MCDave | Geekscape

Geekscape Movie Reviews: Let’s Be Cops

by MCDaveAugust 14, 2014

Back in April when I ran a Summer Preview series, one of the films I outlined was Luke Greenfield’s law enforcement comedy, Let’s Be Cops. Considering Greenfield was at the helm for a guilty pleasure of mine, 2004’s The Girl Next Door, and I’ve always admired Jake Johnson’s work, I figured that if Damon Wayans Jr. was even half as funny as his father, we could have the surprise comedy of the summer on our hands. Unfortunately, my initial thoughts were misguided and Let’s Be Cops remains mired in mediocrity for a multitude of reasons.

Ryan (played by Johnson) and Justin (Wayans Jr.) are Ohio transplants struggling to find success in Los Angeles. And while Justin’s passion project gets rejected by his boss at work and Ryan continues to dwell on his glory days as a college quarterback before he sustained a career-ending injury, the duo contemplate a return to their home state. However, a dim-witted mistake on Ryan’s part finds the pair of friends dressed authentically as police officers, where they quickly discover an insatiable appetite for the power and respect that comes along with being a cop.

There are quite a few flaws peppered throughout the latest summer comedy, Let’s Be Cops. Outside of its leading stars who deliver respectable performances given the circumstances, the feature is dowsed with ineffective secondary characters that offer nothing to the film. Rob Riggle leaps from the 21 Jump Street franchise to this easily comparable counterpart and fails to shine. The same can be said for Andy Garcia, Nina Dobrev, James D’Arcy and Comedy Central’s Keegan-Michael Key. Then there’s youngster Joshua Ormond, a worthless inclusion who manages to conveniently appear and disappear at any given moment. Also, for an R-rated comedy the jokes are merely molded out of vulgarity and male nudity, which mix together to form an almost laugh-less affair. And although the film begins with a playful examination circling the leading pair’s seemingly harmless, yet punishable, offense, in the blink of an eye Let’s Be Cops spins right off the realistic-meter and lands in the realm of unbelievable.

Despite the fact that driving on sidewalks appears to go unnoticed and the wanna-be cop tag-team are able to obtain expensive surveillance equipment from local law enforcement without raising suspicion, Let’s Be Cops still manages to offer a handful of redeeming qualities. Jake Johnson is a bright spot who constantly demonstrates an innate ability to make a fluid transition between comedy and drama, to the point where it feels shockingly effortless. Furthermore, his chemistry with onscreen sidekick Damon Wayans Jr. is evident as The New Girl co-stars work undeniably well together. Yet, as the minutes begin to mount and the film requires the audience to constantly suspend their disbelief, Let’s Be Cops falls further and further into the class of forgettable buddy comedies.

Desperate to stack up against the recent successful 21 Jump Street franchise, this latest comedic effort lacks the creative humor and slick storytelling to stay in contention. Relying solely on f-bombs and other vulgar improv to muster up the laughs, Let’s Be Cops marks another run-of-the-mill summer blockbuster that swings and misses. You’re better off holding on to your hard earned money or looking elsewhere for a more reliable source of entertainment.

GRADE: 2.5/5

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Geekscape Movie Reviews: Guardians of the Galaxy

by MCDaveAugust 7, 2014

Prepare to hold onto your seats for one of 2014’s finest summer blockbusters. As Marvel continues to expand its universe and bring these stories to the big screen, its latest adaptation, Guardian’s of the Galaxy, is funnier than 22 Jump Street and more action-packed than Dawn of the Planet of the Apes. For many moviegoers, Guardians will represent the quintessential blockbuster experience. Yet, even for the non action-lovers like myself, the film is one hell of a good time.

After losing his mother to cancer and being abducted by a space ship full of outlaws as a boy, a much older Peter Quill (played by Chris Pratt) ventures throughout the galaxy listening to an old mix tape on a walk-man and stealing anything he can get his hands on. Yet, when he stumbles across a powerful orb on an abandoned planet, Peter (aka “Star-Lord”) becomes the target of an evil villain named Ronan. And once Ronan gains possession of the orb and intends to use its powers to destroy the entire galaxy, Peter must band together with a group of misfits to save everyone from annihilation.

As someone who laughed-off the trailers and buzz surrounding James Gunn’s latest effort, Guardians of the Galaxy, I’m here to admit that I was wrong. Gunn delivers a triumphant feature that surpasses even the overly-adored 2012 cash-cow, Marvel’s The Avengers. Leading star Chris Pratt has always been a comical genius and someone I’ve admired for quite some time. Stealing the spotlight in past works such as Delivery Man and 10 Years afforded Pratt the opportunity to seize a money-printing franchise such as this, and he does so with ease. The humor is legitimate and Pratt isn’t the only one cracking jokes. Bradley Cooper, who offers his voice for the cunning raccoon, Rocket, does a fantastic job of infusing comedy into the film as well. But in addition to a multitude of laugh-out-scenes, Guardians of the Galaxy conjures up a cohesive and entertaining story that isn’t bogged down by an action-overdose. Unlike other recent over-the-top blockbusters such as Man of Steel and Iron Man 3, who attempted to replace substance with artificial action, the chase scenes and special effects are very tasteful and properly placed, making Guardians of the Galaxy a fine summer blockbuster for all types of audiences.

Although I give James Gunn’s superhero flick a validated endorsement, it fails to begin and end without the occasional hiccup. Zoe Saldana’s character, Gamora, is clearly the weakest link. Yet, she becomes a necessary evil that we’ll gladly take in order to enjoy the rest of the experience. Furthermore, Guardians of the Galaxy constantly employs an unforgivable trait in movies, Gunn and the rest of his writers make up the rules as they go along. Without any prior explanation or understanding of the characters and their situations, important plot elements are sprung onto the audience in order to provide a smooth transition to the next scene. This is a sign of lazy writing and development that’s hard to overlook. Therefore, Guardians is a winning effort that definitely has its flaws.

If you’re still seeking out a successful summer blockbuster, look no further than James Gunn’s Guardians of the Galaxy. As the Marvel universe continues its expansion, I become more and more impressed with what they have to offer. A commitment to an engaging story through the use of comedy and appropriately measured amounts of action feel like a recipe for success, and one that’s clearly evident with Guardians of the Galaxy.

GRADE: 4/5

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Geekscape Movie Reviews: Boyhood

by MCDaveJuly 26, 2014

By now most people have heard the rumblings about Richard Linklater’s spectacular new film, Boyhood. There’s very little I can add to the warranted praises that have flooded radio airwaves and internet websites. Truth be told, Boyhood is a magnificent cinematic feat that required vision and collective patience from its director, cast and crew. And I’m sure almost everyone involved would agree on one simple fact, it was certainly worth the wait.

Boyhood follows its lead character, Mason (played by an evolving Ellar Coltrane), from the ages of 5 to 18 where life experiences uniquely shape his world views. Mason travels around with his mother and older sister from town to town as the matriarch struggles to provide the quintessential family environment for her children. Filmed masterfully in bits and pieces over the course of 12 lingering years, the movie gives a once-in-a-lifetime perspective into a boy’s transition through adolescence.

It’s difficult to put into words the culminating experience of witnessing a masterpiece such as Boyhood. An unbreakable bond is established immediately as we watch Ellar Coltrane grow before our very eyes. The ride is both a mirror of our own personal ventures into adulthood as well as a reminder that all of us must set an individual path. Be assured that Mason has his own story, filled with complexities and obstacles that continually mold him into the spirited young man we see just before the credits start to roll. Even after a long-winded and nearly three hour endeavor, it’s painful to accept a finale. It almost feels as though any ending would be unjust because, like with our own lives, the story presses on.

Despite the brilliance and handling of Linklater’s undeniable instant classic, there were a few small hiccups existing throughout. For starters, Boyhood isn’t compromised of many lasting moments like other coming-of-age gems such as Stand By Me and The Sandlot. Instead, the feature serves as a premier example of an instance where the whole is greater than the sum of its parts, an overlooked facet that echoes the greatness of Linklater’s achievement. But still, a couple more iconic scenes would have been preferred. Also, throughout a relatively well-paced 164 minute marathon to the finish line, Boyhood unravels with the occasional lull. However, a truly engaging and transformative journey eases the audience past all of the brief uninspiring moments.

Trust me, until you do, you’ve never seen anything like Richard Linklater’s Boyhood. Perhaps more monumental in scope and execution than in substance and flavor, the result is still the same, an impressive feature that breeds innovation and personal connection. Boyhood is one of the year’s finest films and something everyone deserves to witness.

