Dumb and Dumber To

Carrey and Daniels' 20 Years 'To' Late

            20 years ago it was 1994. Pulp Fiction came out. Forrest Gump came out. Shawshank Redemption was still new. And Dumb and Dumber hit theaters. All great movies. Hands down. Three of the four were nominated for Oscars and even won a good amount of them. The fourth just sat and watched from home on Oscar night but still managed to become a classic of the 1990s.

            When someone chooses to name a movie "Dumb and Dumber" it's hard to expect much out of it. Some movies have a nice way of surprising audiences despite the title. Bobby and Peter Farrelly are two brothers that have made a great reputation in surprising audiences with their zany and quirky characters. Their filmography consists of a few classics and guilty pleasures (There's Something About Mary, Shallow Hal, Me, Myself, & Irene, Osmosis Jones...), some better than others, but still, entertaining until the credits roll.

            For some reason, they decided to knock "entertaining" off the list when making their latest film and seemed to focus solely on the box office numbers.

            Now, for the million dollar question....... Why mess with what was already perfect?

            When Dumb and Dumber To started its promotion spots a few months ago it was decided, for some reason, to put the entire focus of the movie's beginning in the trailer. Harry (Jeff Daniels) approaches a heavily dazed and bearded Lloyd (Jim Carrey) while he resides at a mental hospital. Turns out, for twenty years, Lloyd had been faking his illness and going through countless medical procedures and tests all to play a joke on his best buddy. Not the most ideal prank or really funny at all for that matter but sticks with the norms that the first movie displayed two decades ago. While the Farrelly brothers had a good time throwing in references and plot points from the first movie that everyone would love, they must have thought it was a fitting substitute for well thought out jokes. The end result is two film production icons out-doing themselves in all the wrong ways.

            Jim Carrey and Jeff Daniels have been all over the spotlight again ever since September 2013 when @Jeff_Daniels tweeted a picture of them as Harry and Lloyd with the caption "We're Back!!! #DumbTo." That picture created monstrous waves among movie lovers and was the newest highly anticipated film for the next 12 months.

            You'll see this movie for two reasons: 1.) To answer the question, "The first was so good, will this sequel curse it?" And 2.) To see how to perfect Lloyd's bowl-cut. I'm choosing to focus on the first one. Jeff Daniels actually nails his performance. He seems to have held onto the persona of Harry Dunn (whatever that means) and aged no more than he should have. He's a father now and in search of his [gorgeous] ditzy 22 year old daughter, Penny (Rachel Melvin). He was never known as being completely animated as his costar but sure can hold his own onscreen. That's regrettably one of the only positives I can throw out there. Rob Riggle and Kathleen Turner head up the supporting cast but don't seem to fit in at all with awkward roles like this. Turner is a the mother of Harry's daughter and also part owner of a funeral home. Riggle plays a mooch after a family's fortune with a confusing identical twin in special ops. He has no character continuity at all as the film goes on and appears as a last-minute edit by the Farrelly duo.

Rachel Melvin and Jim Carrey 

            What else? Oh yeah, Jim Carrey. Jim Carrey is not a person. He's a cartoon, a whirling dervish of talent and insanity. He's an icon and a comedy legend that has revolutionized slapstick for generations to come. Another thing he is doing is showing his age. It's hard to say but being over-the-hill shows with films like this one. Carrey reprises his haircut and chipped tooth as Lloyd Christmas. While being known for his extravagant improvisations, it is difficult to believe he made up some of the poorly timed jokes and gags that go along with being in a movie this silly. He comes off as the jokester at a party that won't stop telling the same joke even though no one laughed at it the first time.

             Of course there will be no moral to this story, that's only common sense. The first movie was fun to watch because of how different it was and set high standards for future slapshows. The jokes are as childish as the characters (actually, not so much this time around. Adult humor is where it's at, apparently) as expected but just because there is "Dumb" in the title does not give the writers permission to make the movie as stupid or crude as humanly possible. There is quality to be had but that was thrown to the wayside over the course of two decades. Thank you, Harry and Lloyd, but next time, stick to what works. GRADE: 4.8/10 (A bit generous but I rated it based off the actual number of genuine laughs it provided).
           
