Director Guy Ritchie has always been a bit of enigma to me. While you can tell that operating in his comfort zone typically involves shady dealings, ruthless thugs and a whole lot of illegal money, Ritchie will also go on a head-scratching adaptation-spree that includes works like Disney’s live-action remake of Aladdin and a unique twist to the story of King Arthur. But no matter where you stand with the Snatch director, we can all agree that Ritchie’s on the top of his game when he’s delivering a story exactly like the one he brings in the new crime mystery, The Gentlemen.

Ray (Charlie Hunnam) is the right-hand-man for drug lord Mickey Pearson (Matthew McConaughey). Fletcher (Hugh Grant) is a sleazy private detective who digs up dirt on wealthy and powerful men and sells it off to the highest bidder. But when Ray finds Fletcher waiting inside his home and demanding a hefty payout from his boss Mickey, the two men try to piece together everything they know about a very elaborate story. One that includes the sale of Mickey’s weed-growing empire, a rival drug kingpin, a robbery and a healthy dose of twists all along the way.

The Gentlemen flows with energy, carrying an upbeat pace and toe-tapping soundtrack that serve as the perfect complement to Guy Ritchie’s action-packed and hysterical script. Framing the narrative through a story inside of a story lens, as Fletcher finds this whole ordeal fascinating and elaborate enough to turn it into a screenplay that he keeps trying to pitch to people, adds a “next-level” dynamic of comedy that really puts the film over the top. But as anyone familiar with Lock, Stock and Two Smoking Barrels and Snatch will know, vulgarity is a thing with Ritchie’s films. The Gentlemen is no exception, as the C-word feels like it’s on literal repeat for nearly two full hours. If this is something you can’t withstand, it’s important to know that going in. Otherwise, if the copious amounts of profanity won’t ruin the experience for you, expect to laugh loud and often. Ritchie’s script is littered with zingers and beautifully crafted moments of pure hilarity. And just as funny as the film’s dialogue are its actor’s mannerisms. Academy Award Winner Matthew McConaughey gets top billing here, but it’s the insanely effective work of Hugh Grant and Colin Farrell that capture your attention the most. Grant with a chameleon-like performance as he’s completely unrecognizable and simply brilliant as Fletcher, and Farrell with a nuanced and expressive turn that sticks with you despite a limited amount of screen time. The Gentlemen is another brisk and lively endeavor from Guy Ritchie that may not feel as impactful as his earlier work of a similar vein, but it’s always fun and certainly a unique experience witnessing Ritchie is his wheelhouse.

GRADE: 3.5/5

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Much anticipated film “The Dark Tower” opens this weekend starring Idris Elba and Matthew McConaughey. If you never invested the many hours of reading it takes to tackle the eight book and massively wordy series from Stephen King that the film is based upon, then you probably would think the “The Dark Tower” isn’t half bad despite the overwhelming hate the film is getting from critics.

A young boy, Jake Chambers (Tom Taylor), is having visions of other worlds. There’s a man in black who seems to be bent on destroying a tower (Matthew McConaughey), and a gunslinger (Idris Elba) who is opposing him. The boy is sure the world in his visions is real even when those around him insist he’s nuts. His destiny is to seek out the truth for himself which means he will have to face The Man In Black.

Critics are panning the film but is it because they know it took four writers, a massive effort with lots of setbacks to deliver the hour and thirty-five minute film? Is it because there is an expectation that the film should reflect everything that happened in all eight books? Is it because they expect the screen adaption to be more like a trilogy akin to “The Lord of the Rings?” Is it that they don’t know “The Dark Tower” is actually a sequel to the books. Yes, it’s a sequel. If you read the books then you may recall that the worlds are on a wheel, representing that life repeats. Roland defeated The Man in Black, but then Roland knew it was all going to happen again. This next time would be different and the film represents the next life of Roland.

If you set all that you know about the long tale that the film is based upon and just watch “The Dark Tower” as is, the film stands on it’s own two feet. It has a beginning, middle, and an ending that makes sense. It’s paced evenly. Has an intriguing story, excellent villain in casting McConaughey, and it’s a fantasy. So why the massive hate out there?

There are two distinct ways to view the film. One is with a background in Stephen King (which I have), and one without. I chose to judge the film based on it’s own merits rather than expecting it to somehow encompass the eight novels (that would perhaps have worked better as a TV series as first pitched long ago). It’s the only fair way to judge a film.

Complaining that the film took ten years, a zillion directors who came and went, etc. should have no bearing on the finished work. The truth is, some films take more effort than others. Sony thinks the effort was worth it and is counting on Stephen King fans to turn out and see the film. However, this is where the issue may lie, and unfairly so.

