MCDave | Geekscape

Geekscape Movie Reviews: Lion

by MCDaveDecember 31, 2016

It feels like the “based on a true story” tag exists on just about every movie nowadays. This alarming frequency tends to dilute any semblance of realism meant to be injected into the story. But in rare real-life instances, the truth is just too amazing to discredit, and that certainly exists in the debut drama from Garth Davis, Lion.

As a five year-old boy living in the slums of India, Saroo (Sunny Pawar/Dev Patel) is accidentally separated from his brother and mistakenly travels 1,600 km across the country. Lost from his family, the young boy is left to fend for himself on the devilish streets of Calcutta until he is taken in and adopted by a couple living abroad in Australia. But as Saroo grows up under the roof of wealth and privilege in his new home, a memory from his childhood is triggered and prompts him to venture back to India in search of his lost biological family.

Lion possesses a far greater appeal in retrospect than as it unfolds on the big screen in real time. And once the story shifts to an adult Saroo, there’s an abruptness to the character’s widely evolving emotions. From sadness, to resentment and eventual acceptance of the life he’s been forced to endure, these feelings are highlighted but never actually earned. As a result, Lion struggles to break the emotional barrier necessary to elevate its sentimental finale to appropriate heights. From a filmmaking standpoint, Garth Davis delivers adequate direction that’s enhanced by majestic cinematography and a memorable score courtesy of Volker Bertelmann and Dustin O’Halloran. Much has also been made about Nicole Kidman’s performance but, even during a year of thin competition within the Supporting Actress race, it fails to leave a lasting impression. Lion‘s remarkable true story isn’t quite handled with the care it deserves, yet the film’s heart-warming conclusion helps salvage this otherwise flawed work.

Grade: 3/5

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MCDave’s Top Ten Films Of 2016!

by MCDaveDecember 29, 2016

Can you believe that 2016 is coming to a close? In just a few days, we’ll abolish that dreaded six for ten more years, and a cool, clean, sexy seven will take its place.

2016 has been an incredible year for everything aside from presidential candidates and celebrity deaths, so as always, we wanted to share our favourite games, movies, moments and more of 2016.

Adam shared his favourite things yesterday, and today longtime critic MCDave is here to share his favorite films of the past year!

#10. Arrival

My top ten list begins with Denis Villenueve’s sci-fi drama, Arrival. This Oscar hopeful deviates from the stereotypical sci-fi structure by offering majestic cinematography and an artistic vision from its filmmaker. After 12 alien spacecrafts appear across the globe, the U.S. military reaches out to a linguistics expert (Amy Adams) to form a line of communication and determine if their motive is peaceful or violent. This cerebral effort works in opposition to some punishingly sluggish pacing which, admittedly, concludes in a remarkably clever fashion.

#9. The Nice Guys

One of the year’s most entertaining features came from Iron Man 3 director, Shane Black, and jump-started the summer blockbuster season. The Nice Guys stands as a successful twist on the buddy-cop genre as two private investigators (Ryan Gosling and Russell Crowe) look into the disappearance of a teenage girl. There are countless laugh-out-loud moments scattered throughout this hilariously scripted story that’s bound to get the sequel treatment.

#8. Remember

One of the only upsides to this year’s middling crop of releases is it allows me to offer praise to some lesser-known titles. One such film is the early-year release, Remember, from director Atom Egoyan. Christopher Plummer stars as Zev, an elderly man living in a retirement-home and experiencing early stages of dementia. He is reminded of his gruesome childhood in the Auschwitz internment camp where a Nazi guard killed both his and a fellow resident’s families. With nothing left to live for, Zev sets out on a vengeful mission to find the prison guard and kill him. Remember is a wildly engaging thrill ride that’s elevated by an explosive final scene you won’t want to miss.

#7. Nocturnal Animals

Tom Ford’s stylish sophomore effort isn’t everything you’d expect it to be, but it’s still quite good. Amy Adams stars as an art gallery owner who receives a manuscript of her ex-husband’s new novel. The book is dedicated to her and, as she becomes consumed by its grisly story, she reflects on the emotional torment she caused her former lover (Jake Gyllenhaal). I expected a more brutal and twisted affair, but what it lacks in physical anguish is made up with psychological misery. Michael Shannon and Aaron Taylor-Johnson offer fine supporting work while Tom Ford’s direction is on-point.

#6. Don’t Think Twice

The modern evolution of the comedy genre is actually quite sad. Character development in such a setting has become a lost art and cleverly-crafted humor is a dying skill. Thankfully, Mike Birbiglia’s personal indie comedy, Don’t Think Twice, represents a return to the glory days. The film follows a tight-knit improv comedy group who begin to experience fierce competition between one another when the world’s most notable sketch-comedy show scouts them for new talent. This wonderfully told story draws the audience into each of its characters and is highlighted by hilarious situational humor.

#5. Manchester by the Sea

Kenneth Lonergan’s emotionally charged Oscar contender is by no means an easy watch. Casey Affleck, who stands as the Best Actor frontrunner for his unmatched performance, plays a brutally scarred handyman who returns to his home town to care for his nephew after his brother passes away. Deeply immersed in feelings of hope, heartache and uncertainty, Manchester by the Sea absolutely pushes the dramatic envelope.

#4. Captain Fantastic

There’s something so euphoric about Captain Fantastic. On the surface the film’s central characters appear to be a crazed family who shut themselves off from the world by living deep in the wilderness of the Pacific Northwest. But at the same time, to have the fortitude and survival instincts to actually pull it off are impressive and convincing. There are countless controversial elements scattered all throughout this captivating story and artistically shot film that make Captain Fantastic a movie unlike any other.

#3. Hell or High Water

David Mackenzie’s tale of bank-robbing brothers is the perfect blend of the classic Western genre with a modern day flair. Chris Pine, Ben Foster and Jeff Bridges all provide phenomenal performances that catapult this slow-boiling and often witty screenplay into a completely well-rounded piece of filmmaking.

#2. Moonlight

I had heard all of the lofty praises for Barry Jenkins’ indie drama, but a familiar premise left my expectations extremely tempered. However, Moonlight was this year’s biggest surprise. It delivers the finest ensemble of 2016 and tells its powerful coming-of-age story with a level of tenderness and humanity that will leave you craving for more long after its credits roll.

#1. La La Land

In a year overrun with grim storylines from its major awards season contenders, Damien Chazelle’s whimsical musical is a fresh breath of upbeat originality and a bona-fide Best Picture selection. La La Land comes with its own roller coaster of emotions, but the film tells a deeply passionate story using a deliberate nod to classic cinema all while injecting a modern touch.

Geekscape Movie Reviews: La La Land

by MCDaveDecember 10, 2016

This year’s 25th annual Philadelphia Film Festival opened in style with La La Land, one of these year’s finest achievements. Damien Chazelle follows up his highly regarded Best Picture Nominee, Whiplash, with this dazzling sophomore effort. Nostalgic and full of passion, the film pays its respects to old Hollywood all while providing a fresh vibe that will be difficult for any competitor to topple during the upcoming awards season. So if you’re in search of an early Best Picture frontrunner, look no further than La La Land.

Mia’s (Emma Stone) lifelong dream is to be a respected actress in Hollywood. But as the Nevada native experiences the ego-crushing defeat of Los Angeles’ cutthroat audition process, she falls for a Jazz pianist named Sebastian (Ryan Gosling) who hopes of one-day running a club of his own. And while this pair of starry-eyed romantics fall madly in love with each other, the weight of their relationship makes it difficult staying committed to their dreams.

From the opening number all the way to its monumental finale, La La Land consumes its viewers with an extraordinary combination of a wonderfully composed score, intricate choreography, towering performances and tastefully advanced direction. Damien Chazelle is beyond deserving for a Best Director nod as his immaculate vision comes to life on the big screen. Six years in the making, Chazelle and his composer, Justin Hurwitz, used this abundance of time and patience to hone their story and fine-tune the music. This precise attention to detail spills through each and every scene as La La Land serves as a testament to originality and a shining example of its own greatest storyline, devoted passion to achieving ones dreams.

Not only are the film’s direction and melodic score an absolute marvel, La La Land‘s lead co-stars are enchanting in their own right. Emma Stone and Ryan Gosling offer a unique chemistry that breathes authenticity into their onscreen romance. The film can’t capture all of its engaging essence without a sharply convincing love story, and boy do they deliver! This magical romance is reminiscent of legendary cinematic duos such as Bogart and Bacall or Tracy and Hepburn, while they naturally fall in line as a contemporary equivalence. And although Emma Stone’s character is written with more depth and layers by comparison – which may be enough to tip the scales in her favor in this year’s Best Actress race – it wouldn’t be a surprise to hear Gosling’s name called as an Oscar finalist as well.

Hollywood adores movies about the industry and La La Land uses this cachet to mold together the aura of classic cinema with a vibrant and updated appeal. It’s challenging to identify a single glaring weakness within the film, making it destined for a justifiably successful awards season run. It’s important to note that musicals aren’t for everyone, but La La Land‘s transcends this generic label thanks to an infectious passion for the arts that makes you wish you could create something as everlasting as the film itself. Consequently, La La Land stands as one of 2016’s finest offerings and an clear-cut must-see effort from one of Hollywood’s fastest-rising filmmakers.

GRADE: 4.5/5

Check out other reviews, movie lists and trailers at MCDave’s host site

Geekscape Movie Reviews: Moonlight

by MCDaveDecember 10, 2016

There are certain things in this world that just can’t be explained. On the surface, Barry Jenkins’ profound new feature, Moonlight, focuses on a familiar premise using many unknown actors and actresses, but somehow it manages to transcend the superficial sum of its parts. Being able to pull off that rare feat is nothing to take lightly. And for that reason, Barry Jenkins and his entire collection of writers, actors and crew appear to be in line for a huge awards season run.

Moonlight tells the gripping story of an impoverished youth named Chiron growing up during the heart of “The War on Drugs” in the Miami projects. Chiron is taken under the wing of a local drug dealer (Mahershala Ali) and his girlfriend (Janelle Monae) while trying to avoid his drug-addicted mother (Naomie Harris). And as Chiron comes into his own, not only is he forced to battle the demons of his home life, he also struggles to come to grips with his sexuality.

