Boyhood

New Age of Filmmaking Has Begun

            What were you doing 12 years ago? I was 11 years old and getting ready to start 5th grade. Now, I have a high school diploma and a bachelors degree. 12 years is not a long time at all compared to the average human life, but, so much can happen and it seems to go by in the blink of an eye. In the summer of 2002, director Richard Linklater began an experiment that was so risky it could have wasted over a decade of his life as well as all those involved. Boyhood is the result of how a big risk can take you further than you can ever imagine. It is now easy to say that the maturing process of what it means to be an American cinematic classic has reached a new height. Boyhood completely opens the door to a new age of filmmaking and redefines what it means to be a "work of art."

This is that "next best thing" that everyone has been waiting for.

            Back in 2002, Patricia Arquette was beginning filming as Kissin' Kate Barlow in the adaptation of the book Holes. In the same year, Ethan Hawke was just getting through with all of his attention from the critically-acclaimed action-drama Training Day alongside Denzel Washington. Little did we know, both Arquette and Hawke had teamed up with Linklater to portray the separated and struggling parents of Mason and Samantha Evans.

            Ellar Coltrane plays Mason Evans Jr. His older sister, Samantha, is played by Lorelei Linklater (daughter of director, Richard). Boyhood begins with Mason at age 5 living with his sister and mother in the middle of a transitioning period of moving. Arquette needs to further her education in order to support her children so the three of them pack up and move to Houston. Dad shows up from time to time to spoil the kids and take them on little trips despite the reluctancy of Mom's new love interests.

           Given its indie film status, it appears as a documentary but it is very important to keep in mind that these are all actors playing the same role for over a decade in real time. It can't be understated how groundbreaking and moving that is. Boyhood is the boldest move by a filmmaker in the past 50 years.
         
            There are parts that are light-hearted and funny. There are times in the maturing process that are difficult to watch and even appalling. And then there are moments that push the awkward limits when you just can't wait to see what comes next for this family. As Mason Jr. tries to figure out life little by little, Mom, Dad, and Samantha have their own growing up to do in the mean time.

            This is literally a trip through a 12-year time capsule. The fashion, the music, the video games, the movies, the athletes. Everything. The world around is constantly changing and these characters are just adapting through and through.

L to R: director Richard Linklater, Patricia Arquette, Ellar Coltrane, Lorelei Linklater, and Ethan Hawke attend a screening of Boyhood in July 2014. 

            The complete transformation physically and emotionally of these characters is so entrancing because it's so believable. There are a lot of cliche and cheesy moments that are just there to let the audience know that it's all a part of life; nothing is left out. Richard Linklater has cemented his place in the pages of film history with this one and has proven to the world just what dedication of the highest form means. Boyhood pulls off coming full-circle and still leaving some of the blanks to be filled in by the viewer. This film perfectly nails the movie-going experience and doesn't hit the brakes once. GRADE: 9.8/10

The Man, The Myth, The Everything.

            After hearing such shocking news, I went on Twitter and the first thing I saw was that John Stamos and myself had the exact same reaction. Word quickly got out and social media, along with the rest of world, exploded with grief as we all were stunned by the loss of one of the greatest comedic actors to ever live. Robin Williams is dead. I still can't believe those words as I type them.

         

Writing reviews and posts on here has become one of my favorite things to do and I really try my best to be as analytical as I can, giving a straight and unbiased opinion about what I saw on the screen. There are some exceptions, though. This time, I can't help but make it personal. No one can replace him. No one can imitate him. Robin was the best.

             When I was in 8th grade, I gave a biographical speech for English class about the late actor Christopher Reeve (best known as Superman). While researching and writing it I came across the fact that while he was studying at Julliard in New York City, his roommate was none other than Robin Williams. I remember being amazed that two big names had known each other from the beginning and it really brought out the "human" in these figures we see as only "celebrities." Then I thought, "Wow, what could it have possibly been like to live with Robin Williams?"


            Myself and everyone else right around my age first thinks 2 roles after hearing his name: "Genie" and "Mrs. Doubtfire." These are from amazing and classic movies that are only good because Robin added his own charm to light up everyone around him. But it's true, you cannot just say one character or movie when people bring up the name of Robin Williams. More will always follow because he showed the world that the art of acting comes at you from every angle.