If you are a film studio and you green light a movie counting on that built-in fan base, then you should try and stick to the source material but the plausibility of that happening is near to zero. That’s not opinion. You can’t take eight books and cram it into a film. A percentage of critics seem to think that justifies burying the film in negative reviews. “The Dark Tower” isn’t “The Lord of the Rings” but to some it could have been, and therein lies the root behind the lousy reviews generally.

Expectation is sometimes hard to curb especially in this case because of the source material. The solution lies in the marketing. The studio should have made a better effort in delivering  a message that stressed that “The Dark Tower” is a loosely based adaptation of King’s work and most importantly that it’s a sequel to the books. There were a lot of interviews out there beforehand that could have highlighted the nature of how King ended the books to curb expectations. Additionally, marketing could have better opened minds that the underlining goal was to create a version that worked in less than 2 hours for the big screen and not have King fans expecting the next “Lord of the Rings” -esque cinematic experience. The expectation is not set appropriately and the critical scores fairly/unfairly reflect this.

NEW YORK, NY – JUNE 30: Matthew McConaughey seen filming “The Dark Tower” on June 30, 2016 in New York City. (Photo by Steve Sands/GC Images)

What did they get right? Casting McConaughey as the villain. He literally drips vileness all over his character and plays Walter, aka The Man in Black,  as an evil devil filled with hate. He gets ample opportunity to showcase his nastiness in equally small and devastating ways on screen. McConaughey smartly drops the Texan accent and never once feels like the actor I’ve seen in a zillion movies. He personifies The Man in Black.

Another smart move was casting Idris Elba. The character itself doesn’t have a lot of range. He’s basically a fallen good guy who has turned a loss into a need of revenge. In the books the character had way more depth, in the movie he’s just barely more than two dimensions. It’s apparently enough motivation for Elba to deftly play a man nearly broken and living on the hope that he will get revenge someday. He’s intense when deservedly so, and then able to shift gears and appear fatherly to the boy Jake in quieter scenes. His character doesn’t have a lot of dimension but Elba still plays Roland as best as the writing allows.

Tom Taylor who plays “Jake” looks to be in that horribly awkward age of not being a kid, and not being an adult. Nonetheless, he can act and you’d think he’s done thirty films. His character has the most to work with getting to exhibit a wide range of emotions. Hopefully future casting directors will see through the lousy ratings and get this actor more work.

The special effects are decent with the exception of a fight scene where Roland gets struck so hard his body flies up and hits a wall which looked like a dark cartoon. Other than that, the effects were solid. Some interesting sets and back drops, costumes looked good and several odes to other works of King for fans to be on the lookout for. Yet the film is in contention despite it having a passing grade on all criteria.

“The Dark Tower” stands on it’s own two feet when not held in context to its source material as the creators wanted. Yes, screenwriters chose to gloss over the deeper dynamics of the source material in lieu of a faster, perhaps less meaningful overall story. Despite that, the story is still balanced, characters motivations make sense, and it’s evenly paced. The studio undoubtedly is counting on Stephen King fans to fill the seats this weekend and that’s where the expectation may fall short because of critics panning the film. You can’t expect built-in fan support for a project that doesn’t deliver on the source material. Unfortunately, and fair or not, “The Dark Tower” doesn’t deliver on King’s opus work simply because his tale is too massive for the medium and should be done via episodic TV (if done at all).  Cinematically “The Dark Tower” equates to a nice diversion and probably won’t stay in the minds of moviegoers as anything special. It rises to just above mediocrity.  If you either watch the film as a stand-alone, or with the idea that it’s a sequel to the eight books it’s based upon, you may get more out of it.

Final Verdict: 2.5 out of 5

·        Rating: PG-13 (for thematic material including sequences of gun violence and action)

·        Genre: Horror, Science Fiction & Fantasy, Western

·        Directed By: Nikolaj Arcel

·        Written By: Nikolaj Arcel, Akiva Goldsman, Anders Thomas Jensen, Jeff Pinkner

·        In Theaters: Aug 4, 2017  Wide

·        Studio: Sony Pictures

Based on Stephen King’s book series, Sony Pictures’ upcoming film, The Dark Tower, just got its first trailer today! As one would expect from a movie based on King’s work, the feel of the snippets shown are gritty, mysterious, and action-packed. I am sure we can expect lots of explosions. Let’s take a look:

With Idris Elba as Roland Deschain the Gunslinger opposite Matthew McConaughey’s The Man In Black, the movie is looking promising. What did you think?

The Dark Tower heads to theaters on August 4. If you are itching for more information and updates, The Dark Tower also has dedicated Facebook, Instagram, and Twitter accounts.

