Tag: Brie Larson

Geekscape Movie Reviews: The Glass Castle

by MCDave

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

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

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

GRADE: 3/5

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SDCC 2016: Brie Larson Is Officially ‘Captain Marvel’!

by Derek Kraneveldt

Briefly: Yes!

Captain Marvel still doesn’t have a final script or a director… but it now has its Carol Danvers.

Naturally, it’s the actress that many outlets have been speculating we’d see in the role, and the actress that  fans have been clamouring for: Room‘s Brie Larson.

What a perfect choice, don’t you think?

Captain Marvel hits theatres on March 8, 2019.

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Here Are Your 2016 Oscar Winners!

by J.C. Marquez

After coming up short on five previous Oscar nominations, Leonardo DiCaprio won his first Academy Award for Best Actor for his performance in “The Revenant.”  The film’s director, Alejandro G. Inarritu, won his second consecutive Academy Award for Best Director–becoming the first director to win back-to-back awards in the category since Joseph L. Mankiewicz won in 1949 and 1950 for “A Letter to Three Wives” and “All ABout Eve”.

Brie Larson’s much talked about performance in “Room” earned the actress her first Academy Award for Best Actress, beating out previous winners Cate Blanchett (2014) and Jennifer Hudson (2013).

It was also a huge night for “Mad Max: Fury Road”, as the film took in a total of six Academy Awards (but failed to win for Best Picture and Best Director).

Below is the complete list of winners from tonight’s Academy Awards:

 

Best Picture: “Spotlight”

Best Actor: Leonardo DiCaprio, “The Revenant”

Best Actress: Brie Larson, “Room”

Best Supporting Actor: Mark Rylance, “Bridge of Spies”

Best Supporting Actress: Alicia Vikander, “The Danish Girl”

Best Director: Alejandro G. Inarritu, “The Revenant”

Best Score: Ennio Morricone for “The Hateful Eight” 

Best Song: Sam Smith and Jimmy Napes for “Writing’s on the Wall” from “Spectre”

Best Original Screenplay: Josh Singer and Tom McCarthy, “Spotlight”

Best Adapted Screenplay:  Charles Randolph and Adam McKay, “The Big Short”

Best Cinematography: Emmanuel Lubezki, “The Revenant”

Best Film Editing: Margaret Sixel, “Mad Max: Fury Road”

Best Sound Editing: Mark Mangini and David White, “Mad Max: Fury Road”

Best Visual Effects: Mark Ardington, Sara Bennett, Paul Norris, and Andrew Whitehurst, “Ex Machina”

Best Sound Mixing: Chris Jenkins, Ben Osmo, and Gregg Rudloff, “Mad Max: Fury Road”

Best Costume Design: Jenny Beavan, “Mad Max: Fury Road”

Best Makeup: Damian Martin, Lesley Vanderwalt, and Elka Wardega, “Mad Max: Fury Road”

Best Production Design: Colin Gibson and Lisa Thompson, “Mad Max: Fury Road”

Best Animated Feature: “Inside Out”

Best Animated Short: “Bear Story”

Best Foreign Language Film: “Son of Saul”

Best Documentary Feature: “Amy”

Best Documentary Short: “A Girl in the River: The Price of Forgiveness”

Best Live Action Short: “Stutterer”

 

Are there any actors who you feel were wronged by tonight’s results or did the Academy get it right? Sound off in the comments below!

Geekscape Movie Reviews: Room

by MCDave

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

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

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

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

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

GRADE: 4.5/5

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Geekscape Movie Reviews: Trainwreck

by MCDave

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.

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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: The Gambler (2014)

by MCDave

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.

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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.

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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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In Case You Missed It – January 2014

by MCDave

Although the DVD and Video-On-Demand selections have been weak the past few months (December’s picks), January makes up for it in a big way. This month is loaded with some of my favorite films of the year, as well as a couple Oscar-possibilities. It was difficult to narrow down my top three picks of the month with a long list of worthy releases, but here’s what I came up with.

#1. Rush

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Until the December release of David O. Russell’s Academy Award Best Picture contender, American Hustle, Ron Howard’s Rush spent a large portion of 2013 atop my favorite movies of the year. One could argue it was low the expectations I had upon entering the theatre, but in actuality it has everything to do with a dynamite performance from Oscar-hopeful, Daniel Bruhl, and a thrilling sports story superbly executed by its director. Formula 1 racing captured the attention of the entire world during the 1970s, and two of the fiercest drivers on the planet, James Hunt (played by Chris Hemsworth) and Niki Lauda (Bruhl), embarked on a legendary rivalry. Rush is far more than a high-octane racing movie, it has layers and depth that enable it to stand on its own as one of the finest sports dramas in years. It’s an absolute Must-See feature.  (January 28th)

#2. Short Term 12

Short Term 12Brie Larson and Keith Stanfield

One of the year’s most tender, yet heartbreaking, films comes in the form of Destin Cretton’s directorial debut, Short Term 12. This unknown indie drama packs an enormous amount of emotion thanks to a genuine script and an unbelievable performance from Brie Larson. The gifted young actress is more than deserving of Oscar-notoriety, however, she appears to be on the outside looking in. Larson is far from the lone shining star in the film, the cast is flooded from top to bottom with authentic performances. In fact, supporting star John Gallagher Jr. even landed on my year’s Most Underrated Performances list. Watch as these twenty-somethings spend their workdays consoling and molding youth at a foster-care facility for at-risk children. It’s an eye-opening journey into the lives of our forgotten youth. (January 14th)

#3. Captain Phillips

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The major consensus is Tom Hanks will find his way into the Best Actor race for his showing in this year’s true-story action adventure, Captain Phillips. This would mark the 6th time Hanks has been handed an Oscar Nomination, and he truly earns it once again. Captain Phillips follows a cargo vessel taken under siege by a band of Somali pirates. Through the guidance of their tactical captain, the vessel’s crew must work together to survive the ordeal. Director Paul Greengrass is best known as the visionary behind the second and third installment of the Bourne franchise, and here the action is equally as effective. Well paced and highly compelling, Captain Phillips is another strong effort from one of the greatest actors the world has ever seen. (January 21st)

Honorable Mention: There’s no shortage of other sensational selections finding their way to DVD this month. Two Sundance Film Festival entries that are both worthy of checking out are The Spectacular Now (1/14) and the gut-wrenching true-story of Oscar Grant in Fruitvale Station (1/14). As for some Oscar-Caliber movies, Cate Blanchett is a frontrunner in the Best Actress category for her fine role in Woody Allen’s Blue Jasmine (1/21) and there’s a few fringe players fighting to make the Oscar cut from Lee Daniels’ The Butler (1/14). Another rising Oscar contender comes in the form of a potential posthumous nomination for the late-great James Gandolfini in the romantic-comedy Enough Said (1/14). Horror fans have some interesting options arriving on DVD in January, Carrie (1/14) and the buzzed-about You’re Next (1/14) are available this month as well.

Geekscape Movie Reviews: The Spectacular Now

by MCDave

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

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

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

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

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

GRADE: 4/5

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Geekscape Movie Reviews: ‘Short Term 12’

by MCDave

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

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

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

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

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

GRADE: 4.5/5

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