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

         

The Drop

Gandolfini Passes The Torch To Hardy

            Dennis Lehane wrote the book that inspired Mr. Martin Scorsese to direct Shutter Island. It is a great movie. Messes with your mind. You already know because you saw it. Well, Lehane is at it again only switching up genres from psychological thriller to crime drama. He wrote the novelization and screenplay for The Drop. There are moments that shine throughout the 106 minute duration and then there are times where you may question what's going on exactly. Nevertheless, we cannot forget this is James Gandolfini's final film and it looks like Tom Hardy may have found another area of the screen where he excels.

           Okay, what's a "drop?" Fantastic question, I'm glad you asked. In New York's bar scene, crime rules over all including the person who pours your shots. Bars act as money launderers as well as storage for other cash the mafia needs. Your name may be written in neons over the front door but always keep in mind that you are not the one running the show in this town. As the night goes on, middlemen stop by, may they order a drink, but be certain that they also make a different deposit. Actually, they drop it off for the bartender to hold until the boss comes around to pick it up. Smooth business, right. Let's just hope no one catches on to what your hiding under the whiskey bottles.

            This is Bob Saginowski (Tom Hardy, Warrior, Lawless). A bit of a lonely and timid guy, Bob likes going to church and working with his older cousin, Marv. They run a bar together and are a frequent stop to nightly "drops" from those who seeks deeds from the "real owners" of the bar. Bob comes across an abused pitbull puppy in a trashcan and his life changes. Nadia (a graceful Noomi Rapace) has her own dramatic and colorful history but is now a new friend to Bob and little Rocco. 

            Here's Marv. That's cousin Marv to you (Gandolfini. Tony Soprano. Respect). Owner of Cousin Marv's bar and (actual) first cousin to Bob. Marv's a hard-nosed person with a lot on his mind. He lives with his sister and together they worry about their dying father's medical bills. He's been in the business long enough to see rough times but he knows how to deliver a good time in a glass to those who seek (or demand) it. Don't expect too many drinks on the house from Marv, though.

            When a robbery occurs at Cousin Marv's, eyebrows are raised and questions asked, especially from a nosey cop played by an annoyingly good John Ortiz (Silver Linings Playbook). An Eastern-European  crime boss gets his feathers ruffled from some money lost while Marv and Bob were on the clock but that's not the end of it; other people, and animals, could be endangered as well if the next drop  runs into some speed bumps. 

            James Gandolfini died suddenly back in 2013. Tough guy extraordinaire. It's as clear as a light beer the talent that was lost. He steals the show with his strict and rigid ways of managing a bar and his fortifying respect for family. Subtle but brutal. When the movie was over I had to painfully remind myself that he was gone even though he seemed so alive onscreen. Thank you, James. We can do nothing but learn from what you've left.

           The first half of this film is superbly set up. There's a noir-eeriness that trouble could be around the corner but Tom Hardy makes you feel at home with his gentle care and innocent nature help watch out for those around him. Even though there are pent up moments reulting to be dull or anti-climactic, Hardy doesn't have to flex his muscles or throw punches to be great in this film. He very soft-spoken but even Cousin Marv advises "don't fuck with him." His performance as Bob is refreshing in a sense and he needs to truly harness these characteristics next time because there's perfection that lies ahead.

Hardy, Rapace enjoy coffee as Rocco hides in plain sight.

            There are not many movies that I can say I wished were longer. This was a comfortable, less-than-2 hours but it seemed to get a little fast for the senses as it drew to a close. another 15 minutes may have wrapped it up a little easier but it is still highly entertaining and a different look behind the bar. GRADE: 8.1/10

Guardians of the Galaxy

Sci-Fi Done Right

            Usually when a there's an alien abduction some heads will turn while others will shake in disbelief. Some of the most mind-bending moments in history revolve around the possible existence of intergalactic life. This time around, not only are heads turning to the lights in the sky, but people are flocking to join in on the fun of the summer's coolest movie!

Guardians of the Galaxy is the funniest sci-fi film since Mel Brooks' Spaceballs.

            Following his mother's death prolonged by illness, Peter Quill finds those lights in the sky staring back and sucking him up only to fast forward time 26 years. Quill (Chris Pratt finally stamping his talent in concrete) is a self-proclaimed badass and is now in a predicament concerning an infinitely powerful orb, some bad guys, some very bad guys, and some so-so guys that are after it.

             Chris Pratt really pulls off the oxymoron of being smooth but shaky during tense situations. His awkwardness accompanied with being handsome provides a balance of humor and cleverness all in one package. Helping him out along this ride is Gamora, the wicked-witch shade of green alien that gives a sharp and quick comeback to what Peter has to say and tries keeping the rest of the Guardians in line. Zoe Saldana (Avatar) is used to being decked out in colorful make-up by now and meshes well a sexy extraterrestrial.

Pratt and Saldana have their fun as the focal points of these usual suspects but the real showstoppers are found in rare form.

             Rocket: a hilariously-sarcastic raccoon voiced by Bradley Cooper and can be added on his list of top roles to date.

             Dave Bautista hangs up his SmackDown wrestling tights and takes on Drax the Destroyer
. He is covered in fiery tribal marks and undoubtedly delivers some of the funniest one-liners of the film with his literal take on life and heart as big as his biceps.

            Then there's Groot. Just by hearing the name you can already picture what he may look like. Groot is a tree. He says only the same three words and is the epitome of a gentle giant. This is exactly what Vin Diesel would probably look like if he was not human and provides the voice for the best cast role of the film. Both Cooper and himself team up and prove the leaps and bounds voices can make even paired alongside human characters.

            By now you should have figured out that there are literally no dull moments to be found.

 It's no longer a secret that the soundtrack of this movie is the number one album in the country due to the irresistibly toe-tapping classic hits. It adds nothing more than a perfect flow from scene to scene and makes the film in its entirety that much easier to watch. Great music means great movie, right? one usually follows the other and it is without a doubt that the soundtrack to Guardians of the Galaxy will go down in film history along with other classics such as Forrest Gump.

            The make-up department can see the nominations coming its way as it is all made impeccably real and gives life to what lies in space. I can't be too lame and say the the special effects are "out of this world, man!" but they are UNIVERSE-ally entrancing (told ya, keeping it cool) and vibrant from beginning to end.

             Even though this is based off Marvel Comics' story, the plot references and characters are surprisingly easy to follow but this can all be traced back to the success of director James Gunn (Dawn of the Dead writer) and his team of writers and casting directors. The cameos of Glenn Close, Benicio Del Toro, and John C. Reilly are just enough to give the audience it's fill of veterans and still have fun with the story. Word of Advice: There's no shame in dancing in the theater aisles, just saying. GRADE: 8.4/10

           

              

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