This episode of Horror Movie Night transports us back to the fantastic world of 2002, when Matthew McConaughey’s career was on fire, Bill Paxton was making housewives quiver, and the abundance of boy bands was a sign of the end-times. Our guest Rich barely gets a word in edgewise and adds us to his God’s Hand Killer list of naughty children; we discuss where we would like those magic hands to be placed. Listen to Horror Movie Night – it’s God’s will!

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

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

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

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

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

GRADE: 3.5/5

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

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

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

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

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

GRADE: 4/5

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

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

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

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

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

GRADE: 4/5

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Briefly: Christopher Nolan’s latest is almost here, and today marks the release of the absolutely gorgeous final trailer for the film.

The video is chock-full of incredibly beautiful new footage (those waves!), but it certainly doesn’t diminish the mystery surrounding Nolan’s newest feature. We know that the Earth is dying, and that it’s up to this group to find a way to save the our race by attempting… well, interstellar travel, but we still don’t know the why’s of anything (and I certainly hope that’s something the film goes into)

I can’t wait to see more, and I may even have to take the drive to my nearest (not near at all) IMAX, as 70mm showings of the film are set to begin on Tuesday, November 4th, while traditional theatres won’t see it until Friday the 7th. Take a gander at the new trailer below, and let us know what you think!

Briefly: Interstellar is almost here!

Well, not really, but we can dream, can’t we?

A new poster has just debuted for the November 7th release, and the image clearly shows our hero Matthew McConaughey on another world. Exactly where he’s going and what he’s up to we won’t know for some time yet, but damn if I’m not intrigued.

If you missed the film’s newest trailer from back in July, definitely take a look at it (and don’t forget the tissues), and be sure to share your speculation on the film below! Us? We can’t wait to get in line.

Interstellar

Interstellar chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.

Briefly: All last weekend we were hearing just how incredible the Interstellar trailer that debuted in Hall H was, and finally (a whole few days later) you can watch it yourself.

The trailer is chock-full of incredibly beautiful new footage, but the video certainly doesn’t diminish the mystery surrounding Christopher Nolan’s latest feature. We know that the Earth is dying, and that it’s up to this group to find a way to save the human race by attempting… well, interstellar travel, but we still don’t know the why’s of anything.

The video is also a tearjerker, and I’d expect the same from the full feature. McConaughey surely looks prepared to make the ultimate sacrifice to right some wrongs with his broken family.

In any case, Interstellar looks gorgeous, and I can’t wait to see more. Take a look at the trailer below, and let us know what you think! Interstellar hits theatres on November 6th.

Interstellar chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.

Briefly: Aside from a teaser poster released last week, and a teaser trailer released late last year, we haven’t really seen much from the camp of Christopher Nolan’s Insterstellar.

Until the theatrical trailer was released just moments ago, that is. While it’s not plot heavy, and it still leaves us with a ton of questions, it does give us a decent idea of what the film’s about. As expected, the cinematography, audio, effects, and performances look simply breathtaking.

Take a look at the full trailer below, and let us know what you think! Interstellar hits theatres on November 7th!

Interstellar chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.

Briefly: We saw the gorgeous yet mysterious first trailer for Christopher Nolan’s Interstellar all the way back in December. The trailer was as teaser-y as possible, not revealing any of the film’s plot (or actors outside of Matthew McConaughey, but instead focussing on the once prominent (but now all but lost) idea of breaking barriers, aiming higher, discovering space and furthering the knowledge of our species.

Today, the first teaser poster for the film was released online. It continues the trend of vague yet powerful statements with “Mankind was born on Earth. It was never meant to die here.”

The full trailer for Interstellar will debut with Godzilla next week, so hopefully we’ll learn more about the project then! For now, take a look at the new poster below, and let us know what you think!

Interstellar

Interstellar chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.

Briefly: I still need to watch the finale, but so far True Detective has been an absolutely incredible ride.

For those that missed the miniseries, HBO has just revealed the first season’s Blu-Ray release details. The set will release on June 10th, and cost you $79.99 for Blu-Ray (just $10 per episode…), and $59.99 on DVD.

True Detective focuses on Martin Hart (Harrelson) and Rust Cohle (McConaughey), two detectives and former partners who worked in Louisiana’s Criminal Investigation Division in the mid-1990s. At first glance, Hart and Cohle couldn’t be more different. Hart, a native Louisianan, is an outgoing family man with two kids, whose marriage to wife Maggie (Michelle Monaghan, Mission: Impossible – Ghost Protocol) is buckling under the stress of the job. Cohle, a former undercover narcotics detective from Texas, embraces isolation, articulating a pessimistic, even bleak, world view. But they share an obsession with justice and a facility for violence that will inflict irreparable damage on both men. In 2012, the two are interviewed separately by investigators about their most notorious case: the macabre 1995 murder of a prostitute by a possible serial killer with disturbing occult leanings. As they look back on the case, Hart and Cohle’s lives collide and entwine in unexpected, sometimes catastrophic ways, and their personal backstories and often-strained relationship become a major focal point of the investigation.

