Tag: John Goodman

Geekscape Movie Reviews: Kong: Skull Island

by MCDave

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

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

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

GRADE: 3/5

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Geekscape Movies Reviews ‘Ratchet & Clank’

by Josh Jackson

Note: Check out our review for the game based on the movie here.

Look, I get it. Normally, when you hear that a film adaptation of a video game is on its way, you can hear the collective eye roll of the gaming community. At this point, there’s a laundry list of failed attempts, most of which suffer from Hollywood ignoring the spirit of the source material, expecting the name to sell tickets on its own. Yet, when Sony announced that they were dipping their toes in the waters of making their popular PlayStation games into feature films under the brand new PlayStation Originals banner, I was strangely optimistic. Not only because Sony was directly involved, but because one of my favorite platforming franchises, Ratchet & Clank, would be the first one to be released. With such lovable characters, a rich universe to draw from, and the developers at Insomniac directly involved with the creation of the film. I mean, with all of these elements in play, what could go wrong? Apparently plenty, because unfortunately, while the film is enjoyable, the spirit of what makes the games so beloved was lost somewhere in the transition between mediums, falling flat when it comes to some of its most defining characteristics.

Loosely based on the first game, Ratchet & Clank serves as an origin story for the legendary duo, as they get dragged into a fight to save the galaxy from the evil Chairman Drek, (voiced by Paul Giamatti,) who is attempting to create a new planet from the pieces of the worlds he is destroying. Ratchet, (voiced by his video game actor, James Arnold Taylor,) a Lombax with a penchant for all things mechanical, dreams of leaving his life as a mechanic to become a Galactic Ranger like his hero, Captain Qwark. When a defective Warbot escapes Drek’s factory and crash lands on Ratchet’s planet to warn the Rangers of the chairman’s evil plans, Ratchet comes across his ship and decides to take the miniature bot to his idols. Now named Clank, (brought to life by David Kaye, who’s voiced the character since his debut in 2002,) the new team embark on a quest to alert the Rangers while making their own mark on the galaxy in the process.

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Unfortunately, this sequence in the beginning is one of the few instances that we actually see the two together. For a film about the team of Ratchet and Clank, a pair that are literally attached to each other for 90% of every game, they hardly share any screen time. In fact, the divide between them makes up the bulk of the second and third acts of the movie, creating a jock vs. nerd mentality within the Rangers themselves. As Ratchet attempts to become closer to Qwark, (despite his growing jealousy towards the Ranger to be,) and his film exclusive teammates in the form of the no nonsense Cora, (voiced by Bella Thorne,) and the trigger happy Brax, (voiced by Vincent Tong,) Clank is relegated to a support role alongside the tech savvy Elaris, (voiced by Rosario Dawson). Most of the adventure involves the field team ignoring the command center’s advice, keeping Clank far away from his partner during most of the biggest action scenes of the film. When the conclusion rolls around, it makes it hard to believe that these two share such a strong bond when they barely interact with each other. I can only imagine how much of a reach this will feel like for families who visit the theater who have no familiarity with the source material.

Speaking of the new characters, I was excited about the idea of expanding Qwark’s team to add an extra dynamic to his development. Sadly, this doesn’t pan out, because each one ends up feeling more like a walking trope than their own character, Ironically, the game based on the movie does a better job establishing Cora than the film does, where the only development, or establishment for that matter, comes from her unwelcoming comments towards Ratchet through the majority of the movie. The less said about Brax the better, since his personality begins and ends with wanting to blow stuff up. Elaris is the only one who has a semblance of a character, as the sympathetic brains behind the operation who’s good advice is ignored for her “shoot first, ask questions later,” team.