         

Big Hero 6

Nerds Still Rule

            As expected, Walt Disney Studios continues its unbreakable streak of delivering the definition of quality entertainment! There really is a little bit of everything in Big Hero 6 but what sets this film apart from recent Disney works are the perfectly timed and gut-busting laughs. This is your chance to not be afraid to sport tears of laughter in a movie theater. This writer speaks from experience.

            I don't want to spend much time categorizing Big Hero 6 since it is based off of an original Japanese anime production but a good way to briefly explain it is to call it the "How to Train Your Dragon of the future." The way future, that is. How far ahead? I figured you'd ask. There is no specific date given but the city this takes place in is the fusion of Japanese culture as well as West Coast American life and is appropriately named "San Fransokyo." Yep, that far. 

            What this movie actually revolves around is science. Almost a celebration of it, one could say. It all begins with 14 year old Hiro (Ryan Potter, showing much potential from his Nickelodeon days). A child prodigy in robotics who has created a living by hustling at underground robot battles. Hiro lives with his older brother, Tadashi, in the upstairs of their aunt's cafe. Tadashi is a science wiz as well, studying advanced robotic work at a prestigious local college under a world renown inventor (James Cromwell). Along with his fellow nerds in "nerd school," Tadashi shows young Hiro around to get his interests hyped and away from bot fighting. These students all have their own individually insane projects that would give the minds at Apple a run for their money. What steals the show is Tadashi's project: Baymax, a personal robot with extensive medical knowledge compiled with a caring touch and friendly appearance. 

            Baymax is the giant marshmellow-like thing you've been seeing in the commercials. His comedic monotoned voice (Scott Adsit, 30 Rock) and his programmed unconditional love for everyone around him is what makes this movie so much fun. Note: the laughs are especially brought on when Baymax has trouble with his battery. 

            The voice-over efforts of TJ Miller (She's Out of My League), Maya Rudolph, Daniel Henney, Damon Wayans Jr., Genesis Rodriguez, and Alan Tudyk (Dodgeball) all mesh nicely while some mysteries of technology are being explored in a world that already has so many answers. There's so much action in there as well which alternates with the slapstick quite harmoniously. The emphasis on each emotion is not overwhelming at all but just enough to stay in tune and empathetic with each character's situation.

            Besides revolutionizing the way kids will be fist-bumping from now on (you'll understand after seeing it), this movie sends a great message for every age. Bring the family, you all will love it. The genius creativity that Disney put into the technology featured onscreen is one reason alone to see it. This is top notch work in family movies. Who knows, maybe one day a "laser slicer" will be found in every kitchen. GRADE: 8/10

            

            

            

Nightcrawler

The Obsession is Real

            The opening shots of Nightcrawler provide some really cool views of Los Angeles at the day's close. The stillness in one of America's busiest cities is anything but still. There isn't excitement like what occurs after the sun goes down, even in L.A.

            Journalism is an industry not for the weak. The facts are out there and some are easier to report than others. The media is an entity constantly under public fire for broadcasting what seems to be the "wrong" stories or for not being completely bias on certain issues. In any condition, each station has to be different from its competition even if that means tip-toeing past the lines of ethics and morality. I know, this sounds kind of far-fetched, who knows how often instances like this actually take place in real life. For Louis Bloom, morality is something he is willing to sacrifice to save whatever is left in his one-bedroom apartment.

            Louis is a thief by day as well as loner by day. By night, he makes his own choices. One night in particular, he chooses to learn the craft of being a nightcrawler. (One who freelances video clips for news stations to purchase). He has no job and not much to lose so, if the money is that good, why not? Camcorder, police scanner, and new partner in hand, Louis takes a whack at the nightcrawling industry and even has one news director eating out of the palm of his hand. Going from complete rookie, to amateur, to sadistic pro, it isn't until he comes across a story before the cops show up where the real code of ethics is at stake.

            When you are as good at what you do as Jake Gyllenhaal is, it is not difficult to have an audience immediately take you seriously--even if you've shed a few pounds and are creepy from the get go. He easily draws a crowd, just ask any girl nearby. It's really nice to see a character of his take the turn for the worse in the best way possible.