Along with the episodes, the set will also feature a myriad of interesting special features:

-Making True Detective – A behind-the-scenes look at production on the hit series, featuring interviews with cast and crew and including never-before-seen footage from Episode 4.

 

-Up Close with Matthew McConaughey and Woody Harrelson – Exclusive interviews with the stars about filming the series.

 

-A Conversation with Nic Pizzolatto and T Bone Burnett – An in-depth discussion with the series writer/creator/executive producer and the legendary composer on both the series and the pivotal role music played in the show’s development.

 

-Inside the Episode – Series creator/executive producer/writer Nic Pizzolatto and director Cary Joji Fukunaga discuss character development and offer insights into each episode of the series.

 

-Two audio commentaries – Featuring series creator/executive producer/writer Nic Pizzolatto, composer T Bone Burnett and Executive Producer Scott Stephens.

 

-Deleted Scenes – Never-before-seen episodic footage from the series.

Will you be picking up the set? Already watch the series? What did you think? Sound out below!

http://youtu.be/TXwCoNwBSkQ

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

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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

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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

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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.

Briefly: Paramount has chosen the perfect day to release this teaser, seeing as China just landed on the moon (the first country to do so since 1976).

The first teaser trailer for Christopher Nolan’s Interstellar has just hit the web. The trailer is as teaser-y as possible, not revealing any of the film’s plot (or actors outside of Matthew McConaughey, but instead focussing on the once prominent (but now all but lost) idea of breaking barriers, aiming higher, discovering space and furthering the knowledge of our species. It states that “we count these moments as our proudest achievements,” yet we’ve lost the will to try again.

It’s short, sweet, and a pretty powerful two minute teaser. It’ll definitely leave you desperate for more, so hopefully we see more marketing for Interstellar sooner than later.

Take a look at the trailer below, and let us know what you think! Interstellar hits theatres on November 7th, 2014.

Interstellar chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.

It’s the type of news story the media adores. When word spread like wildfire that heartthrob Matthew McConaughey was planning to shed the pounds for a daring Oscar-bait role, all eyes focused on the Texas native. But there’s an even bigger story at hand, the former romantic comedy star finds himself in the midst of a remarkably impressive string of fine dramatic turns, including his latest effort in Dallas Buyers Club. Forget about the excessive weight-loss, McConaughey channels his southern roots and delivers a dynamite performance that stands tall against any other acting role of 2013.

Dallas Buyers Club tells the real life story of Ron Woodruff (McConaughey), an electrician who lives life by breaking all the rules. And in 1985, after years of binge drinking, cocaine use and unprotected sex with countless women, Ron discovers that he’s HIV-positive. The life-altering realization sends Woodruff on a renegade mission of illegally transporting the latest unapproved AIDS treatments from all over the world to his home state of Texas. And with the assistance of a transsexual named Rayon (Jared Leto), Woodruff opens up the exclusive and expensive treatment providing Dallas Buyers Club.

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Director Jean-Marc Vallée’s character driven Dallas Buyers Club is a fine cinematic conquest that provides arguably the most notable acting ensemble of the year. There’s no question, McConaughey is absolutely electric in his role. So good, in fact, I can say without reservation it’s the best lead performance I’ve witnessed all year. Whether the Academy agrees, we’ll just have to wait and see. If there’s one obstacle standing in McConaughey’s way, it’s his own onscreen sidekick, Jared Leto. Leto’s emotional supporting turn as a drug-addicted transsexual is brilliant enough to almost overshadow McConaughey, which should make for a very interesting awards season. But Dallas Buyers Club is more than just a showcase for towering performances, it’s a platform for a captivating and authentic true story. Vallée does a profound job of placing the viewer into the heart of 1980s Texas, where HIV runs rampant throughout the homosexual community and fear is in the front of everyone’s mind. Due to a strong collaborative effort from the cast, director and screenwriters Craig Borten and Melisa Wallack, Dallas Buyers Club brings a realistic and engaging true story to life.