            "Did you hear the news?!"
            "I know! Man, Mrs. Doubtfire! Good Will Hunting! Jumanji!
Dead Poets Society!"
            "Oh, have you seen One Hour Photo with him??"
            "I did a long time ago, though! Weird movie! You ever watch the Mork and Mindy reruns?"
            "Nanu Nanu!... Wow...So sad."
            "Yeah, so sad."

Sound kind of like a conversation you've had in the past week?

            When it was confirmed that he had indeed committed suicide after decades of struggling with deep depression and drug addiction, an incredible outburst of ways to control every kind of depression have been flying all over the place and his death has sparked a wave of self-help campaigns throughout the world. It's eye-opening for all the wrong reasons. It's quite a shame that something of this magnitude had to happen in order for everyone to clearly see the results. Robin Williams had hit the bottom and still kept a smile on.

            Some amazing and hilarious quotes from Robin have been floating around in the past few days and this is raw footage of how much he meant to the world. His flawless improvisation tactics and voice characterizations have revolutionized the way we see comedy and even relieved some writers of extra work as they just ended up literally putting in margins of the scripts, "Robin can go off from here..." He is gone--taken, actually--but what we are left with is the greatest advice anyone can give: never be afraid to embrace life's goofiness. And don't forget to smile.

My favorite story about Robin Williams:

            Before he was discovered in his role as "Mork from Ork" in an episode of Happy Days, the producer of the show, Garry Marshall, was holding auditions for the zany, intergalactic character. Robin walked in the room and stood in front of the table and Marshall asked him to "please have a seat." So, without saying a word, Robin bent down and sat with his head on the seat first. He was immediately offered the role. Later on, when Marshall was asked about his decision, he simply responded with, "He was the only alien that auditioned."

Thank you, Robin.

           

           
 

Teenage Mutant Ninja Turtles

Go Ninja Go!

Blue. Red. Purple. Orange. Cowabunga dude!

           

There are a few quartets that have appeared throughout history that can pull off the iconic reputations they've established. The Beatles, The Four Gospels, The Four Seasons, The Renaissance Artists, if you know anymore just shout 'em out. Now, out of the sewers, four completely radical reptiles have reappeared taking on the big screen in the coolest way possible. Leonardo, Raphael, Donatello, and Michelangelo are their names and keepin' it real is their game--- along with some sick karate moves and pizza on the side. You don't need me to tell you twice, it's the Ninja Turtles and they've been revamped for a new generation but still never seem to disappoint!

        Woahhh bro, hold on for a sec!    Let's not get too ahead of ourselves because the money-bags Michael Bay (director of the incredibly declined mishaps that became the Transformers Saga) wore the hat of Producer for Teenage Mutant Ninja Turtles this time around and it shows. BUT. Luckily the turtles themselves make up for his "flawless" taste with great added humor and zany comments that never seem to get old!

        Roll the credits, my shellular friend!   There are a lot of totally awesome things about this cast, though. Let's get the humans out of the way first. Megan Fox. She's April O'Neil, struggling rookie news reporter and the turtles' closest confidant.  For once, she has been granted as the top-bill in a major blockbuster and holds her own pretty well, surprisingly. Besides a few instances where she pushes the dialogue or takes her acting to a Shakespearean level of drama, her presence works but her chemistry with co-star Will Arnett (Arrested Development) lacks a some desired fluidity. Arnett is Vernon, April's cameraman. I'll just throw it out that it is safe to say he has been typecast into his own personality. The superficial, pathetic, douchy-voiced smooth man is pretty much what he does best and brings it into this film as well. Although his jokes and one-liners are funny at times, it would be nice to see him branch out in future roles.

         Turtle Time, dude!    The main attractions are green and ready to be mean. With their rival, the kingpin of the Foot Clan, Shredder is out on the streets of New York ready to takeover, it's time for Splinter (a wise Tony Shaloub) to reveal what all their preparation has built up to.

        Leonardo. The Leader. Johnny Knoxville takes his jackass once again to the big screen but in rare form this time as the voice of the blue mask. His comedic gravelly voice and cool intonation is refreshing and he leads the pack perfectly.

         Raphael. The Attitude. Alan Ritchson has the dumb jock persona down pat as Thad Castle on Blue Mountain State and shows up for work as well while wearing the red bandana and flexing his muscles.