            The first word that comes to mind after watching Gyllenhaal take on Louis Bloom is "natural." His character is conniving in nature, charming to the blind eye, and as articulate as the night is long but he pulls it off with an extremely natural flow and 60's style shades all with his greasy hair tied back once it's time for work. He was near flawless as Robert Graysmith, the obsessive cartoonist in Fincher's Zodiac, and now he's folded up the newspaper and found a fitting place behind the camera while borrowing some of Ryan Gosling's Drive intensity. This role is a true transformation for him.

            Gyllenhaal's not the only antihero in Dan Gilroy's film. His personal assistant in crime is played by Riz Ahmed (The Reluctant Fundamentalist) who is homeless and pretty much agrees to signing a blank check with Bloom. The news director that falls for Bloom's newly found talent is Rene Russo (Outbreak). Louis is a fast learner (he lets her know this a lot) and figures out just how to get what he wants, even if it's not what she had in mind. Even a cut throat Bill Paxton is along for the ride and stands in the way as Bloom's biggest nightcrawling competitor with 14 years already under his belt.

             Dan Gilroy has a few writing credits to his name (The Bourne Legacy, Real Steel) but this is a pretty impressive debut into directing. Regardless of your opinions of the media, Nightcrawler may leave you angry and cringing at how the news is dealt with, but, if my word matters, it's a truly suspenseful movie that delivers a pretty good time, if that's what you're up for. GRADE: 8.3/10

Fury

"Best Job I Ever Had"

            War is hell. That statement has been done to death throughout film history but it is a fact that needs not reiterated. World War II was hell, no secret there. We've seen in it in many heart-wrenching movies that take us into the lives of soldiers whether they be based off real events or a fictional ode to history. Fury stands alone in this category of historical fiction based off the U.S. 2nd Armored Division. You loved Saving Private Ryan. We all did. It's a phenomenal story that took audiences into a pivotal moment in wartime history and introduced us to the real horror that lies overseas. Now here it is, the best war film since Spielberg's. Fury is brotherhood from start to finish and latches on to what is the most difficult to swallow.

            This film is nothing more than blast after blast of action. There is nothing funny about it. Actually it is more touching than anything. Believe me, these guys have seen the worst of the worst. That's easy to say. What's hard to say though is how they continued to wake up every morning. Writer/Director David Ayer (Training Day, End of Watch) sets focus on the horizon ahead and does not stop until he's ready to fire. His cast of soldiers dwarfs that of Lone Survivor and can be put in the books as Shia LaBeouf's shining moment. But more of that later.

             Brad Pitt is back in Germany. Killin' Nazis  (instead of the "nA-tseez" in Inglourious Basterds). There is no shame in absolutely embodying the part of a seasoned soldier that loves nothing more than his country. We've seen him master it before and he sure is at it again.
             With the nickname "Wardaddy," Don Collier has been the commander of the American tank "Fury" for quite awhile now and knows his crew inside and out and vice versa.

"...and now I've got you."

            Collier runs into a bit of frustration with his new assistant driver and turret operator, Pvt. Norman Ellison (a heartfelt Logan Lerman, Perks of Being a Wallflower). As with every new guy thrown to the wolves, hazing is a must and maturity is to be had. Lerman is the face of innocence and great ignorance. He shows how he can handle an intense setting and proves a new versatility with this role.

            Tanks are huge and can do big damage but there doesn't seem to be much to them. Of course, that all depends on the crew running it. Collier's men are vulgar, gritty, and hard. They mesh with Fury like it has raised them to do so. Alongside Wardaddy and Norman are as follows: Boyd "Bible" Swan, Trini "Gordo" Garcia, and Grady "Coon-Ass" Travis.

L to R: LaBeouf, Lerman, Pitt, Pena, Bernthal. Home Sweet Home.

            Shia LaBeouf has completely transformed since his days on the Disney Channel and now he heads up the best supporting cast since last year's heavily nominated American Hustle. He mans Fury's main cannon as "Bible" Swan (you can probably guess how he got his nickname). This performance pulls the trigger with passion that bleeds through every pore with full speed emotion and control from every single angle.