Although Moonlight fails to venture into uncharted territory with its premise or story, the film unfolds in a truly mesmerizing manner. Within its partitioned structure, years pass from chapter to chapter bringing about a trio of performers to capture the essence of Chiron. Each are absolutely magnificent is this evolving story of self discovery and personal acceptance, but it’s Ashton Sanders who shines brightest. Sanders highlights the middle segment of the film during Chiron’s trying teenage years, where he experiences harsh bullying and a unforgettable glimpse into his sexual curiosity. It’s a challenging role that’s captured brilliantly by the young actor. Other standout performances come from Mahershala Ali, Janelle Monae and Naomie Harris. Ali gives a memorable turn in the opening chapter as Chiron’s flawed mentor, while Harris appears in all three parts as the boy’s drug-addled mother. Mounting buzz suggests that both Ali and Harris are the most likely to earn Oscar recognition but, make no mistake about it, there’s no shortage of impressive acting on display throughout the entirety of Moonlight.

In addition to countless exceptional performances that help create an engrossing story, Moonlight possesses flawless pacing and top flight direction. Barry Jenkins delivers a masterful vision that lifts the film from a recognizable tale to a refreshingly original finished product. And although Moonlight‘s stereotypical portrayal of urban drug addiction is slightly frustrating, it becomes an easily overlooked blemish by the time the third act arrives. In fact, I felt completely caught off guard by the film’s final scene, as I could’ve easily taken another hour of Chiron’s captivating journey. Needless to say, the surprising conclusion doesn’t feel cheapened at all as the story ends at a meaningful crossroads.

Moonlight is a beautifully poetic expression of artistic collaboration. The film doesn’t need to resort to shockingly graphic scenes of homosexuality to make a statement. It’s understood that less is more as long as everyone involved goes above and beyond, which they certainly do. Moonlight stands as a transcending indie film packaged wonderfully by Barry Jenkins into a certified and deserving awards season contender.

GRADE: 4.5/5

Check out other reviews, movie lists and trailers at MCDave’s host site

Geekscape Movie Reviews: Manchester by the Sea

by MCDaveDecember 8, 2016

After the bitter back and forth battle between Kenneth Lonergan and Fox Searchlight Pictures over the final cut of his last film, no one would blame the director from stepping away from the film industry all together. Yet, Lonergan’s powerful storytelling and vision are far too impressive to keep him sidelined for too long as he returns with the heavy-hitting Oscar-bound drama, Manchester by the Sea. Whispers of awards season recognition continue to follow this Sundance Film Festival selection and they don’t appear to be dying down anytime soon as Manchester by the Sea prepares for the long road to the Academy Awards.

Lee Chandler (Affleck) is an embittered apartment complex handyman living in the Boston area. But after receiving word that his brother has passed away from heart complications, Lee travels back to his hometown of Manchester and soon learns that he’s been willed as the new legal guardian to his teenage nephew (Lucas Hedges). While the teen wishes to remain in Manchester, Lee struggles to come to grips with past events that prompted him to uproot his entire life in the first place.

Manchester by the Sea‘s emotionally-draining and somber story is masterfully complemented with subtle humor that adds a much-needed element of levity. In fact, two of the film’s strongest attributes are writer and director Kenneth Lonergan’s bold script and its collection of extraordinary performances. Casey Affleck’s gut-wrenching turn is an absolute tour-de-force that possesses a quiet sadness which mirrors his character’s scarred past. Understanding the complexities of Lee Chandler clearly takes time to develop but, after all of the pieces are finally in place, there’s no doubt that Affleck’s performance is one of the year’s finest, if not the best. Co-star Michelle Williams isn’t quite given the same attention or screen time as her counterpart, however her deeply emotional work doesn’t go unnoticed. Although it’s safe to anticipate strong runs to the Academy Awards for the aforementioned performers, newcomer Lucas Hedges also impresses with an eye-opening supporting role. All in all, Manchester by the Sea captures its audience with a tender screenplay brought to life by an outstanding ensemble.

Despite its many shining qualities, Lonergan’s effort struggles to sufficiently engage the audience. Manchester feels every bit of its over two hour and fifteen minute running time. The film presents countless lulls that occasionally benefit this character-driven effort, but often stand out as gaps in an otherwise well-crafted story. Furthermore, Kenneth Lonergan’s name is constantly being tossed around the Best Director discussion. To the contrary, Manchester feels like a safely shot and executed feature. Lonergan doesn’t take many risks and, while he should be lauded for piecing together a strong final product, this directorial effort fails to stand out as something spectacular.

Manchester by the Sea deserves to be savored for its wonderful performances and a story that goes surprisingly deep. Yet, the film isn’t always an enjoyable watch. There’s a grim undertone at work and poor pacing doesn’t necessarily make it any easier to sit through. However, when the dust settles, Manchester by the Sea stands apart as a bitter drama that effectively captures a wide array of emotions.

GRADE: 4 out of 5

Check out other reviews, movie lists and trailers at MCDave’s host site

Geekscape Movie Reviews: Fences

by MCDaveDecember 8, 2016

Originally a Tony Award winning play from the late August Wilson, Fences receives the big screen treatment courtesy of director and star, Denzel Washington. The film debuted in early November to the highest of praises from countless members of the Screen Actors Guild, which instantly solidified Fences as a legitimate Oscar contender. Despite its inability to entertain quite as effectively as other awards season hopefuls, you should still expect to hear the film’s name called on Oscar night.

Set in 1950s Pittsburgh, Troy (Washington) is a former baseball star who finds himself unsatisfied as a 53 year-old garbage man. But as Troy’s resentment trickles down to his star-athlete son, Cory (Jovan Adepo), they two battle over Cory’s desire to play college football. Meanwhile, the family’s adoring matriarch, Rose (Viola Davis), works tirelessly to keep the peace within their household.

It’s impossible to ignore the playhouse aura that suffocates Denzel Washington’s adapted work. Fences looks and feels like a stage-play in every aspect, so much so that it hampers the film’s ability to stand out as more than just a superbly acted accomplishment. Both of its leading stars will most likely end up as finalists in tightly contended Oscar races. Washington’s performance dances wistfully along a wide spectrum of emotions. There are powerful moments where Washington reminds the audience of his singular talents that have earned him a decades-long career in the industry. Then, on the other hand, the lead star delivers overtly embellished scenes where he sadly begs to be noticed as his character transitions from a hopeless romantic, to a stern father and a villainous foe. Washington’s onscreen counterpart, Viola Davis, provides a more balanced and nuanced performance filled with heart, soulfulness and subtle intricacies. Her work in Fences is an absolute marvel and the stars are aligning for Davis to finally win an Oscar, after being unforgivably robbed by Meryl Streep (for The Iron Lady???) a few years back. Supporting star, Mykelti Williamson – best known as Benjamin Buford Blue, aka Bubba, in Robert Zemeckis’ Forrest Gump – has also earned some early rumblings as an Oscar hopeful, further solidifying Fences as a clear showcase for its many actors and actresses.

Despite the film’s unquestionably promising performances, Fences struggles to resonate in many other areas. A popular saying among filmmakers is “show, don’t tell”. Unfortunately, verbose dialogue and a long-winded screenplay form a recipe for boredom. Even through the stories twists and turns Fences fails to adequately entertain. Many have lauded Denzel Washington’s direction, yet he never overcomes limited settings and the hindrances of a stage-play backdrop. Fences tells an expansive story spanning many characters but, even after piling up nearly a 140-minute running time, these various subplots feel under-developed. It’s because of all these shortcomings that Fences doesn’t quite stack up as the Best Picture contender that insiders are claiming.

Denzel Washington offers a brilliantly acted adaptation that’s geared towards an award season audience. Yet, if you’re searching for more than just an actor’s showcase drowned in dialogue and lacking amusement, then you’ll have to look further than Fences.

GRADE: 2.5/5

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Geekscape Movie Reviews: The BFG

by MCDaveJuly 1, 2016

Stephen Spielberg is a filmmaker that needs no introduction. The two-time Oscar-winning director boasts a never-ending list of credentials that extends well beyond his most acclaimed classics like Saving Private Ryan, Schindler’s List, Raiders of the Lost Ark and Jaws. And with today’s release of Spielberg’s massively anticipated adaptation of Roald Dahl’s children’s tale, The BFG, he adds another successful title to his long, storied career.

Sophie (Ruby Barnhill) is a young orphan living in London who suffers from a self proclaimed bit of insomnia. One evening, while wandering around the orphanage at all hours of the night, she encounters a lovable giant named BFG (voice of Mark Rylance) dancing along the streets outside her bedroom window. BFG snatches Sophie from her room and introduces the girl to a secret world of other giants and the whimsical source of all our nightly dreams.

Based on the source material alone, The BFG is a story that’s truly suitable for audiences of all ages. Couple that with masterful direction through the singular eye of legendary filmmaker, Steven Spielberg, and you’ve got an instant-classic. In fact, I’ll go out on a limb and declare The BFG as Spielberg’s finest film since his 2002 crime comedy, Catch Me If You Can. It’s his majestic perspective that magnifies an already solid tale filled with grand visual effects and a charming adventure. Mark Rylance, who won an Oscar himself at the hands of Spielberg’s Bridge of Spies just last year, provides the voice and soul behind the titular character. Yet, it’s the exceptional turn by youngster Ruby Barnhill that brings the entire film together. Her delivery is organic and fits the role extremely well. With so many shining qualities surrounding The BFG, Spielberg offers another brilliant effort.

It’s difficult identifying glaring faults to the film, but I will admit that I was slightly underwhelmed by the children-eating giants who oppose BFG. They serve their purpose, but their inclusions in the film are merely mediocre at best. Furthermore, there are a few sluggish moments spaced far apart in this long but otherwise engaging journey. While The BFG has a few minor blemishes, they pass along fairly unnoticed thanks to an abundance of other amazing attributes.

Steven Spielberg’s The BFG is a wonderful adaptation that’s enjoyable for the entire family. Bursting with humor, heart and energy, there are so many special components that make this film one of 2016’s finest. You won’t find another film in theaters that will top Spielberg’s The BFG, so heed my advice and check it out. You won’t be disappointed.

GRADE: 4/5

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Geekscape Movie Reviews: Finding Dory

by MCDaveJune 19, 2016

Allow me to speak candidly about my adoration for Andrew Stanton’s Oscar-winning animated masterpiece, Finding Nemo. Without a moment of hesitation, I loudly and proudly proclaim it as the best animated film of this millennium. Not even Shrek, Up, Toy Story 3 or any of the countless other overwhelmingly successful Disney & Pixar releases manage to stand quite as tall as Marlin’s cross-ocean journey to find his son. Therefore, upon hearing news of Stanton’s long-awaited sequel, Finding Dory, I was forced to balance comparable levels of both joy and skepticism. Thankfully, this newest inclusion in the underwater saga is anything but a disappointment.