         Donatello. The Brains. Tech saavy and donning four eyes, the goofy Jeremy Howard (The Grinch Who Stole Christmas) rocks the lingo that comes with the purple mask but it seems his voice was a bit distracting being a little too high for the part that Donny takes as one of the brothers.

         Michelangelo. The Kid. Sweet-talking, pizza-loving, nunchuck-wielding, and heavy-hitting. Noel Fisher (Max Keeble's Big Move, Hatfields and McCoys) steals the show as the fun loving orange masked brother steals the show. His young voice and upbeat dialogue make him the best-cast one of the four and he never fails in every scene.

         The cinematography is hard to keep up with at times and Bay's god-awful love for glare effects is something I'll never figure out (and he wasn't even in the director's chair this time!) but you'll have a good time watching it. For a new generation being exposed to the camaraderie and brotherly love that these four promote just proves that they have met icon-status and will never die as the masked-vigilantes that bring out the fun in all of us! GRADE 6.8/10


     
           

Jersey Boys

Hittin' The High Notes

Hey! Turn up the radio, will ya? Frankie and The Seasons are playin' c'mon!

            Try and mimic his voice. Sing me a line of Sherry or Big Girls Don't Cry real quick. You've done it in the car ride home from work and you do it in the shower whether someone is listening or not. As hard as we all try, it can't be done. Frankie Valli's smooth falsetto is something that cannot be duplicated. The story of the Four Seasons is one filled with struggle, confrontation, and fame that goes almost as high as their notes. Now that Clint Eastwood has adapted the Broadway smash hit of the same name, the past can be relived in full force. Let's take a minute and walk like a man, shall we?

            Early '50s. Newark, New Jersey. Bad side of town. Four Seasons' guitarist, Tommy DeVito (a truly hardcore Vincent Piazza) helps take the audience down memory lane by breaking the fourth wall and speaking straight to you from the street corner with a great accent, nonetheless. Along comes hometown good ol' boy Frankie Castelluccio but, you may know him by anotha name (don't know why he ever changed it in the first place). He works as a barber by day but pairs up with Tommy and makes a different kind of livin' once the moon goes down which may not be very legal (I won't tell if you won't, capish?). One thing that isn't a secret is Frankie-boy's angelic voice. Together, the duo becomes a trio to make a few extra bucks as lounge singers and that blossoms into the quartet of Summer, Winter, Fall, and Spring.

             Clint Eastwood takes off his cowboy hat and puts on his director hat to bring the life of Frankie Valli and The Four Seasons from the big stage to the big screen. This can be a difficult feat given that Jersey Boys has been nothing but an audience favorite and critically-acclaimed spectacle since 2006 when it first premiered on Broadway.

             The highest achievement in this film is that all four singers were not dubbed over at all during filming according to Mr. Eastwood in a recent interview on The Tonight Show. The talent and strength of John Lloyd Young's falsetto compared to the real thing is spot on and entrancing. Out of the rest of Four Seasons portrayed onscreen, Young is the only one that has taken his talents to both Broadway and film playing the same character. Besides Frankie and Tommy, the other two are Nick Massi and Bob Gaudio (Michael Lomendo and Erich Bergen). Christopher Walken is the epitome of what it means to be a supporting character and sticks it to the man as Gyp DeCarlo, the man behind the fame. One Side Note that also doubles as an Easter Egg is how Joe Pesci (yes, that one) was closely tied with Bob Gaudio's introduction to the band. You may think that's funny, but, Funny How?

            As a longtime fan of the Four Seasons' snappy toe-tapping hits, listening to them again a millionth time is a joy in and of itself but the speed bump that comes between Broadway and the silver screen is that there can only be so many details mixed with the music breaks before the audience becomes confused. While this isn't a musical per se, the time periods jump around a little too fast to not include time stamps as an indication. What makes up for it, though, is the strong and classically vibrant cinematography that could have been taken straight out of your grandparents' photo albums. All in all, it does what it is meant to, serve as a window to the past and croon you back to the sound we all miss. GRADE: 7.1/10

Transformers: Age of Extinction

Autobots: Roll Out... of Control

              Every action movie has an action hero that saves the day, or attempts to most of the time. Michael Bay takes on the fourth installment in what has gone on to become an international imprint into the interstellar mind. Transformers, Transformers: Revenge of The Fallen, Transformers: Dark of the Moon, and now (drumroll please)... Transformers: Age of Extinction. Before I dive into the cacophony of the most recent film, I will go on record saying that at least it has the coolest name of the four. It pains me to be truthful about this film.