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Oddly enough, the characters who have been established through 14 years of source material are the ones who are developed the most. As mentioned above, Clank spends most of the movie on his own, but he becomes capable in his own right as he squares off with Drek’s right hand machine, Victor Von Ion, (voiced by Sylvester Stallone). Ratchet loses the bad attitude of the original game for the better, and is further explored as a somewhat lonely orphan finding to find his place in the world. New to the film, his father figure, Grimroth, (voiced by our favorite TV father, John Goodman,) shines in his few scenes as someone who encourages Ratchet when no one else does, while being legitimately concerned about his foster son wanting to give up his life as a mechanic to essentially become a super hero.

Much like the games however, Qwark steals the show in almost every scene he’s in. His gradual shift from being the arrogant, yet well meaning hero to a jealous, insecure shell as Ratchet becomes more famous is much more satisfying than the original game, where his defining purpose in the plot just kind of happened. What does worry me about Qwark however, is that the way his story wraps up in a way that’s drastically different from the games, closing off his role in the sequels. Does this mean that this movie will be one and done, or does it disregard the sequel altogether? Considering one of the goals with this movie was to help the first game, (which was largely disconnected from the rest of the series,) tie in closer to the sequels, this was a confusing choice to settle on.

Making things even more interesting, is the introduction of Dr. Nefarious, (voiced by Armin Shimerman,) who originally didn’t appear until the third game. As Qwark’s arch nemesis, his inclusion into this origin story ends up serving as somewhat of an origin for the Dr. as well, diving deeper into why he develops a hatred for Ratchet and Clank. Plus, we get an interesting after credits scene that ties into the game that I won’t spoil here, but fans of the PlayStation series will want to stick around.

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While the characters and story are hit or miss, (which isn’t helped by the writing, with jokes that fall flat more often than not,) that’s not to say Ratchet & Clank doesn’t shine in other areas. The animation is gorgeous, feeling like a video game brought to life. From the large cities to the crazy gunfights, the film never fails to wow us with its visuals when the movie calls for its more extravagant sequences. Staying true to the games, a variety of weapons spanning the entire series make appearances throughout the film, from fan favorites like Mr. Zurkon, to my personal favorite, the Tornado Launcher from Tools of Destruction. It may be true that some of the charm is lost in translation due to the iffy writing, but Taylor, Kaye, and Qwark’s Jim Ward have jut enough of it to make their scenes the highlight of the movie. Even Ion, Nefarious and Grimroth add some much needed depth to an otherwise thin plot, making the film more enjoyable in the process.

So while Ratchet & Clank is a far cry from what I would consider to be a great video game movie, it does right by the series just enough for me to want to see more of what these PlayStation Originals can do going forward. If we actually had more time to develop the partnership between the titular characters, (which is the core of what works about the series,) instead of feeling like their friendship was forced, we would be much better off. With the new cast feeling mostly paper thin aside from a few standout and a spotty script, these problems are somewhat balanced out by its crowd pleasing weapons, development of the established characters, and some interesting surprises for game fans and non-fans alike. Is Ratchet & Clank the perfect video game adaptation? No. But with so much development and charm left to uncover, I’m hoping we get to visit the Lombax and his robot pal again down the road.

Final Score: 3/5

 

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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Geekscape Movie Reviews: The Monuments Men

by MCDave

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.

Matt Damon

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.

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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

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Geekscape Movie Reviews: Inside Llewyn Davis

by MCDave

At the exact moment the final credits rolled, leading man Oscar Issac scurried from the back of the theatre to discuss his newest film, Inside Llewyn Davis. And much to the surprise of the audience members, the handsome clean-shaven actor resembled nothing of his shaggy and depleted onscreen persona. Issac talked at length about famed sibling directors Joel and Ethan Coen’s latest offering and the warm reception it received earlier this year at the Cannes Film Festival in France. The multi-talented actor/musician expressed that, at Cannes, the crowd just “got it”. Much like the woes and hardships prevalent in 1960s American folk songs, the Coens mirror their main character’s life to the same brand of music that flows naturally from his lethargic body. It’s clever and it’s creative, but its also uninspired.