After the forgetful blue tang fish, Dory (voice of Ellen DeGeneres), helps her new clown fish friend, Marlin (Albert Brooks), find his son, Nemo, she begins to experience cloudy memories of her past. And as she pieces all of these thoughts together, Dory finally remembers her loving parents and embarks on a journey of her own to find them. But despite Marlin’s lack of interest in venturing across the vast ocean yet again, he and Nemo join her on another fun-filled journey of family connection.

Much like his 2003 hit, Finding Nemo, Stanton’s latest endeavor succeeds with its close attention to detail. As expected, the animation is spectacular and the story is cute and endearing. Yet, Finding Dory‘s most memorable moments come courtesy of a fresh new collection of quirky characters. Ed O’Neill shines as the voice of Hank, a cunning octopus with dreams of living the easy life at the Cleveland Aquarium. But Hank is merely the tip of the iceberg when it comes to the many hysterical new faces that Finding Dory introduces. Most sequels will attempt to reuse their supporting characters, story structure and other winning facets of the original in order to cash in at the box office. However, Finding Dory elevates its game and provides a wide arrangement of interesting new ideas and characters that make it a strong stand-alone film all on its own.

Despite culminating as a clear winning effort, there are a few areas of concern that prevent Finding Dory from shining as brightly as its predecessor. The biggest flaw lies in the film’s unwillingness to stay grounded in reality. One of the most appealing aspects of Finding Nemo was, once humans were introduced into the film, the story still remains believable. To the contrary, Finding Dory completely breaks down in its third act and shatters any sense of realism that it ever achieved. Furthermore, the film’s story is much narrower in scope than its source material. Consequently, Finding Dory is forced to rely heavily on cheaper writing tactics such as flashbacks and convoluted obstacles to help extend it’s story. These blemishes are by no means detrimental to the film’s success, yet they clearly create a divide between this entry and the upper echelon work that Disney & Pixar have provided over the years.

Tender, charming and witty all in large doses, Finding Dory is a guaranteed Oscar contender for Best Animated Feature and a worthy sequel. You’ll fully embrace the return of these lovable characters as well as a fresh new batch that you can add to the list. June has been a rather disappointing month to the 2016 summer blockbuster season, but Finding Dory is a ray of sunshine that you should soak in before it’s gone.

GRADE: 3.5/5

Check out other reviews and write-ups at MCDAVE’s host site

Geekscape Movie Reviews: The Nice Guys

by MCDaveMay 22, 2016

Considering Shane Black broke into the the industry as the writer of the 1987 buddy-cop comedy, Lethal Weapon, there’s no surprise that he’s returning to his roots for his third directorial effort, The Nice Guys. I’ve been on record speaking out against Black’s previous entry as the visionary behind Iron Man 3, but I’m thrilled to see him transitioning back to a place of comfort. Black first stepped behind the camera for 2005’s wildly acclaimed caper comedy, Kiss Kiss Bang Bang, and more than a decade has passed since, Yet, Black’s able to rediscover his winning formula with a new pair of leading stars, Russell Crowe and Ryan Gosling.

Set throughout 1970s Los Angeles, Jackson Healey (Crowe) is an enforcer who makes problems go away. And when a fearful young client named Amelia goes missing, Healey must team up with a binge-drinking private investigator named Hollard March (Gosling) to locate the girl. But as they dig deeper into the mystery, Healey and March become entangled with dangerous mobsters, porn stars and high-ranking government officials.

The Nice Guys stands as a refreshing new buddy comedy that delivers well-earned and cleverly crafted jokes. There is no shortage of laugh out loud moments, all of which solidify Shane Black’s latest film as a clear-cut winner. Gosling and Crowe have a natural chemistry that allows the humor to flow naturally. Their characters possess contrasting personalities that perfectly complement one another. Gosling as the clumsy and more unprofessional investigator, and Crowe as the brute muscle who operates under a strict unwritten code of the industry. In addition to a fine script that allows for the film’s talented leads to work their comedic magic, The Nice Guys has another surprising talent emerge from all of its splendor. Normally the overuse of a teenage character can be a hindrance to a movie, yet Black brilliantly incorporates newcomer Angourie Rice into the story. As Holland March’s daughter and voice of humanity in the film, Rice sets herself apart as a valuable asset. Each of these glowing attributes come together masterfully in one of 2016’s finest efforts.

Although the film’s laughter and light-heartedness keep a positive and energized tone throughout its duration, The Nice Guys does manage to struggle in a few key areas. The overall mystery of their case lacks depth and unpredictability. Furthermore, many of March and Healey’s big breaks are discovered by luck and sheer chance. Black’s work could have used a little more investigative wit to counterbalance all of the film’s accomplished comedy. And finally, The Nice Guys merely skims over any dramatic elements that it introduces. As a result, the film’s characters appear cartoon-ish and one dimensional. Perhaps a slightly deeper dive into their personal lives would have gone a long way. Instead, we’re left with a hysterical and effective caper comedy, but very little more.

Needless to say, Shane Black has another winner on his hands. Acceptable doses of action, mystery and hilariously scripted humor come together to deliver a wildly entertaining film. The Nice Guys doesn’t break any barriers or demand a place on the Mount Rushmore of buddy comedies, but it definitely makes for a worthwhile movie experience. If your in need of some genuine laughs and an engaging couple of hours at the movies, then you certainly won’t regret taking a chance on Shane Black’s latest entry.

GRADE: 4/5

Check out a list of Ryan Gosling’s Best Roles and other write-ups at MCDAVE’s host site

Geekscape Movie Reviews: Everybody Wants Some!!

by MCDaveApril 7, 2016

Richard Linklater is a bit of a chameleon director. His filmography boasts an assortment of movies which, on the surface, appear to have no link whatsoever. Yet, when you dig deeper into the content of films such as Boyhood, Dazed and Confused and the Before Sunrise trilogy, they all share a common theme of self discovery. And the same can be said for Linklater’s latest comedic endeavor, Everybody Wants Some!!.

Set throughout a Texas college in 1980, the film follows a new class of freshman baseball recruits who arrive to campus and meet their rowdy elder teammates a few days before classes begin. Pitching prospect, Jake (Blake Jenner), and his meat-head catcher, Plummer (Temple Baker), blindly follow the wisdom of their upperclassman teammate, Finn (Glen Powell), as they come face to face with newfound freedoms and adult responsibilities.

One of Richard Linklater’s finest qualities as a filmmaker is his ability to capture moments. Much liked his influential cult classic, Dazed and Confused, this 80s centric comedy beautifully ushers its characters from uninhibited youthful independence to the early seeds of adulthood. Everybody Wants Some!! succeeds on the shoulders of subtly insightful scenes that are peppered with outrageous laughs and tender moments. Lead actor, Blake Jenner, delivers an endearing role that in no way steals the show. Instead, Linklater relies on a spanning cast of animated characters that each contribute key elements to the greater good. Supporting stars Temple Baker, who shines in a debut performance, and Glen Powell each handle their prominent roles with natural ease. An exceptional cast, solid soundtrack and energetic pace help make Everybody Wants Some!! a memorable experience.

While Richard Linklater’s newest entry will understandably be compared against his beloved title, Dazed and Confused, it’s important to recognize that Everybody Wants Some!! is mildly derivative of the previous work. 22 Jump Street‘s Wyatt Russell serves as a stand-in of sorts for Matthew McConaughey’s classic Wooderson character. The similarities extend far beyond their physical resemblances, mainly Willoughby’s prophetic preaching to ignore society’s rules and to embrace your inner goofball. In addition to the comparable aspects of Linklater’s two films, Everybody Wants Some!! suffers from an aimless story. It’s a bit of a catch 22, but the director’s passion for capturing key moments, in lieu of telling a cohesive story, ultimately weakens the film from a larger scope.

Despite the film’s shortcomings, its appealing vibe and infectious energy are enough to sway the audience. I’m not envisioning a generational classic, but Everybody Wants Some!! is an affable winner in its own right. Considering it’s only April, Linklater’s latest is one of the better options worth enjoying early in 2016.

GRADE: 3.5/5

Check out other reviews and movie lists from MCDAVE at his host site

Enter MCDave’s Annual Oscar Contest!

by MCDaveFebruary 7, 2016

We’re officially 3 weeks away from Oscar Sunday and this year’s awards ceremony is shaping up to be one of the most unpredictable events in recent memory. Greg Rouleau (Reel True) and I are hosting our annual Oscar contest once again and it’s completely FREE TO JOIN!

If you’re interested in entering for a chance to win a $50 gift card to a movie theater chain (your choice of Regal, AMC and Landmark theaters), then just follow the simple instructions below. Best of luck to everyone!

Step 1: Go to http://www.runyourpool.com/join/?id=51732

Step 2: In the “Join Password” box type – oscargold

Step 3: Fill out the form including a username, password and email address

There is no spam ever and feel free to invite as many of your friends as you’d like. Come celebrate your Oscar Sunday with us!

Note: The winner of the pool must have a mailing address in the 48 continental U.S. states

Geekscape Movie Reviews: Hail, Caesar!

by MCDaveFebruary 5, 2016

The dynamic sibling duo of Joel and Ethan Coen have already left a tremendous imprint on the film industry. As gifted writers and prolific visionaries who are all too familiar with Oscar acclaim, any entry of theirs is graciously accepted by critics and viewing audiences alike. Oddly, though, Joel and Ethan’s latest cinematic work, Hail, Caesar!, lands as an early year release competing in theaters against numerous elite Oscar contenders, something the brothers haven’t experienced since they debuted The Ladykillers in March of 2004. But despite their multiple pieces of Academy Award-winning hardware, Hail, Caesar! reveals itself as a comedy-heavy film that’s far from the brothers’ finest achievements.

Set throughout 1950s Hollywood, Eddie Mannix (Josh Brolin) is a movie executive for Capital Pictures who’s known for cleaning up a mess or two (or three). If a director encounters a problem or the acting talent becomes entangled in a poor decision, Eddie arrives to reset the world back to normal. But when the studio’s most prominent release of the year is compromised because its leading star, Baird Whitlock (George Clooney), is kidnapped and held for ransom, Mannix begins to question his love for the job while he works to fix this potentially final problem.

Although it suffers from a few devastating flaws, Hail, Caesar! serves as another fine comedic endeavor for the Coen brothers. The laughs are endless and the film’s tone is almost absurdly jocular enough to overshadow its blatant disregard for a cohesive storyline. This self-mocking examination of Hollywood and filmmaking in general possesses a certain spark and bravado that eases the viewer to the final credits. Hail, Caesar! engages with a natural wit and humor that’s effortlessly provided by a star-studded cast which includes Brolin, Clooney, Channing Tatum, Scarlett Johansson, Ralph Fiennes and newcomer, Alden Ehrenreich. Be warned, though, the film is completely devoid of any dramatic elements whatsoever, making Hail, Caesar! a limited effort from a duo with unlimited potential.

