MCDave | Geekscape

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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Geekscape Movie Reviews: The Gallows

by MCDaveJuly 9, 2015

We all hoped it was just a phase, but unfortunately the “found footage” filming technique doesn’t appear to be going away any time soon. Love it or hate it, The Blair Witch Project pioneered the movement just before the turn of the millennium in 1999. And what once began as an innovative method of story telling and pseudo-realism, has since spiraled out of control and plagued the modern horror genre. Yet, if the biggest blunder surrounding the latest scare-filled release, The Gallows, resides in its first-person camera approach, then we should all be thankful.

Twenty years have passed since drama student Charlie Grimille died tragically as a result of a prop malfunction during his high school’s play, “The Gallows”. And after a long hard-fought battle with the school board, the present day drama class is reviving the show. However, its leading man, Reese, barely knows his lines and is bound to ruin the entire production. That is, until his best friend Ryan convinces him to save face by breaking into the school and trashing the set before opening night which would force a postponement. Unfortunately, the ghost of Charlie has different plans and the show must go on.

On the surface The Gallows appears to be a bit of a disaster. The premise seems almost as shaky as the film’s first-person camera style, but thankfully newbie directors Travis Cluff (who also co-stars as the drama teacher) and Chris Lofing take excellent care of their debut effort. In fact, the greatest disappointment surrounding the scary movie is that it could have been even better than it already plays. The Gallows survives on the shoulders of a cleverly crafted haunting tale that culminates with a bang. And although the acting isn’t top-notch, it’s certainly adequate for a film of this genre. Cluff and Lofing develop a truly original idea and execute it shockingly well. While The Gallows is by no means an exceptional horror entry, the movie stands fairly well on its own even after spoiling a portion of its high-end potential.

You may be wondering, where exactly does the feature go wrong? As I stated above, the whole “found footage” aspect is hokey and distracting. This technique has grown to become massively ineffective, and it’s a compliment to the filmmakers for piecing together a successful outcome in spite of this awful decision. Furthermore, The Gallows takes a while to really get the blood pumping. Considering the film doesn’t even reach the 90-minute mark, Cluff and Lofing spend nearly half their running time setting up the story and wasting more than a few minutes in the process. However, once The Gallows gets moving and Charlie begins his vengeance, you’re in for a real treat that makes it worth the wait.

Despite giving The Gallows my endorsement, I must offer a few disclaimers. Horror movies are habitually ruined in a movie theater setting thanks to audience members who attempt to mask their own fear with untimely laughs and constant banter. To maximize the effects of ANY horror film, make sure you see it during a less crowded time of day or a couple weeks into its release. Because if you view The Gallows under the perfect set of conditions, you’ll easily look past the film’s unnecessary first-person camera aspect and slow beginning to fully appreciate its original story and intense second half.

GRADE: 3/5

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Geekscape Movie Reviews: Magic Mike XXL

by MCDaveJuly 2, 2015

It’s hard to believe, but it’s been three years since critics fawned over filmmaker Steven Soderbergh’s “male entertainer” drama, Magic Mike. While the movie sparked the rejuvenation of Matthew McConaughey’s career, one that ultimately landed him in Oscar history after his Best Actor win for Dallas Buyers Club, I was one of the rare voices that recommended audiences to look elsewhere. However, with a continuation of Magic Mike XXL that’s sure to bring the ladies to movie theaters in massive numbers, I must admit that this second go-around is a more fun and engaging adventure than the original.

The story picks up in real time and Mike’s (Channing Tatum) been out of the stripping game for a trio of years, working hard to keep up with production and costs at his custom furniture company. But after a shocking voicemail puts him back in touch with some “Kings of Tampa” friends from his old job, he learns that the remaining guys plan to take their talents to the Myrtle Beach strippers convention for one last money-raining blowout. Torn between whether or not to join them on the trip, Mike decides he can’t say “no” to a final adventure with his boys.

First things first, I need to give credit where credit it fully due. As someone who religiously bashed Channing Tatum throughout the early stages of his career, it’s about time that I vocalize my new-found respect for him as an actor. Tatum stood toe-to-toe with the Oscar nominated performances of both Steve Carell and Mark Ruffalo in last year’s Foxcatcher, and he backs it up with a funny and heartwarming reprise in Magic Mike XXL. The sequel succeeds as a wild bachelor-style road trip where hysterical bro-mance banter paves the way for countless unforgettable onscreen moments. Yes, at the end of the day Magic Mike XXL targets lustful female moviegoers, but there are enough hilarious “boys will be boys” moments to keep the after-thought boyfriends and husbands content with the selection as well.

Despite the film’s modest ceiling, there aren’t many hindrances to Magic Mike XXL‘s overall quality. Clocking in at a lofty 115 minutes of screen time, the movie is paced surprisingly well. Although there’s a noticeable lull in the feature’s mid-section that’s held together by a cameo from former NFL Hall of Famer, Michael Strahan, like you’ve never seen him before, it becomes a distant memory once the story picks back up. Outside of that tiny blemish, my only other miscue would be that Magic Mike XXL provides a somewhat anti-climactic finale. However, these shortcomings are merely bumps in the road for an otherwise effective film.

The franchise’s first installment harped on a more dramatic angle while this new inclusion allows the guys to let loose. As a result, we’re given a highly entertaining and laugh out loud experience. Channing Tatum’s largely developed acting skills lead a collection of odd-ball characters that audiences of all genders will connect with automatically. Magic Mike XXL isn’t anything groundbreaking, but it embraces its absurdity and delivers all the necessary ingredients of a fun-filled summer-time title.

GRADE: 3.5/5

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Geekscape Movie Reviews: Ted 2

by MCDaveJune 27, 2015

Animation guru, Seth MacFarlane, proved once and for all with his 2012 comedy hit, Ted, that he was capable of transitioning to a big screen director. And while his sophomore effort, A Million Ways to Die in the West, was an absolute disappointment, MacFarland attempts to get back to his comfort zone with the highly anticipated sequel, Ted 2. Regrettably, though, MacFarlane will have to continue trying to top his original work.

A few years have passed and John (Mark Wahlberg) has divorced while Ted’s ties the knot with his grocery store check-out co-worker, Tami-Lynn (Jessica Barth). With a shaky marriage brewing between the Teddy bear and his foul-mouthed wife, they decide that having a child is the only way to reconcile. However, in order to adopt a child (due to Tami-Lynn’s drug-destroyed ovaries), Ted must prove that he’s a person in a court of law. So they enlist the help of a novice trial lawyer named Samantha Jackson (Amanda Seyfried) and take on the almighty powers that be.

Ted 2‘s brightest moments occur when Seth MacFarlane sticks to his mantra of one-liners and merciless zingers regarding pop culture icons. The writer-director is massively effective when it comes to constructing these kinds of jokes. However, MacFarlane struggles to develop a cohesive and sensible story to help put his comedic prowess on display. He completely misses by continuing his blind loyalty to actor Giovanni Ribisi. After Ribisi’s character nearly spoiled the franchise’s first installment, there is absolutely no need to revive “Donny” in this sequel. While the blame deserves to land solely on MacFarlane’s shoulders, as Ribisi has proven that he’s a capable actor, Ted 2 suffers from an unforgivable second act that’s plagued by unnecessary subplots and an over-extended script that pushes the comedy far past its desirable limits.

The third feature from Seth MacFarlane isn’t all doom and gloom, however. Just like the original, Mark Wahlberg gives a fully committed performance once again and demonstrates his natural ability for eliciting laughs. Yet, despite Wahlberg’s fine work in the film, trading Mila Kunis for Amanda Seyfriend is ultimately a bit of a loss. While Seyfriend is merely serviceable, Ted 2 uses a long list of cameos from Liam Neeson, Jay Leno and Tom Brady to keep the jokes fresh. But in the end, all of these shining bright spots become inevitably overshadowed by a flimsy story that provides a brittle foundation for the comedy.

Of course Ted 2 will make you laugh, much like anything MacFarlane has his hand in. Nevertheless, you’re honestly better off revisiting the first film or soaking in some classic Family Guy episodes. This latest effort from Seth MacFarlane is by no means a complete bombshell, but it’s definitely a long-winded affair that offers very little more than a solid barrage of first-half laughs and a steady stream of second-half yawns.

GRADE: 3/5

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Geekscape Movie Reviews: Jurassic World

by MCDaveJune 15, 2015

What do you get when you cross a visually lavish and iconic film franchise with one of Hollywood’s fastest rising stars? A global money-printing success, that’s what. Chris Pratt became an overnight sensation with the release of last summer’s hilarious superhero adventure, Guardians of the Galaxy. And this year he tackles one of 2015’s mightiest blockbusters, the highly anticipated sequel, Jurassic World.