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Although the film is a successful effort for nearly all parties involved, Dallas Buyers Club does include a few notable miscues. For example, Jennifer Garner doesn’t warrant the amount of screen time her character is given. And as her face time mounts, she leaves plenty to be desired. In Garner’s defense, it’s difficult to pinpoint whether her character is under-developed or if she just squanders the opportunity, but either way it’s ineffective. In addition, one of the biggest disappointments in Dallas Buyers Club revolves around the fact that Ron Woodruff is never allowed that quintessential moment of triumph. While this slowly-paced drama falls into a repetitious coma where Woodruff is halted by the authorities and then finds a way to circumvent their roadblocks (and so begins the cycle), the finale finds itself rather anti-climactic. Leaving nothing more to savor than a wonderful character arc for McConaughey.

Jean-Marc Vallée’s Dallas Buyers Club culminates like almost every other highly anticipated film released this year, extremely commendable, but far from perfect. While this feature is one of the better ones, Dallas Buyers Club is an exceptional character study that admittedly moves slow and lacks a knockout punch. Fans of groundbreaking performances and superior filmmaking will find much to enjoy. But if you’re looking for an entertaining blockbuster, then look elsewhere.

GRADE: 4/5

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While not the opening salvo of Oscar season, Dallas Buyers Club quickly sets itself up as a forerunner. A stunning performance by Matthew McConaughey–who is barely recognizable as himself –with the equally brilliant Jared Leto, and a quiet, understated, but not to be overlooked, performance by Jennifer Gardner, combined with an almost flawless story of the triumph of human spirit during one of the darker times in recent US history all combine to create a truly remarkable cinematic experience.

Matthew McConaughey stars as Ron Woodroof in Jean-Marc Vallée's fact-based drama, DALLAS BUYERS CLUB, a Focus Features release. Photo Credit: Anne Marie Fox/Focus Features
Matthew McConaughey stars as Ron Woodroof in Jean-Marc Vallée’s fact-based drama, DALLAS BUYERS CLUB, a Focus Features release.
Photo Credit: Anne Marie Fox/Focus Features

Based on the true story of Ron Woodroof (McConaughey), an electrician and a rodeo cowboy in Dallas, Texas–a blue-collar hero who works hard and parties harder–who is diagnosed with AIDS and given one month to live. An opening sequence of bull riding, graphic sex, cocaine use and gambling give, in under five minutes, a whole picture of the man before: a bigoted, addicted, homophobic good ol’ boy, living in a trailer and listening to Willie Nelson.

Everything changes when after Woodroof’s diagnosis. This is 1985—only a few years after HIV/AIDS had stopped being referred to as GRID (Gay-Related Immune Deficiency) and was still considered by most of the country as a homosexual disease—and Woodroof reacts characteristically, shouting at the doctors (Denis O’Hare as Dr. Sevard and Jennifer Garner as Dr. Eve Saks) that he isn’t a ‘motherf*cking faggot.’

The movie then explores how this cowboy with a heart of coal became the runner of one of the largest buyer clubs in the US; a club known for its outrageous risks, and some say, its high cost. Buyer clubs were essentially HIV/AIDS medication co-ops; people diagnosed with the disease—mostly gay men—would buy a membership, and with the money, the clubs would purchase medicine not available in the United States (types of medication range from herbs like milk thistle to experimental treatments like DDC and Compound Q but also antibiotics like clarithromycin) due to restrictions imposed by the FDA—some claim unfair restrictions set by the FDA as a ‘favor’ to Big Pharma in order for their drug, AZT, to be sold. AZT was known to be highly toxic with limited efficacy, and was also the most expensive medication on the market at $10,000 a year for a prescription.

McConaughey’s Woodroof rages against his fate and then digs in, applying his logical mind and burning intensity to solving the problem of how to live with HIV/AIDs. He discovers alternative remedies available across the border in Mexico (namely Peptide-T) and sees not only the possibility of not-dying, but also a money making opportunity. His cowboy persona and clear dislike of the homosexual culture scares off the majority of his potential customer base—loaded down with drugs, and able to offer a management of the disease—and looking at making a possible fortune; Woodroof turns to Rayon (Jared Leto) a fellow AIDS patient of Dr. Eve Saks (Jennifer Garner)–and a transsexual–to help bridge a connection to a gay community in Dallas. The two eventually form the Dallas Buyers Club, which at its height has a reported 7000 members in the Dallas area.

McConaughey lost a reported 50 pounds for this film, and Leto 35. The two are emaciated for most of the movie. That quality—that translucent thinness—that marked so many people in the 80’s and early 90’s haunts the film throughout, not just in McConaughey and Leto but in the men and women who come through the club.  The image of the lesion-covered, skeletal AIDS patient has faded from our social consciousness and The Dallas Buyers Club brings it back, unremorsefully but rarely self-righteously.