Through no fault of its own, Hail, Caesar! will unfairly be measured beside a long list of exceptional titles previously released by the Coen brothers. And in no way, shape or form can this new entry stack up against hits such as Fargo, No Country for Old Men and The Big Lebowski. Structurally, the Coen’s offer a jumbled story that struggles to develop characters and deliver a meaningful message. The film is riddled with random scenes and highlighted moments that work well on their own but fail to amount to a greater whole.

If you’re dying for the next great Coen brothers epic, you’ll have to keep waiting. Hail, Caesar! is a reasonable comedy that gets by on mild humor and admirably committed performances. Yet, the film falls well shy of the duo’s reputable heights which will surely disappoint many. Rushing out to theaters to catch it on the big screen may be a bit rash, but there are still a few reasons worth enjoying Hail, Caesar!.

GRADE: 3/5

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Geekscape Movie Reviews: The Hateful Eight

by MCDaveDecember 30, 2015

Rare filmmakers have the tendency to eclipse the content of their work, both in style and public recognition. Quentin Tarantino arrived at that status long before he re-modernized the western-film genre with his 2012 all-around critical and commercial success, Django Unchained. Tarantino laces up his cowboy boots once again with his latest entry, The Hateful Eight, a film that almost never happened after Tarantino vowed to abandon the project when its script was leaked all across the internet. But despite his rigid and reactionary declaration, cooler heads prevailed and Tarantino returns to deliver another fine addition to his well-rounded filmography.

Bounty hunter John “The Hangman” Ruth (Kurt Russell) is transporting his prisoner, Daisy Domergue (Jennifer Jason Leigh), to the town of Red Rock, Wyoming where she stands to be hung for crimes committed. But when a blistering winter storm forces him and a band of untrustworthy fellows to take shelter in a stopover along the way, tensions begin to mount. And with a steep $10,000 reward on Daisy’s head, The Hangman will operate under any means necessary to ensure that he survives the storm and that justice prevails.

The Hateful Eight surfaces as another rare and bold story from an Oscar-winning mind unlike any other. This time around Quentin Tarantino uses a western backdrop as a bit of an homage to the classic stage play. The film incorporates an exceptionally-timed intermission to divide Tarantino’s newest irregular story into two fully different subsections. The first of which is used as an introductory to our eight mysterious characters. But throughout the second half of the film, the characters reveal their true colors culminating in a bloody and gruesome showdown that’s to be expect from Tarantino. As always, it’s the film’s absorbing dialogue and the director’s keen eye for camera work that turns a nearly three hour story into a wildly engaging thrill ride. The Hateful Eight never tries to mask a valuable life lesson or tell some profound, insightful message. It’s an experience created simply to entertain, and it achieves that with unburdened ease.

Despite the feature’s stylish successes and Oscar-caliber screenplay, The Hateful Eight reveals a few weaknesses. For starters, the cleverly implemented intermission is a foregone necessity. Without this brief separation from the story, The Hateful Eight would have been a far less enjoyable one-sitting watch. Furthermore, Tarantino has long ditched the normal tendencies of screenwriting. As a result, this time around he decides the characters are of much less importance than the wildly epic tale he aims to construct. Consequently, any strong emotional attachment to the movie is out of the question. Instead, the audience is expected to sit back, relax and enjoy the twisted and perverse concoctions of a storytelling genius.

Quentin Tarantino’s latest effort falls shy of his highly regarded, Django Unchained. However, The Hateful Eight is still a strong piece of filmmaking in its own right. Tarantino continues to deliver superb direction in support of a brilliantly crafted set of characters brought to life by a gift team of performers. Even if Jennifer Jason Leigh stands as the most likely cast member to receive an Oscar nomination, it’s Samuel L. Jackson who steals the show with an onslaught of hilarious one-liners. You should expect to literally laugh out loud, a lot. And if you can stomach another gory finale from Tarantino, then The Hateful Eight is something you should savor.

GRADE: 4/5

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Geekscape Movie Reviews: The Revenant

by MCDaveDecember 24, 2015

Last year’s Best Picture winner, Alejandro G. Inarritu’s Birdman, amazed audiences with its single-shot appearance and paved the way for the director’s next project. Even though the Mexican filmmaker has successfully lured impressive acting talent to his highly regarded past works, The Revenant has always been different, it’s supposed to be “the one”. With the Oscar-less Leonardo DiCaprio set to star in the role of a lifetime as he rides the wave of Inarritu’s recent success, all eyes have shifted to their upcoming collaborative effort.

Set throughout a massive uncharted American wilderness during the 1820s, Leonardo DiCaprio stars as famed explorer, Hugh Glass. Following a viscous grisly bear attack that leaves him fighting for his life, Glass is abandoned and left for dead by fellow frontiersman, John Fitzgerald (Tom Hardy). Against all odds, Glass is forced to withstand blistering winter conditions as he embarks on a vengeful quest to find and kill Fitzgerald.

The Revenant is a relentless survivor tale that motions fluidly between an intense drama and a visceral revenge thriller. Despite all the attention placed on Leonardo DiCaprio’s leading performance, it’s Inarritu’s direction that shines brightest. Unlike his fine technical achievements in Birdman, Inarritu slightly tones down his flashy filmmaking skills and utilizes them solely as a complement to Hugh Glass’ remarkable true story. This naturally brings us to DiCaprio. Although I’d argue against this being the finest work of his career, the performance still warrants global attention and I do believe that he’ll win his first statue on Oscar night in February. Sometimes the stars just need to align and DiCaprio’s exceptional turn is further elevated by surprisingly weak competition within the Best Actor race. Don’t be fooled, however, The Revenant is more than a one man show. The entire ensemble is worthy of immense praise and that includes each of Tom Hardy, Domhnall Gleeson, Will Poulter and the rest of the film’s brilliant cast.

While The Revenant is an epic story of one man’s staunch pursuit of revenge that exceeds Inarritu’s previous Best Picture winner, it still fails to mask a few noticeable shortcomings. First, the film packs an immediate punch and culminates with a phenomenal climactic finish. Yet, the second act of Inarritu’s Oscar contender trudges along aimlessly with a Terrence Malick-like sense of artistry that keeps the plot at a standstill. Despite being existential and filled with marvelous imagery, this two and a half hour feature suffers from a sluggish midsection. Furthermore, The Revenant‘s continual reliance on violence and brutality stays loyal to the main theme of the film, but it will undoubtedly repel a large faction of moviegoers and Academy members. Therefore, I see The Revenant as a major Oscar player but an unlikely choice for back-to-back Best Picture winners from Inarritu.

As someone who enjoyed Birdman for its exquisite direction and not as much for its middling story, I had a few reservations regarding Alejandro G. Inarritu’s latest offering. However, The Revenant surpasses last year’s top-honored film in both style and substance. The feature doesn’t boast a high re-watch factor, but it still manages to set itself apart as an instant classic from one of Hollywood’s most talented visionaries. And maybe, just maybe, he’ll be able to get Leo that well-deserved Oscar win.

GRADE: 4/5

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Is “The Force Awakens” A Serious Oscar Contender?

by MCDaveDecember 17, 2015

I don’t have to tell you what today is. By now everyone is fully aware that tonight marks the first public showings of J.J. Abrams’ beyond anticipated release, The Force Awakens. And while everything seems to be perfect for Disney’s recently acquired sci-fi universe, critical adoration has been robust and public hype is astronomical, one question still hovers around the film. Is The Force Awakens a legitimate Best Picture contender for the Oscars? In order to fully wrap our heads around this fair, albeit unpredictable, question, we must consider many criteria both past and present.

Let me be frank, no science fiction film has ever won a Best Picture statue from the Academy Awards. That means J.J. Abrams and company are pitted against some serious odds. Now, that doesn’t mean the latest adaptation of George Lucas’ groundbreaking creation can’t weasel its way into the final dance. In fact, if The Force Awakens is as triumphant and comparable to the original trilogy as many critics have suggested, then perhaps it has a real chance at a Best Picture nomination and, dare I say, more.

After the 1977 release of Star Wars: Episode IV – A New Hope, the epic feature went on to capture a robust 10 nominations from the Academy, 6 of which it won. Although Lucas’ film cleaned up in the technical categories, as well as John Williams’ symbolic score, A New Hope also earned recognition for Best Picture, Director, Screenplay and Supporting Actor. Those are some major accolades and, even more noteworthy, a level of respect unmatched by any other sci-fi film to date (although James Cameron’s Avatar came awfully close with 9 nominations and 3 wins).

It’s also important to recognize that A New Hope wasn’t the only Oscar darling from the franchise’s original trio of installments. Although each of their subsequent nominations either pertained to technical aspects of the film or John Williams’ score, The Empire Strikes Back was victorious with one of its three nominations and Return of the Jedi went home empty handed in all of its four inclusions. Therefore, a look at history would suggest that if The Force Awakens is as good as the general critical consensus claims, then J.J. Abrams’ work could very well stand as a viable Oscar contender.

After catching up on the history of Star Wars, now it’s essential to place the franchise’s latest effort in the context of this year’s Oscar race. Following Disney’s lavish red carpet premiere on Monday that spared no expense, it was reported by Deadline’s Pete Hammond that, not only will Disney make a viable Oscar push for its long-awaited release, but The Force Awakens is also screening for Academy members at their prestigious Goldwyn Theatre not once, but twice! Typically, the voting body attempts to illustrate complete transparency and fairness by simply giving all other films one chance to screen for members. This will be the standard protocol for other weekend Oscar hopefuls scheduled to screen, such as The Revenant and Anomalisa, however this extra opportunity could prove to be very advantageous for The Force Awakens‘ Oscar prospects.

It’s no secret that the Academy Awards grasps for ratings at their annual event, and a reunion with the Star Wars saga would clearly draw a massive number of fanboys to their program. Furthermore, 2015 has been a decent cinematic year but no film has separated itself from the pack as a formidable Best Picture frontrunner. With The Force Awakens opening this weekend, we’ll all see if it’s as good as advertised. And if it is, then perhaps the stars have aligned for history to be made at February’s Academy Awards.

