of Hollywood’s most iconic figures, director Martin Scorsese. Silence stands as a religious tale that finally comes together after more than two decades in the making, and it’s as polarizing a film as ever.

Father Rodrigues and Father Garrpe (Andrew Garfield and Adam Driver) are a pair of 17th century Jesuit priests who learn of their mentor’s (Liam Neeson) repudiation of Catholicism in Japan. Therefore, they venture to the hostile island where they work to continue spreading the gospel while trying to avoid persecution from Buddhist inquisitors. Yet, as Father Rodrigues is captured and tortured by these unforgiving Japanese natives, trials and tribulations force him to question his own faith in the same god that he’s devoted his life to serving.

Silence tells a rather simplistic story in an excruciatingly drawn out demeanor, evident by the handful of viewers that walked out of the screening quite early in the process. Throughout the story, the complexity surrounding Father Rodrigues’ escalating doubt in his own faith lacks energy and intrigue, so much so that even an iconic filmmaker such as Martin Scorsese struggles to win the audience over with his glaring  technical achievements. Silence offers pristine cinematography and strong direction, yet its outstretched screenplay casts a shadow over the films few notable conquests. Scorsese’s decades-long passion project suffers from an obsessive attention to detail that ultimately creates a punishing experience for the viewer.

It becomes a chore to sit and wade through Silence‘s near 160 running time. The film’s valiant lead performance from Andrew Garfield serves as one redeeming quality and, certainly, Scorsese deserves admiration for his commitment to delivering a cerebral tale of spiritual turmoil. However, movies are meant to stir emotions and entertain their audiences, yet in both regards Silence misses the mark. Instead, Scorsese takes the viewer on a repetitive journey that fails to generate a mounting response, but rather feels like a tormenting episode of “Groundhog Day”. Consequently, the work’s intelligent and intended focus becomes watered down by such a grueling structure.

I will always look back on Silence with an appreciation for what the film sets out to achieve, yet it’s impossible to praise the manner in which Scorsese chooses to go about his storytelling. Unless you possess a deep-rooted affinity for religious tales or your fandom for Scorsese’s marvelous career proves too strong – much like my own respect for his work, which put me in my seat – then there’s very little joy in battling through the lethargic pacing of the filmmaker’s latest effort.

GRADE: 2.5/5

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Geekscape Movie Reviews: Hidden Figures

by MCDave

The last few years have brought an endless supply of Civil Rights and Civil War era films, making it more and more difficult for writers and directors to keep their subject matter fresh with each subsequent release. St. Vincent helmer, Theodore Melfi, faces this exact quandary with his 2016 late-year effort, Hidden Figures. Thankfully, this remarkable true story incorporates the unique backdrop of science and mathematics to provide the necessary originality needed to stand out amongst a crowded field of similarly-themed stories.

It’s the early 1960s and the United States are in a fragile race to space against Soviet Russia. And after falling behind, the folks at NASA are forced to double-down on their efforts to get astronaut John Glenn into space and orbiting our planet. Yet, as racial tensions divide our nation, a trio of hardworking and sophisticated African American women (Taraji Henson, Octavia Spencer and Janelle Monae) lead a united charge to help ensure that the United States defeats Russia on this scientific front.

Admittedly, Hidden Figures comes with a wide range of ups and downs. Throughout the duration of the film its Civil Rights subplot is addressed via an all too familiar approach. Absolutely no new light is shed on this unfortunate historical truth. Instead, Melfi and co-writer Allison Schroeder deliver stereotypical examples of racial injustices that tip-toe the line of embellishment considering how difficult it becomes to spot a sympathetic Caucasian within the structure of the film. However, this minor blemish falls by the way-side as the movie’s unbelievable real-life story begins to magnify. While the gluttony of math and science dispersed throughout its more than two-hour running time is likely to draw a yawning response from some audiences, I found it to be a refreshing and genuine examination of the common adult world where problem-solving has become a lost art. And through this eye-opening approach, Melfi and Schroeder manage to pen a strong collection of characters that are captured wonderfully by the film’s three leading women. The entire trio deliver strong performances, but Janelle Monae happens to shine just a tad-bit brighter than co-stars Octavia Spencer (who will most likely earn an Oscar Nomination for the role) and Taraji Henson. Praises are also in order for Kevin Costner, who delivers his finest turn in years. Hidden Figures comes with many lulls and a few obvious flaws, yet the film centers around a soaring true story that deserves to be told and the entire cast and crew do a fine job of telling it.

GRADE: 3.5/5

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