Despite its tragic events from 22 years earlier, Isla Nublar is now home to the re-invented dinosaur theme park, Jurassic World. And while attendance has been plateauing for quite some time, the powers that be put their stock into a new genetically modified “asset” that’s almost ready for its unveiling. Yet, as the park’s operations manager, Claire Dearing (Bryce Dallas Howard), decides to unsuccessfully play host to her visiting nephews, this powerful creature breaks containment and goes on a murderous rampage. Claire looks to former military officer Owen Grady (Pratt) for help as they attempt to locate her nephews and take down the dangerous beast.

While it’s virtually impossible to recapture the magnificence and originality of Steven Spielberg’s 1993 classic, Jurassic World does a respectable job of providing top-notch special effects and a thrilling experience. It certainly feels as though director Colin Trevorrow is forced to sacrifice a small amount of substance for style, as the most spectacular aspects of the film come from its technical achievements. Yet, the action is adequately distributed throughout and tied together with charming humor at the hands of the talented Chris Pratt. While this role isn’t as memorable as the star’s performance in last year’s Guardians of the Galaxy, it’s still strong enough to carry an otherwise pedestrian film.

Jurassic World proves to be a flawed feature in many regards, which results in a disappointingly low ceiling. The entire subplot revolving around the InGen genetics company and Vincent Donofrio’s “dinosaurs as a weapon” campaign is punishingly ineffective, Furthermore, the film is riddled with unlikely conveniences which are required to transition from scene to scene. I mean, I’ve never met a high school student capable of fixing up a car and getting it to run in a pinch and with a massive dinosaur on the loose. It’s thoughtless writing such as this that crosses the line of reality and truly hampers Jurassic World. Thankfully, though, superb visual effects and an epic finale are just brilliant enough to overlook these distinct blemishes.

It’s extremely difficult to view Jurassic World in the same light as the franchise’s origin film. Nearly 22 years have passed since then and I was merely a child mesmerized by Steven Spielberg’s majestic new world. And although I’m unsure if this upcoming wave of youth will remember Jurassic World how I remember its source material, I will say that Colin Trevorrow’s film is a worthy addition to the franchise. Despite its many shortcomings, Jurassic World truly is a sight to see and guaranteed to be one of the summer’s biggest blockbusters.

GRADE: 3.5/5

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Geekscape Movie Reviews: Entourage

by MCDaveJune 5, 2015

It’s as if the boys from Queens never left. After an up-and-down (mostly up) run of eight impressive seasons on the premium cable channel, HBO, Entourage has officially made the jump to the big screen. Following a fairy-tale of a series finale, our favorite quartet returns to encounter a few more roadblocks on their path to stardom. And while Entourage is far from a brilliant movie, this go-around is a nostalgic and fun-filled experience that’s guaranteed to transport you back to the good old days.

The new adventure picks up shortly after the series finale, where Vinny Chase (Adrian Grenier) has come awfully close to breaking the record for the shortest celebrity marriage. But once Vinny learns that Ari (Jeremy Piven) has come out of retirement and wants him to star in his first major release as studio head, the actor drops a bombshell by demanding that he direct his next project. Ari reluctantly gives the star complete control over the film and quickly learns that its success, or lack thereof, could destroy his Hollywood reign.

The most redeeming qualities surrounding Entourage are its genuine laughs and brotherly camaraderie that helped make the show an undeniable hit. Without missing a beat the writer, director and show creator, Doug Ellin, places his characters in the same dicey situations we grew to enjoy throughout the program’s eight-year run. For example, Eric aka “E” (Kevin Connolly) finds himself in a nightmarish scenario with multiple women after splitting from his pregnant girlfriend, Sloan (Emmanuelle Chriqui). Therefore, this trip to the movies will feel exactly like a Sunday night in your living room, thanks to Kevin Dillon’s priceless one-liners and the constant bro-bashing insults that flow with ease. Although Entourage is far from a top-flight film, loyal fans of the show will find more than enough enjoyment with how the movie is handled.

In its first theatrical trailer, Entourage hyped up the amount and quality of its star-studded cameos. From Super Bowl champion quarterback, Russell Wilson, to billionaire tycoon, Warren Buffett, the film brilliantly piles on its cameos early and restrains itself once the story gets moving. Speaking of the plot, here lies the movie’s biggest issues. The entire storyline revolving around Billy Bob Thornton’s financier character and his son (Haley Joel Osment) is extremely flimsy. While I understand there needs to be some sort of conflict involved in Entourage, this aspect of the film is poorly constructed. Thankfully, though, we’re able to look past blunders such as these because the boys and Ari do what they do best, and they do it well.

About a week ago I caught an episode of The Dan Patrick Show and the host’s friend, Kevin Connolly, was on via phone to discuss the movie. Connolly confirmed that there’s “a number” in mind where if they reach that box office total, a sequel gets the green light. Looking into my crystal ball, I have every intention of seeing Vince, “E”, Drama, Turtle and Ari back on the big screen in due time. And after seeing how this first installment was cafefully developed, that’s perfectly fine with me.

GRADE: 3.5/5

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Geekscape Movie Reviews: Me and Earl and the Dying Girl

by MCDaveMay 29, 2015

Most years I have to wait until at least the fall and sometimes even into late-December, when the heavyweight Oscar contenders begin to unveil themselves across movie theaters nationwide, in order to find that special film that astonishes me on all fronts. Well, Christmas came early last night as I had the privilege of catching this year’s superb Sundance Grand Jury and Audience prize winner, Me and Earl and the Dying Girl. Recent winners of Park City’s most prestigious award, namely Whiplash and Beasts of the Southern Wild, ultimately found a large level of Oscar success. But although my instincts tell me that this year’s indie gem won’t have the same sustaining power as those previous awards season contenders, Me and Earl and the Dying Girl is still far and away the most superior of the bunch.

Based on Jesse Andrews’ novel of the same name Thomas Mann stars as Greg, a self-loathing high school senior who spends his days staying under the radar and making films with his lifelong “co-worker”, Earl (RJ Cyler). But when Greg reluctantly befriends a cancer-stricken classmate named Rachel (Olivia Cooke) at his mom’s demanding request, their relationship slowly pulls Greg out from under his shell. And as Rachel’s medical condition begins to worsen, Greg and Earl struggle to make a momentous cinematic masterpiece on her behalf.

Beautifully infusing elements of cynicism, sarcasm, fear, tenderness and compassion, novelist turned screenwriter, Jesse Andrews, delivers a screenplay for the ages. Never before has a coming-of-age film felt so earnest and forthright. Andrews creates dialogue that’s unapologetically honest and occasionally awkward at all the right times. And through his words, budding stars Thomas Mann and Olivia Cooke give the type of spectacular performances that re-direct a career. Selecting lesser known, but equally talented, leads was a brilliant choice by director Alfonso Gomez-Rejon. These fresh faces give Me and Earl and the Dying Girl a clean slate and the pair of dynamic stars provide such a rare and unique voice to their characters. Furthermore, enough can’t be stated about the supporting turns as well, which happen to come from newbie RJ Cyler, Nick Offerman and Jon Bernthal. Of the bunch, Cyler is given the largest platform to work with and his natural comedic abilities are wonderfully counter-balanced by a soulful handling of the film’s more dramatic moments.

For such an impressive script and cast, matching these bright spots with the stylish eye and vision of filmmaker Alfonso Gomez-Rejon only elevated the film to even greater heights. Alfonso incorporated many rare shots in his repertoire that added an enormous level of distinction to the film. Me and Earl and the Dying Girl amazes on nearly every level and displays a special blend of both humor and tenderness which is simply perfected through Rejon’s keen eye.

Throughout the brisk 104 minute affair, the film takes its audience on an unforgettable journey boasting a wide array of emotions. There were laughs and there were tears, but most importantly there was an indestructible connection between each and every moviegoer and all of the characters we fell in love with onscreen. Me and Earl and the Dying Girl is a magnificent piece of cinema that warrants a viewing from just about film lover out there, so make sure you keep your eyes peeled when the feature hit theaters this June.

GRADE: 4.5/5

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Geekscape Movie Reviews: Avengers: Age of Ultron

by MCDaveMay 2, 2015

Yesterday, the calendar turned to May and the summer blockbuster season wasted no time getting started with the release of Avengers: Age of Ultron. After its 2012 origin film amassed the third largest worldwide box office total of all-time, all eyes were on Joss Whedon’s enormously anticipated sequel. Unfortunately, though, this follow-up feature falls well short of the charm and frenetic thrills evident in the first installment.

