“If my competitor were drowning, I’d stick a hose in his mouth and turn the water on”. And that’s all you need to know about Ray Kroc and the manner in which he transformed McDonald’s from a successful family-run restaurant into a global fast-food chain. Earning the biopic treatment, John Lee Hancock – director of The Blind Side and Saving Mr. Banks – teams with Michael Keaton to deliver a compelling examination of capitalism’s cutthroat nature in The Founder.

Once struggling milkshake-machine salesman Ray Kroc (Keaton) learns the ins and outs of the small California-based burger shop, McDonald’s, he envisions a golden opportunity for growth and expansion. Not look after, Kroc weasels his way into a limited partnership with sibling owners, Mac and Dick McDonald (John Carroll Lynch and Nick Offerman). But as this trio of business partners fails to see eye-to-eye on key issues, Kroc must take any means necessary to make his vision become a reality.

As a ruthless depiction of the American dream modestly tempered by well-scripted moments of humor, John Lee Hancock’s The Founder mirrors a hybrid of recent biopics such as The Social Network and The Wolf of Wall Street. Ray Kroc’s character becomes more and more interesting as we see his hunger for success grow wildly out of control, to the point where he gladly takes whatever he wants. Michael Keaton is the main attraction here, as he breathes a sinful likability into the real-life persona of an American entrepreneur. The film’s entertaining screenplay, which is wonderfully assisted by Keaton’s performance, crafts a complex character that the audience hates to love. There are a few deficiencies within the film, like its failure to break any new ground from a cinematic and storytelling standpoint, which creates a rather limited ceiling of achievement. But, if nothing else, The Founder stands as a smoothly-paced and enlightening watch, highlighted by a gifted lead actor and a realistic journey into the world of big business.

GRADE: 3.5/5

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

#1. American Hustle

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

#2. 12 Years a Slave

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

#3. The Wolf of Wall Street

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

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

Last week the Oscar nominations were announced! There were surprises, snubs and favorites but what’s what? Luckily, I have friends who are smarter than me and have better taste! One such friend is Witney Siebold, former Geekscape writer and current movie critic for Crave Online… as well as co-host with William Bibbiani of the B-Movies Podcast! So after recording a sister episode of the B-Movies Podcast, we sat down to talk Oscars as well as Michael Douglas being cast as Hank Pym in ‘Ant-Man’, more Star Wars talk (as if there’s ever enough) and Geekscape’s very own ‘Doc of the Dead’ premiering at SXSW 2014!

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There’s a bit of significance in today’s date. Oscar voting officially begins and for the second straight year they’re going with an electronic voting system. Members of the Academy will be eligible to make their selections in every race until Weds, January 8th. At that point, the votes will be collected and organized over the course of the next week, just in time to make the first official Oscar Nominations announcement on Thursday, January 16th. So now that we understand the process and some key dates along the way, let’s examine the 6 major races.

BEST PICTURE

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Stone Cold Locks: It feels safe to say that 12 Years a SlaveAmerican Hustle and Gravity are all destined to reach the final field of Best Picture combatants. This 3-headed monster could end up battling it out until the very end.

 

Safe Bets: At this point the next tiered group of films that you can expect to see in the Best Picture pool are comprised of some Oscar regulars from Alexander Payne’s Nebraska and the Coen brothers’ Inside Llewyn Davis. Another feature that won’t seem to fade away is Captain Phillips, which feels like a strong second rate contender that will definitely find its way into the field.

 

In the Mix: With at most 10 nominees allowed in the race, the remaining spots expect to be made up of newcomer wild cards Her and The Wolf of Wall Street, or other conventional possibilities such as Dallas Buyers Club and Saving Mr. Banks.

 

Long-Shots: Blue JasminePhilomena, late-year release Lone Survivor and Lee Daniels’ The Butler all have an outside chance of sneaking into the the big dance.

 

BEST DIRECTOR

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Stone Cold Locks: There’s really only two directors you can count on making it into the final race, they are Steve McQueen (12 Years a Slave) and Alfonso Cuaron (Gravity). The rest are, as they say in politics, “too close to call”.

 

In the Mix: The Best Director field is awfully crowded this year and it wouldn’t feel like a shock to see any of Alexander Payne (Nebraska), David O. Russell (American Hustle), Paul Greengrass (Captain Phillips), Spike Jonze (Her), Martin Scorsese (The Wolf of Wall Street) and Joel and Ethan Coen (Inside Llewyn Davis) rounding out the top 5.

 

Long-Shots: Although they seem to be against all odds, there’s the slimmest of chances that any of Woody Allen (Blue Jasmine), John Lee Hancock (Saving Mr. Banks), Lee Daniels (Lee Daniels’ The Butler) and J.C. Chandor (All Is Lost) could weasel their way into the race.

 

BEST ACTOR

actors

 

Stone Cold Locks: There appears to be a trio of lead acting performances that you can bet the farm on making it to the final five. Chiwetel Ejiofor (12 Years a Slave), Matthew McConaughey (Dallas Buyers Club) and Bruce Dern (Nebraska) all solidify a stranglehold atop the Best Actor competition.

 

In the Mix: The next tier of actors are made up of strong performances that have been acknowledged by all different types of precursors, and we still can’t get a handle on who has the inside track to sneak into the final five. Chances are it will be any of Tom Hanks (Captain Phillips), Robert Redford (All Is Lost) and Forest Whitaker (Lee Daniels’ The Butler)

 

Long-Shots: Joaquin Phoenix (Her), Leonardo DiCaprio (The Wolf of Wall Street), Christian Bale (American Hustle) and Oscar Isaac (Inside Llewyn Davis) feel a little less like long-shots and more so right on the heels of the Hanks, Redford and Whitaker class.