GRADE: 4.5/5

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In Case You Missed It – July 2014

by MCDaveJuly 16, 2014

July has officially arrived and we’re entrenched in the dog days of summer. And as far as the DVD prospects landing on shelves this month, there aren’t any groundbreaking titles like I mentioned June, but there are definitely a few enjoyable selections. Here are the top three DVD releases for the month of July:

#1. Cuban Fury

Although leading star Nick Frost’s re-tweet of my review immediately boosted Cuban Fury to the most visited post of the year on my site, I give you my word that there is no bias to this selection. Cuban Fury is a legitimate laugh out loud comedy backed by stellar performances and a hilariously penned screenplay. After the arrival of their attractive new female boss (played by Rashida Jones), co-workers Bruce (Frost) and the overly confident Drew (Chris O’Dowd) compete for her affection through salsa dancing. With affable characters and a breakthrough supporting turn from Kayvan Novak that spews non-stop hilarity, Cuban Fury is an entertaining comedy that begins and ends without a hiccup. (July 29th)

#2. Blue Ruin

Having missed an opportunity to catch Jeremy Saulnier’s Blue Ruin at the 2013 Philadelphia Film Festival, I pounced on the opportunity at Sundance in January. Macon Blair stars as Dwight, a homeless recluse who re-opens a dark past when he seeks vengeance on a recently paroled man. Gripping, tense and well-shot, Blue Ruin dishes out all the essential ingredients to a successful revenge movie. Elements of gore and violence are tastefully used throughout this well-paced and slow burning thriller. It surely isn’t a film intended for all types of audiences, but fans of the genre will consider Macon Blair’s fine performance and the entire feature as a welcome addition. (July 22nd)

#3. Noah

Please allow me to preface my recommendation by clearing up the fact that Darren Aronofsky’s Noah is a completely off-kilter and bizarre interpretation of the biblical tale. In many ways this story of Noah incorporates a surprising amount of fantasy reminiscent of J.R.R. Tolkien’s The Lord of the Rings. It’s peculiar and odd as well as unique and imaginative. After a good-hearted and honest man named Noah (Russell Crowe) receives visions of a flood meant to destroy the evils of mankind, he and his family begin to build an ark in hopes of surviving the storm and preserving life on earth. I found the film to be a bit divisive and almost a combination of two separate movies. While the first half breeds a strange vision of the age-old story, the second half of the feature explores what happens after the flood, a captivating journey into the psyche of these few survivors. Darren Aronofsky’s Noah is worth a try if you’re open to an unpredictable twist on the well-known biblical tale. (July 29th)

Honorable Mention: Other titles arriving to DVD this month include a few that I haven’t seen but look forward to viewing, such as Jonathan Glazer’s sci-fi mystery Under the Skin (7/15) starring Scarlett Johansson, Richard Shepard’s crime comedy Dom Hemingway (7/22) starring Jude Law, and even the critically panned directorial debut from Wally Pfister Transcendence (7/22) with Johnny Depp. Action junkies will be thrilled to hear that The Raid 2 hits shelves on 7/8, and a few mediocre titles that were enjoyed by others include Jason Bateman’s spelling bee comedy Bad Words (7/8) and the chick-flick The Other Woman (7/29) with Cameron Diaz and Leslie Mann.

Geekscape Movie Reviews: Dawn of the Planet of the Apes

by MCDaveJuly 15, 2014

Following a well-received origin story that turned into a worldwide box office smash grossing just shy of $500 million, it was a no-brainer to expect a sequel to 2011’s Rise of the Planet of the Apes. Yet, rather than immediately churning out a rushed and thoughtless continuation, the studio handled things perfectly by assembling a whole new team and taking the necessary time to get the project done right. Consequently, director Matt Reeves’ Dawn of the Planet of the Apes stands tall as one of the summer blockbuster season’s finest films.

A decade after a deadly virus first spread and super intelligent apes escaped into the forest, the human population has become scarce and their ability to survive hinges on a broken down dam miles from civilization. A team of explorers venture deep into the barren wilderness and stumble upon hordes of advanced chimps lead by Casear. Malcolm (Jason Clarke) explains their desperation and Caesar gives the humans permission to occupy the land and fix up the dam. However, co-existence between apes and humans becomes more difficult than either species could have ever imagined.

Similar to its predecessor, Dawn of the Planet of the Apes decides to hook its viewers by establishing an instant connection with Caesar and the rest of the primate colony. Yet, director Matt Reeves and his team of writers deserve an abundance of credit for their exemplary job at building a bond from the film’s opening sequence. From there a cleverly constructed story combining subplots of greed, jealousy and revenge take the wheel and steer the film to an action-packed and equally dramatic finale. Supported by sound performances from rising star Jason Clarke and amazing CGI work based on the movements and expressions of the under-appreciated artist Andy Serkis, Dawn of the Planet of the Apes swings past the first film and represents a class of its own.

Despite my affection for the latest installment to the storied franchise of films, there were a few concerning aspects. One such area is the long-winded and action obsessed third act that I usually find troubling during the blockbuster season. However, a brilliant foundation and captivating story helps to soften the blows. Furthermore, images of apes wielding machine guns and riding on horseback to a brutal ambush seemed a little overboard to me. But once again, I felt compelled to overlook these minor annoyances thanks to a fundamentally strong creation from Matt Reeves and his team.

Although I felt as though Dawn of the Planet of the Apes begins wonderfully and slowly weakens throughout, the end result was still a fine piece of work that transcends the prototypical summer blockbuster. Don’t be fooled into believing that the feature is a revolutionary masterpiece, but find solace in accepting the film for what it is … an entertaining and well-executed final product. I enjoyed the story, found the acting to be believable and embraced the ride. Thankfully, I wasn’t disappointed.

GRADE: 4/5

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In Case You Missed It – June 2014

by MCDaveJune 22, 2014

As we cross over from the Spring to Summer season, we’re given a stellar crop of DVD releases this month. Normally, once May rolls around, no distribution company is looking to compete for money with the big blockbusters that arrive in theatres every weekend. However, this June we’re given some fine titles to choose from, including my number one choice from 2013’s Top Ten Films.

#1. Lone Survivor

As a college instructor and a movie critic, people who know me are aware that I’m far from an “easy A”. While many moviegoers and cinephiles labeled 2013 as an amazing year for movies, I’ll agree that there were an enormous amount of strong titles, but very few moved me and stirred my passion. Enter the late-year release, Lone Survivor, from director Peter Berg. Mark Wahlberg, Taylor Kitsch, Ben Foster and Emile Hirsch star as members of a Navy Seal team sent into the mountains of Afghanistan on a mission to kill a high ranking Taliban leader. While doing their reconnaissance work the mission becomes compromised and the choices the soldiers make will effect whether they live or die, in this retelling of the true story behind Operation Red Wings. Lone Survivor is more than just a shoot-em-up war movie, it tells a truly amazing story that goes well beyond the battlefields. You definitely shouldn’t pass up on 2013’s most inspiring film. (June 3rd)

#2. The Grand Budapest Hotel

Although I’ve never been a huge outspoken fan of Wes Anderson’s earlier works such as Rushmore or Life Aquatic, the director has certainly elevated his game in recent years. With 2012’s indie success, Moonrise Kingdom, making a firm impression on his career, Anderson’s newest feature nearly matches the effort. Leading man Ralph Fiennes puts on his finest acting display in over 15 years with this light-hearted and wacky role. The film’s star is both charismatic and enchanting in his portrayal of the oddball concierge Gustave H. And in an expected trademark move by Wes Anderson, The Grand Budapest Hotel boasts an extensive list of actors and actresses in varying roles such as Jude Law, Adrien Brody, Jeff Goldblum, Harvey Keitel, Bill Murray, Edward Norton and Tilda Swinton (just to name a few). However, no matter how fun it always is to spot these stars in random scenes, Fiennes is the glue that holds it all together. On the shoulders of a top flight lead performance and another fabulously written screenplay by Wes Anderson himself, The Grand Budapest Hotel makes for an entertaining source of laughs and intrigue.

#3. Alan Partrigde

Although actor/writer Steve Coogan broke onto the scene in a big way throughout 2013, thanks to his writing and supporting turn in the Best Picture Nominee, Philomena, the comedy performer’s return to a regularly assumed role as radio host, Alan Partridge, generated laughter world-wide. Named for its title character, Alan Partridge finally made its way to the states in late February. However, I had the pleasure of catching this little British comedy gem at the Philadelphia Film Festival back in October. Partridge stars as a egotistical disc jockey who learns that new management is coming to the radio station and planning to make some changes. Rather than risk his own job, Partridge desperately lobbies for upper management to terminate his colleague, Pat Farrell. The higher-ups follow Partridge’s suggestion and a disgruntled Farrell takes matters into his own hands by holding the entire radio station at gunpoint. Leaving only the dim-witted Partridge to save the day. Alan Partridge is an “out-there” British comedy filled with plenty of humor and outlandishness. If you have a sweet tooth for such films, it’s worth giving Alan Partridge a try. (June 10th)

Honorable Mention: My secondary choices are mostly filled with titles I haven’t seen myself, but ones that I’ve heard mixed-reviews about from friends of mine. The Robocop reboot (6/3) finds its way to DVD this month as well as other action titles such as Non-Stop (6/10) starring Liam Neeson and Jack Ryan: Shadow Recruit (6/10) starring Chris Pine. The raved about family film The Lego Movie (6/17) also arrives this month, as well as the festival darling Joe (6/17) starring Nicolas Cage and Tye Sheridan. Fans of premium channel shows may also want to check out Showtime’s Ray Donovan (6/10) and HBO’s True Detective (6/10) which are both new to DVD this month as well.

Geekscape Movie Reviews: Edge of Tomorrow

by MCDaveJune 9, 2014

Make no mistake about it, the hype surrounding Edge of Tomorrow, from both critics and moviegoers alike, continues to grow throughout the film’s opening weekend. With an estimated $30 million in box-office revenue in the works and nearly 9 out of 10 critics voicing their approval, Tom Cruise proves he is still a major attraction. But is the megastar’s latest blockbuster collaboration with The Bourne Identity director, Doug Liman, worthy of all this adoration? Absolutely not!