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Geekscape Movie Reviews: The Big Short

by MCDaveDecember 12, 2015

With every new 2015 cinematic release, insiders and prognosticators are seeking a standout film to swoop in and take over the Best Picture race. In steps Adam McKay’s potential contender, The Big Short, a star-studded examination of the United States’ economic meltdown following the 2008 housing market collapse. But in a bit of a twist, McKay isn’t known for his dramatic appeal. In fact, the director has built quite the reputation as a comedy guru following his synergetic film-partnership with Will Ferrell in collaborations such as Anchorman, Talladega Nights, Step Brothers and The Other Guys. Yet, perhaps McKay’s humerus touch could be exactly the spark needed to jump-start this Oscar tailspin.

Back in 2005 hedge fund manager Michael Burry (Christian Bale) recognized a dangerous trend in the United States housing market. And when he uses his full contractual authority to go against the wishes of his clients and bet against the power of the highly regarded banking system, word of his antics quietly spreads around Wall Street. While most insiders laugh off the possibility of a structural breakdown, other money managers and investors such as Mark Baum (Steve Carell), Jamie Shipley and Charlie Geller look beneath the surface of the markets and bravely follow in Burry’s footsteps.

Adam McKay deserves copious amounts of respect as he achieves the remarkable feat of transforming dull and monotonous source material into a laugh-filled and enjoyable affair. The Big Short succeeds on many levels and, at its finest moments, uses unorthodox narrative techniques to capture the audience’s attention and hold it firmly for two plus hours. Be on the lookout for hysterical cameos from rising star and Australian beauty Margot Robbie, Chef extraordinaire Anthony Bourdain and pop-sensation Selena Gomez, all of which cleverly address the film’s nauseating banking and mortgage lingo in a spry and comical way. Furthermore, Steve Carell follows up his Oscar nominated turn in Foxcatcher with another exceptional performance. His cynical character is highlighted perfectly through the constant back and forth with bank trader, Jared Vennett, played by a typically charismatic Ryan Gosling. But through all of these impressive turns, it’s Christian Bale’s supporting work that stands out as the most likely to land in the awards season discussion. All in all The Big Short is a winning drama benefiting from outside-the box storytelling, a sturdy comical undertone and fine acting from its entire cast.

However, despite all of the film’s glowing attributes and valiant attempts to withstand such boring source material, the inner workings of the financial and housing markets are an irrefutable turnoff. Industry verbiage and terminology prove to be inescapable as they bog down an otherwise hilarious screenplay and, to varying degrees, wear down the viewer. After repeatedly hearing phrases like “sub-prime mortgages” and “collateralized debt obligations (CDOs)” at nearly every turn for over two hours, disinterest inevitably settles in. Yet, just as The Big Short begins to test its audience’s patience, the movie’s self-aware director recognizes an urgency to wrap up the story. Hitting a wall is unavoidable, but McKay and company are still able to withstand the film’s own self-restricting limitations.

We all know a family or families impacted by the irresponsible actions of our banks and lenders during the economic collapse of 2008. The dark realities of this historical blunder are enough to warrant a dramatic retelling of such events. Adam McKay does an admirable job of oversimplifying a complicated situation and the result is an often hysterical and well-acted account of American greed. The Big Short is far from the Oscar frontrunner that many were desiring, but it’s still a journey worth taking.

GRADE: 4/5

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Geekscape Movie Reviews: Room

by MCDaveDecember 9, 2015

It was only two short years ago when I clamored for a budding female talent, Brie Larson, to receive her first Oscar Nomination for a gutsy and daring performance in the under-appreciated 2013 drama, Short Term 12. And despite Larson’s unforgivable snub from the Academy that year, I still knew she would continue seeking out deep, personal roles that would eventually land her in the spotlight. Well, it didn’t take long as Brie Larson’s towering performance in the winner of the Toronto International Film Festival’s highly coveted Audience Award, Room, is about to change the landscape of her career.

Larson stars as a young mother held captive in a 10 x 10 shed with her five year old son, Jack (Jacob Tremblay). Having been kidnapped seven years prior and forced into a life as a personal sex slave for her captor, she eventually gives birth to his biological son. This room serves as the only world Jack has ever known, and his mother does her very best to raise him with the hopes of one day being freed from this prison on earth.

Lenny Abrahamson’s Room is a riveting drama adapted from Emma Donoghue’s international best-selling novel of the same name. A shocking story molded straight from the darkest evils of real life, the film examines the physical and emotional torment of a young mother tasked with putting on a courageous front for her naive child. Room relies on unmatched performances to bring its unimaginable story to life. Leading lady Brie Larson is no longer a star in the making, she’s officially arrived. Her confidence to tackle challenging roles such as this one is almost as impressive as the acting showcase she puts on full display. Larson’s natural chemistry with her onscreen son and child actor, Jacob Tremblay, is an absolute marvel, Together they form a 1-2 punch that’s guaranteed to stand alongside any other casting ensemble this year. These beautifully developed characters allow the audience to join them on their gut-wrenching journey from prisoners to psychologically scarred news headliners. Room draws you in from start to finish with an engrossing and earnest story unlike anything you’ve ever encountered.

For as impressive as the film is, there are still a few low points that reveal themselves. Filmmaker Lenny Abrahamson leaves some meat on the bone with his direction. While it never becomes a deterrence to the film, there’s nothing that stands out from a technical standpoint. Furthermore, Room‘s second half, which focuses on the mother’s difficulty readjusting to the real world and questioning her parental choices, feels slightly rushed for such an integral part of the story. And since the film’s running time amounts to an appropriate two-hours, a few alterations to the plot may have improved her unconventionally abrupt mental decline. But despite these apparent weaker aspects of the movie, Room unfolds terrifically and states its case as a legitimate awards season contender.

Some moviegoers venture to movie theaters for fun-filled amusement and simple pleasures. Room is hardly a joy to watch. Instead, the film uses a horrific backdrop to lure the audience into a compelling and realistic story of a mother’s unwavering love for her child. Larson’s inherent maternal instincts are convincing enough to give her a true shot at Oscar immortality. Room does a superb job of standing tall and separating itself as one of the 2015’s finest entries.

GRADE: 4.5/5

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Geekscape Movie Reviews: Brooklyn

by MCDaveNovember 25, 2015

In a bit of a perplexing twist, the 2015 cinematic slate appears to be dominated by a barrage of brilliant female performances. Typically, there are a dozen or so male roles every year worthy of Oscar discussion while the Best Actress race is sometimes relegated to dip into the foreign film ranks to help fill out its top five. Yet, 2015 has broken the mold and churned out an exceptional list of leading ladies primed to claim a highly coveted Oscar statue, and Brooklyn‘s star, Saoirse Ronan, finds herself nestled in the thick of the race.

After receiving the rare opportunity to travel to America in the 1950s and being set up with a job at a retail store and a place to stay, Irish native, Eilis Lacey (Ronan) leaves her elder sister and mother behind as she embarks on a new journey. Settling down in Brooklyn, New York, Eilis struggles coping with home sicknesses until she meets a charming Italian man named Tony (Emory Cohen) who sweeps her off her feet. Their relationship blossoms until Eiles is forced to venture back to Ireland where she is pursued by a wealthy and dashing young man (Domhnall Gleeson) who begs her to stay. Torn between these two wonderful men, Eilis must buckle down and choose the right destiny for her.

John Crowley’s Brooklyn serves as a pleasing love story largely elevated by the refined onscreen work of its leading star, Saoirse Ronan. The gifted performer shines through a graceful and soft spoken character that forms an instantaneous bond with the audience. Her performance is complemented by a notable turn from supporting star, Emory Cohen. As someone put off by Cohen’s small role in the 2012 drama, The Place Beyond the Pines, the actor re-brands himself in this winning drama. The entire ensemble is worthy of recognition as the complete cast plays a vital role in bringing Nick Hornby’s delightful script to life, but it’s the envious chemistry between Ronan and Cohen that sets the perfect tone for Brooklyn‘s triumphant love story.

Despite admirable acting and a top-notch screenplay, the films stumbles greatly in its third act. Brooklyn feels like it’s on the clock and, as a result, this adapted story speeds through an ineffective and disingenuous love triangle in order to fall under the two-hour threshold. In addition, I’ve always praised the career work of supporting actor Domhnall Gleeson, yet he’s completely mishandled in the role of Jim Farrell, Eilis’ romantic interest when she returns home to Ireland. Unfortunately, this abrupt finale stands as a clear and tragic detractor from an otherwise brilliant film.

In what’s become the mantra of the year, Brooklyn resides as another very stellar, yet unforgivably flawed, title. Thankfully, a witty screenplay and talented performers remain as the lasting memory with budding filmmaker, John Crowley’s, latest work. You should expect to hear Saoirse Ronan’s name during the awards season and a Best Picture nomination for Brooklyn would certainly be warranted as well.

GRADE: 4/5

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Geekscape Movie Reviews: Spotlight

by MCDaveNovember 11, 2015

I’ve always revered the overlooked work of screenwriter and director Tom McCarthy. More respected for his earnest screenplays filled with wonderful character development and light-hearted comedy, McCarthy quickly hops into the directors chair once again following a critical bashing of his previous well-documented dud, The Cobbler. But despite McCarthy’s recent poor showing, he bounces back in notable form – as you would expect from any artist and visionary with his talents – delivering one of 2015’s hottest titles, Spotlight.

When Marty Baron (Liev Schreiber) is hired as the new editor of The Boston Globe in 2001, he assigns the paper’s finest team of investigators (known as Spotlight) to look into a surprisingly disregarded case of sexual abuse allegations against a local Catholic priest. And as Spotlight digs deeper into the facts, they begin to uncover a massive conspiracy by the church to cover-up decades of known misconduct. But with the powerful institution pulling strings throughout the entire city of Boston, unveiling this shocking true story proves to be mighty difficult task.

Tom McCarthy’s Spotlight unravels as one of the most compelling investigative dramas in decades. Tied to a national story that strikes a nerve in all of us, this entertaining fact-based tale commands the audience’s attention with elite acting from its entire cast. Michael Keaton follows up his Oscar Nominated turn in last year’s Birdman with another upper echelon performance that should return him to the big dance. Keaton not only finds stiff competition in the Supporting Actor race from Bridge of Spies’ Mark Rylance, co-star Mark Ruffalo could quite possibly give Spotlight the first pair of actors nominated in the same category since Bugsy‘s Harvey Keitel and Ben Kingsley accomplished the rare feat in 1991. And while critics and insiders have touted Keaton’s performance, there are moments throughout the film when the excellence of Mark Ruffalo dwarfs his co-star by comparison. In addition, Stanley Tucci continues to impress as one of the best character actors in the business. Spotlight‘s perfect blend of a hard-hitting story and an unmatched ensemble leave the film as a primed Best Picture contender.