Lleywn Davis (Oscar Issac) is a struggling folk musician living in New York at the start of the 1960s. While spending night to night crashing on the couches of various acquaintances and friends, Llewyn makes one last push at jump-starting his career before he decides to walk away from it all. But no matter how skilled and talented the performer truly is, Llewyn appears to be his own biggest hurdle.

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There’s a somber and sorrowful ambiance surrounding Inside Llewyn Davis, something that’s both elegant and depressing all at the same time. Like a magnet, the title character attracts each and every hardship that he encounters. Yet, Llewyn is still shown nonchalantly laughing off the proposed notion that he welcomes these burdens. You see, it’s very important to remember that Llewyn is an artist, perhaps even ahead of his time. His perspective on life and music is slightly off-center, which makes for a remarkably fascinating, but not always likable, character. Thankfully, the Coens bring Drive‘s Oscar Issac to the stage, where he delivers a knockout performance that provides buoyancy to the film. During the periodic moments where Inside Llewyn Davis struggles to thrill the audience, Issac never disappoints. He trudges on, just like his character stomping through the frigid Chicago snow. Although the feature feels more like a mediocre effort from a Coen brothers standpoint, Inside Llewyn Davis still manages to be beautifully filmed and superbly acted. Both of which are regular staples in Joel and Ethan’s long list of accomplished work.

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While the Coens have obviously mastered the craft of storytelling, Inside Llewyn Davis has an heir of incompleteness. The tale’s metaphoric foundation and soulful delivery are enough to keep it afloat, but the picture lacks resolve and closure. Despite the rumblings regarding Joel and Ethan’s ineffective endings that have been heard throughout their brilliant careers, Inside Llewyn Davis is definitely worthy of such criticism. Don’t get me wrong, I completely understand the clever purpose behind a final Bob Dylan reference and the slamming of the barred door leading into the dark alleyway. However, I envisioned a bleaker more indelicate conclusion, a place the siblings clearly weren’t willing to go. Occasionally wading through a tiresome and exhausting expedition en route to an unsatisfying resolution, Inside Llewyn Davis suffers from a few self-inflicted limitations.

Trapped in the midst of a cinematic year that feels so feeble in comparison to 2012, all eyes shifted to the Coen brothers. Looking for some film, any film, to run away with this awards season race, it’s suddenly apparent that Inside Llewyn Davis isn’t “the one”. But in conjunction with a collection of fine roles from Oscar Issac, Carey Mulligan and many more, a solid humor-induced script and a smattering of phenomenal live-music performances help guide you along Llewyn’s bumpy journey.

GRADE: 3.5/5

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Geekscape Movie Reviews: The Hangover Part III

by MCDave

2009 seems like such a short time ago. Yet, almost four years have passed since Todd Phillips’ The Hangover helped set the bar for modern day comedies. Then, like clockwork, Phillips and the people at Warner Bros. decided to milk this cash cow for all it’s worth. With dollar signs in their eyes, they began a four year plan releasing The Hangover Part II in 2011 and the third installment this weekend. While many may feel that the franchise has run its course, especially after the disappointment of “Part II”, the newest inclusion is definitely a step up over its immediate predecessor.

Freshly off his meds, Alan (Galifianakis) has reclaimed his impulsive ways and becomes too much for his friends and family to handle. After agreeing to check into a facility, the Wolfpack ventures to Arizona to help Alan receive the treatment that he needs. However, the trip is quickly derailed when a drug lord named Marshall (played by John Goodman) takes Doug hostage and threatens to kill him in three days unless they bring him Leslie Chow (played by Ken Jeong), who has robbed the kingpin of millions of dollars.

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Breaking from the tiresome and formulaic structure of the franchise’s first two installments, The Hangover Part III is a fluctuating adventure filled with an abundance of hysterical moments alongside a downtrodden dose of Mr. Chow’s character. Clearly an improvement over Phillips’ previous visit to the Wolfpack universe, the film dishes out a healthy portion of outrageously hilarious scenes. It’s also moderately gratifying to watch the franchise come full circle. Taking a Seinfeld finale approach, The Hangover Part III marks the return for many of the original’s memorable characters (thankfully, there’s no Mike Tyson). Phillips gives a valiant attempt at wrapping everything up with a nice little bow. However, the post credit clip reminds us that when it comes to a brand that’s grossed north of $500 million dollars in box office revenue, the door must be left open for a return. Representing another unfitting and unjustifiable decision from the director.