Jared Leto as Rayon (L) and Matthew McConaughey (R) as Ron Woodruff in Focus Features Dallas Buyers Club.
Jared Leto as Rayon (L) and Matthew McConaughey (R) as Ron Woodruff in Focus Features Dallas Buyers Club.

McConaughey’s lightning grin and easy charm are all but burnt out in Woodroof; by his lifestyle and the disease—they flash out occasionally, disarmingly, finding you unawares and making you catch your breath—and his journey through Woodroof’s life—from diagnosis to denial to vocal opponent of the FDA’s drug approval practices—is whole and lived in. It is one of McConaughey’s great performances, in a year filled with them, in a movie filled with them.

Leto, who had semi-retired from acting to follow his music career (he and his brother are members of the band 30 Seconds from Mars), came back to Hollywood because of the power and depth of this role. As Woodroof’s partner in the Dallas Buyer’s Club, Rayon, Leto fills the screen with a manic gaiety that only thinly covers the panicked fear—and anger–of a dying man. Though Leto walks dangerously close to a cliché at times, he redeems it with a heartbreaking and sincere understanding of his plight.

Very little is done to soften the lifestyle lived by either man, rather the movie shows them flawed—and somewhat proud of their flaws—fighting only to be seen as not so much dying from a disease, but rather trying to live with it.

Garner gives what would be in any other movie a tour-de-force (if a little underwritten) performance as the quiet, logical doctor assigned to both Rayon and Woodruff, who slowly changes from a doubting-but-following-the-rules doctor of the establishment to fully speaking out against the treatment options for HIV/AIDS patients in the US. However, her performance is so quiet, so soft, that it is easy to overlook it amongst McConaughey’s and Leto’s flamboyant acts.

If some of the other supporting cast seem somewhat one-dimensional, fulfilling predictable plot points routinely; and if the FDA is cast as a the bad guy somewhat against historical record, the movie manages to breeze past these snags, mostly on the strength of its three leads.

Aside from one or two minor finger wagging moments, director Jean Marc Vallee ensures that the film doesn’t preach, and he and cinematographer Yves Belanger create a vivid world of Wranglers and Dodge trucks, queens and cocaine, rodeo and the FDA, culminating in a  well-conceived, crafted and excellently acted film.

Dallas Buyers Club is a Focus Features release, and is rated R by the Motion Picture Association of America for ‘‘pervasive language, some strong sexual content, nudity and drug use.’’  The film opens in select theaters on November 1st and opens wide on November 22nd.

4/5

Matthew McConaughey has captured plenty of headlines lately as news of him joining Christopher Nolan’s sci-fi blockbuster, Interstellar, made its way across entertainment outlets everywhere. McConaughey, who received plenty of recognition for his supporting turn in 2012’s Magic Mike, has shifted his talents from rom-com star to legitimate dramatic actor. But perhaps he’s never been better than he is in Jeff Nichols latest release, Mud.

Mud tells the coming-of-age story of a 14 year old boy named Ellis (played by Tye Sheridan) who ventures out with his friend Neckbone (Jacob Lofland) to restore a trapped boat. While scouting out the boat, they discover that it’s being inhabited by a fugitive on the run named Mud (McConaughey). The boys decide to make a pact with the outlaw, agreeing to help Mud fix up the vessel and escape the bounty hunters and law enforcement officers who have been tracking him down.

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American filmmaker Jeff Nichols follows up his 2011 critically acclaimed indie film, Take Shelter, with another well-written, character driven movie. Although Mud offers a completely different vibe than Nichols’ debut work, both pictures succeed on extraordinary performances from a talented crop of actors and actresses. Although McConaughey delivers one of his finest roles to date, it’s youngster Tye Sheridan who shines the brightest. With a deep-rooted subplot of love, Mud follows a young and impressionable boy who begins to discover the inner workings of life’s most powerful emotion all on his own. While the boy experiences a rocky marriage between his parents on a daily basis, Ellis becomes enamored with Mud’s stories of true, unbreakable love. As a main character himself, Sheridan’s performance becomes a huge “make or break” aspect to the film. However, Sheridan astonishes without a hiccup and completely impresses the audience by demonstrating a level of work that far surpasses most youthful performances.

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Despite all of its obvious accomplishments, Mud does manage to suffer from a slightly bloated running time. Nichols, who also writes his own screenplays, uses a smooth blend of one-liners and appealing quips to help ease the audience through the first hour and a half of the film. However, the 40-minute finale ends up feeling too drawn out and tiresome for its own good. But all in all, Mud‘s tiny flaw is overlooked thanks in large part to top-flight direction, well-crafted character development and a uniquely talented cast.