Tom Cruise stars as Cage, a marketer-turned-Army Recruiter after an unexplained alien invasion threatens the survival of humankind. However, Cage has zero interest in actually setting foot on the battlefield. That is, until his commanding officer orders the under-qualified and cowardly soldier to attack the enemy with the first wave of fighters. Caught in the midst of war, Cage becomes trapped in a time-loop and uses the opportunity to team up with a Special Forces warrior named Rita (Emily Blunt) who transforms him into a killing machine determined to destroy the opposing forces.

Allow me to precede my arguments with a declaration that the latest sci-fi blockbuster, Edge of Tommorow, is a well-crafted and highly rationalized idea. Yet, Doug Liman’s action adventure is over-pursued and misguided. The whole “time travel” or “time loop” idea is by no means uncharted territory. Somewhat recent comparables such as Duncan Jones’ Source Code or Rian Johnson’s Looper use this scientific anomaly as a far more impressive backdrop to their better executed stories. With Edge of Tomorrow, the audience is asked to buy into an often-used, but convincing, character arc surrounding Tom Cruise’s onscreen personae, Cage. But to the film’s detriment, an unjust finale sells that transformation short and tears down the flimsy foundation it spends nearly two hours building.

Although Doug Liman’s Edge of Tomorrow contains a mediocre plot and a collection of performances that neither benefit nor detract from the final product, the blockbuster delivers an abundance of remarkably-shot scenes. The camera work and editing are superb enough to satisfy any action junkie imaginable, further demonstrating a need to applaud Liman’s effort for the movie’s sound technical achievements. However, at the end of the day, there’s no escaping a long list of basic fundamental blunders that ultimately confine Edge of Tomorrow to being a run-of-the-mill feature.

Sporting a balanced sheet of pros and cons, the latest sci-fi tale, Edge of Tomorrow, fails to stand out among a long list of similarly-molded films. Its “groundhog day” approach feels long-winded through a moderately engaging story. And although the special effects and captured shots are likely to be marveled at, there isn’t much else elevating Edge of Tomorrow to mainstream blockbuster glory.

GRADE: 3/5

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Geekscape Movie Reviews: Obvious Child

by MCDaveJune 6, 2014

It’s become a bit of the norm lately, a blueprint for young aspiring filmmakers to follow. Many recent debut features out of the Sundance Film Festival, including one of 2013’s Top Ten Movies, Short Term 12, and 2014 Grand Jury Prize Winner, Whiplash, represent successful full-length projects that have been adapted from short films. It’s time to add another well-regarded festival darling to that list, writer/director Gillian Robespierre’s Obvious Child.

Donna Stern (played by Jenny Slate) is a twenty-something small-time comedienne whose life is turned upside-down after being dumped by her boyfriend and discovering that the bookstore where she works is closing. The hard-hitting realities of life bombard her all at once, leading to a horrendous performance on stage and an evening of binge-drinking. But during this moment of self deprecation, she meets a genuinely nice guy named Max (Jake Lacy) which leads to a one night stand. A few weeks later Donna learns that she’s pregnant and decides to have an abortion, all while Max tries to reconnect her.

The taboo label of an “abortion comedy” is somewhat unjust, mainly because Gillian Robespierre’s Obvious Child lacks the uproarious hilarity one might expect. Instead, the indie darling relies on sincere and honest performances from its leading pair to help guide this peculiar film to attainable heights. Although I’m uncertain of Jenny Slate’s ability as a stand-up comic, her acting chops are certainly on display with a wide array of emotions. Her onscreen counterpart, performed admirably by Jake Lacy, completes an endearing 1-2 punch that breeds a tremendous amount of life to the feature. Convincing acting paired with a tender and soulful screenplay proves to be all that’s needed with Robespierre’s winning directorial debut.

Despite being an earnest effort, Obvious Child misses the mark with under-achieving humor and a thinly written story. While the characters all feel authentic, a simple plotline requires that the jokes carry you along from scene to scene. However, the self-mocking Jewish punchlines and cringe-worthy onstage misfires during painful stand-up comedy routines result in bumpy transitions throughout the film. Thankfully, Robespierre refuses to prolong the experience and wraps up her female-agenda tale in a reasonable 83 minutes. Therefore, Obvious Child resides as another serviceable and heartwarming indie drama from the 2014 Sundance Film Festival class.

Modern times have not been kind to the young-adults in the United States. Difficulties finding employment, purpose and sustainability have been recent trends that our country is yet to escape. Gillian Robespierre’s passion-fueled project, Obvious Child, uses these components as a backdrop to a larger self-discovery story. And although the film clearly targets a female audience, there’s still more than enough for everyone to enjoy.

GRADE: 3.5/5

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Geekscape Movie Reviews: Borgman

by MCDaveJune 3, 2014

As a Spotlight Circle member of the Philadelphia Film Society, the same group responsible for running the city’s annual film festival, I’ve had many opportunities to discuss the selection process with various board members. They literally search the globe for the most enticing and unforgettable films, in hopes of compiling the strongest collection of movies possible. Last year, the Philadelphia Film Festival selected a dark and disturbing feature out of the Netherlands called Borgman. Although I missed a chance to view the movie last October, Borgman‘s finally making its way to the art-house circuit in limited release.

Jan Bijvoet stars as the title character, Borgman, a vagrant chased from his crafty underground dwelling by a priest and a team of hunters. The homeless man wanders off to the lavish residence of a wealthy family asking to use their bathing facilities in order to freshen up. This leads to a severe altercation between a battered Borgman and the patriarch of the family. Feeling guilty for her husband’s actions, Marina (played by Hadewych Minis) secretly provides food for the vagrant and allows him to take shelter in their unused guest house.

Director Alex van Warmerdam creates a surreal examination of evil in an innocent suburban setting. By allowing this drifter into her home, Marina and her family begin to experience dark psychological nightmares that drive them to the brink of madness. Somewhat reminiscent of a recent foreign film out of Greece called, Dogtooth (which is far more over the top and bizarre than this newer title), Borgman delivers a captivating and haunting experience through a crawling 113 minute journey into the face of evil. Although it becomes virtually impossible to turn away or lose interest in Borgman, its greatest disappointment lies the fact that this slow-building film culminates in anti-climactic fashion. With this self-motivated and demonic figure tearing apart a seemingly perfect suburban family scene after scene, an unsatisfying resolve remains as the feature’s lasting impression.

Don’t be fooled, however, because Borgman has many redeeming qualities that make it a sure-fire successful indie art-house film. Wonderfully shot and edited, Alex van Warmerdam’s effort is fundamentally sound. And on top of being a well-made movie, Borgman benefits from a wide collection of prominently-acted roles. Both Jan Bijvoet and Hadewych Minis give worthwhile character-defining performances that add to the feature’s escalating tension. But all in all, no matter how sturdy a foundation, Borgman is unable to escape an undeniably flat finale.

Eerie, creepy, peculiar and off-beat, there’s no shortage of words to describe the latest Drafthouse Films release, Borgman. A niche audience of cinephiles will certainly rejoice over this fine-tuned example of modest filmmaking. Yet, based on story and poor pacing alone, the average movie-goer should probably look elsewhere.

GRADE: 2.5/5

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Geekscape Movie Reviews: Chef

by MCDaveMay 21, 2014

It’s safe to say that Jon Favreau’s humble, yet significant, career has officially come full circle. After a small onscreen debut in the sports classic, Rudy, Favreau cemented his place in Hollywood as writer and co-star of the 1996 indie hit, Swingers. Almost two decades have passed since Favreau first made his mark on the industry, and since then he’s helped birth the superhero franchise, Iron Man, as director of the first two installments and a supporting actor in all three. But how did this gifted filmmaker decide to follow up his bloated career as a blockbuster director? Favreau returns to his roots with Chef, a modest festival darling that’s captured the hearts and stomachs of audiences world-wide.

Carl Casper (Favreau) is a culinary artist immensely dedicated to his craft. However, when the most powerful food critic on the internet comes to taste his cuisine, Casper panders to his employer’s demands and prepares the same boring menu he’s grown to resent. After a negative review of the restaurant drops and leads to a social networking feud that spirals out of control, Casper decides to pursue his creative passion by purchasing a food truck. With the help of his best friend, Martin (John Leguizamo), and young son, Percy (Emjay Anthony), Casper is finally able to discover happiness and piece his entire life back together.

As an Audience Award Winner at this year’s Tribecca Film Festival, Chef is a delectable and savory delight from writer, director and star, Jon Favreau. Much like its fresh ingredients sliced, diced and marinated on screen, Chef is a winning combination of various well-executed components. Everything from a heartwarming screenplay, to a brilliant cast and back again to its visionary filmmaker, Chef has all the makings of a sure-fire hit. For starters, Favreau trained extensively in the kitchen with renowned L.A. chef, Roy Choi, and the practice pays off as he both looks and acts the part. But not only is the ambiance authentic in the film, we’re also given fine-tuned and carefully constructed characters that add an enormous amount of soul to the feature. Carl Casper lives and breathes a passion for his craft, which is conveyed brilliantly with a meticulous attention to detail by the actor and filmmaker. The audience can’t help but share in his love and adoration for the culinary arts and it’s a transcending feat. This exemplary element, coupled with a flavorful charm and wit that’s unwavering throughout the entire film, transforms Chef into an undeniable treat.