Although The Hangover Part III has no shortage of laughs, there is plenty to dislike about the Wolfpack’s alleged final adventure. It became apparent during the less-than-acceptable sequel that Mr. Chow is a leech, sucking the blood and life out of the entire franchise. Therefore, his inexcusably grand role in this third chapter ultimately deflates the film. Chow receives far more onscreen attention than every other character except Alan. Moreover, much to its detriment, these two oddballs have managed to attract an increasing level of absurdity throughout the course of the trilogy. The beauty behind the original was the collaborative comedic efforts from its trio of stars. Yet, Cooper and Helms, along with an under-utilized cameo by the always phenomenal John Goodman, take a back seat to the shenanigans of Alan and Chow, merely making them props to the story. Consequently, it does the film a huge disservice, leaving plenty to be desired with The Hangover Part III.

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If you’ve poured enough of your hard earned dollars into the first two inclusions of the franchise, then there’s nothing lost by avoiding The Hangover Part III in theatres. Despite being a step up from the second installment, the newest effort is still a huge drop off from the timeless magic captured in the original. Hardcore fans will inevitably enjoy the full-circle approach taken by director Todd Phillips, yet there’s no valid argument against waiting to catch The Hangover Part III on DVD.

Grade: 2.5/5

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Brand New Trailer Debuts For ‘The Hangover Part III’

by Shawn Madden

We’ve seen a teaser trailer and posters for the film and now Warner Bros. has debuted a new full length trailer for The Hangover Part III. The trailer gives us an idea what is going to happen when it all ends for The Wolfpack this Memorial Day. Check it out below.

“The Hangover Part III” is the third and final film in director Todd Phillips’ record-shattering comedy franchise. This time, there’s no wedding. No bachelor party. What could go wrong, right? But when the Wolfpack hits the road, all bets are off.

It all ends when The Hangover III hits theaters May 24, 2013

Geekscape Movie Reviews: Flight

by MCDave

Legendary director Robert Zemeckis lets his credentials speak for themselves. With a loaded filmography boasting undoubted hits such as Forrest Gump, Back to the Future and Castaway, Zemeckis’ long awaited return to live action is – as Ron Burgundy would say – “kind of a big deal”. His triumphant return comes in the form of Flight, a dark drama about a troubled airline pilot suffering from a severe substance abuse problem. If that wasn’t enough to get you excited, teaming up with Zemeckis in the leading role is Academy Award winner Denzel Washington. Now, with all of the proper ingredients securely in place, Zemeckis and company manage to elevate Flight to successful heights.

Denzel Washington stars as divorced airline pilot Whip Whitaker, a full blown alcoholic with an occasional taste for all different kinds of harder drug concoctions. But when a routine flight from Florida to Georgia experiences a disastrous plane malfunction, an under-the-influence Whitaker pulls off some nose-diving heroics that help to soften the crash. Having miraculously saved 96 of 102 lives on board the plane, Whitaker ironically finds himself at the center of a crash investigation. In the midst of a massive downward spiral, Whitaker embattles the possibility of criminal manslaughter charges and, even worse, his destructive substance abuse addiction.