The film opens with the Avengers doing what they do best, taking down a crime syndicate with remarkable ease. That is, until a pair of “enhanced” siblings (Godzilla‘s stars Aaron Taylor-Johnson and Elizabeth Olsen) reveal their superhuman abilities, unmatched speed and deceptive mind-control. Eventually, Tony Stark (Robert Downey Jr.) retrieves what they’re after from the mission and discovers its ability to produce highly advanced artificial intelligence. Without the approval from his team Stark creates Ultron, an experiment that goes terribly wrong. The evolved A.I. denounces his maker and joins forces with the enhanced siblings, Quicksilver and Scarlet Witch, to destroy the Avengers.

Cluttered and unfocused, Age of Ultron falls apart in many different areas. Whedon and company effectively mastered the balance of a star-filled story in this film’s predecessor. However, more isn’t always better as Whedon struggles to keep things fluid with the addition of many, and I do mean many, new characters. Displaying an unnatural flow throughout the movie, things get even worse once the script takes a strange turn by diving deep into the personal stories of its characters. Where the original successfully glazes over each hero’s backstory and jumps right into the action, Age of Ultron ventures further into their psyche thanks to the Scarlet Witch’s mind tricks. With each of these developing drama-filled plot lines, the minutes continue to mount and the pacing becomes crippled.

In addition to an unnecessary change of course in the script and an overabundance of characters, Age of Ultron‘s action sequences are extremely drawn out and exceedingly unwarranted. If you thought 2013’s Man of Steel was flooded with obnoxiously destructive scenes, just wait until you feast your eyes on this film. The damage is beyond catastrophic and it makes the Avengers feel less like heroes and more like ticking time-bombs. And finally, Age of Ultron does a huge disservice by completely mishandling its chief villain and title character. Forced into sharing screen time with each and every main character – and there are plenty of them – Ultron becomes an overlooked antagonist who never grows into the monstrous adversary this franchise deserves. Although his mishandling isn’t as big of an abomination as Sir Ben Kingsley’s the Mandarin in Iron Man 3, it’s a lot closer than any of us would desire.

At its core, Age of Ultron attempts to stick to the same philosophy that’s been working for all of the Marvel films, tons of comedy and action. But despite achieving a good deal of laughs, albeit at a less impressive clip than the original, the film suffers in far too many areas to sustain its winning formula. With grand expectations Joss Whedon seemingly got suckered into the “bigger is better” mindset. Perhaps, Age of Ultron would have benefited more from a slightly scaled-down approach.

GRADE: 2.5/5

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Geekscape Movie Reviews: Ex Machina

by MCDaveApril 27, 2015

In all walks of life you have to earn your stripes. The same can be said for Hollywood and the millions of big dreamers that flock to Los Angeles for a chance at stardom. Alex Garland is an English author who penned the 1996 novel, The Beach, which you’ll probably remember as one of the many titles sitting comfortably in the middle of Leonardo DiCaprio’s impressive filmography. Soon after, director Danny Boyle then lured Garland into the world of screenwriting where the author churned out scripts for science fiction films such as 28 Days Later, Sunshine and Dredd. And finally, after a decade-plus of collecting screenplay credits for many well-regarded features, Garland’s been given the opportunity to see his own vision through with the directorial debut of Ex Machina.

Domhnall Gleeson stars as Caleb, a promising young programmer who wins a competition at his work to travel to the remote estate of the CEO to assist with a groundbreaking new project. After Caleb arrives to the lavish home of Nathan (played by Oscar Isaac), he’s forced to sign a non-disclosure agreement and then introduced to Ava (Alicia Vikander), a human-like robot with remarkable A.I. capabilities. Caleb must spend one week’s time with Ava, monitoring her behavior to determine if she’s able to demonstrate consciousness indistinguishable from that of a human.

Alex Garland’s Ex Machina is a cerebral sci-fi thriller that wastes no time jumping into the story. The writer/director displays the type of subtle attention to detail that you’d certainly expect from a novelist, and it translates to the screen with unfettered ease. Ex Machina wraps a mysteriously sexy and provocative outer layer around a cleverly-constructed centerpiece. Manipulation and slight of hand keep the audience guessing throughout the trio of characters’ week-long journey together. The cat and mouse games between creator and robot take their toll on Caleb, and Domhnall Gleeson displays a naturally deteriorating psyche to perfection. The former rom-com star of 2013’s underrated work, About Time, proves he has the range to tackle any role handed to him. But equally impressive is the onscreen ability of the A.I. subject, Ava, played remarkably by Swedish actress Alicia Vikander. She truly captures the mystifying essence of Ava and finds a faultless balance between man and machine.

With excellent writing and exceptional acting on all fronts, you’d be hard pressed to find issues with Ex Machina. However, some do exist. The film’s mid-section suffers from pacing issues that create a sluggish feel up until it’s conclusion. But then, Garland nearly spoils a spine-chilling finale by refusing to end the movie at a climactic moment. Regrettably, the director pushes on for another five minutes or so in a less than gratifying result that allows the tension to dissipate. These aren’t by any stretch detrimental flaws, but rather minor blemishes to an otherwise very impressive debut feature.

Ex Machina is a thought-provoking and compelling sci-fi entry that relies solely on intelligent dialogue and soulful performances. The beauty of Garland’s work is its ability to transcend the stereotypical dependence on gaudy special effects and eye-popping visuals. Ex Machina is full of the substance and wisdom that turns blandness into art.

GRADE: 4/5

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Geekscape Movie Reviews: The Age of Adaline

by MCDaveApril 23, 2015

Back in my younger years, 2008 to be exact, I stubbornly brushed off an unusual tale of aging that went on to win a trio of Oscars. The movie was called The Curious Case of Benjamin Button, and the film turned out to be one that I absolutely adored once I came to my senses and viewed it with an open mind. At first glance Lee Toland Krieger’s The Age of Adaline transported me back to 2008, and I refused to allow myself to make the same mistake twice. So I eagerly ventured to the city for an advanced screening of this mystical love story.

Adaline Bowman (played by Blake Lively) was born shortly after the turn of the century in 1908. Following a surprise meeting with a charming young man, she marries him less than three months later and gives birth to their daughter, Flemming. One fateful night while traveling home during a rare snow storm in California, an unexpected car accident delivers Adaline with the ability to never age. Unfortunately, this unwanted curse forces her into a remote life for many decades until she meets Ellis (Michiel Huisman), a charming young man who may be worth the risk of divulging her closely kept secret.

The young beauty, Blake Lively, takes center stage in this whimsical tale of an ageless woman who defies science and logic in every way imaginable. Yet, despite Lively’s finest efforts, a ludicrous and blindly absurd tall-tale stands firmly in her way of success. Everything from an unnecessary and irritating narrator, whose only purpose is to spew blasphemous scientific gibberish that somehow supports this completely fabricated medical condition, all the way to a typical over-acted role by Harrison Ford that we’ve come to expect in the twilight of his career.

The Age of Adaline is a mightily flawed film that suffers from lazy writing and over-embellished dramatics. As a bull-headed Adaline refuses to give into the advances of a persistent and intriguing young man, only a rare meeting with her daughter – who at this point appears even older than she does – can sway her opinion. But in an unconvincing fashion that’s essential to the progression of the plot, Ellyn Burstyn’s character bullies her neurotic mother into pursuing a relationship with a guy that neither of them know anything about. This is just one of the many examples of cheap and paper-thin writing that plagues The Age of Adaline.

For as unappealing and careless as the film is, The Age of Adaline does offer some exceptional cinematography and costume design. The constant flashbacks to early in Adaline’s life do a superb job of transporting the audience to that time period. Furthermore, the onscreen efforts from Blake Lively and her love interest, Michiel Huisman, are anything but a hindrance to the feature. Instead, obvious twists and turns in the screenplay blend together terribly with an out-stretched running time to ultimately tear down an already flimsy foundation.

I’m a huge fan of well-executed and wonderfully told love stories. Films like Slumdog Millionaire and Silver Linings Playbook transcend the romance norm, but do so on the back of solid story-telling and carefully constructed characters. The Age of Adaline feels more like a gimmick, and one that isn’t nearly worth the investment.

GRADE: 2/5

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Geekscape Movie Reviews: True Story

by MCDaveApril 17, 2015

Whenever you hear a cast headlined by Jonah Hill and James Franco your natural instinct is to expect a comedy, but nothing could be further from the truth in Rupert Goold’s Sundance selected drama, True Story. Despite Hill’s and Franco’s reputations as comedic powerhouses, both have proven that their more than capable of handling dramatic work. The duo, along with last year’s Best Actress nominee Felicity Jones, form a trio of performing talent that undoubtedly elevate True Story to respectable heights.