Although the feature is chock-full of redeeming qualities, Chef suffers in two specific areas. One irritating aspect of the film is the continuous references to major social media outlets like Twitter and Facebook. It’s fair to say that, at times,Chef feels like a near two-hour advertisement for these digital pipelines. In addition to an astounding amount of product placement, Favreau’s indie sensation is given an almost unjust “Hollywood Ending” that feels slightly unnecessary to the central purpose of the film. Yet, to be fair to the movie, this overly sentimental resolution is rapidly tied up with a pretty little bow in no more than three to five minutes. While its miscues are small in stature and forgivable, Chef does a remarkable job of pleasing the audience.

As the summer months get under way and big-budget blockbusters overtake our local theatres, Jon Favreau’s Chef stands out as a fine example of top-notch filmmaking. The feature is a premier character study with a wholesome and good-natured moral at its core. Entertaining and easy to enjoy, it’s worth seeking out one of 2014’s finest offerings.

GRADE: 4.5/5

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Geekscape Movie Reviews: Grand Piano

by MCDaveMay 20, 2014

Although the new thriller that reaches DVD today, Grand Piano, is technically a Eugenio Mira film, screenwriter Damien Chazelle possesses the hot new name that’s floating around Hollywood. Chazelle, who’s best known for directing the 2014 Sundance Film Festival Grand Jury Prize Winner, Whiplash, seems to have an affinity for music, as this time around his feature follows a world-renowned concert pianist. Yet, unlike his award-recognized debut film about a jazz drummer obsessed with “achieving greatness”, this time Chazelle hits all the wrong notes.

Elijah Wood stars as Tom Selznick, a famous pianist who’s giving his first performance in five years after a brutally flawed concert frazzled his psyche. Once the show begins and Selznick takes to his former mentor’s grand concert piano in front of a sold-out crowd, he comes across threatening messages written on his sheet music. Selznick soon discovers that he and his wife are the target of a sadistic sniper (John Cusack) with a grandiose scheme.

Filmmaker Eugenio Mira’s Grand Piano is a second-rate thriller with laughable intensity and illegitimate suspense. Despite some critics who argue that Mira’s work is a fun-filled self-knowing mockery of the thriller genre, I find absolutely no need for a film of that breed. Given that its tension is far from nerve-racking and its threats aren’t the least bit convincing, Grand Piano serves as a premier example of inauthentic and disingenuous filmmaking.

Although the feature is bogged down by many key deficiencies, Grand Piano has a few mitigating qualities. Sporting a brisk running time of 90 minutes, the film is easy to get through. Also, Grand Piano benefits from a memorable score inundated with fantastic classic compositions. Backed by a smooth pace and pleasing music, it’s truly a shame that Mira couldn’t construct a genuinely thrilling final product. Therefore, Grand Piano is an excessively underwhelming affair brimming with untapped potential.

Appreciating its clever and secretive motive behind the antagonist’s devious plot, there really is an interesting story here. However, directorial issues with tone and style inhibit Grand Piano from capturing its audience. When seeing a thriller, don’t we all wish for legitimate thrills that make us believe something’s at risk? Unfortunately, Grand Piano never makes you feel that way.

GRADE: 2/5

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Geekscape Movie Reviews: Million Dollar Arm

by MCDaveMay 14, 2014

The greatest sports movies find a way to transcend their athletic focus. Films like Rocky transform a deadbeat bruiser for a loan shark into a heavyweight boxing contender determined to “go the distance” with the champ, and Remember the Titans develops a unified high school football team in Virginia during the Civil Rights Movement. With Craig Gillespie’s Million Dollar Arm, the unlikely real-life story of the first India-born players to sign major league baseball contracts, tugs at the heart-strings and does an exceptional job of elevating its story beyond the baseball diamond.

Jon Hamm stars as JB Bernstein, a financially strapped sports agent who ventures to the untapped market of India in order to find a pair of up-and-coming MLB pitching prospects. With the assistance of an India-native named Amit who promises to work for free, JB holds a country-wide pitching contest that discovers the potential of two young men named Rinku (Life of Pi‘s Suraj Sharma) and Dinesh (Slumdog Millionaire‘s Madhur Mittal). These athletes decide to leave their tiny humble India villages for the first time and travel to the United States determined to master the difficult game of professional baseball.

We’re all familiar with “the Disney touch” and its potential to turn an amazing true story into an over-dramatized and sappy affair. While Million Dollar Arm refuses to shy away from the sentiment, it uses an expansive and refined script from Tom McCarthy (director of the overlooked independent film Win Win) to mold together a conflict-filled story of struggle and perseverance. It’s a joy watching Jon Hamm excel in his leading role, reminding us all that his talents go well beyond the AMC drama Mad Men. The entire supporting cast earns their label, and the result is a well-balanced blend of comedy and drama. Lake Bell, Aasif Mandvi and Alan Arkin play a delightful second fiddle to Hamm and the rest of the film’s stars, creating no shortage of likable onscreen personas.

A remarkable real-life story and brilliant cast propel Million Dollar Arm to praiseworthy heights, however, an overly long running time stops it in its tracks. Scratching and clawing its way to a two hour finish line, the film could have easily shed 20 minutes without losing any of its charm. Instead, we wait and we wait for a predetermined resolve that could have packed a much more meaningful punch if we hadn’t laboriously journeyed to get there. But despite the occasional drag and out-stretching the story as far as it will go, Million Dollar Arm succeeds in shining a light on such a truly amazing tale.

It would be an unjustified exaggeration to try and argue Craig Gillespie’s Million Dollar Arm among the finest sports movies of all time. Yet, this sincere and heartwarming narrative goes well beyond mediocrity and warrants a viewing. Thanks to a PG rating, Million Dollar Arm is a suitable family film that keeps the laughs consistent and sentiment tolerable.

GRADE: 3.5/5

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Geekscape Movie Reviews: The Other Woman

by MCDaveApril 29, 2014

While Nick Cassavetes is by no means a legend of Hollywood, the director has made a successful career off of well-received dramas like The Notebook, My Sister’s Keeper and John Q. Sentiment has clearly been his “modus operandi”. In 2014 Cassavetes returns to the director’s chair, but this time he’s ditching the dramatics and testing the comedy waters with the female-centered flick The Other Woman.

Cameron Diaz stars as Carly, an independent and attractive lawyer who unexpectedly meets the wife (Leslie Mann) of her latest boyfriend. As the pair of women begin to form an unusual bond, they soon discover yet another mistress (Kate Upton). Therefore, the three deceived ladies plot their revenge and devise a scheme to bring down this habitual adulterer once and for all.

Without question, there are a few discerning flaws in the upcoming “chick-flick” comedy The Other Woman. As a film intended to portray women in a self-sufficient and strong-willed light, director Nick Cassavetes and writer Melissa Stack mold a trio of prototypical onscreen stereotypes. Leslie Mann as the insecure wife and Kate Upton as a brainless sex object, these cartoon-ish characters do nothing but feed into unwarranted generalizations of the modern female, even if they end up victorious by the film’s conclusion. Furthermore, Nicki Minaj is given plenty of screen time in her supporting role and, unfortunately, she adds nothing beneficial to the feature. I would suggest sticking to her music career, but even that would be a huge disservice on my part.

For all of its blemishes and miscues, The Other Woman does contain a few redeeming qualities. For example, Diaz, Mann and Upton display a strong sense of camaraderie and chemistry. The trio of ladies work well together and help ease the audience through what could have been a more dreadful hour and 50 minute running time. Instead, a reasonable amount of laugh-out-loud scenes and comedic exchanges propel The Other Woman to a tolerable movie-going experience.

Trying his hand at comedy for the first time, Cassavetes delivers a mediocre effort. There are a few overly-long cuts that arouse an initial chuckle but lose their spark after a couple minutes of the same-old joke. The finale also leaves a little to be desired, but thankfully The Other Woman is by no means an unbearable watch. As a film very much intended for female audiences, speaking to all the men out there, this one could have been a whole lot worse.

GRADE: 2.5/5

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In Case You Missed It – April 2014

by MCDaveApril 15, 2014

As it appears, April may be a tough month to get through. With the calm before the May Summer Blockbuster storm currently taking place in theatres and almost all of the big-named 2013 titles already reaching DVD in March, there’s very little to get excited about this month. However, there are a few films being released on DVD and Video-On-Demand that should help ease this April lull, and here they are:

#1. The Secret Life of Walter Mitty

I’ve always been up and down on Ben Stiller’s career body of work. And after the combination of a trailer that didn’t “grab” me and a critical bashing for his 2013 pet project, The Secret Life of Walter Mitty, I must be honest and say expectations were rather low. Thankfully, Stiller didn’t disappoint and his long-awaited film proved to be one that the critics got wrong. Stiller directs and stars as Walter Mitty, a simple man who day dreams about going on adventures and whisking away the the girl of his dreams (played by Kristen Wiig). But when the negative for LIFE Magazine’s final cover goes missing, the opportunity presents itself for Walter to finally seek out a real-life adventure. The Secret Life of Walter Mitty is a charming and Underrated Film that’s easy to appreciate. (April 15th)

#2. August: Osage County

Nominated for a pair of acting Oscars, August: Osage County isn’t a film for everyone. Based on a stage play of the same name, the film is short on action and heavy on dialogue. The audience is forced to watch closely as Weston family reconnects following the passing of their patriarch. Meryl Streep stars as Violet Weston, the unloving and drug-addicted mother that works her hardest to break down each and every member of the family by pointing out their flaws. This dark comedy is by no means an easy watch, but fans of strong dialogue and off-kilter humor may enjoy this rather odd tale of a family consumed with secrets. (April 8th)

#3. Anchorman 2: The Legend Continues

It was difficult finding a third option to suggest for the month of April, so I decided to go with the comedy Anchorman 2. The first installment was an outlandish pioneer of sorts, but this sequel is an overextended and somewhat recycled shell of the original. Once again, Will Ferrell stars as the self-absorbed and arrogant Ron Burgundy who looks to reinvent himself after losing his job to his wife (sound familiar?). When the old team gets back together, Burgundy and company transform news from the informative platform it once was, to the ludicrous fluff it has become. There’s plenty of laugh-out-loud humor at the expense of a two-hour long senseless story that feels eerily similar to the original. (April 1st)

Honorable Mention: One film I’m yet to mention is the Best Picture Nominee Philomena (4/15) which captured the hearts of many audiences. I personally felt that the film was a little anti-climactic but I was clearly in the minority. Fans of the fantasy franchise The Hobbit: The Desolation of Smaug (4/8) can rejoice and catch up with the latest installment’s DVD release. I wasn’t a fan of the unrealistic single mother drama Labor Day (4/29) starring Kate Winslet and Josh Brolin, but I’ve met many others who enjoyed the film.