After premiering at the Cannes Film Festival in France last year, Mud will finally be making its way to American theatres. By evolving his work and tackling a more endearing subject matter, Nichols serves up an affable feature that will surely appeal to a much larger fan-base. Take Shelter was a brilliant piece of work, but his sophomore release is the type of movie that can be enjoyed by a grander audience. Mud is one of the finest efforts so far this year and I highly recommend checking out this great up-and-coming American filmmaker’s latest feature.

Grade: 4/5

Check out plenty of other work from writer MCDave at Movie Reviews By Dave

It is going to be difficult to seperate my review of Magic Mike-the movie, versus Magic Mike- the midnight movie going experience. Because the movie itself was…well, it was fine, occasionally better than fine, but a Hell of lot better when it was made fifteen years ago and called Boogie Nights. On the other hand, Magic Mike the moviegoing experience was a very interesting window into the psyche of the average American female moviegoer. And that was the more fascinating venture to be sure.

Let me review the experience first; the 12AM screening of the movie I went to was something like 95% women, with a 5% smattering of gay men like myself for good measure. These women and girls, many who got dressed up for the occasion (there were many bare shoulders and big shoes to be found in my theater, and even one or two pairs of felt cat ears) were screeching and hollering at loud volumes well before the movie started. Now, I’ve been to my fair share of male geek- centric midnight shows in my days– Star Wars, Lord of the Rings, Batman, you name it–and I’ve never heard as loud a scream from an audience as when we first see Channing Tatum’s naked ass within the first five minutes of this movie. I mean, don’t get me wrong, it is quite a fine ass…but I doubt there was ever that loud of a cheer even when the Death Star got destroyed back in 1977. The women were pretty much orgasming in their seats…. it was nuts. I’ve never really wanted to be a woman before (as much as I love and relate to women on multiple levels, I’m rather fond of my penis thank you.) but I’ll admit if I could get that damn hot and bothered like that from just seeing some hot guy’s ass on a movie screen for a few seconds, well….It almost made me wish I had one of those other things down there instead, especially if that’s all it takes.

Matthew McConaughey easily steals the show as club owner Dallas.

As for the movie itself, well…we’ve seen this A Star is Born story a million times before, sometimes done better, often done worse. Director Steven Soderbergh doesn’t bring anything new to the table here I’m sorry to say, but he doesn’t make a terrible movie either.  The movie centers around Adam, played by British actor Alex Pettyfer. He’s  all of 19 and just moved to Tampa Florida to live on his sister’s couch. While on a roofing job he finds on craigslist, he meets Channing Tatum’s “Magic” Mike Martingano, who sees potential in Adam and before too long, takes him under his wing into the world of male stripping. Adam fills in one night at Xquisite, the strip joint owned by a former stripper named Dallas (Matthew McConaughey) where Mike works. Dallas is by far the best thing in this movie; McConaughey goes totally over the top with his character, and every moment with him on screen is a blast. Dallas is vain and ridiculous, and just that much fun to watch. He’s kind of like the father figure to all his strippers, and I wish the movie gave us more of him. Adam is quickly given the new nickname “the Kid,” and just like that he’s off and running in the world of male stripping.

Among the rest of the group of strippers are Big Dick Richie (Joe Manganeillo from True Blood) Ken (Matt Bomer from White Collar) Tito (Adam Rodriguez from CSI Miami) and Tarzan (wrestler Kevin Nash) who frankly, is too ugly too even be in the same room  as the rest of the guys I just mentioned; I don’t care how hot your body is if you look like Mickey Rourke in The Wrestler. In any case, my first big complaint here is that all of these guys are pretty much wasted in this movie. I suppose if you go to see them just get naked, you’ll be satisfied, but that’s all they do; none of these guys are given any characterization or personality quirks really at all. They are just visual props, which is fine I guess…it just seems odd to get so many established actors to do what you could have paid a bunch of real male strippers to do, and probably for a lot less money. Also among the ensemble cast are comedian Gabriel Iglesias as the club’s DJ, and Olivia Munn as Mike’s bisexual booty call buddy, a grad student named Joanne. Joanne is actually one of the more interesting characters in the movie, or at least one of the more well rounded. Sadly, she’s barely in the movie for more than a cameo. Credit where credit is due, Soderbergh made me actually like Olivia Munn, one of those faux celebrities that I usually can’t stand. Not an easy task, so props to you sir.

For a movie about male strippers, you’d think we’d get at least some full frontal male nudity, if only for a moment. All we get is a blurry shot of Joe Manganellio’s penis in one of those penis enlarger pumps, and it probably isn’t even a real penis. I call shenanigans.