 

BEST ACTRESS

actress

 

Stone Cold Locks: While there’s quite a bit of intrigue surrounding most of the Oscar races, Best Actress certainly isn’t one of them. The pool of 5 is seemingly set with Emma Thompson (Saving Mr. Banks), Cate Blanchett (Blue Jasmine), Sandra Bullock (Gravity), Meryl Streep (August: Osage County) and Judi Dench (Philomena).

 

Long-Shots: The only possible threats of dethroning the top 5 are a personal favorite of mine in Brie Larson (Short Term 12), Amy Adams (American Hustle), Adele Exarchopoulos (Blue is the Warmest Color) and Julie Delpy (Before Midnight).

 

BEST SUPPORTING ACTOR

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Stone Cold Locks: The Best Supporting Actor contest is shaping up as a slug-fest between Michael Fassbender (12 Years a Slave) and Jared Leto (Dallas Buyers Club).

 

In the Mix: With only 3 remaining spots, it’s still too early to count out supporting roles from Daniel Bruhl (Rush), Barkhad Abdi (Captain Phillips), Jonah Hill (The Wolf of Wall Street), Bradley Cooper (American Hustle) and an always difficult to overcome posthumous performance from James Gandolfini (Enough Said).

 

Long-Shots: As the darkest of horses with the tiniest outside chance of having their names called, I’ll still mention Tom Hanks (Saving Mr. Banks) and Will Forte (Nebraska).

 

BEST SUPPORTING ACTRESS

supp actress

 

Stone Cold Locks: While I feel a little less secure calling them “locks” in the Best Supporting Actress race, the pool of 5 appears to be set. It’s fair to say that anything less than a competition between Jennifer Lawrence (American Hustle), Lupita Nyong’o (12 Years a Slave), June Squibb (Nebraska), Julia Roberts (August: Osage County) and an overrated turn from Oprah Winfrey (Lee Daniels’ The Butler) would be a surprise.

 

Long-Shots: The only possibilities of taking down one of the top 5 seem to come from Sally Hawkins (Blue Jasmine) and an even darker horse in Scarlett Johansson (Her).

 

*** Remember to keep checking back for regular Oscar updates and have a safe and Happy New Year!

 

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You can leave your doubts at the door. If you’re one of those contemporary Martin Scorsese skeptics who feel like his recent work has diminished greatly, then perhaps the famed director’s latest adventure, The Wolf of Wall Street, can set you straight. The undeniable bro-mance between Scorsese and his leading man, Leonardo DiCaprio (who stars in 5 of the filmmaker’s previous 6 features), carries on in grandiose fashion. This is both Martin and Leo like you’ve never seen them before. It’s wild, energetic and exactly what the doctor ordered.

Centering on the real-life story of stockbroker Jordan Belfort (DiCaprio), The Wolf of Wall Street follows the rise and fall of this ambitious and carefree go-getter. Determined to become a millionaire and left jobless after the 1980s stock market crash known as “Black Monday”, Belfort dabbles in penny stocks and discovers a way to build an empire. Starting his own company with friend and side-kick Donnie Azoff (Jonah Hill), the duo lie and cheat there way to the pinnacle of success, only to find themselves under the watchful eye of the FBI.

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For the most part, Scorsese’s elongated three-hour affair moves swiftly through the life of Belfort thanks in large part to a surprising amount of comedy infused into the screenplay. The humor is consistent and never-ending, from the moment the film opens, all the way to its final scene. It’s misleading to label The Wolf of Wall Street as a drama. Scorsese and company understand that the film’s tiresome length and overall success hinge on the effectiveness of its comedic tone. One that is delivered with such excellence and precision. The dialogue is off the charts and the flow is rhythmic, enough so to keep any audience comfortably tuned in to the movie. Furthermore, The Wolf of Wall Street isn’t only an enticing and hilarious spectacle for its viewers, the entire cast obviously had a blast while filming all of Scorsese’s designed debauchery. It isn’t difficult to spot laughs and smiling faces from the “extras” on screen, a sure sign of a fun-filled affair. And although the director’s long-time friend and film companion, Leonoardo DiCaprio, is given the keys to the ride, it’s actually co-star Jonah Hill who stands out most among the plethora of fine performances. Hill, who has been mostly ignored throughout the early going of this awards season race, offers his finest performance to date, one that will be remembered for its expansive range. Hysterical, dramatic and everything in between, Jonah Hill is certainly deserving of a Best Supporting Actor Nomination. All in all, The Wolf of Wall Street just may be the most engaging three hours you’ll ever spend in a movie theatre.

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Despite completely captivating its audience, Scorsese’s newest feature has a few select shortcomings. For starters, Leo is more than fine in his leading role, however, the gifted actor never creates a sympathetic character. And as a result,The Wolf of Wall Street suffers in the drama-department and relies solely on humor. This is all well and good, yet there’s another deeper element that’s missing, perhaps one that could have catapulted The Wolf of Wall Street to insurmountable heights. But instead, the credits roll with an unfulfilled conclusion and a gaping disconnect between Belfort and the viewer, which may surely hurt the film during a long journey to the Academy Awards.

Martin Scorsese is a genius and an artist. He envisioned an epic tale of ambition and greed during a period when our nation’s economy finds itself struggling to sustain. The timing is perfect for his feature. When the cinematic year has been flooded with mainly cerebral and emotional options, we’re handed a seductive treat. With a surplus of nudity and enough cocaine on screen to put the entire country of Columbia to shame, I’m amazed that The Wolf of Wall Street only received an R-rating. But no matter what the MPAA says, be sure to buckle up and prepare for a wild ride, as Marting Scorsese returns to form and delivers the goods.

GRADE:4/5

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