Despite all of the feature’s shining attributes, Spotlight is weighed down by a few glaring blemishes. The film does an adequate job of keeping the audience’s attention throughout its more than two-hour running time, yet there are a few noticeable lulls the viewer is forced to push through. Generally, these poorly paced moments occur as a result of McCarthy and co-writer Josh Singer’s quest for Hollywood dramatization. A collection of these scenes feel inauthentic and unnecessary to the progression of the film, which ultimately leave Spotlight as a flawed, albeit successful, title.

Considering the minuscule number of elite films in 2015, Spotlight positions itself nicely as one of the top tier entries. McCarthy relies on numerous fine performances to transition his gripping factual script to the big screen. If history is any indicator, for more than the last decade every Best Picture winner has debuted to audiences in some form prior to November. Therefore, there’s a strong chance Spotlight could be a major player during this year’s run to the Oscars, and it’s definitely one you won’t want to miss.

GRADE: 4/5

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Geekscape Movie Reviews: Bridge of Spies

by MCDaveOctober 20, 2015

Whenever the great Steven Spielberg takes a seat in the director’s chair, audiences worldwide watch intently in hopes of another epic masterpiece. That comes with the territory when you’re a two-time Academy Award winning filmmaker. But even though Spielberg has cemented his legacy with classics like Schindler’s List, Saving Private Ryan, Raiders of the Lost Ark and E.T., it’s unreasonable to confuse his latest winning effort, Bridge of Spies, with these other exceptional films.

After insurance lawyer, James Donovan (Tom Hanks), is handed the undesirable task of defending a newly arrested Soviet spy (Mark Rylance) during the height of the Cold War, his dedication to The Constitution and his belief that his client deserves a fair trial turn Donovan into a social target. But when an American pilot is shot down and captured by Soviet forces, Donovan must venture to Europe and negotiate an exchange of prisoners between these two enemies. With an entire nation relying on his efforts, Donovan must put his greatest bargaining skills to the test.

There are plenty of highlights surrounding Steven Spielberg’s finest motion picture in over a decade, but perhaps none shine brighter than a terrific collaborative screenplay from Mark Charman and the Coen brothers. Their charming and witty dialogue form the foundation for this Oscar destined feature. And who better to bring these words to life then the greatest living actor, Tom Hanks? The two-time Academy Award winning actor shows he still has the skills to compete with the best as he nails the performance and makes a strong case for contending in the wide-open Best Actor race. But despite the massive amount of screen time devoted to Hanks’ James Donovan character, supporting star Mark Rylance does an outstanding job of standing toe to toe with his highly regarded counterpart. Rylance’s exceptional turn as a detained Soviet spy becomes so memorable that he feels like a safe bet in the Supporting Actor competition. Bridge of Spies also benefits from sound direction at the hands of Steven Spielberg, leaving the film as another all-around solid effort from the legendary director.

Although engaging dialogue and impressive performances sustain Bridge of Spies, the feature also suffers in a few notable areas. The intriguing true story being examined is actually quite simplistic. However, in typical Spielberg fashion, he finds a way to out-stretch the series of events into an unnecessary two hour and twenty minute affair. By the closing moments you’ll be begging for the credits to roll and it’s an unfortunate reality. In addition, after a gripping opening sequence that works perfectly on all levels, the film finds itself completely fixated on Tom Hanks and his character, James Donovan. Consequently, all of the difficult circumstances surrounding the captured U.S. pilot are blatantly overlooked and make it extremely difficult for the audience to forge a connection when these time-sensitive negotiations begin. Clearly these blemishes prevent Bridge of Spies from being an instant classic, yet the film still manages to do a stellar job of entertaining the viewer.

In what has become a recurring theme with 2016’s lackluster collection of releases, Steven Spielberg’s Bridge of Spies culminates as another good, but certainly not great, title. The film is worthy of a viewing for its Oscar-caliber performances from Hanks and Rylance, but just make sure to temper your expectations.

GRADE: 4/5

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Geekscape Movie Reviews: Steve Jobs

by MCDaveOctober 16, 2015

Danny Boyle has always been a stylish filmmaker whose work resonates with me on a very deep level. I loved his powerful illustration of survival in 127 Hours and his unforgettable love story with Slumdog Millionaire. Therefore, the moment I heard that Danny Boyle was teaming up with Academy Award winning writer, Aaron Sorkin, and leading man, Michael Fassbender, to resurrect the seemingly cursed film project, Steve Jobs, I became cautiously optimistic. And despite all of the film’s well-documented hurdles and obstacles with assembling the proper team, Boyle and company still manage to deliver what PC pioneer Steve Wozniak himself described as the best on-screen depiction of the late Steve Jobs.

Set in three scenarios directly prior to product launches during the 1980s and 1990s, Steve Jobs (Fassbender) is forced to sift through personal issues regarding the daughter he denied, malfunctions with his software and grudges with his closest confidants. Through the aid of his hard-nosed assistant, Joanna Hoffman (Kate Winslet), Jobs manages to keep his life somewhat in order as he navigates through our world’s greatest technological boom.

There are plenty of commendable attributes surrounding Danny Boyle’s latest work. Steve Jobs is a perfectly-paced and well oiled biopic that leaves an abundance of room for Michael Fassbender to reveal his natural acting talents. And although Fassbender’s charasmatic performance will most likely nestle him into Oscar contention, perhaps it’s the fine-tuned work of Kate Winslet that rings most memorable. The Academy Award winning actress not only displays herself as the rock in Jobs’ unpredictable and capricious work environment, her character acts as the voice of reason in the Apple co-founder’s personal life as well. If there’s a reason worth watching the latest examination of Steve Jobs, it’s for all the fine performances from these two scene stealing leads all the way down to Jeff Daniels, Seth Rogen and Michael Stuhlbarg.

Despite the top flight acting splashed all throughout Steve Jobs, there are many disappointing aspects to the film. First and foremost, writer Aaron Sorkin’s peculiar decision to frame the story within three distinct moments provides a wide set of pros and cons. Although its refreshing to branch away from the traditional structure of a biopic, which generally meanders through a checklist of pivotal moments in a subject’s life, Sorkin’s choice creates a setting unnatural for proper character development. Furthermore, this dialogue drowned script provides absolutely zero action throughout the film. But thankfully, Danny Boyle utilizes sound filming techniques to keep conversations interesting to the viewer and the cast delivers their often snarky and humerus quips to perfection. These saving graces both provide a counterbalance to an otherwise less than thrilling screenplay.

Steve Jobs is a worthwhile film that offers a fair amount of highs and lows. And to its benefit, all of the film’s events and situations unfold smoothly in a quick and painless fashion that will leave the credits rolling before you know it. Steve Jobs is far from Danny Boyle’s finest work and nowhere near a Best Picture contender, but it’s another strong effort from a fantastic filmmaker that showcases plenty of award-worthy performances.

Grade: 4/5

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Geekscape Movie Reviews: The Walk

by MCDaveOctober 5, 2015

Although his name isn’t stained in the fabric of our society like Steven Spielberg or James Cameron, director Robert Zemeckis is a legend of Hollywood in his own right. As an Academy Award winning filmmaker who graced us with one of the most notable cinematic achievements of all-time, Forrest Gump, Zemeckis knows what it takes to captivate an audience. He returns this weekend to movie theaters all across the country with a soaring spectacle unlike anything we’ve ever seen. Alongside his show-stealing lead actor, Joseph Gordon-Levitt, The Walk unfolds as yet another winning effort from the iconic filmmaker.

As a young child growing up in France, Philippe Petit’s (Gordon-Levitt) interest in magic and juggling culminates into something much more daring, a passion for tightrope walking. And in 1974 after Philippe hones his skill-set under the tutelage of a circus professional named Papa Rudy (Ben Kinglsey), he sets his sights on a higher and more death-defying target, an unharnessed walk between the world’s new tallest buildings in New York City. Petit ventures to the Big Apple and, with his team of accomplices, pulls off the greatest artistic crime the world has ever witnessed.

One of my favorite revelations surrounding Robert Zemeckis’ historical retelling, The Walk, is the surprising tone of the film. Sporting a more playful vibe rather than intense melodrama, the movie peels back layers of famed wire-walker Philippe Petit. And by taking the audience back to his childhood where the central figure’s passion and appreciation for performing began, we’re given a clear understanding of the fearless (and arguably insane) psyche of Petit. Joseph Gordon-Levitt continues to deliver fine performances adding his portrayal of Petit to an already long list of quality work. While Gordon-Levitt is given almost the entirety of the screen time, he makes the most of his opportunity and shines in the role. Sprinkling in a pleasant collection of well-timed humor and an outstanding score from Alan Silvestri (who also composed the music for Forrest Gump), The Walk equates to far more than just a visual masterpiece.

Despite all of the film’s impressive attributes, there are a few facets in which the movie is mishandled. Throughout Petit’s criminal plot to set up a wire between New York City’s Twin Towers prior to his dangerous tightrope walk (which he always refers to as “le coup”), we’re introduced to the members of his team who help make the event possible. However, such little devotion is given to these side characters that the dramatic moments surrounding them all as the big day approaches end up falling flat. Even the relationship between Petit and his girlfriend throughout the film, Annie (played by Charlotte Le Bon), is widely underdeveloped. Furthermore, the visual returns to Joseph Gordon-Levitt’s narration is oddly placed. It comes and goes throughout the film, but it never feels necessary or even warranted. Although The Walk fails to utilize its side characters appropriately and it relies on a poorly executed narration tactic, Zemeckis and company succeed in countless other areas that help dwarf these miscues by comparison.

I typically avoid any 3D showing of a film when possible. I tend to find the technique distracting and less enjoyable. However, The Walk does such a superb job of incorporating the I-MAX 3D into the film that I believe it actually enhances the experience. All of its breathtaking visuals are absolutely stunning and give the film a truly unique feel. Yet, while I wouldn’t declare The Walk as a “must-see” feature, it certainly doesn’t disappoint.

Grade: 3.5/5

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Geekscape Movie Reviews: Black Mass

by MCDaveSeptember 18, 2015

Scott Cooper has developed into a very intriguing filmmaker. After guiding Jeff Bridges to Oscar immortality with his 2009 directorial debut, Crazy Horse, Cooper then followed with the gripping, albeit flawed, drama, Out of the Furnace. Hence, cinephiles watched closely as news developed regarding Cooper’s third major motion picture, Black Mass. And as details emerged and footage of leading star Johnny Depp began to surface, moviegoers everywhere awaited eagerly in hopes of watching Cooper take the next big step in his career. However, things don’t always go according to plan.