The film is based on the real life story of a former FBI’s Top Ten Most Wanted, Christian Longo (played by Franco), who was apprehended in Mexico and found to be living under the name of Michael Finkel (Hill), a recently dismissed writer for the New York Times. Once Finkle discovers this bizarre reality, he meets with Longo and the two form an unusual relationship as the prisoner awaits trial for the murder of his wife and three children. Longo grants the writing pariah exclusive rights to his story as Finkle dives deeper and deeper to learn the truth of what happened that fateful night.

True Story is an immensely gripping crime drama comprised of worthwhile performances and a stellar screenplay. At its core is the cerebral chess match so perfectly executed by the onscreen duo of Jonah Hill and James Franco. Writer and director Rupert Goold’s well-crafted story does a fantastic job of taking the audience on Finkel’s blind journey into the mind of an accused killer. The story regularly shifts back and forth between believing in Longo’s innocence one moment, and then doubting it the next. True Story has all the appeal of a CSI crime show with top-flight acting and an edge-of-your-seat script.

Despite the film’s strong performances and captivating screenplay, True Story finds flaws in various other areas. While The Theory of Everything star, Felicity Jones, is a remarkable talent, her efforts become nearly wasted in a melodramatic role that never provides an appropriate platform to shine. In addition, the film’s concluding scene is completely unnecessary and a hokey way to wrap up an otherwise solid feature. However, it wasn’t the only poor decision by Rupert Goold. The filmmaker also uses some peculiar camera angles and shots sporadically throughout the film that were head-scratching to say the least.

True Story is loaded with both bright spot and shortcomings, confirming it’s far-removed from an awards contending drama. Yet, fantastic performances are on display and a grisly story will keep you engrossed in the film. Before the summer blockbuster season kicks off on May 1st with the release of Avengers: Age of Ultron, True story is an early-year release worthy of viewing.

GRADE: 3.5/5

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Last Call: Join Our FREE Oscar Pool!

by MCDaveFebruary 15, 2015

UPDATE: First off, we’d like to apologize to anyone who had trouble signing up for our free Oscar contest the last time we posted this. There was an issue that’s now been fixed if you follow the NEW link below!

There’s only one week left until the Academy Awards and we’re running another FREE Oscar Pool where you select winners in EVERY Academy Awards category. Different point values are assigned to the different races and the person with the most points wins a $50 gift card of their choice to either Regal/AMC.

Remember, it’s completely free to enter, all you need is an e-mail address and to sign up by clicking HERE. Follow the short set of directions on the next page and you’ll be finished in no time! Once again it’s COMPLETELY FREE to join and a whole lot of fun for any fan of movies who plans on watching the Oscars anyway.

Note: You must live in the continental United States to be eligible for the prize.

Geekscape Movie Reviews: Kingsman: The Secret Service

by MCDaveFebruary 12, 2015

While all of the industry’s attention is focused on the fast-approaching Academy Awards showcase airing next Sunday night, February 22nd, a sleek and wildly engaging action extravaganza appears to be slipping under the radar. Based on Dave Gibbons and Mark Millar’s 2012 spy-centered comic book series, Kick-Ass and X-Men: First Class director, Matthew Vaughn, unleashes Kingsman: The Secret Service nationwide beginning this Friday. And if you’re seeking a crowd-pleasing popcorn flick over this Valentine’s Day weekend, then look no further than Kingsman.

When a secret spy organization known as the Kingsmen seek out a replacement agent, the veteran member Harry (Colin Firth) stumbles across Eggsy (Taron Egerton), the son of a former agent who saved Harry’s life. Although Eggsy has grown up in a rough neighborhood and attracted the attention of local police, under the tutelage of Harry he begins to realize his own potential. But while Eggsy tries his best to out-duel the other highly qualified candidates for the position, a sadistic technological mastermind named Valentine (Samuel L. Jackson) puts a plan in motion that threatens the entire world.

For as off-the-wall and crazy as it is, Matthew Vaughn’s Kingsman is an enjoyable ride. The film flaunts its well-earned R-rating with brilliantly choreographed and stylishly-violent action sequences that never lose their flavor. Channeling its inner James Bond, Vaughn’s espionage-adventure features Academy Award winner Colin Firth as a classic gentleman who you wouldn’t want to provoke in a bar setting, or anywhere for that manner. Simply stated, Firth makes for an excellent choice, but it’s newcomer Taron Egerton who emerges as the film’s brightest spot. The youngster is both charming and exquisite in the role of a street kid-turned-spy extraordinaire. Egerton delivers an eye-catching performance that not only solidifies Kingsman as a worthwhile feature, but also shines the light on this blossoming star.

As someone who admittedly knows nothing about the film’s original source material, there was obviously an influx of characters and events that Kingsman refused to ignore. Consequently, the feature’s 129 minute running time feels like a marathon at multiple points throughout its duration. However, well-timed jokes and phenomenal fight scenes make the lulls completely worth it. One unforgivable aspect, though, resides in a huge plot hole surrounding Valentine’s crafty female assistant. Without giving away any spoilers, she somehow manages to avoid catastrophe like everyone else in her similar situation during a pivotal moment in the third act. But despite this obvious blunder, Samuel L. Jackson’s speech-impaired villain is hysterical enough to wash away any sour taste this inconsistency brings.

I ventured to my advanced screening of Matthew Vaughn’s Kingsman: The Secret Service with mild expectations and left the theater pleasantly surprised. The humor was legitimate, the acting was spot-on, the story was effective and the action was very tasteful. All of these ingredients blend together extremely well in Vaughn’s successful contemporary spy adventure, Kingsman.

GRADE: 3.5/5

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Join Our Free OSCAR Contest!

by MCDaveFebruary 4, 2015

Back by popular demand staff-writer MCDAVE will be running another FREE Oscar Pool where you select winners in EVERY Academy Awards category. Different point values are assigned to the different races and the person with the most points will win a $50 gift card of their choice to either Regal or AMC theaters. This year has a little caveat though. If we get 100 entries into the pool, we’ll increase the prize to a $75 gift card.

Remember, it’s completely free to enter, all you need is an e-mail address and to sign up by clicking HERE. After you submit an e-mail address and create a username use the following information to join the contest (you must type out the “Pool Name”, don’t copy and paste):

Pool Type: Oscars 2015
Pool Name: 87th Academy Awards – By Greg and Dave
Password: oscars2015

You have until Sunday February 22nd to make your selections, so there’s no immediate rush. Once again it’s COMPLETELY FREE to join and a whole lot of fun for any fan of movies who plans on watching the Oscars anyway.

Note: You must live in the continental United States to be eligible for the prize.

Geekscape Movie Reviews: A Most Violent Year

by MCDaveFebruary 3, 2015

After debuting to rave reviews at the AFI Festival in early November, it’s taken nearly three months for director J.C. Chandor’s crime-drama, A Most Violent Year, to reach theaters nationwide. Similar to the marketing strategy implemented for Clint Eastwood’s American Sniper, pushing the limits to qualify for the Oscars was believed to improve the film’s chances at the prestigious awards show. However, unlike Eastwood’s Best Picture nominee, A Most Violent Year suffered a very different fate and failed to secure a single nomination. I suppose good things don’t always come to those who wait.

Inside Llewyn Davis star Oscar Issac takes center stage as Abel Morales, an ambitious immigrant business owner trying to balance his efforts in building an oil empire with the recent string of thug-like antics imposed by his competitors. Rather than taking action through his wife’s (Jessica Chastain) mob connections, Abel chooses the high road and sits idly by as his truck drivers are beaten and his oil is stolen during the heat of New York City’s most violent year on record in 1981. And to make matters worse, Abel also feels the mounting pressure of a police investigation and impending charges all while trying to obtain the “American Dream” in as honest a way as possible.

Oddly enough, the most impressive aspect of A Most Violent Year has very little to do with what actually transpires on screen and everything to do with its widely-talented director, J.C. Chandor. The auteur has delivered three feature films to date, all of which tackle very different themes and tones. Although I wouldn’t classify any of his works as a “masterpiece”, each entry stands strongly on its own and reaffirms Chandor’s place as a versatile screenwriter and a talented director. Standout performances from Oscar Isaac – who channels his inner Michael Corleone – and Jessica Chastain, in a gritty mob daughter’s role, are what essentially salvage this oddly paced and anti-climactic film. A Most Violent Year is shot exceptionally well and Chandor does an admirable job transporting the viewer into a perfectly constructed early 80s throwback setting. However, this character-driven feature fails to amount to much else.