            Michael Pena (End of Watch, Shooter) takes the wheel as "Gordo" Garcia, Fury's fearless driver. He provides subtle comic relief and a south of the border flare that is uncommon with films of this nature. Then there's Jon Bernthal (The Wolf of Wall Street, The Walking Dead) as "Coon-Ass" Travis who heads up the ammunition and assists "Bible" with the cannon. His loud mouth may drive you insane but don't let that fool you.

            The jaw-dropping adrenaline rush that comes with seeing Fury will seek and destroy those who are willing to witness. The writing, direction, and cinematography, is everything you need to complete the deal. Fury has provided this generation with a new classic and this year's Oscar contenders something to look up to. Sorry supporting actors, LaBeouf might already have this one in the bag. GRADE: 9.2/10

Gone Girl

Always Another Turn

"I thought writers hated cliches."

            This is just one of the many stand-out lines in Gillian Flynn's unreal script based off her own bestselling novel that can't stop raking in the compliments. Teamed up with the foremost thriller mastermind of his generation, David Fincher (Se7en, Fight Club, Zodiac), the two have combined their visions to tell this story of loss, betrayal, and psychosis in the most cliche ways possible. Gone Girl is paranoid from open to close while twisting and turning just when it could not have gone deep enough.

           First things first, the best part about this movie is every bit of evidence showing that is hand-dipped by Fincher. Even having seen this film with a season reader of Flynn's novel, the style stayed true to the book's theme. The brief fades in the opening credits and the abrupt and silent scene changes are all trademarks that will lead you to the edge of your seat without knowing it. The eerie and foggy score that climaxes and drops your jaw envelopes every sense of actually being in the room or next to them on the street corner. There is nonstop mystery and hairpin plot turns that take the audience further and further into this psychological workout.

            Did you know Ben Affleck is in it? Yeah, he sure is. He is Nick Dunne. He owns a bar with his sis Margo (emotional Carrie Coon) and is a former writer who comes home one day to find what seems to be a crime scene.

            Nick met Amy at a party some time ago and then ended up getting married. "Amazing" Amy Dunne (Rosamund Pike- Jack Reacher, The World's End) has a trust fund that could rent out Time Square along with the calming voice that trembles with anticipation. She has gone missing now and her kidnapper has left Nick with a mountain of clues. Not the best of clues, though, because it appears he's being framed. Anyway, the whole community and nation is up in arms with the dramatics of the newest missing bombshell. Most importantly, the media can't seem to get enough fun out of making our friend Nick look bad.

            The ever-present Tyler Perry is not very funny in this movie (thank the Lord!) as he watches Nick's every move. Ya know, because that's what good lawyers do best. While he lays down the law, Nick is scrambling for any info he can get his hands on. While his in-laws are little to know help, he resorts to Amy's rocky past with Desi. THE Neil Patrick Harris fully embodies what it means to an ex-boyfriend. Take that however you want but just sit back and watch.

            This thriller is suspense without the stun. The scare is effective and real but shakes you up in a different way. The media plays a suffocating role in the search for Amy and the cliches that are avoided are actually capitalized on. Sometimes that actually works in writing. While this seemed to become slightly drawn out during its 149 minute running time, it surely plays its own role in the frustration that comes with a strained marriage. What does it mean to truly be a fake? Ask David Fincher and he'll give you the real thing. GRADE: 7.9/10

Annabelle

A New Member of the Family

           Established fright guru, James Wan (head of both Insidious flicks, Saw, as well as The Conjuring) must have gotten uncomfortable sitting in the director's chair and let John Leonetti (The Mask, Insidious cinematographer) have the top spot for the nightmare prequel that horror fans have been longing for. Right off the bat, this was bad move by Mr. Wan. The Conjuring and Insidious both fully embody the definition of a well-rounded horror film and now there's Annabelle. This film has its scares as promised but lacks the much needed balance of a storyline that its superior predecessor provided.

           The Conjuring took the sound of two claps and kept us all up at night even from the previews. When the movie finally hit theaters, the audience was introduced to the story of Annabelle in the first scene. Two college coeds are cowering from the red scribbles on their walls done by the hand of a sinister doll. The film then leads into the lives of the demonologists that dealt with Annabelle and the new challenge that's been conjured up.