Okay, deep breath, I'm ready....

The Age of Extinction is 2014's worst summer blockbuster. There, I said it. exhale.

            For those Marky Mark and The Funky Bunch fans freaking out at what you are reading, bear with me. When one thinks of Transformers films the first thought is not an expectation of killer dialogue or deeply involved characters. That's no secret and if you have been looking forward to that throughout the previous three films then maybe buy a different ticket this time around. The hundreds of millions of fans around the world (mostly grown-up 80's kids) who have loved each one of Michael Bay's renditions of Hasbro's epic action figures love it for one reason and one reason only: the action. Seems obvious, right? See? I'm a smart guy. But I digress, onward!

Mark and Jack, watch out!

            The biggest problem I have: that even the element that makes these movies so watchable is the exact reason it is unwatchable this time around. Explosions and insane stunts make up around 80% of the Transformers films and this movie screams nothing but budget cuts and pyrotechnic flaw. The second biggest problem: it is 2 hours and 45 minutes long! Taking about an hour off of this duration would leave for some of the audience's personal time to be salvaged from the unbearably shaky and distracting cinematography as well as Mr. Mark Wahlberg's new career rock bottom.

            Filling the top-billed performance as this franchise's new superstar, Mark Wahlberg himself has taken his muscles and his Boston accent alllllll the way down to Texas. He is Cade Yeager (that's pronounced "jager" to the college kids in the audience) and he works out of his barn as a picker that buys and sells things just like the guys on the History Channel. His life's work contains using his findings to construct robotic intelligence and then try to resell this for some kind of profit. He is also the incredibly over-protective father to his knock out of a daughter, Tessa (Nicola Peltz, Bates Motel). Her hunky Irish boyfriend (Jack Reynor) gets in the way and ruffles the feathers of the Wahlberg brother nobody wants to cross. There are witty jokes to be had when the daughter's new squeeze slips a kiss in front daddy but unfortunately none of that is found and when there are attempts to lighten the mood it is uncomfortable and just badly timed. Bad vibrations this time around, Marky.


            Michael Bay has constructed a template with these movies. Let me be more specific... just watch the first three movies and the plot never changes, especially now. Only the character names do. The newcomers here include a conniving and brutal Kelsey Grammar (Cheers) who is truly in rare form even with his deep voice that doesn't seem to quit. Stanley Tucci (Hunger Games) plays the billionaire who mirrors an even crazier Steve Jobs and is on the verge of developing something that could break Optimus Prime once and for all and save mankind from the evils of the Transformers!

            The Dinobots! How could I forget the Dinobots?! Mixing up the game are imprisoned dinosaurs that have been forcefully evolved into the prehistoric fiends that can be seen in a movie trailer near you.

            There were parts, however, that even had me on the edge of my seat and it was very very cool to see a Bugotti and Lamborghini join forces with the cast. The career of Nicola Peltz will now be growing faster than Optimus Prime can transform. That can be taken to the bank. Something else that can be taken to the same bank is the check that Hasbro and Mr. Bay will be depositing because this is a phenomenon that will never die despite the quality of the movies. Mark, we still cool? I'm still a huge fan, just go back to Boston and chill out for a bit with your brothers and don't forget to say Hi to your mother for me, okay? GRADE: 5.5/10

         

Maleficent

Every Curse Can Be Broken

            Go ahead, say it.... Okay fine, I'll do the honors, Angelina Jolie's cheek bones are as beautiful as the Rocky Mountains. Since I have never seen the Rockies in person, I'll just have to settle with Disney's make-up department's superb performance in transforming Jolie. Maleficent is exactly what one would expect as a timeless tale is adapted onto the big screen using today's technology. But, what makes this movie as real as the magic in it is the smaller moments that give Angelina Jolie the chance to be human after all.

            From the opening scene it is no secret that the magic Disney created in 1959 with the original Sleeping Beauty cartoon is still alive. Maleficent's childhood as a powerful and creepily horned fairy girl quickly moves into her discovery of true love followed by betrayal. Why someone would double-cross Angelina Jolie with horns and those eyes, I'll never know. Maleficent seeks out the royal newborn girl of her betrayer and crashes her christening party in commendable fashion only fit for the wicked. You know the rest of the story.