For all of its wonderful performances and fine direction, A Most Violent Year is far too mediocre from a screenplay standpoint. Chandor’s script helps to mold deep and honest characters that are brought to life brilliantly by Isaac and Chastain, yet the painfully slow tension builds to a resolution that packs little to no punch at all. In the final moments we’re given a break from tradition by the lead character, Abel Morales, but nothing monumental is shown to adequately support his hasty transformation, which is just one of the many blemishes to Chandor’s latest screenplay.

With a title that’s as misplaced as Friday the 13th: The Final Chapter (which was only the 4th of about a dozen installments to the franchise), there’s only a minimal amount of action and violence displayed throughout the feature. Therefore, you shouldn’t venture to the theater expecting a gangster movie gore-fest. Instead, A Most Violent Year is a character-centric and timid tale of morality and corruption in the quest for success.

GRADE: 3.5/5

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Geekscape Movie Reviews: American Sniper

by MCDaveJanuary 14, 2015

Every year a few prestigious titles hold off their general release until the last possible moment. Although most viewers won’t be seeing Clint Eastwood’s American Sniper until 2015 (me included), a late-December limited release in the Los Angeles and New York City markets only qualified the film for the upcoming Academy Awards in February. The reason for this is simple, many people believe there’s a strategic advantage to being the freshest movie in a voting member’s mind. And while no one will really know the impact until Oscar Nominations are handed out on Thursday, January 15th, the fact remains that American Sniper is a well-earned return to form for Eastwood.

Bradley Cooper stars as the war hero and patriot, Chris Kyle. After a stagnant life in the Texas rodeo prompted the 30 year old to join the Navy Seals and defend his country, Chris Kyle was deployed to Iraq where he collected more than 150 recorded sniper kills. But rather than the enormous number of Iraqi insurgents he murdered with pinpoint accuracy in order to protect his fellow officers, Chris was most haunted by all the American casualties he failed to save.

It’s an undeniable truth, war desensitizes you. But what can prepare someone for pinning the Navy Seal emblem on their chest and becoming a trained assassin in an endless war? Bradley Cooper gives his most valiant attempt at understanding such a person as he lives, breathes and transforms himself into Chris Kyle, the deadliest sniper in American history. Cooper’s immensely dedicated performance is both cold and selfless all at the same time. I watched an interesting interview where Chris Kyle described the barrier between the typical American lifestyle and the battlefield. Much like Jack Nicholson in A Few Good Men, Chris spoke about the every-day civilian’s inability to process what goes on in a war zone. We could never really understand unless we experienced it, and perhaps that’s what makes Cooper’s performance so golden. He peels the layers of a character devoted to his country and guilt ridden while state-side in between tours, but aware of the war’s crippling impact on his family life. This multi-dimensional story is brilliantly captured by Clint Eastwood, a director I’ve openly criticized after a lengthy decline in his quality of work. But much like a tough-love superior officer, I only offered my negative remarks towards Eastwood because of his illustrious history as a filmmaker. After the disappointing adapted musical, Jersey Boys, it was fair to say that Eastwood was capable of better. And with the upcoming general release of American Sniper, we’re given a refreshing taste of his prior greatness.

Although American Sniper is a successful and tense action-drama, the feature suffers from a few detractors. Like many other recently adapted films, the source material is so expansive that it becomes impossible to transfer every aspect of the book to the big screen. Eastwood places the main focus on Chris Kyle’s time in Iraq and, as a result, cuts a great deal of the Navy Seal’s home life out of the script. Personally, I’m a fan of substance and story, so I would have gladly traded a majority of the constant gun fire and battlefield footage for a deeper insight into his personal life. Furthermore, some of the war-time scenes feel slightly unrealistic. Although a service member friend of mine assured me of more accuracy than I’d expect, witnessing Chris Kyle’s personal phone calls to home while out on important assignments seemed both irresponsible and highly fabricated. However, an Oscar-worthy performance from Bradley Cooper and detailed direction from Clint Eastwood clearly overshadow the film’s weaknesses.

With American Sniper you should expect a long-winded and slow-burning affair, regular staples in any Eastwood film. The repetitious cat-and-mouse struggle between Chris Kyle and a lethal Syrian sniper definitely over-extends itself as well. Yet, long after the credits roll, Bradley Cooper’s towering portrayal of a complex national hero will not be forgotten. The same goes for Chris Kyle’s unselfish service to our country.

GRADE: 4/5

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Geekscape Movie Reviews: Selma

by MCDaveJanuary 6, 2015

Timing is everything. The current state of racial turmoil in the United States is abundantly clear and, much like the central figure in Ava DuVernay’s freight-train of an Oscar contender, Selma, I’m a believer in universal peace and unconditional love. But with relatively recent outcomes in the deaths of unarmed African American individuals such as Trayvon Martin, Eric Garner and Michael Brown, where much controversy has been boiling up for some time, DuVernay’s timely picture leaves us pondering how far we’ve really come since the violence-plagued Civil Rights Movement of the 1960s.

David Oyelowo stars as the charismatic preacher, Dr. Martin Luther King Jr., during his fearless crusade to the hotbed of racial animosity in Selma, Alabama. After local authorities continue to reject voter registration applications from African Americans trying to exercise their rights, Dr. King shifts the focus of the Civil Rights Movement to the heart of the south where he’s greeted by hate-fueled law enforcement and state politicians. Desperately seeking the support of a reluctant President Lyndon Johnson (Tom Wilkinson), Dr. King decides to lead a peaceful 54-mile march from Selma to the state capitol in Montgomery in hopes of achieving legislation granting African American’s the uninhibited right to vote.

Analyzing the latest emotional Civil Rights drama, Selma, purely on its qualities as a film, there are many aspects that are worthy of fair criticism. Many strong performances aside (I will touch on each of them later), DuVernay’s breakthrough feature is hampered by a noticeably weak first-time screenwriter, Paul Webb, and some serious issues with pacing. While Webb’s screenplay has been lauded by many in the early going of the year-end awards run, the writing is actually bogged down with mild cliches and very little depth. What you see is what you get and, outside of a few justly included facts surrounding Dr. King’s known infidelity, most of the film’s characters and situations are quite superficial and without complexity. As for the movie’s long-winded and repetitive feel, I understand that the entire production team stays true to the historical timeline and the three marching attempts needed to achieve their goal, but the manner in which the story unravels is punishingly slow. These mitigating factors place Ava DeVernay’s Selma much closer to Lee Daniels’ The Butler than last year’s gut-wrenching Best Picture winner, 12 Years a Slave.

Despite over-extending itself and merely scratching the surface with a majority of its characters, Selma offers many exceptional performances. While David Oyelowo’s courageous turn as Dr. King will almost assuredly land him an Oscar Nomination in the Best Actor category, I was most impressed by supporting stars Carmen Ejogo, Tim Roth and Tom Wilkinson. Ejogo is given the most multi-dimensional character as Coretta Scott King and she handles the role mightily well. Roth is convincingly despicable as segregationist Alabama Governor George Wallace and Wilkinson walks on egg shells adequately as President Lyndon Johnson. Furthermore, DuVernay gives a superb directorial effort in her own right. The auteur’s whole-hearted devotion is evident as she truly captures the essence of these iconic moments in U.S. history. Some naysayers will declare DuVernay’s assumed Oscar Nomination for Best Director as nothing more than a flashy headline, as she’d be the first female of color to ever be nominated. Yet, truth be told, she does a remarkable job and would be worthy of any such recognition.

I will close by stating that I typically try to avoid political discussion because of the insensitivity it generally promotes, but Selma makes it difficult to ignore. And while I certainly understand the authenticity dedicated to showing physical brutality and visceral images that undoubtedly occurred during this real-life struggle for freedom, however, putting such a large focus of the film on the unforgivable rage that transpired in Selma is the wrong message to send to audiences. Although I will not speak on DuVernay’s behalf and claim this as her intention, I can guarantee that there will be factions of viewers who leave the movie theater feeling bitter and enraged by the story. For example, at last night’s screening in the city of Philadelphia, a select few clapped and cheered during the final moments when screen text revealed that racist politician George Wallace was left paralyzed by an assassination attempt in 1972. This is by no means the message of peace that the great Dr. King lived and died for, and that’s the message our country needs right now.