So young Adam and “Magic” Mike conveniently become instant BFF’s (something Adam even makes kind of a joke about in the movie) and Adam’s sister Paige (Cody Horn) is none too happy with his new career choice. In fact, Paige is seemingly never happy about anything…she spends almost the entire movie with a perpetual pout on her face, with this look of “I Hate Fun” tattooed on her forehead. She has a playful flirty vibe with Mike, her brother’s new mentor, but by the end of the movie we are supposed to think it was some great love affair waiting to happen, and I just never bought into that. I was never rooting for them to get together much because she seems like she had a stick up her ass the whole time, and Tatum just isn’t very compelling as an actor when he’s not naked and dancing up a storm. Which, to be fair, he does very, very well. That white boy can move. But as an actor, he seems to have no range.

And there lies this movie’s biggest problem, and that is that neither of the leads, either Channing Tatum or Alex Pettyfer’s characters, are particularly interesting characters at all.  They’re both just typical white “bro dude” types, the kind that would be in some douchey frat had they gone to college. They’re both lucky they’re so good looking, because they have the personalities of dry toast. The only thing remotely interesting about Mike’s character is that he makes custom furniture. And that’s it. That’s what passes for giving him layers. See, he doesn’t just strip and hook up with ho’s and drink beer, he makes tables! And poor Adam doesn’t even have that going for him. They seem like overall nice guys, but really just the kind of guys that are pretty much good for one thing. Maybe that’s why I liked Olivia Munn’s character in this movie, as she seems to be the only one who understands this fact in the movie and points it out. The movie clearly wants us to think she’s a bitch for seeing things that way, but from where I sat she sees it like it is.

When it comes to this movie, for me it is hard not to think of Boogie Nights when watching it and constantly compare the two, because Magic Mike lifts almost the entire structure off of PT Anderson’s now classic 1997 film. For example,  just like in Boogie Nights, the character of Adam is a teenager picked from obscurity and brought into a life of instant money and sex and drugs, and is given a new identity as “the Kid.” This is just like Mark Whalberg’s character in Boogie Nights, Eddie, who becomes porn star Dirk Diggler. The Kid and Magic Mike both get too big for their britches, and have a confrontation with their mentor figure, both while high as kites, another scene almost identical to the one in Boogie Nghts where Mark Whalberg has a drugged out falling out with mentor figure Burt Reynolds. There is even a scene towards the end where Mike has an epiphany about his life of excess, and Soderbergh has the camera fix on his face, frozen in contemplation for almost a good minute, almost exactly like the scene in Boogie Nights where Mark Whalberg’s character does the exact same thing. Except in that movie, that scene also had Alfred Molina in a speedo with an Asian rent boy lighting fire crackers in his living room with Sister Christian playing in the background and was way, WAY more memorable.

And where Boogie Nights takes place over several years, Magic Mike takes place over one summer. In June, our young newbie Adam can’t dance at all, but by July he’s doing complicated choreography and experimenting with drugs, and by August he’s a full on junkie and a drug dealer to boot. That seemed rather forced and silly to me. Another thing that Boogie Nights does a million times better is giving all the minor characters things to do. Much like the “family” of porn stars in Boogie Nights, Magic Mike has a similar “family” of male strippers, only they’re not given anything to do. I guess it’s just enough for the target audience that they’re there and they’re naked. I hate to constantly compare this movie to PT Anderson’s breakthrough film from the 90’s, but it just lifts so much of the structure and even the basic story itself that I just can’t help but compare the two at every turn, and in comparison to Boogie Nights, Magic Mike doesn’t even come close.

Still, Magic Mike has its moments, and gets by on a certain kind of effortless charm. Steven Soderbergh shot the movie in almost a documentary style, and the script and performances feel naturalistic and real, with the exception of Matthew McConaughey’s character, who provides some much needed crazy personality to the proceedings. While most movies about women in similar professions, from Coyote Ugly to Striptease to the infamous Showgirls always make ridiculous caricatures of the people who choose this kind of lifestyle, Magic Mike at least treats them like real human beings. They’re just not particularly interesting human beings is the problem.

Supposedly, this movie is based on Channing Tatum’s real life as a teenage stripper , although from what I hear that was far more interesting (and not so exclusively hetero. Google that shit.) as this movie portrays. Originally, Drive and Bronson director Nicolas Winding Refn was slated to direct, and I can’t help think we would have gotten something edgier and more interesting than what we ended up with if he had, but also probably a lot less commercial. As it stands now, Magic Mike is only edgy if you’ve never seen a naked man before, which judging from the audience reaction is clearly a lot of people.  Luckily, the naked men in this movie are mostly really hot, so if that sounds like fun for you, by all means check out Magic Mike. And if you can, see it with an audience of horny women, and you’ll probably think the movie is much better than it actually is.