           The brief tease of Annabelle's reign of terror in The Conjuring was alluring and chilling but even I was wide-eyed and elated to see a movie being made just about this doll. Nothing beats a prequel, right. Just ask George Lucas. There's something about the story-before-the-story that draws a crowd and what better than make it another face-covering screamfest? Annabelle showed high hopes from how well done her original cameo was but Leonetti let me down with his flat dialogue between a young married couple and the brief ounces of fear that come and go.

            There's pregnant Mia (Annabelle Wallis. Yep, her real name) and intern physician John (Ward Horton, Wolf of Wall Street). They, along with their neighbors the Higgins', attend church and lend a hand when the other needs it. After the Higgins' are the victims of an unspeakably scary crime, Mia and John begin having doubts about the spiritual integrity of their home and the random findings around a doll John surprised Mia with.

             You know what the doll looks like. If you don't, you'll soon realize it's eyes alone will haunt you and make you question why anyone would ever purchase it. Is there such thing as something being too scary? Almost so much that it loses credibility?

             Since I didn't say anything earlier, Annabelle is based off true events revolved around a real-life doll. Now that that's off my chest, I wish the movie gave me the chills as the story behind it did. The Annabelle doll is still around to this day in the Warrens' home, safely waiting in a glass case.

Demonologists Ed and Lorraine
Warren pictured with the actual Annabelle doll.

             The darkness of this movie was not fully dimmed, though. There are instances that are definitely capitalized on and reflect that James Wan was indeed a producer. [Note: watch for a sprinting toddler.] Other parts are as cliche as they are jumpy. Sudden bass drum hits maximize a moment's terror but the fun is left on the stove too long with drawn out suspense. Mr. Leonetti, you can only zoom-in to Annabelle's crooked face so many times.

            The acting is from talents that have yet to be flourished but shows some promise. If it wasn't for the empty delivery of reading their lines directly from the script there could have been some genuine horror to be had. Getting a priest (Tony Amendola, Zorro saga) involved is a great scare tactic that hits home to the audience but seems forced and fake even for this porcelain exorcism. The eerie follow-up that was expected from Annabelle's story does not go down well for those in the market for an occult classic. GRADE: 5.9/10
           
         

Locke

Taking Every Step

            A series of unfortunate events are all handled behind the wheel. Moment by moment. Locke is everything one could ask for when it comes to an unbelievable script with an unbelievably realistic plot. The similarity of this British "take" on James Franco's performance in the cringeworthy 127 Hours is set apart with an unending conversation that grounds the audience. Tom Hardy single-handedly anchors this one-scened mini thriller with an impossible amount of patience.

There's nothing to it. Sometimes a car is all you need to just go away.

            It's no secret that Tom Hardy is the new face of being the tough guy every viewer can trust. I mean c'mon, just look at his last name. He's punched brass knuckles through enemies' faces, bent minds with Leonardo DiCaprio, cracked skulls with James Gandolfini, and dismantled the Dark Knight. Now he's sitting in a car. Battling himself and his choices. Talking on the phone. This could be his finest hour.

            Director Steven Knight has orchestrated a controlled cacophony and placed Hardy in the driver's seat. Ivan Locke loves his family and his job. He's a respected construction manager as well as a perfectionist. It's obvious that this guy's passion in life is keeping everything in line and so far he's been quite successful. It's the night before the biggest concrete pour in the most important project of his career and he's gotten himself into a predicament that's hard to forgive but he persists in putting others before himself even if it costs him everything. While on the highway he has some serious conversations that are accompanied with twilight window glares and flashy camera shots that suck in the viewer and keep you scratching your head and leaning into what the next phone call could be.

            The dialogue between Locke and those on the other end of the line is casual and poetic. There is nothing difficult about the details and no complications that take away from what transpires. Quite low budget and independent, Tom Hardy displays a smooth and matured version of his core Brit accent but, as he takes on a new light shows that his greatness abides by no traffic laws. Locke is every synonym of level-headed and focused with every intention of simplicity. GRADE: 8.9/10