Director Robert Zemeckis’ Flight is a well-rounded and emotionally effective character study of one man’s personal battle with addiction At the center of the film is Denzel Washington, a gifted actor who needs no introduction. Screenwriter John Gatins serves up a script that allows Washington to take his character’s portrayal to some very dark and disturbing places. Almost effortlessly, Washington molds Whitaker’s psychologically flawed character into such an alluring and spellbinding anti-hero. Although Whitaker rarely gives the audience any legitimate reason to sympathize with his condition, you’ll want so badly for him to put down the bottle when the moments of truth happen to arrive. Even when Whitaker clearly deserves no remorse, Washington demonstrates an uncanny ability to elicit sympathy from the viewer. It’s acting at its finest, and I would be downright shocked if Washington wasn’t recognized with an Oscar nomination for yet another brilliant on screen display. In addition to the greatness of the film’s leading star, actor John Goodman commands every second of screen time given to him. Everything from his perfectly cued grand entrance to his outrageously hilarious final scene, Goodman offers the feature’s most likable character. And for as memorable as Goodman’s drug-dealing character is, Zemeckis and Gatins never overuse him or rely too heavily on his efforts. As a result, Flight is a crowd-pleasing drama that satisfies at the hands of smart directing and superb acting.

Even though Flight works well as a character-driven drama, Zemeckis’ return to live action is far from unscathed. For starters, Flight hits a noticeable lull during its second act which consequently disrupts the flow of the film. The movie begins in impressive fashion with its eye-opening hotel scene followed by a tension filled airplane free fall. However, the film’s post-crash middle portion spends a prolonged amount of time focusing on a rather unnecessary character (the drug addict Nicole) and the depths of Whitaker’s problems with alcohol. But just as the film begins to recycle itself to the point of exhaustion, Zemeckis returns to the investigation and closes out the film in an emotionally satisfying style. Another significant detraction from Flight is the inconsistencies of screenwriter John Gatins. While carefully-timed comedy has always been a major staple of Zemeckis’ more dramatic work, Gatins fails to successfully land a couple of intended “funny scenes”. The hospital scene with Whitaker’s co-pilot Ken Evans (played by Brian Geraghty) is the perfect example of poorly timed humor. At what should have been a memorable Oscar-type of dramatic scene, Gatins swings and misses at mocking religious fanatics. Although Flight clearly suffers from infrequent interruptions in both mood and plot progression, a worthwhile conclusion makes it easy to overlook and ignore these tiny imperfections.

Once again, Robert Zemeckis gets the most out of his leading star and the payoff is another solid addition to his resume. Denzel Washington deserves all the praise he’ll receive on route to a sure-fire Best Actor Nomination by the Academy. Despite his portrayal as a mightily flawed anti-hero, Flight‘s greatest conquest is how it forces the audience to be forgiving and slightly irrational toward Washington’s rather unlikable character. Both highly entertaining and emotionally charged, Flight is far from perfect but still worth the price of admission. Take a shot on Flight and you won’t regret it.

Grade: 4/5

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Geekscape Movie Reviews: Argo

by MCDave

Sometimes it’s easy to forget, but Ben Affleck already has an Oscar win under his belt. He took home a Golden Statue in 1998, along with co-writer Matt Damon, for his Good Will Hunting screenplay. But despite his early career honor as a screenwriter, Affleck has managed to find his niche in the director’s chair. With a phenomenal debut in the form of 2007’s Gone Baby Gone and a successful follow such as The Town, Affleck quickly found himself among the elite directors in Hollywood. However, with his third directorial effort, Argo, slated to hit theaters everywhere on Friday October 12th, Affleck graces us with his finest work to date.

Set against the backdrop of the Iranian Revolution in 1979 when militants scaled the fences and stormed the U.S. Embassy, Argo follows CIA exfiltration specialist Tony Mendez (played by Affleck) and the efforts he put forth in rescuing six Americans who escaped the kidnapping. While these six men and women discreetly took shelter in the Canadian Ambassador’s house in Tehran, the U.S. and Canada were in a race against time to try to rescue them covertly.