            First of all, this film does not go too far into the characters and it does not dwell on every single back story. Those are both good qualities. Being a Disney movie, albeit classic among classics, the drama and sensibility are expected and come with the package deal right off the bat. It's the job of contemporary filmmakers to not modernize too much. Modernity is a good thing too but over-doing it will cast a spell that'll bury the film altogether.

That's why Maleficent should be given credit.

          Angelina Jolie has the perfect face to play this part to begin with but the added effects are top-notch. The sculpted cheeks, piercing eyes, marble skin, and fiercely intimidating horns. Her smile, stare, and enchantingly executed British accent are all excellent and scene-stealing but what really draws the audience in is her ability to create small, intimate, even comical, moments with the big personality that comes with such a role. Including one part when she hisses at baby Aurora to scare her and after the child is not startled she grits her teeth in disappointment and mutters, "I hate you." Maleficent's malevolent laugh could have been capitalized a little more, but that's just a side note. Her co-star, Princess Aurora (Elle Fanning) is charming and beautiful beyond words. Her contagious laugh and smile have gotten her this far and will only take her higher being only 16 years old (how fitting!). She truly lives up to the status that surrounds the character of Sleeping Beauty and compliments Maleficent gracefully.

            It's impressive the way Disney carried out the visual effects in Maleficent but that doesn't mean all of it was needed. The pixies that take care of baby Aurora (Leslie Manville, Imelda Staunton, and Juno Temple) transitioned from small to life-size pretty well but it was the completely CGI'd creatures that needed a bit more work. The interaction between humans and graphics lacked a certain concrete element that kept it onscreen and 2-D. True love's heart is always in the right place and it's nice to see that Disney Studios have not lost touch with its legacy. GRADE: 6.9/10

         

The Amazing Spider-Man 2

A Web of Trouble

            Personally, I have had a fear of spiders my whole life. Something I live with, I guess. Go ahead, judge me. One thing I never thought I'd find myself being afraid of is a movie. But, nevertheless, I fear there may be an Amazing Spider-Man 3 succeeding the true horror that is this film.

            Marc Webb (coincidence? who knows) is at the helm for Spidey's second round in the ring that actually stays true to Stan Lee's beloved comic books. Unfortunately, he has produced what seems to be a disappointing and sub-par look into Peter Parker's life in the red and blue suit. Webb needs to get himself a new casting director for the third installment and ask the studio for a special effects team with a college degree. Too harsh of me? I don't know maybe a little bit. Go out and see it. But keep reading...

            I'll come right out and say it, the best part about this movie is the acting talent of Mr. Andrew Garfield. He caught everyone's eye in The Social Network, showed he had legit potential in The Amazing Spider-Man, and is now flanked by a flawed supporting cast. Garfield adds a cool touch to the character of Peter Parker that was never Tobey Maguire's strength and his American accent is something not to be ignored as a British actor. He has many little scenes in this film that really suck the audience in (Note: one part where he saves a young boy from bullies) especially with added humorous one-liners that fit him perfectly. He gives you the sense of definitely being able to trust someone like this whether he is a comic book character or not. But, it is very easy to become detached from this character when he is forced to read the kind of dialogue that was in this script. Alex Kurtzman's (Transformers) writing is the biggest bummer of this whole movie. Who am I to judge, right? As a student of writing, I have a bit of an idea of what bad writing looks and sounds like. This material included.

            Apart from Garfield, there's the ever-delightful Sally Field playing Peter's worrying, trustworthy, and loyal Aunt May. Emma Stone is really nothing to write home about reprising her role as Parker's love interest, Gwen Stacy. Dane DeHaan is a creepy and emo Harry Osborn. He pulls it off and comes off as strikingly intimidating but it is very hard to get past his voice that is not far off how I sounded in 8th grade. Then there's Jamie Foxx. He's given us incredibly electrifying performances and even has an Academy Award for his portrayal as Ray Charles. So, what in God's name is he doing playing an electric Smurf? Foxx plays Electro, an obsessed Spidey-Fan turned arch-rival. He is the greatest victim of the dismal dialogue and a complete 180 from the acting we're used to seeing from him, plus, the weak dub step that accompanies his blasts add factors to the equation. It just doesn't fit.

           In the end, it's safe to say that there's a lot this movie searched for and apparently its web became too big to handle. Over-reaching at it's finest. Sorry, Spidey. GRADE: 6.5/10