Geekscape Movie Reviews: Draft Day

by MCDaveApril 15, 2014

My appreciation for cinema cannot be overstated. But if there’s one thing I love as much as film, it’s professional sports. As a lifelong fan of the NFL and Kevin Costner’s sports-centered filmography, I consciously scooted the notion of typical early-year blunders to the back of my brain and welcomed excitement for Ivan Reitman’s Draft Day. Yet, there was one simple flaw in my logic that trumps everything. Reitman hasn’t been able to direct anything of relevance over the past two decades.

Sonny Weaver Jr. (Costner) is the General Manager of the Cleveland Browns and it’s the most important day of his sports career, Draft Day. With an owner (Frank Langella) desperate to make a gaudy “splash” and a coach (Denis Leary) who doesn’t believe in his ability to field a winning roster, Sonny must weave and maneuver to rebuild a franchise in disarray. And if these set of circumstances aren’t stressful enough for the GM, secretly dating the team’s Salary Cap Specialist (Jennifer Garner) is starting to present complications of its own.

According to Harris Polls conducted on a yearly basis, Football is far and away the most popular sport in America. Its hard-hitting product appeals to masses at an ever-growing rate. And more than the Sunday ritual itself, fans continue to develop an interest in the behind-the-scenes aspect of the NFL. Enter Ivan Reitman’s latest cinematic dud, Draft Day. The film attempts to be clever in its back-door finagling, but all that remains is an unrealistic portrayal of the NFL’s inner workings. The movie crafts an inauthentic and unbelievable atmosphere that throws the entire story off balance. Reitman’s final product is both inexcusable and unforgivable, making Draft Day one of the most unsatisfying big-budgeted sports movies in recent memory.

Not only is the feature an inaccurate depiction of general managing, Draft Day also suffers from a weak story and elementary dialogue. Desperate to enhance the dramatics, debut motion-picture writers Scott Rothman and Rajiv Joseph create flat subplots that are simply glossed over and unproductive. The only interesting aspect to the film is its relation to the NFL, which just so happens to be enough to get you to the finish line, but nowhere near enough to leave any semblance of a lasting impression. Draft Day surrounds Kevin Costner with a wide selection of unlikable and often irritating characters that make any connection between viewer and film absolutely impossible.

Outside of a few genuine laughs from Griffin Newman’s intern character Rick, Ivan Reitman’s Draft Day is a complete miss. The movie’s impractical sequence of events and Disney-like conclusion make the experience almost unbearable. When the film reaches the big screen less than a month before the NFL Draft in early May, please don’t waste your hard-earned dollars.

GRADE: 2/5

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Geekscape Movie Reviews: Cuban Fury

by MCDaveApril 8, 2014

Actor Nick Frost has always had a kinship with longtime friend and constant colleague, Simon Pegg. The duo have traded comedic blows back and forth in films like Shaun of the Dead, Hot Fuzz and Paul. Yet, my favorite Nick Frost film has always been Pirate Radio, an English comedy where he shared the stage with Philip Seymour Hoffman, Bill Nighy and Chris O’Dowd. In 2014 Frost re-teams with O’Dowd for another hilarious effort, the dance comedy Cuban Fury.

Bruce Garrett (Frost) grew up as a young Salsa-Dancing superstar who won competition after competition. But on his way to the national tournament, a group of bullies give him a beat-down he’d never forget and Bruce turns his back on the skill he once loved. Fast forward 20-some years later and Bruce is an overweight loner lacking in confidence. And when his attractive new boss (Rashida Jones) arrives in town, Bruce must compete for her Salsa-loving affection with a cocky and confident co-worker named Drew (O’Dowd).

Perhaps the most impressive aspect of James Griffiths’ directorial motion-picture debut, Cuban Fury, is the film’s surplus of outrageous laugh out loud dialogue. With it, the movie offers no shortage of perfectly honed characters that are both charming and endearing. Nick Frost gives a strong performance as Cuban Fury‘s leading star and illustrates magnificent footwork in the highly choreographed scenes. Frost admittedly spent seven hours a day for seven months leading up to production dedicating himself to mastering the art of Salsa-Dancing. His commitment pays off as the dance moves are almost as noteworthy as the feature’s high-level of humor. Surprisingly, the greatest source of laughter comes from a rather unknown actor, Kayvan Novak. This role is sure to place Novak on the map and open many doors for his career. With an absurdly unique style of improvisation, he’s relentless in his comedic pursuit. O’Dowd is no slouch either, as a trio of hysterical performers make Cuban Fury a winning effort.

If there’s a noticeable complaint to the film, it’s a lack of originality to the story. The movie follows a far too familiar tale with only a slightly different spin, Salsa-Dancing. At the core, Cuban Fury is an underdog story where the unlikely “loser” gets the pretty girl. A common theme that only works if the execution is spot on. And with this film, it most certainly is. A weak foundation creates an insurmountable ceiling for the movie, however, Frost and company never let up and ultimately take Cuban Fury as far as it can go.

At a brisk-moving pace that never bogs down the audience, Cuban Fury is an absolute delight. The writers and cast earn their R-rating and the result is exceptional. You can expect a barrage of jokes and laugh out loud scenes that support a mediocre, but well-executed, story. Cuban Fury is a fine comedic effort that surely pays off.

GRADE: 4/5

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Geekscape Movie Reviews: Noah

by MCDaveMarch 29, 2014

If 2014 is any indication of where the future of cinema is headed, brace yourself for a huge religious movement. Mel Gibson’s 2004 The Passion of the Christ became such a financial success that movie studios could no longer ignore the widespread audiences biblical films attract. Fast forward a decade and films like Son of God, Ridley Scott’s Exodus and Darren Aronofsky’s Noah headline a trio of bible-centered stories that are primed for big box-office results this year. While I haven’t always been enamored with religious tales brought to the big screen, thankfully, Darren Aronofsky puts a fresh spin on the well-known story of Noah.

After the dawn of man Adam and Eve spawned many children, three of which are known as Cain, Abel & Seth. Their first-born child, Cain, killed Abel out of jealousy and god cursed the land for his unrighteous actions. Meanwhile, Seth’s descendants were appalled at the wickedness of Cain’s ruthless bloodline and segregated from them to reconnect with god.

Generations pass and Noah (Russell Crowe) is a born descendant of Seth who is surrounded in a world consumed by sin and hatred. He receives a premonition from the creator that a flood is coming to destroy all of mankind. With the help of “fallen angels”, Noah builds an ark to withstand the storm and save the earth’s creatures and his family from god’s wrath.

Darren Aronofsky’s fascinating interpretation of the story of Noah is brought to life in extraordinary fashion. Many people have discussed Aronofsky’s lifelong obsession with this biblical tale, evident in a nationally recognized prize-winning poem the director wrote as a 7th grade student (story HERE courtesy of ACESHOWBIZ). His passion pays off as this epic adventure breeds an enormous amount of life to the film’s title character. Russell Crowe is on-point in his depiction of the psychological and emotional struggles Noah endured on his path to serving the creator. Aronofsky’s vision of an unrighteous and industrialized world is both unique and eye-opening, serving as a worthwhile bridge to the feature’s amazingly executed visual effects. The flood sequences look phenomenal and take Noah’s story down an unforeseeable path that drive the movie well past the two-hour mark. However, it’s here where Crowe works his magic and delivers yet another unforgettable character.

For all its glory, Noah is far from a flawless effort. The Black Swan director certainly initiates some head-scratching with his fantasy-like approach to the story. In a very Tolkein-esque manner Aronofsky introduces computer-generated creatures that allow the building of the ark to make sense, but add a ridiculous mystic vibe to the film. This aspect will ruin the experience for some, and be easy to overlook by others. Furthermore, Noah‘s near two-hour and twenty minute journey is difficult to withstand at times. Although its crawling pace begins as a nuisance, the lull manages to directly elevate the third act of the film which is a magnificent saving grace to the picture. For all of its blunders and miscues, a memorable and impactful finale secure Noah as another winning project from Darren Aronofsky.

With this recent surge in biblical-based movies, I fear sitting through a non-stop “preachy” experience. Noah was none of the sorts. It’s a straight-forward interpretation that rarely (if at all) uses the word “god”. I appreciated the cumulative story and found the conclusion to pack a punch. It comes with its blemishes, but Noah is full of enough special effects and creativity to satisfy most moviegoers.