Ben Affleck’s Argo is a flawless instant classic that molds together brilliant direction, a dynamic screenplay and skilled acting. At the helm of the feature, Affleck uses editing techniques such as quick cuts to help build the action and suspense throughout the duration of the film. Furthermore, the director intertwines real life footage with his own reenactments, and the similarities are amazing. Affleck truly makes you feel as if you’re reliving the horrific standoff. Through his efforts, he creates an aura of authenticity that’s vital to the success of the film. He’s quickly proven that he’s a visionary director with a keen appreciation for detail. I’ve become very impressed with his work and I firmly place him among Hollywood’s finest. In addition to Affleck’s directorial efforts, perhaps screenwriter Chris Terrio is the unsung hero behind Argo. Boasting the smallest of credentials, Terrio crafts a screenplay for the ages. Using the most precise combinations of comedy and drama, Argo perfectly fluctuates between a tension-filled thriller and a surprisingly lighthearted affair. Argo is undoubtedly a movie for the ages and a force to be reckoned with come Awards Season. Its strength begins with the foundation of its script and flows all the way to the top with the vision of its director, Ben Affleck.

Another commendable aspect of Argo is the extraordinary cast used to bring this astonishing true story to the big screen. Led once again by Ben Affleck as the film’s central character Tony Mendez, Argo actually sees its most shining characters in the form of its supporting cast. Most notable is a shoe-in Oscar worthy performance given by Alan Arkin. Arkin stars as Hollywood Producer Lester Siegel who helps generate buzz for the fake movie being used in Mendez’s covert operation. He gives a performance every bit as strong as his Oscar Nominated turn in 2007’s Little Miss Sunshine. Arkin and his onscreen counterpart John Goodman are used like chess pieces to complement Argo‘s more compelling moments. Goodman, who portrays real life Hollywood Makeup Artist John Chambers, teams up with Arkin to provide quick wit and jocular dialogue essential to balancing out the ebb and flow of the movie. In addition to the pair of funny men, Bryan Cranston gives a stellar standout performance as Jack O’Donnell, Tony Mendez’s boss in the CIA. To Argo‘s benefit, Affleck makes the right decision by never attempting to take over the screen. While the wise actor/director shines when it’s needed, ultimately he allows the film’s interesting plot lines to lead the way. In doing so, he gives his colorful supporting cast every opportunity to fill in all of the empty spaces and completely round out the feature.

All in all, Argo is an amazing true story that manages to translate perfectly to the big screen. Affleck goes above and beyond both of his previous efforts and offers the best film I’ve seen in years. Argo is a faultless masterpiece and sure to make some noise in the Best Picture, Best Director and Best Supporting Actor categories at the 2013 Oscars. Arriving in theatres nationwide on October 12th, Argo is the “must-see” picture of the year. Be sure not to miss it.

Grade: 5 out of 5

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John Goodman In Talks To Join The Cast Of ‘The Hangover Part III’!

by Shawn Madden

Yes, you read that correctly! Word on the street is that Todd Phillips wants Goodman for a small but pivotal part in The Hangover Part III. Something similar to the extent of Paul Giamatti’s part in The Hangover Part II. I think Goodman would definitely be a great cast addition for their third time around. And it’s also being said that Phillips has Sean Penn and Robert Downey Jr. on a wish list of actors to make cameos in the threequel.

The Hangover Part III hits theatres May 24, 2013.

Source: Variety

Teaser Trailer For Pixar’s ‘Monsters University’

by Scott Alminiana

Mike and Sulley are back! The first teaser trailer for the sequel/prequel Monsters University is here

A look at the relationship between Mike and Sulley during their days at the University of Fear — when they weren’t necessarily the best of friends.

The voice-cast includes Billy Crystal, John Goodman, Steve Buscemi, Ken Jeong, and Kelsey Grammer. Monsters University comes out June 21, 2013.

Trailer For The Robert Zemeckis Directed “Flight” Starring Denzel Washington

by Scott Alminiana

Robert Zemeckis is finally returning to world of the living for the first time in 12 years. Welcome back, Bob! I’ve missed you.

Zemeckis’ new movie is Flight and it stars Denzel Washington as an airline pilot who saves a flight from crashing, only to have his heroics come under investigation. The film also stars Don Cheadle, Bruce Greenwood, James Badge Dale and John Goodman. Flight opens on November 2nd. Check out the trailer and let us know what you think.