GRADE: 3/5

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Geekscape Movie Reviews: The Interview

by MCDaveDecember 26, 2014

By now the enormous controversy surrounding the Sony hack and the theatrical release of The Interview is old news, therefore, catching the latest effort from the team that brought us This Is the End was right at the top of my Christmas morning wish list. Yet, rather than mocking themselves like they did in their 2013 end of the world comedy hit, the trio of James Franco, Seth Rogen and Evan Goldberg set this new film’s focus on North Korean dictator, Kim Jong-un. The rest is about as crazy and ridiculous as one might expect.

When producer Aaron Rapaport (Rogen) decides that he wants the face of his news show, David Skylark (Franco), to deliver more respectable news stories, the duo end up landing a coveted face-to-face interview with North Korean leader, Kim Jong-un (Randall Park). After news of the upcoming interview begins to spread, Aaron and David are approached by the CIA to assassinate the U.S. enemy. However, with these two dimwits as the mission’s only hope of success, a disaster is all but inevitable.

After the entire circus surrounding The Interview‘s release, needless to say, Sony Pictures must be thrilled over the publicity its film has received. And now that I’ve finally viewed the highly anticipated comedy with my own two eyes, this cash cow is a major letdown on just about every level imaginable. Outside of a sluggish second half that’s beyond far-fetched and over the top, The Interview is barely anything more than a tiresome compilation of “dick” jokes and Lord of the Rings references. The film’s R-rating is earned solely through raunchy humor that is neither clever nor developed. James Franco constantly spews such ridiculous nonsense, hence, those rare instances where he actually makes a comical retort are quickly squandered by his next rapid fire of clear “misses”. Randall Park has a few shining moments as Kim Jong-un, but still he and Seth Rogen are hardly bright spots to the film, making The Interview one of 2014’s biggest comedy duds.

In fairness, The Interview is a tale of two halves. The first is an engaging precursor which does a commendable job of setting up an abomination of a second portion. And since this Christmas movie theaters are packed with plenty of other prominent titles to choose from, I highly suggest picking something different. But if you’re desperately seeking a legitimate source of laughs, then Chris Rock’s Top Five would be a much better option. Or if an Oscar-bound drama could do the trick, then I’d highly recommend checking out either Wild or The Imitation Game.

There’s no doubt that the media hype circulating The Interview will drive audiences to the limited number of theaters releasing the film as well as the streaming options all over the internet. Sony Pictures is in for a huge payday with this one. However, you’d be better served skipping on this over-extended and minimally funny effort from a usually reliable team of comedians and looking elsewhere for your holiday cheer.

GRADE: 2/5

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Geekscape Movie Reviews: Unbroken

by MCDaveDecember 26, 2014

Perception and reality are two completely different things. And unfortunately for Angelina Jolie’s once-upon-a-time Oscar frontrunner, Unbroken, reality has officially set in. Based on the remarkable true story of an Olympic runner turned prisoner of war during the course of World War II, an adapted screenplay by the Coen brothers had all of Hollywood buzzing about the film’s potential. Sadly, though, Unbroken culminates as little more than a “what could have been” experience.

Growing up as a trouble-making youth in California, Louis Zamperini (played by Jack O’Connell) is recruited to join his school’s track team by his brother Pete. Louis goes on to compete in the Olympics as a distance runner and breaks the official record for the fastest final lap time. Years later he ends up as a member of the U.S. Air Force, where a failed recovery mission lands the soldier and a few of his crewmates lost at sea for a nearly month an a half. After being spotted by a Japanese vessel in the middle of the ocean, Louis is transferred to a brutal internment camp where he’s pushed to physical and psychological limits by the prison overseer Watanabe (Miyavi).

I’ve heard countless recollections of the impressive story told throughout Laura Hillenbrand’s biography of Louis Zamperini. What’s more surprising, however, is how empty Angelina Jolie’s sophomore effort, Unbroken, feels. After a rapid introduction that never adequately develops the constantly harped-on relationship between Louis and his brother Pete, it becomes quickly apparent that almost all subplots will be ignored. Instead, Jolie takes the audience on an abusive-centric ride battered with religious undertones. In a Christ-like manner, Louis welcomes the punishment on such a regular basis that you almost become desensitized by the beatings, and unphased when the prisoner is able to withstand more torture than his villainous nemesis, Wanatabe, can physically offer. And throughout this unnecessary and visceral brutality, a depth-less screenplay by the usually reliable Joel and Ethan Coen submits to this unjustifiable mishandling of a truly heroic tale.

Of all the clear blemishes made visible throughout Unbroken, one bright spot does reside in the film’s leading star. Newcomer Jack O’Connell gives a fully committed performance and does the best he can with what he’s been given. Yet, rudimentary dialogue and a one-dimensional vision from the movie’s high-profile director overshadow an otherwise valiant portrayal from O’Connell, leaving Unbroken as a hollow and unworthy potential Oscar contender.

It’s generally a curse being thrusted into the early spotlight of awards season, and Jolie’s latest effort is no exception. Elevated expectations only make matters worse for this devastatingly run-of-the-mill film. Yes, you’ll witness the heroism and struggles that Zamperini is forced to endure, but you’ll leave the theater far more curious about the ramifications of his experiences and what happens next in his life. I guess I’ll have to turn to Hillenbrand’s biography for those answers.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Gambler (2014)

by MCDaveDecember 22, 2014

Many aspects of life operate in cycles and Hollywood is no exception. The latest Tinseltown remake comes from Rise of the Planet of the Apes director, Rupert Wyatt, who teams up with Mark Wahlberg in the slightly re-imagined version of 1974’s The Gambler. When Paramount originally announced the remake in the summer of 2011, it was believed that visionary Martin Scorcese and his loyal leading star, Leonardo DiCaprio, were in line take on the project. But after viewing Wyatt’s unnecessary adaptation, I’m left to ponder what could have been.

Jim Bennett (Wahlberg) is a high stakes gambler who falls further and further into debt in an underground casino ring with his risky and careless betting habits. But after the self-destructive English professor borrows from a second loan shark and offers his life as collateral, his addiction continues to place him on a very dangerous path. And in Jim’s mind, his only way out of this mess is to go all-in one final time.

For a brief moment before the film had ever been screened, some insiders gave The Gambler an outside chance at making an awards season splash. However, Rupert Wyatt’s effort is far from Oscar contention. Boasting a constrained and soulless script that’s drowned in timely cynicism and betting cliches, you can only watch a blackjack dealer flip over cards for so long before you start tuning out, and that limit is reached very early on. Simply put, The Gambler would rather show its protagonist losing than have the audience experience the feeling through a clever and well-crafted character-driven screenplay. As for the film’s leading star, Wahlberg’s performance is by no means a burden to the overall product, but he isn’t a bright spot either. Unlike the 1974 original where James Caan delivers a character that viewers can connect with, it’s difficult to tell whether Jim Bennett’s lack of allure is a product of Wahlberg’s acting, or the result of poor writing and development on the part of Academy Award winning screenwriter William Monahan. Odds are, it’s a combination of both.

Thankfully, though, The Gambler offers a saving grace with its long list of exceptional supporting roles from John Goodman, Brie Larson and Jessica Lange. Each do their part to successfully transition Bennett’s collapse from scene to scene, and some of the film’s finest moments occur when John Goodman takes command of the screen. In fact, the movie would have been much better served opening the door a little wider for these vastly under-utilized characters. Brie Larson is such an emerging talent in Hollywood and, unfortunately, she isn’t given the proper platform to work with in the film.

No matter how hard Rupert and his team attempt to offer a slick and cool tale of underground gambling, the final product fails to resonate. The Gambler‘s biggest detractor is an unlikable protagonist who becomes impossible to connect with for a multitude of reasons. For example, if you’re trying to sell a story about an unlikely gambling addict, you should make the character significantly more endearing and vulnerable. Instead, all we’re given are Wahlberg’s frequent “woe-is-me” rants followed by a careless and unforgiving attitude that repels the audience almost immediately. There’s no rooting interest here, so I suggest spending your time elsewhere.

GRADE: 2.5/5

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Geekscape Movie Reviews: Wild

by MCDaveDecember 5, 2014

This year’s Closing Night selection at the Philadelphia Film Festival was Jean-Marc Vallee’s latest effort, Wild. Vallee has quickly climbed the ranks as a premier filmmaker thanks to the overwhelming success of last year’s Dallas Buyers Club, which went on to collect 3 Academy Awards during its memorable run. While Wild clearly doesn’t have the same impact and staying-power as his previous work, Vallee once again delivers a soulful true story that stands tall enough on its own.