GRADE: 3.5/5

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Geekscape Movie Reviews: Muppets Most Wanted

by MCDaveMarch 25, 2014

After the inarguable success surrounding Jason Segel’s long-developed return of Jim Henson’s iconic Muppets in 2011, it became inevitable that there was no escaping a sequel. However, with Segel worn out from years of carefully honing each and every colorful joke enjoyed in The Muppets, he respectfully stepped away from the project. And although the highly anticipated follow-up, Muppets Most Wanted, is still a worthy addition to the storied franchise, the film never quite reaches the heights of its immediate predecessor.

Muppets Most Wanted picks up exactly where the last movie ended. Fresh off of their return, Kermit and the gang decide to plot a sequel that takes the lovable cast of characters on a world tour throughout Europe. After the naive hiring of an evil manager named Domonic Badguy (Ricky Gervais), Kermit becomes entangled in a mistaken-identity fiasco that lands him in a dangerous Russian prison with no way of escaping.

As expected, Muppets Most Wanted carries out its usual calling-card of family-friendly humor and entertaining musical numbers. The sequel doesn’t quite stack up to the 2011 revival, yet the film manages to operate swiftly and provide a surplus of laughs. Another impressive aspect is the enormous amount of star-studded cameos scattered throughout the movie, ranging from P Diddy, to Usher, to Lady Gaga and a whole lot more. In fact, a huge part of the fun becomes pinpointing all of the celebrities as they quickly arrive and then disappear from the screen. Thankfully, Muppets Most Wanted stays true to its mold and concludes as another enjoyable effort that stands tall on its own.

If there’s one major detractor to this 2014 follow-up feature, it’s a weak story that works better in theory than execution. The whole Constantine-Kermit identity switch-a-roo begins well but never really sustains as a central focus to the film. Instead, the audience must rely on typical Muppet humor that we’ve grown accustomed to over the years and a diverse collection of well-constructed songs from Oscar-Winning songwriter, Bret McKenzie. Despite the Constantine storyline never amounting to much, there are still plenty of other shining factors to Muppets Most Wanted that keep it enjoyable for the whole family.

With very little circulating through cinemas right now, you’d be well served by taking a chance on a worthwhile sequel such as Muppets Most Wanted. It may lack the charm and surgeon-like attention to detail of Jason Segel’s 2011 rebirth, but writer/director James Bobin and co-writer Nicholas Stoller stick to the usual Muppet-mantra. And as we all know, that’s a formula guaranteed to work!

Grade: 3.5/5

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Geekscape Movie Reviews: The Grand Budapest Hotel

by MCDaveMarch 25, 2014

After enduring an elongated journey to the Oscars this year, thanks to the awards show’s refusal to compete against the Winter Olympics for viewership, it felt as though the 2014 cinematic year would never get going. Early offerings such as The Monuments Men and Jack Ryan: Shadow Recruit generated initial excitement that managed to wear off quickly. But finally, nearly two and a half months into the year, Wes Anderson strikes again and delivers a film worthy of praise. The long-time director’s latest work, The Grand Budapest Hotel, also proves to be one of his finest to date.

Anderson’s movie follows an author’s fond recollection of the adventures surrounding legendary hotel concierge Gustave H. (played by Ralph Fiennes). The prominent figure at the famous Grand Budapest Hotel develops a strong bond with his trusty protege and lobby boy, Zero Moustafa (Tony Revolori), as the pair find themselves entangled in a web of murder and incarceration thanks to a priceless painting known only as “Boy with Apple”. Gustave and Zero must work together swiftly in order to free their names and survive the pursuit of a ruthless henchmen named Jopling (Willem Defoe).

Despite the feature’s winning array of perfectly timed jokes and hysterical dialogue, The Grand Budapest Hotel seems to suffer from flaws that typically run rampant throughout Wes Anderson’s catalog of work. With a bloated emphasis on style and setting more so than the characters themselves, Anderson occasionally misses the mark by failing to create depth to his onscreen personae. It goes without question that the colorful scenes are visually appealing and the director has coined a unique and stylistic approach of his own, but his films generally lack the necessary emotion to move audiences and elevate the works to new heights. Instead, we’re left with a “wordy” script containing a fair amount of humor and an excess of vibrant imagery.

Well-paced and delightfully pleasing, The Grand Budapest Hotel is a second consecutive entertaining product from the highly-regarded writer/director, Wes Anderson. Although I continue to wait for the filmmaker to turn the page with his career and take a bold step, I’ve still managed to find a semblance of enjoyment in his recent efforts. Good, but not great, fans of the quintessential Anderson-style are sure to appreciate The Grand Budapest Hotel.

GRADE: 3.5/5

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Geekscape Movie Reviews: Bad Words

by MCDaveMarch 25, 2014

The actor-turned-director transition is one that many performers desire to accomplish. Sometimes the flow from onscreen star to behind the camera visionary is smooth and sleek. Clint Eastwood, Ron Howard and Ben Affleck are just a few shining examples of this evolution’s success. On the other hand, actors such as Nicolas Cage (Sonny) and William Shatner (Star Trek V: The Final Frontier) discovered that the conversion can be quite challenging. In fact, when it comes to a familiar star taking the reins and jumping into the director’s chair for the first time, you never really know what to expect. And that’s the major source of intrigue surrounding Jason Bateman’s major motion picture directorial debut, Bad Words.

Guy Trilby (Bateman) is a middle-aged man who uses the fact that he never completed any schooling past the 8th grade as a loophole to infiltrate the world of competitive spelling. While the parents of these studious and ambitiously committed youth see him as a dark cloud over the entire process, Guy has a mysterious motivation to his dastardly antics. That is, until a young Indian-American boy named Chaitanya (Rohan Chand) attempts to befriend the foul-mouthed and middle-aged competitor.

Despite the film’s healthy dose of comedy, Bateman’s Bad Words contains a flimsy script and glossed over characters. The leading star and director is serviceable in both regards, but all of the movie’s characters are under-developed and one-dimensional. Bad Words offers no rooting interest and feels like a (very) poor man’s Bad Santa. Bateman and company attempt to wrap a large layer of crude and R-rated humor around an ineffective and purposeless story. Bad Words is actually too simple and safe from a structural standpoint. Perhaps taking more risks and adding a blend of uniqueness could have given film more to offer. Consequently, the audience is left with a slow moving journey to a mysteriously big reveal that isn’t very shocking or exciting. All of which help identify Bad Words as the mediocre effort it so clearly is.

Jason Bateman’s character, Guy Trilby, is intentionally straight-faced. His motives and emotions are meant to be unidentifiable, making it difficult to connect with the clean-canvased character. Therefore, the only remaining personae to latch on to is the Indian-American boy Chaitanya, played by youngster Rohan Chand. The child-actor has proven his abilities in Adam Sandler’s Jack and Jill and 2013’s late year success, Lone Survivor. Rohan continues raising the bar with a heartwarming performance that also demonstrates the boy’s knack for comedic timing. However, the lovable-kid aspect can only carry the film so far and Bad Words ultimately suffers from countless other shortcomings.

In this early-year lull, the options are few and far between. Jason Bateman’s Bad Words is easy to sit through, but nothing spectacular. If you’re in search of some vulgar R-rated jokes in the vein of Bad Santa, you guaranteed to find some laughs and get your fix here. Otherwise, Bad Words is simply a run of the mill comedy with weak characters and an uneventful storyline.

GRADE: 2.5/5

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Geekscape Movie Reviews: Cheap Thrills

by MCDaveMarch 21, 2014

Films have the ability to generate feelings of terror. While many moviegoers avoid the stress and discomfort that goes along with enjoying a solid horror flick or thriller these days, I’ve always been captivated by stories that examine the darker sides of humanity. Yet, to be a successful film of this kind it requires convincing performances, a compelling story and a unique vision. Serving as a brilliant example to each of the aforementioned components, Cheap Thrills makes its way to Video On-Demand in February and arrives in select theatres on March 21st.

Pat Healy stars as Craig, a family man facing financial difficulties after losing his job and receiving an eviction notice. In a desperate attempt to drown his sorrows at the bar, Craig runs into an old friend, Vince (Ethan Embry), who he hasn’t seen in five years. After a few drinks the reunited friends find themselves engaged with a ridiculously wealthy married couple who desire to see just how far Craig and Vince will go for a huge pay day.

In his directorial debut, E.L. Katz delivers a knockout. Cheap Thrills is a twisted and sadistic exploration into the human psyche. Different things motivate different people, but playing off the economic struggles facing Americans every day, Katz illustrates the alarming effects that money can hold over the desperate and financially unstable population. Cheap Thrills dives deep into this eye-opening dynamic and creates a playful dark comedy that balances well with its gripping psychological backbone. Outstanding performances from Pat Healy and Ethan Embry as friends turned money-grubbing rivals help give authenticity to the story. Plausibility is essential to the movie’s success, thankfully Healy, Embry and Anchorman‘s David Koechner keep the wheels churning.

Despite strong acting on all accounts, Cheap Thrills struggles in one noticeable area. The relationship between these old friends is a flimsy, but necessary, subplot to the film. The back-and-forth bickering that gradually escalates between characters as the minutes mount feels unnatural and forced. However, since the rest of the screenplay is very well-constructed, it becomes easy to overlook this forgivable blemish. Also, Cheap Thrills contains a finale that is mildly predictable but perfectly executed. Such a memorable ending leaves a well regarded lasting impression with the audience.