On the mean streets of Southie in Boston during the 1970s, local Irish gangster, James “Whitey” Bulger (Depp), finds himself pitted against the Italian mob who have infiltrated the city’s criminal underground. And when a loyal Southie native and FBI agent, John Connolly (Joel Edgerton), is ordered by his superiors to take down the Italian mob boss, Gennaro Angiulo, he reaches out to Bulger for assistance. While the feds dismantle Anguilo’s crew, Bulger and his “Winter Hill Gang” become an unstoppable force throughout the entire city of Boston and beyond.

It’s very difficult to pinpoint a specific tone for Scott Cooper’s latest offering, Black Mass. The film lacks depth with its dramatic elements and paces along too aimlessly to sustain any true sense of action. In fact, Black Mass serves as nothing more than a highlight reel of Whitey Bulger’s murderous repertoire. Instead of developing some form of moral conflict or complexity with its writing, the audience is forced to sit through scene after scene of Scott Cooper’s glorification of violence. Make no mistake about it, the film caters solely to a visceral appeal and circumvents any attempt at telling a deeply layered story. Perhaps, notorious criminal mastermind “Whitey” Bulger is simply a cold-blooded and ruthless killer, nothing more. If so, then there’s really no interesting story worth telling in a major motion picture setting. Leave that for the ID Channel or any of its other similar true crime programmers.

Despite all of the many issues surrounding Black Mass, Johnny Depp provides handfuls of memorable scenes that keep the film from utter disaster. This isn’t the devoted actor’s finest work, but his performance is still magnetic. Solid enough that it makes Cooper’s painful journey down the mob movie checklist somewhat fathomable. An absence of originality and authenticity reveal Black Mass for what it truly is, a superficial one-man show that’s as cold and lifeless as its main character.

Expectations undeniably carry a bias toward any movie experience and, admittedly, I was hoping for much more from Black Mass. Scott Cooper’s first two films were on the fringe of something special but instead of propelling his career to another level, he takes a big step backwards with this latest effort. Character development through storytelling is such an integral part of any cinematic experience and, unfortunately, it’s nowhere to be found here.

Grade: 2.5/5

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Geekscape Movie Reviews: A Walk in the Woods

by MCDaveSeptember 4, 2015

In the twilight of his illustrious career, the iconic film star, Robert Redford, has only appeared in four separate roles since 2007. Such a small number would clearly indicate a selective approach for the one-time heartthrob. Hence, it’s a bit puzzling what drew Redford to his latest film choice, the old-timer comedy, A Walk in the Woods. Needless to say, even the great Robert Redford couldn’t salvage the newest plot-less film from director Ken Kwapis.

As the best-selling American travel author, Bill Bryson (Redford), seeks out the next adventure in his life, he stumbles across the great and lengthy Appalachian Trail. Quickly, the aged writer dives head-first into planning out his 2,000+ mile journey from Georgia to Maine. Yet, the only thing missing is a travel companion. After countless rejections, Bryson hears back from an old friend named Stephen Katz (Nick Nolte) who’s willing to join him on the trek of a lifetime.

A Walk in the Woods musters up the occasional laugh, but mainly suffers from poorly developed characters and an unfocused plot. Don’t expect any notable character arcs or legitimate dramatic moments. Instead, the film paces along solely as a geriatric comedy drowned in predictable situations and unoriginal jokes that produce soft chuckles, but never full on riotous laughter. As A Walk in the Woods meanders from one rehashed joke to another, the most disappointing aspect of the film is its untimely and abrupt finale that ultimately reinforces the notion that the feature is nothing more than a thoughtless and misguided attempt at storytelling.

Although A Walk in the Woods suffers from numerous inexcusable inadequacies, it’s impossible to deny the onscreen efforts of co-stars Robert Redford and Nick Nolte. Without these seasoned vets who try their hardest to resurrect a dead story, the film would have been an absolute disaster. Thankfully, the committed work of Redford and Nolte help ease the audience through a journey of recycled humor and an even flimsier screenplay. But all in all, A Walk in the Woods is a mediocre comedy with almost no redeeming qualities.

As a result of poor storytelling and a lack of creativity, Ken Kwapis’ latest endeavor comes and goes without ever leaving a mark. Perhaps Redford is a devoted fan of Bill Bryson’s highly regarded and humorous novels on world travel. Otherwise, it becomes difficult to fathom what attracted him to a script that’s so unapologetically devoid of emotion. A Walk in the Woods is undeserving of your hard earned money and far from the summertime adventure you should be seeking out.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Man from U.N.C.L.E.

by MCDaveAugust 12, 2015

In the modern world of remakes and reboots, the industry’s current lack of creativity and imagination usually leads to a complete mishandling of movies and television shows we once held near and dear to our hearts. However, one filmmaker has done an indescribable job of issuing successful returns to the characters we love. After a well-executed two film go-around with the mystery solving, Sherlock Holmes, Guy Ritchie tries his hand at transforming the iconic 1960s television show, The Man from UNCLE, into a big screen phenomenon … and boy does he succeed.

Napolean Solo (played by Henry Cavill), is a former thief turned suave CIA specialist who finds comfort in working alone. Yet, when Solo discovers he must partner up with a super-trained Soviet KGB operative (Armie Hammer), the pair attempts to put their differences aside for the good of the world. The unlikely duo use the daughter of a missing scientist (Alicia Vikander) to try and locate his whereabouts in order to stop an underground criminal organization from producing large quantities of nuclear weapons.

Anyone familiar with Guy Ritchie knows that he’s a stylish auteur with an impressive film catalog. And his latest endeavor, The Man from UNCLE, hovers right around the top of the director’s filmography. Ritchie has a knack for brilliantly meshing action with comedy, and UNCLE becomes yet another platform for him to unleash his skills. Boasting a clever script filled with sharp and jovial dialogue, these elegantly chosen words are brought to life by a perfectly selected trio of talents. As an outspoken hater of Zack Snyder’s Man of Steel, I had very little praise for anything involved with the film, Henry Cavill’s performance included. However, Guy Ritchie manages to extract the best from his actors and actresses, like he always does, and Cavill demonstrates his true potential in a role that was destined for him. Co-star Armie Hammer refuses to take a back seat and delivers a performance equally as effective to his counterpart. Alicia Vikander rounds out the trio in what’s proving to be an acting year for the ages with the success of Ex Machina and the upcoming Oscar shoe-in, The Danish Girl.

Although a well-rounded script and gifted performances would usually be enough to hang your hat on, UNCLE takes its winning formula even further with tasteful and exhilarating action sequences that never disappoint. Everything from the opening car chase scene to finely-tuned and choreographed fights, there are a plethora or positive attributes that helps make UNCLE the type of film that satisfies a diversity of audiences. And despite a finale that pushes on just a tad-bit too long, it’s a blemish that’s swept under the rug by a barrage of other outstanding traits.

As someone who went into the film with modest expectations, I was blown away by the level of excitement and laughs splashed all throughout The Man from UNCLE. Guy Ritchie has always been a fantastic source of fun-filled entertainment and his latest work is no exception to the norm. So do yourself a favor and take a chance on one of 2015’s most thrilling and engaging offerings. You won’t regret it.

GRADE: 4/5

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Geekscape Movie Reviews: The Gift

by MCDaveAugust 6, 2015

Australia, the land down under, is most commonly known for its massive Great Barrier Reef and a wide variety of unique animals such as kangaroos, koala bears and duck-billed platypuses. But as of late, Australia has delivered some exceptional Hollywood talent that is headlined by a relatively unknown writer, director and actor, Joel Edgerton. After a breakout in 2010 with the overlooked sibling drama, Warrior, Edgerton is best known for his role in Baz Lurhmann’s The Great Gatsby. And whether or not you’re familiar with this rare multifaceted industry talent, once Edgerton’s controversial psychological thriller, The Gift, generates quite a stir following its nationwide release this weekend, he’ll become a household name.

Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple who relocate to the nearby suburbs of Simon’s childhood looking for a fresh start. While doing some routine shopping for their new home, they’re approached by Gordo (Edgerton), an old classmate of Simon. And after Gordo oversteps his welcome in their lives and eventually references a past secret between him and Simon, the couple quickly grows fearful of his intentions.

One of the beauties surrounding Joel Edgerton’s major motion picture directorial debut, The Gift, is the effective manner in which it utilizes its tension. Where countless other films look to surprise jumps and scares as a flimsy device to shock its audiences, Edgerton and the rest of his talented cast are exceptional and convincing enough to transform these often hokey tactics into legitimate moments of terror. Furthermore, The Gift does an immaculate job of tearing down the safe haven and boundaries of the home dynamic. Part of the feature’s allure is how vulnerable the home environment becomes and it leads to a wildly impressive and thrilling ride. My highest praises go out to the entire cast. Edgerton himself delivers an eerily iconic performance that’s balanced perfectly with the work of his co-stars Jason Bateman and Rebecca Hall. Detailed writing and top-flight performances allow The Gift to take on a life of its own.

Despite all of its amazing attributes, The Gift suffers from a sluggish midsection that trades thrills for dramatics. And although the film loses its suspenseful tone during this portion, it’s a necessary evil that evolves into an explosive and unforeseen finale that’s guaranteed to keep audiences talking long after the credits roll. The Gift paints a unique and realistic picture of humanity. We all have our demons and the movie intentionally shows every character’s true colors before it unravels in the craziest and most compelling of fashions.

Joel Edgerton has emerged as a true industry talent not only on screen, but behind the camera and as a writer as well. The Gift is one of those rare psychological thrillers that transcends the norm and takes chances. Thankfully for audiences everywhere who are destined to enjoy this fine piece of work, those chances pay off in one of the year’s most cerebral and taut films.

GRADE: 4/5

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Geekscape Movie Reviews: Vacation (2015)

by MCDaveJuly 28, 2015

When Harold Ramis passed away last year, a comedic legend was lost. But while most people who look back at Ramis will see Dr. Egon Spengler from the Ghostbusters films, his greatest achievements came from beyond the camera where he directed classics like Caddyshack, Groundhog Day and National Lampoon’s Vacation. Fast-forward a trio of decades and a promising young team of writers and directors, John Francis Daley and Jonathan Goldstein, turn to funnyman Ed Helms to revive the Griswold’s family legacy. And let’s just say, Harold Ramis would be extremely proud of their decision

When regional pilot and a grown up Rusty Griswold (Helms) detects some serious troubles at home, he decides to spice things up by taking his unenthusiastic family on a road trip to the majestic theme park from his childhood, “Walley World”. But in typical Griswold tradition, what was supposed to be a fun-filled bonding experience turns into a hellish road trip that pushes each of them to their respective limits. Yet, if they can just make it to “Walley World” and ride the epic Velociraptor roller coaster, perhaps the trip will be worth it after all.