Reese Witherspoon stars as Cheryl Strayed, a divorcee whose life begins to spiral out of control following the loss of her best friend and mother (played by Laura Dern). Unable to regain her composure, Cheryl embarks on an 1,100 mile solo hike across the Pacific Crest Trail in order to confront her demons and correct her path. Yet, nothing can prepared her for the mental and physical anguish she’s set to endure along the way.

It’s become abundantly clear that Jean-Marc Vallee has a unique way of drawing the best possible performances out of his actors. After leading both Matthew McConaughey and Jared Leto to their first Oscars, Vallee evokes yet another transcending performance from his leading star, Reese Witherspoon. And although she’s already earned a Best Actress statue with 2005’s Walk the Line, Witherspoon has never been better than she is right now, which should be enough to land her in Oscar contention once again. Wild is brilliantly acted on all accounts and supporting star Laura Dern is deserving of a mention as well. While Dern’s chances at seeing some awards season recognition seem less likely, you can no longer count out a big-time performance in a Vallee picture. And speaking of the director, praises are due for the humble manor in which he approaches the subject matter. While Vallee has demonstrated that he’s capable of tackling difficult directorial feats, he refuses to stroke his ego with flashy filming techniques and allows his talented cast to bring this tender true story to life.

Like the movie’s protagonist, Cheryl Strayed, Wild is saddled with flaws as well. For a film dead-set on telling a heart-breaking story of a woman who falls into the darkest depths of despair and commits various unspeakable acts, Vallee only scratches the surface of these atrocities. Cheryl is clearly broken, but to make her pilgrimage of self-worth more effective the film would have been better suited addressing her origins in a more detailed way than the occasional flashback. Furthermore, there are a few artificial moments in Wild where the film is desperate to draw pity and sadness from the viewer rather than working hard enough to earn such feelings.

The fall and winter months always become infested with superbly acted roles in middling movies. While I feel Wild is a clear step above such a label, it certainly isn’t the Best Picture contender that many were hoping it would be. Through Vallee’s direction, Witherspoon gives a gutsy and authentic performance that allows this powerful story to push forward along every step of her journey.

GRADE: 4/5

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Geekscape Movie Reviews: The Imitation Game

by MCDaveNovember 20, 2014

Every year an unexpected film rises out of nowhere and makes its mark on the awards season race. While Morten Tyldum’s The Imitation Game hung quietly on prognosticators’ radars, none expected it to capture the highly coveted People’s Choice Award at TIFF, a recognition that instantly catapults the film into the heart of the Best Picture race. Previous winners of the award include powerhouse titles such as Slumdog Millionaire, The King’s Speech, Silver Linings Playbook and 12 Years a Slave, so it’s easy to understand the significance of such an achievement. But a larger and more important question continues loom over The Imitation Game, can the film hold off a barrage of Oscar-worthy competitors that are still awaiting their releases?

Brilliant mathematician Dr. Alan Turing (played by Benedict Cumberbatch) is summoned to interview with military officials during the German expansion of World War II. Alan is selected as part of a secretive unit tasked with one important mission, to break the most sophisticated encryption machine the world has ever seen. Understanding that human trial and error has no chance of breaking Germany’s Enigma code, Dr. Turing develops an advanced computing machine that helps the allied forces defeat the Nazis and changes the world forever.

The Imitation Game has all the makings of an Oscar-caliber film. Director Morten Tyldum brings to life an amazing true story filled with obstacles and complexities that briskly carry the feature from start to finish. And at its core rests a worthy lead, Benedict Cumberbatch, whose intricacies perfectly capture the mind of a mathematician. As a professor of mathematics at a state university in Pennsylvania, I have a first-hand view into such “thinkers” and Cumberbatch sells the role extremely well. Everything from Alan Turing’s difficulties handling social settings to his full-fledged cognitive arrogance. Although I personally felt some of the moments were slightly overacted, Cumberbatch undoubtedly gives an accomplished performance alongside other stellar turns from castmates Keira Knightley and Matthew Goode. With yet another beautiful score from Alexandre Desplat and solid direction from Tyldum, The Imitation Game is an all-around formidable piece of cinema that will certainly find its way into many Oscar discussions.

Although The Imitation Game is a strong piece of filmmaking on various levels, one unfair criticism would be that the feature never really amazes in any particular area. Actually, the movie feels like a bit of a conundrum. For example, I commend the uptempo pacing of Tyldum’s work, yet more interesting ideas and controversies surrounding Alan Turing’s personal life become glossed over in order to achieve a more fluid viewing experience. While such decisions unarguably ease the responsibilities of both the filmmaker and the screenwriter, The Imitation Game becomes merely a partially told story that feels like a slight disservice to such a marvelous and significant man who has left his impression on the modern technological world.

All in all The Imitation Game is an unquestionable crowd-pleaser filled with humor, drama and everything in between. Dr. Alan Turing was a pioneer in the world of technology and a mathematical genius who helped defeat the Nazis. His story of heroics is one that is told very well throughout the film and one that everyone should know, so do yourself a favor and seek out The Imitation Game when it reaches theatres in late-November.

GRADE: 4/5

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Geekscape Movie Reviews: Foxcatcher

by MCDaveNovember 14, 2014

The sound of a single gunshot shook the city of Philadelphia this past Monday evening. While local residents sat safely in their homes, a packed house at the Prince Music Theater held their collective breath completely enamored with Bennett Miller’s latest achievement, Foxcatcher. Miller’s impeccable credentials speak for themselves. With two feature films under his belt, and both earning Best Picture nominations from the Academy Awards, Miller’s Foxcatcher has all of the necessary ingredients for making it three in a row.

Channing Tatum takes center stage as Mark Schultz, a 1984 Olympic Gold Medalists in the sport of wrestling and someone who still manages to get lost in his older brother Dave’s (Mark Ruffalo) shadow. But when a multi-millionaire named John E. du Pont (Steve Carell) invites Mark to move into his estate and lead a group of world-competitive wrestlers at his private Foxcatcher facility, Schultz graciously accepts and begins to branch out and form his own legacy. However, du Pont’s powerful manipulation and stranglehold over Mark begins to escalate to the point where even peacemaker Dave Schultz can’t stop an unfortunate tragedy from occurring.

Foxcatcher‘s cinematic prowess is evident on nearly every level imaginable. Bennett Miller’s finely tuned and nuanced storytelling is a lost art in modern filmmaking. Subtlety is key, and the director carefully places every tiny detail in its necessary place in order to shape this spine-chilling tale of obsession and madness. Channing Tatum gives the performance of a lifetime in a role he seems destined to play. Standing toe-to-toe with his presumably Oscar-destined counterpart, Steve Carell, Tatum reveals a beautifully complex character. A physical beast with a burning desire for another Olympic Gold Medal and a young man determined to pave his own path in life, Mark Schultz is the last person you’d expect to be emotionally frail. Yet, Tatum captures this multi-dimensional character perfectly and, as a result, helps heighten an intentionally unbalanced and disturbing performance by Carell in a rare villainous role. Predatory and shrewd in nature, Carell’s transformational role establishes du Pont’s eerily reprehensible essence and, in many ways, carries Foxcatcher by itself.

In addition to a well-crafted story and a pair of superb leading performances, Foxcatcher rhythmically mounts an enormous amount of tension that builds like a symphony. Gradual and meticulous in its approach, what some may view as a slow-paced character study can also be described as a ticking time bomb waiting to explode. And when it finally does, your heart will burst out of your chest in one single instance. Similar in vibe to another slow-building and agonizing journey of impending doom with 2012’s We Need to Talk About Kevin, Foxcatcher cloaks its rapacious themes with illusions of patriotism and grandeur. Everyone is in need of something, but as you sometimes come to discover in a real-life tragedy such as this, you must be careful what you wish for.

Foxcatcher is by no means a feel good story or a film you should seek out to enjoy, but rather a deeply insightful and provocative examination into one of our country’s most perplexing crimes. Anyone fascinated by this national story is guaranteed to be utterly consumed from opening to closing credits. With Foxcatcher, Bennett Miller paints a perfect portrait of all his characters, an epic accomplishment that will undoubtedly stand as one of 2014’s most prestigious films.

GRADE: 5/5

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Geekscape Movie Reviews: Interstellar

by MCDaveNovember 7, 2014

Just as though his latest endeavor proposes, Christopher Nolan, the fearless filmmaker, has never shied away from pushing boundaries and venturing into the unknown. Love him or hate him, Nolan commands respect for the monumental standards he sets for himself and filmmakers all across the globe. And with today’s official release of the writer/director’s newest sci-fi adventure, Interstellar, Nolan has tackled his most ambitious feature yet.