Rarely is a thriller executed with such precision and care. Cheap Thrills offers a not-so-unique premise but pulls together a tasteful blend of dark humor and intrigue to create a fine example of psychological storytelling. With squeamish scenes sprinkled periodically throughout, this debut feature from E.L. Katz must be reserved for those who can stomach it. But if you can withstand some gore, violence and fear-factor-esque challenges, you’re guaranteed to enjoy Cheap Thrills.

GRADE: 4/5

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In Case You Missed It – March 2014

by MCDaveMarch 11, 2014

As we find ourselves gloriously trapped in the pinnacle of the DVD calendar year, much like February, March offers a multitude of powerhouse selections. One tactful marketing strategy has always been riding the wave of success generated from the annual Academy Awards ceremony, and 2014 is no different. Once again, the top three picks of the month all landed in my 10 Best of 2013, which means you have plenty of excellent titles to choose between.

#1. American Hustle

Nominated for a whopping 10 Academy Awards, David O. Russell’s caper comedy, American Hustle, makes its way to DVD this month. Although the film found itself shutout at the awards ceremony, there’s still plenty to love about the movie. Christian Bale headlines a lengthy list of knockout performances as Irving Rosenfeld, a deadbeat con-man who gets arrested by an FBI agent and is forced to assist the authorities in an elaborate plot to take down powerful politicians and members of the mafia. It has its flaws, but American Hustle is one of 2013’s most thrilling and entertaining joy rides and one definitely worth seeing. (March 18th)

#2. 12 Years a Slave

Unlike American Hustle, Steve McQueen’s adapted true story, 12 Years a Slave, had quite the successful showing at this past Sunday’s Oscar awards ceremony. Taking home three Academy Awards for its heartbreaking screenplay, a magnificent debut performance from Supporting Actress Lupita Nyong’o and the highly coveted Best Picture statue, 12 Years a Slave is a prototypical Oscar delight. Chiwetel Ejiofor stars as Solomon Northup, a free black man living in New York prior to the Civil War who is drugged and forced into a harsh life of slavery where he must struggle to survive. Uneasy and authentic, 12 Years a Slave isn’t the type of film you look forward to experiencing, but its one that’s saddled with great importance. (March 4th)

#3. The Wolf of Wall Street

Martin Scorsese’s epic satire, The Wolf of Wall Street, also found itself shutout on Oscar night, but this blockbuster has blown away audiences since its Christmas Day release. Irreverent and ambitious, The Wolf of Wall Street tells the true story of stockbroker Jordan Belfort’s (played by Leonardo DiCaprio) towering rise to success and his ultimate demise. The debauchery is endless and the jokes are outrageous, in fact, there’s nothing low key and normal about Scorsese’s latest work. While some label this controversial tale as a perverse glorification of illegal activity, I view it as a comical journey into the modern day American-Dream mindset. (March 25th)

Honorable Mention: With a top three as strong as the films listed above, March is full of worthwhile secondary selections. First, there’s the crop of movies I still haven’t seen but I can’t wait to get my hands on, the list includes The Hunger Games: Catching Fire (3/7), indie sensation Kill Your Darlings (3/18) and the Academy Award Winning animated film Frozen (3/18). Three other flawed but enjoyable films finding their way to DVD this month are Out of the Furnace (3/11), one of the Coen brothers’ weakest but a still worthy feature Inside Llewyn Davis (3/11), and finally Disney’s movie about making a movie Saving Mr. Banks (3/18).

LAST CALL: Enter Our Free Oscar Contest

by MCDaveFebruary 27, 2014

With the 86th annual Academy Awards show airing this Sunday March 2nd, now’s the time to sign up for our FREE Oscar pool. You select winners in EVERY Academy Awards category and different point values are assigned to the different races. The person with the most points wins a $25 gift card of their choice to either Regal/AMC.

It’s completely free to enter, all you need is an e-mail address (no spam EVER) 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:

Pool Name: Greg’s Academy Awards Pool
Password: flyers

You have until Sunday March 2nd 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.

Enter Our Free Oscar Contest!

by MCDaveFebruary 16, 2014

Back by popular demand, Geekscape writer MCDAVE and his close friend, Greg Rouleau, are running another 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 $25 gift card of their choice to either Regal/AMC.

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:

Pool Name: Greg’s Academy Awards Pool
Password: flyers

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

Geekscape Movie Reviews: The Monuments Men

by MCDaveFebruary 10, 2014

George Clooney is one of the most prominent figures in Hollywood. As an Academy Award winner for both acting (Syriana) and producing (Best Picture winner Argo), many believed Clooney had a strong chance at pulling off the trifecta with a potential Best Director win for his newest film, The Monuments Men. However, that was before post-production issues delayed the feature’s release until 2014. Unfortunately, we now know that The Monuments Men is light-years away from the prototypical Oscar Nominee.

Clooney stars as Frank Starks, an art historian who makes a pitch to the president of the United States during the closing months of World War II about preserving all of the various artwork spread throughout Europe and returning it to its rightful owners. After being given the green light, Starks enlists six other museum directors, curators and art historians to help him see this mission through. Yet, this group (known as “The Monuments Men”) must stare the dangers of war in the eyes and overcome countless obstacles along the way.

Clooney’s latest effort has been panned by critics for a multitude of reasons. I wouldn’t be the first to address the movie’s problems with developing distinct tonal differences between comedy and drama, or even the condescending lecture-like dialogue intended to force the audience into accepting the importance of this mission, rather than making us “feel” something. There’s a huge disconnect between film and viewer, something that can never work for a project of this type. Consequently, The Monuments Men is nothing more than an elongated and mediocre fluff piece filled with a strong cast, but weak and ineffective narrative.

Although The Monuments Men never escapes its stagnant vibe, it’s an interesting premise that remains mildly entertaining at the hands of many fine performances from stars such as Bill Murray, John Goodman, Matt Damon and Cate Blanchett. However, the long list of great actors in the film are required to make the most out of thinly crafted characters. But while the film hopes to elicit suspense and emotion, The Monuments Men instead outstretches minimal plot progression to a near two-hour running time. With the superficial makings of a compelling and moving examination of an inspiring true story, even Clooney’s admirable direction fails to aid a brutally developed screenplay.

There are a few shining moments sporadically peppered throughout The Monuments Men, but they become quickly overshadowed by all of the film’s shortcomings. As a viewer you never feel transported into the story, rather just a spectator to its events. And ultimately, the truly great films know how to differentiate between the two and execute effectively. Illustrating that The Monuments Men is nothing more than an occasionally entertaining run-of-the-mill effort from mega-star George Clooney.

GRADE: 2.5/5

You can find lots of other work from Movie Critic Dave at his home site!

Geekscape Movie Reviews: A Field in England

by MCDaveFebruary 7, 2014

Over the course of history many have argued the purpose of film. It’s a very personal and almost existential type of quandary. While artists see filmmaking as a platform for expression and storytelling, I’ve always believed that a majority of the general public simply wants to be entertained, and very little more. Yet, there’s always a small faction of people with a desire to push stylistic boundaries and create something unique. After viewing his latest directorial effort, A Field in England, it’s clear that Ben Wheatley is one of those people.

Set against the backdrop of the 17th Century Civil War in England, three men flee from battle into an overgrown field. Not long after, this group of men become overtaken by a devilish alchemist and his sidekick who force them to help locate a buried treasure. Drugged and delusional at the hands of these dangerous captors, everyone begins to question the true meaning of this so-called “treasure”.

A mind-blowing combination of unequal parts psychedelia, dark humor and lavish surrealism, A Field in England is by far the trippiest film I’ve ever encountered. While it’s odd in the vein of Stanley Kubrick or David Lynch, and filmed over beautiful landscapes with a keen Malick-like respect for imagery, Ben Wheatley’s latest addition falls shy of the great works by these legendary directors. From the post-production standpoint, complements are well-deserved for spectacular editing and photography. However, A Field in England breaks down from a fundamental flaw in its storytelling.

Almost nothing alike, outside of its unidentifiable purpose and cryptic symbolism, I had a similar feeling after viewing the Ridley Scott blockbuster, Prometheus. Perhaps Wheatley and co-screenwriter Amy Jump find joy in crafting a malleable experience that can be molded any which way you desire. On the other hand, this ambiguous product is best suited for niche audiences rather than the general public. While I reserve an appreciation for developing an individual style that demands cerebral rationale and thinking outside the box, such an exposure proves to be a daunting task for the viewer.

Maddening and hallucinatory, A Field in England is captivating and vague all at the same time. Although I’d rather spend my day enjoying a concrete story with a definitive message, Ben Wheatley delivers a thought-provoking and puzzling tale of insanity. With religious undertones scattered throughout the film, there’s plenty to take away from it as long as your willing to make the effort.

GRADE: 2.5/5

Visit Movie Critic Dave’s host site by clicking HERE!

In Case You Missed It – February 2014

by MCDaveFebruary 6, 2014

2014 kicked off its DVD release in style with a wide selection of notable titles in January. Now that the Oscar Nominations have been handed out, February and March should continue to offer many of the year’s finest on DVD and Video On-Demand. In fact, my top three picks of the month all land in my Top 10 Films of 2013.