Unlike many (and I do mean many) 21st century comedies that rely on shock value to generate amusement from its crowd, Vacation finds humor in a reminiscently familiar place. Capturing all of the mannerisms and bone-headed charm of former patriarch, Clark Griswold (played by Chevy Chase), Ed Helms gives a nostalgic performance that is a breath of fresh air from all of these poorly written and contemporary comedies. The writing and directing duo, Daley and Goldstein, mold together a brilliant concoction of the older films with some modern edgy twists that allow Vacation to stand as a solid film all on its own. Each new member of the Griswold family plays a vital role to the story and truly encapsulates the all-for-one tradition of the iconic franchise.

Despite many riotous laughs and unforgettable scenes, Vacation fails to go from start to finish without a hiccup. There are a handful of over-the-top and unrealistic situations that would usually plague a film such as this, but Helms and his co-stars always guide the audience back to the Griswold family norm, which is too good of a place to resist. Another noticeable blemish resides in the somewhat hefty collection of jokes that don’t pan out. Although these moments are sporadic, but evident, throughout the entire film, it becomes routine to let them pass by with ease as more of Vacation‘s cheeky and hysterical humor is always quick to follow.

In an age where reboots, remakes and sequels are typically off base and disappointing, Vacation serves as a gratifying reminder of when a new branding is handled with respect and class. While I must caution that the film is by no means an instant classic like its original source material, this new entry delivers an abundance of laughs and proves to be a worthy inclusion to the franchise. The actors go all-out and it pays huge dividends by the time the credits roll. If you’re a fan of the Griswolds, then don’t miss your chance to relive another adventure with one of our favorite movie families.

GRADE: 3.5/5

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Geekscape Movie Reviews: The End of the Tour

by MCDaveJuly 25, 2015

I’ve never been an avid reader, so it’s safe to assume that I haven’t wrapped my brain around David Foster Wallace’s groundbreaking 1,079 page 1996 novel, Infinite Jest. Having very little prior knowledge of this unusual author who’s known for always wearing his trademark bandanna, even though the idea of this personal choice representing some preconceived “fashion statement” would have ran maddening circles around his mind until it nearly exploded, I was intrigued to learn more about Wallace through a very impressive team of collaborators. Filmmaker James Ponsoldt’s early work is impressive all on its own, but he emerged onto the scene in a big way with his most recent success, The Spectacular Now. And once you add two narrow, yet immense, acting talents like Jesse Eisenberg and Jason Segel into the mix, The End of the Tour becomes an indie drama I wouldn’t think to miss.

Upon hearing news of David Foster Wallace’s (Segel) tragic suicide in 2008, David Lipsky (Eisenberg) fishes through his closet and listens to some old cassette tapes. These conversations transport Lipsky back to 1996 where the one time Rolling Stone reporter embarked on a five-day journey with the lonely, albeit it brilliant, critically acclaimed author. As these two free-thinkers travel around the final dates of Wallace’s book tour together, their interactions break down barriers and evolve into philosophical discussions surrounding society, fame and addiction. Conversations that Lipsky and the rest of the world will cherish long after the sad loss of this progressive writer.

James Ponsoldt’s The End of the Tour is a captivating and highly personal examination of the human psyche. Brought to life through the transcending performances of its two leading stars, the film’s rich dialogue is both existential and enthralling. Jason Segel is an absolute revelation who embraces his portrayal of David Foster Wallace with an obvious sense of passion and respect. To experience The End of the Tour is to discover avenues of life and existence that often go ignored and become lost in the mundane patterns of every day behaviors. The film delivers an exuberance and awareness to one’s cognitive being that’s utterly refreshing. Ponsoldt places his audience into the unique perspective of Wallace’s forward-thinking mind and shows how terrifying and lonely it can be to find enlightenment.

For all of the movie’s remarkable dialogue-heavy interactions and sharp mental expansion, The End of the Tour is an extremely unconventional piece of work. The film circumvents any real story or plot.. Instead, it serves an homage of sorts to David Foster Wallace and the artistic genius we lost far too young. And despite an occasional sluggish pace, The End of the Tour presses on with its convictions and shapes a delicate piece of liberating art. One that leaves a rare imprint and will stick with me forever.

Some films tell magnificent and grand stories that dazzle and excite. Others search for something deeper and more profound. It’s safe to say that The End of the Tour is the latter. David Foster Wallace believed that all different forms of entertainment can become mind-numbing and hypnotic to the point where people fail to exercise life’s greatest gift, the ability to think for yourself. That’s a valuable lesson and one that everyone deserves to hear. Thank you to James Ponsoldt, Jesse Eisenberg and Jason Segel for sharing it with me.

GRADE: 4/5

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Geekscape Movie Reviews: Trainwreck

by MCDaveJuly 20, 2015

Over the course of the past decade Judd Apatow has quickly evolved into Hollywood’s face of comedy. The writer, director and producer has had his hand in many of the funniest films and television shows that we’ve encountered in recent memory. But when it comes to Apatow’s pet projects, the movies he directs and holds complete control over, you can sense his desperate desire to pack a dramatic punch. For better or worse (and in most cases, worse), this fixation with tapping into his audience’s emotions inevitably launches his films past the two-hour threshold and loses sight of what we’re all seeking from a prototypical Judd Apatow film … to laugh.

Comedian Amy Schumer takes center stage as a carefree and uninhibited magazine writer who finds zero comfort in settling down with a man. But as she jumps from bedroom to bedroom, nothing can prepare her for the complexities she faces when she experiences a romantic evening the subject of her latest article, a prestigious sports surgeon named Aaron Conners (played by Bill Hader), who instantly falls for her. And as their relationship slowly begins to blossom, Amy struggles with changing her natural unencumbered perception of life.

Despite Amy Schumer’s admirable efforts, Trainwreck fails to establish a clear tone. In fact, the film is indisputably advertised as a comedy, but it plays to a much more dramatic rhythm. And while Apatow manages to develop a few spectacular and moving onscreen moments at the hands of his talented leading star, these highlights are merely sprinkled throughout an outstretched two hour affair. Unfortunately, the jokes are almost non-existent and it’s inexcusable. Outside of a few obviously improvised and ineffective attempts at eliciting laughs, Trainwreck glosses over the humor and attempts to lure in the audience with a touching romantic story that never fully commits to the approach. Consequently, the film hangs in limbo and never rises to the occasion on either side of the spectrum.

For all of the movie’s structural shortcomings, Trainwreck does serve as a coming out party for the versatile talent, Amy Schumer. In a bit of a twist, the comedian’s emotional diversity far exceeds her improvised jokes. Therefore, Schumer should find a fair amount of future success in her transition to a big-screen actress. Along with Schumer, Bill Hader serves as a strong counterpart and the always magnificent Brie Larson also shines in a supporting role. And although Trainwreck pieces together some fine performances, LeBron James should really just stick to basketball.

As expected with any Apatow film these days, Trainwreck possesses many ups and downs throughout an over-extended story. Yet, unlike the Apatow films we’ve enjoyed in the past, the laughs aren’t right around the corner to pick you up through the sluggish moments. I will applaud the film for proving to be one of Apatow’s most exceptional dramatic examinations, as it finishes strongly with a charming and memorable finale, However, Trainwreck is light-years away from a comedy classic and plays more like a middling chick flick.

GRADE: 2.5/5

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Geekscape Movie Reviews: Ant-Man

by MCDaveJuly 18, 2015

Evident by their massively interconnected stories that will come to an epic union in 2016’s Captain America: Civil War, Marvel has been an extremely calculated and well-oiled machine. Therefore, upon hearing the news of an Ant-Man release starring comedy icon, Paul Rudd, and directed by Yes Man and The Break-Up filmmaker, Peyton Reed, these head-scratching choices felt very unorthodox for such a meticulous studio. And although Marvel placed all of their power and resources behind a team of stars unfamiliar with the superhero norm, Ant-Man still unfolds as another solid spectacle in a long line of interweaving tales.

After pulling what many would describe as an “ethical heist” that landed him in jail, burglar extraordinaire, Scott Lang (Rudd), is released from prison and dead-set on making things right with his young daughter. But after an honest lifestyle shows very little remorse for an ex-convict, Scott considers a return to his old ways. However, when the groundbreaking scientist, Dr. Hank Pym (Michael Douglas), learns that his old protege has discovered the secrets to his most powerful invention, one that could be absolutely catastrophic if placed in the wrong hands, he enlists the help of Lang to break into a heavily guarded facility and steal back his secret.

Marvel’s Ant-Man, the latest in a lengthy string of newly introduced superheros with a long-standing history in the comic book realm, is a worthwhile endeavor for fans of this widely developed universe. While the film is a far cry from the most unforgettable superhero flicks to ever captivate audiences, it does a stellar job of sticking to Marvel’s indistinguishable formula of constant jokes and heavy action. Sporting a sleek and toned physique for the role, Paul Rudd handles each of the fast-paced sequences just as well as his more natural comedic moments. Ant-Man is such an interesting character who possesses unique abilities that make for a cleverly filmed movie. Constant changes in physical size from small to large give the director a lot of freedom to use his imagination and he doesn’t disappoint. Furthermore, it would be a huge disservice to address all of the fine attributes to the film and ignore one of Ant-Man‘s true highlights, the hysterical co-starring work from Michael Pena. As one of Scott Lang’s partners in crime, Pena provides such an elevated level of humor that he almost steals the show himself.

Despite a funny script loaded with timely laughs and a fresh sense of creativity, Ant-Man can’t avoid a few unfortunate issues. With a tiring mid-section that results from a major shift to a more dramatic tone, one that proves wildly ineffective, the film leaves you begging to reach the finish line. In addition, Ant-Man suffers from another common blemish evident in many recent Marvel productions. These films devote so much of their attention to bridging their characters together that they often avoid building a strong villainous foe. I don’t know about you, but when I’m going into a superhero flick, I want a nemesis for the ages. It’s something Christopher Nolan mastered so well in his Dark Knight trilogy, but a non-existent theme in many of Marvel’s latest works.

Ant-Man is nowhere near a must-see summer blockbuster, but it’s another above average addition to Marvel’s quickly-expanding universe. Any doubts surrounding Paul Rudd in the leading role should be squashed like a bug. He and his many co-stars keep the film light and entertaining all at the same time. If you’re someone committed to Marvel’s illustrious future plans, then don’t worry because Ant-Man is another inclusion that warrants a watch.

GRADE: 3.5/5

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