Earth is dying. With corn as their last main source of food, violent dust storms sweep across the world effecting humanity’s fresh air supply and compromising their chance of future existence. Former NASA pilot turned farmer Cooper (played by Matthew McConaughey) is led to the doorstep of a NASA revival facility and tasked with one very difficult decision. Either remain on Earth to wither away with his two children, Murph and Tom, or lead a team of scientists on a journey to the furthest reaches of outer space in order to find a new home for the human race.

Running at nearly a three hour clip, Nolan does a fantastic job of maneuvering his science-fueled story in countless directions in order to keep the film engaging for audiences. At the heart of Interstellar is a wonderful father/daughter story, but equally impressive are Nolan’s suitably timed sub-plots that come and go throughout the feature. Nolan plants plenty of surprises and twists along the way that generate thought-provoking ideas of blind heroism vs. the natural human instinct of survival. In context they’re all brilliantly handled and brought to the surface by a barrage of spectacular performances from leading star Matthew McConaughey all the way down to a brief cameo from Matt Damon. Although I’m skeptical that any of these performances will garner the level of recognition that they probably deserve, Interstellar would be a far less effective film without the exceptional work of McConaughey, Anne Hatheway and many others.

One honest downside to the film is the head-spinning scientific dialogue that runs rampant throughout the script. It’s so prevalent that I wish I had watched a few more episodes of Through the Wormhole with Morgan Freeman or brushed up on my Neil deGrasse Tyson reading. However, Nolan has enough self-awareness to recognize his ambitious goals and refuses to deliver a thought-less account of space travel, even if a large amount of the content will soar over the typical moviegoer’s head. But all in all, Interstellar overcomes its head-scratching immersion in science lingo to take the audience on a multi-dimensional journey, both literally and figuratively, that’s nothing short of mesmerizing.

While it becomes much easier to point out and criticize plot holes regarding the film’s “bootstrap paradox” than it is to create a captivating, nearly three hour, science-supported action adventure, I’d say that this round definitely goes to Nolan. Admittedly, in many ways Interstellar is a far from Nolan’s most taut or complete feature, especially with a polarizing and mind-blowing third act that’s guaranteed to summon its fair share of detractors. Yet, it can’t be denied that Interstellar is a visually immaculate ride that should be savored for a multitude of reasons. And much like the environmentally battered civilization his film introduces us to, I hope that Nolan continues to remain unafraid to “go gentle into that good night”.

GRADE: 4/5

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Geekscape Movie Reviews: The Theory of Everything

by MCDaveNovember 7, 2014

Academy Award winning filmmaker James Marsh, best known for his popular documentaries Man on Wire and Project Nim, debuted his new biopic, The Theory of Everything, at the Toronto International Film Festival in early-September. The result was a shake-up in nearly all of the major Oscar races thanks to beloved performances from a pair of young up-and-comers, Les Miserables‘ Eddie Redmayne and the adorable Felicity Jones. And although I wasn’t nearly as enamored with the overall final product as those in Toronto, the fact remains that The Theory of Everything has the staying power of a late-year Best Picture contender.

As a remarkably gifted doctoral student at the University of Cambridge in 1963, a young aspiring physicist named Stephen Hawking (played by Redmayne) discovers that he’s suffering from a motor neuron disease (ALS) and is given only two years to live. Deeply depressed and feeling utterly hopeless, only the loyalty and devotion of a recent love interest named Jane Wilde (Jones) can keep Stephen motivated enough to continue his scientific pursuit of understanding the origins of the universe. Yet, many years after the two young lovers marry, Stephen’s deteriorating physical abilities and Jane’s tireless efforts at caring for their family prove to be the ultimate match for the couple.

Building a flourishing career upon the foundation of documentary filmmaking, it appears that very little changes with James Marsh’s approach in The Theory of Everything. The director takes the audience through a realistically shaped journey with both of its lead characters who are brilliantly portrayed by superstars in the making, Eddie Redmayne and Felcity Jones. Redmayne, who was highlighted in my Top Rising Stars write-up back in May, accepts the daunting task of transforming the virtually paralyzed genius, Stephen Hawking, to the big screen, and he does so with remarkable ease. But don’t be fooled, The Theory of Everything isn’t just Stephen’s story. The film also forces the viewer to relive the physicist’s escalating physical limitations through the eyes of his wife, Jane. Hence, Felicity Jones’ powerful turn as the rock of the Hawking household and a woman who valiantly stares down any obstacle even tends overshadow Redmayne’s work by the closing credits. Make no mistake about it, though, both performances are equally deserving of all their praises.

While top notch portrayals clearly highlight this biopic, where the movie fails is in its pacing and lack of depth to Hawking’s ideas and achievements in the science community. Rather than exploring the brain inside of this living genius who has soared past unspeakable odds, The Theory of Everything takes the safe systematic approach by following the presumed biopic template. Thankfully, Marsh receives exemplary performances that almost single-handedly support his relationship-driven narrative. While it’s true that very few couples can admit to facing life-altering hardships comparable to those that Stephen and Jane had to endure, the couple’s complicated marriage and unfathomable circumstances are vastly outstretched and inundated with glossed-over milestones. A more earnest approach would have been to examine the daily grind associated with a loved one suffering from ALS. Instead, The Theory of Everything stumbles along from checkpoint to checkpoint giving it a somewhat artificial feel.

The talent surrounding James Marsh’s The Theory of Everything is magnificent, and the film is almost certainly going to stand out as the feature that elevated both Redmayne and Jones’ careers to new heights. However, the true mark of a great film is to counterbalance transcending performances with an equally effective story, which doesn’t happen here. For people with any knowledge of Hawking’s personal life, The Theory of Everything will open very few doors into the unknown of the man at its center. And for someone as groundbreaking and exceptional as Stephen Hawking, that just doesn’t feel acceptable.

GRADE: 3.5/5

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Geekscape Movie Reviews: Birdman

by MCDaveOctober 17, 2014

The 23rd annual Philadelphia Film Festival kicked off last night in a less than grand fashion. After an unexpected last-minute issue with the projector, a venue change was quickly arranged and delayed the evening by nearly an hour and a half. Set to jump-start the festival was Alejandro G. Inarritu’s latest cinematic achievement, Birdman or (The Unexpected Virtue of Ignorance). Inarritu has taken the industry by storm with prior successes such as 21 Grams, Babel and the foreign hit Biutiful, so needless to say the buzz was swirling for his upcoming release. Unfortunately, for me, the expectations soared high above the finished product.

Michael Keaton stars as Riggan Thomson, a has-been actor who once ruled the entertainment world as the lead man behind the iconic superhero franchise, Birdman. Since his time atop the proverbial mountain, Riggan has faded from the limelight but is making one final attempt to reclaim past glory with the premier of his Broadway play. However, Riggan struggles to balance his overwhelming ego with a volatile new castmate (played by Edward Norton) and a crumbling family life.

Films like Birdman make for easy critiques. Guaranteed to be a polarizing watch, one that my gut believes the general public will find disappointing on many levels, Alejandro G. Inarritu’s new title leaves the door open for massive amounts of discussion. On one hand, the technical accomplishments surrounding Birdman are nothing short of immaculate. Intended to feel like an uncut and unedited film, which is by no means an easy task, Inarritu’s effort requires fully committed performances from all of its actors. And believe me, there is no shortage of brilliant tour de force performances here. It all begins with the feature’s leading star, Michael Keaton, who shines brightest. Keaton feels like an all-around perfect fit for the role, only to be complemented by other towering performances from co-stars Edward Norton, Emma Stone and Zach Galifianakis. Thankfully, each and every character is delivered with a soulful turn that ultimately keeps an otherwise damaged film afloat.

For all of Birdman‘s technical conquests and wonderfully acted efforts, Inarritu’s film is a falsely advertised and tiresome tale. Being pitched as a dark comedy, the laughs are far too sparse to justify such a label. And for anyone expecting an action-fueled superhero-eque type of movie, you couldn’t be further from the truth. Instead, Birdman straddles the line of surrealism in order to tell the unoriginal story of a man’s obsession with reclaiming the spotlight and, more importantly, leaving behind a legacy. After nearly two hours of the same old song and dance, the film blows past a golden opportunity to gift wrap its message and regrettably overextends its finale in an irritating fashion.

Birdman is well deserving of its praises as a spectacular piece of filmmaking, further elevated by grand performances from a long list of gifted actors. However, Inarritu’s common history of poor pacing and prolonged endings leaves a bitter mark on the film. While I entered the Philadelphia Film Festival with the belief that Birdman was a viable contender for Best Picture, I certainly have my doubts now.

GRADE: 3/5

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