#1. About Time

Somewhat mislabeled as a romantic comedy, About Time is a charming drama set on reinforcing an appreciation for every-day life. Love Actually director, Richard Curtis, has publicly stated that this will be his last feature and he truly goes out on top with a remarkably sincere and effectively sentimental piece of work. Fast-rising star Domhnall Gleeson and the always wonderful Bill Nighy give tender performances as a son and father who share a family secret that they can travel in time. You’ll experience every range of emotion in this hilarious and earnest tale of love and family, justifying About Time as one of the finest films of 2013. (February 4th)

#2. Dallas Buyers Club

By now everyone is aware of just how good Matthew McConaughey is in the Best Picture Nominee, Dallas Buyers Club. McConaughey was My Personal Pick for Best Actor of the year with a gripping performance as Ron Woodroof, a Texas bull rider whose lifelong history of partying and drugs catch up to him when he discovers he has HIV. The revelation and will to live set him on a mission to smuggle unapproved prescription drugs from Mexico into the U.S. to combat the effects of the illness. Jared Leto also gives an unforgettable supporting turn as Woodroof’s unlikely sidekick. (February 4th)

#3. Gravity

Closing out my Top 10 Films of 2013 and #1 on Greg Rouleau’s List was Alfonso Cuaron’s space adventure, Gravity. Cuaron has found himself at the head of the Best Director class for his examination of a routine space repair mission that ends up going terribly wrong at the hands of fast-flying and destructive debris. Floating around and lost in space, astronaut Ryan Stone (Sandra Bullock) struggles to survive this nightmarish ordeal. Definitely a film intended to be witnessed on the big screen, it’s still worth settling on the at-home experience in order to see one of 2013’s most talked about films. (February 25th)

Honorable Mention: Two independent selections from the Philadelphia Film Festival include Best Picture Nominee Nebraska (2/25) and the survival tale All Is Lost (2/11), both of which landed in my honorable mention for the cinematic year. Although I haven’t seen Thor: The Dark World (2/25) or Ender’s Game (2/11), both seem to interest the action-junky in me. Also, it’s worth noting the box-office flop from Ridley Scott, The Counselor (2/11), and Cannes Film Festival Palme d’Or Winner foreign film Blue Is the Warmest Color (2/25) also are available.

Geekscape Sundance Reviews: Laggies

by MCDaveJanuary 21, 2014

Writer/director Lynn Shelton is best known as an influential figure in the frequently coined “mumblecore” movement. This style of filmmaking often refers to a lower budget and the hefty use of natural improvisation rather than tightly sticking to a script. While the movement has gained a niche following and broader base, Shelton’s latest go-around is far from the “mumblecore” label.

Laggies stars Keira Knightley as Megan, an unmotivated woman in her late 20s who has no idea of what she wants to do with her life. After watching her longtime friends and boyfriend of over a decade cleanly move on to adulthood, she struggles to discover her own identity. And after lying about going on a week-long career retreat, Megan instead shacks up with a new high school aged friend (Chloe Grace Moretz) and her skeptical father (Sam Rockwell) in order to take some time to figure out her future.

There’s something strange and crazy about director Lynn Shelton’s Laggies. For such an unorthodox story, the film is surprisingly heartwarming and honest. The writing and acting breeds an inordinate amount of purpose and identity to all of its characters. Some may refute that the feature’s secondary characters are campy and embellished, but in the entire context of the film they work quite nicely. It all begins with a solid foundation from leading lady Keira Knightley. Her sweet and soulful performance enables the audience to connect with Megan on a deeper level and look past her periodically flawed judgment. And while Chloe Grace Moretz dishes out fine supporting work once again, there’s two other names that need to mentioned. First, there’s up-and-comer Kaitlyn Dever. The young actress gave a breakout performance in last year’s unforgettable drama, Short Term 12 (one of my Top 10 films of 2013). Here she has a diminished role, although it’s one that adds spice and bravado to the movie. Furthermore, we’re given ANOTHER amazing turn from the vastly under-appreciated Sam Rockwell. From the moment he appears on screen, the film immediately picks up and dashes to the finish line. Rockwell is a true talent that’s never given the respect he deserves. But thankfully for his game changing performance, Laggies ends up being a wonderfully executed drama.

Despite the feature’s exceptional dialogue and charming wit, Laggies has its detractors. The first act has a noticeable drag, but Rockwell’s introduction quickly takes care of that tiny problem. It’s easy to disregard a bumpy beginning thanks to a lofty amount of perfectly timed humor and fantastic performances throughout. And while some of the decision making of its characters feels suspect and unrealistic at times, these simply become minor flaws in an otherwise fine feature.

Lynn Shelton has found budding success in her filmmaking career, but you can expect Laggies to launch her to a whole other level. The movie generates an unbreakable bond between its characters and the audience, one that lasts long after the credits role. Making Laggies one of the finest films at Sundance this year and one that you should look forward to in 2014.

GRADE: 4/5

Geekscape Sundance Reviews: To Be Takei

by MCDaveJanuary 20, 2014

George Takei represents different things to different people. For frequenters of Comicon extravaganzas all across the globe, he’s a pop icon renowned for his role as Captain Hikaru Sulu on three seasons and six films regarding the sci-fi classic, Star Trek. And to fans of his uncharacteristically popular Facebook page, Takei is an ingenious source of laughs on a daily basis. But for all of these various masks and titles that Takei proudly displays, the people closest to him are most thankful for George’s life as a pioneer in multiple civil rights movements.

In the documentary To Be Takei from filmmaker Jennifer M. Kroot, the audience is catapulted into the life and struggles of a true trailblazer. The feature exams many facets of Takei’s personal life, including his time as a Japanese-American youth placed in harsh internment camps following the bombing of Pearl Harbor, and George’s secretive upbringing as a closet homosexual actor trying to make a name for himself in Los Angeles. For Takei, the road has never been easy, but he’s also never shied away from adversity.

For 90 entertaining minutes filled with laughter and sincerity, George and his now husband, but partner for 25 years, Brad Takei (formerly Brad Altman), dive into the inner workings of the aging performer’s life. We witness George’s outspoken stance on gay rights as well as his involvement in the newly released musical “Allegiance”, which details a Japanese-American man’s imprisonment by the U.S. government during the end of World War II. The musical closely resembles the Takei family’s hardships during one of our nation’s most heinous acts and is a remarkable source of passion for the multi-talented star.

To Be Takei not only focuses on these serious moral platforms which inhabit George’s life, it also ventures into his well-documented and long-lasting feud with former co-star, William Shatner. The documentary provides a first-hand look at the infamous rivalry and perhaps why it has escalated to such heights. Furthermore, To Be Takei briefly discusses George’s time and inclusion on Howard Stern’s wildly popular radio show. You truly learn everything there is to know about this amazing man and the movie is both hilarious and earnest in its storytelling.

Unlike many other documentaries, To Be Takei never feels too agenda-driven and instead works to transport the viewer into the brilliant life of George Takei. Sure its subject clearly has a motivation and message of spreading equality in all areas of life across the United States, but that’s merely because it’s what George Takei represents. To Be Takei is a joyous watch and something any fan will certainly enjoy.

GRADE: 4/5

Geekscape Sundance Reviews: The Skeleton Twins

by MCDaveJanuary 20, 2014

The trend for movies has shifted lately. With depressing dramas crowding movie screens all across the festival circuit, films like Hellion, Blue Ruin, God’s Pocket and Cold in July are all recent examples of this phenomena taking over the 2014 Sundance lineup. There’s generally a sigh of relief upon entering screenings for comedies, especially one starring Saturday Night Live stars Kristen Wiig and Bill Hader. However, even a laugh-fest such as Craig Johnson’s The Skeleton Twins carries a dark and gloomy tone from joke to joke. At this point, I guess we should just expect it.

A terrible set of circumstances brings together twin siblings Milo (played by Bill Hader) and Maggie (Kristen Wiig) after a decade apart. The reunion forces both of them to re-examine their lives and confront their problems, no matter the cost.

At its core The Skeleton Twins never feels like groundbreaking material. However, this murky self-loathing drama whisks along nicely thanks to genuine heartfelt performances from a pair of comedians turned “serious” actors. Bill Hader is given more face time than his counterpart, but Kristen Wiig is equally as effective. With over seven years together on SNL, the onscreen chemistry between these two stars is simply remarkable and their voyage into dramatic acting goes without a hitch. Another welcome surprise is the direction of Craig Johnson. During a long and hysterical lip-syncing rendition of Starship’s “Nothing’s Gonna Stop Us Now”, we see a masterful use of the camera, helping to draw the audience into one of the film’s finest moments.

Another glowing aspect revolving around The Skeleton Twins is a more expected one, the film’s outpouring of laughs and humor. Watching these estranged siblings instantly regain their lost bond through the use of comedy is absolutely priceless. In fact, almost any scene shared by Hader and Wiig is sure to generate some laughs. But the most fascinating realization is that their innate knack for jokes doesn’t seem to take take away from their dramatic execution, instead acting as a complementing force that helps give life to The Skeleton Twins.

There are plenty of reasons to enjoy this film. Outside of the wonderful performances from Hader and Wiig, Luke Wilson gives a standout supporting turn as well. The feature’s use of music is great and the story is somber, yet uplifting. While some subplots are more enticing than others and the whole excessive depression bit is clearly played up, The Skeleton Twins leaps over its blemishes and plays as a successful laugh-inducing drama.

GRADE: 4/5