Star Wars Episode VII: The Force Awakens - Film Review

Fair warning: While this is a 'spoiler-free' review, I do briefly comment on minor characters and their functions in this film. Nothing major plot or character wise is spoiled here, but I wanted to give anyone who still hasn't seen the film a heads up in case you want to go into it with no knowledge whatsoever. 

The original Star Wars stands alone as one of the single greatest achievements in filmmaking history. It has been so seamlessly ingrained into today’s culture it’s hard for those too young to have seen it in theaters back in 1977 to truly fathom what a remarkable feat George Lucas managed to pull off. Not only did he single-handedly change the face of moviemaking forever and ever, amen, his work spawned what is arguably the most beloved film series of...well...ever. (That business of last decade’s Prequel Trilogy, in the words of Jedi Master Obi-Wan Kenobi himself, ‘doesn’t, doesn’t count.’ - and, yes, I recognize the irony of using a quote from the Prequels to demonstrate their worthlessness, so SHUT IT!!) With many a childhood influenced by the magic of the Original Trilogy, I can’t even begin to imagine how daunting the prospect of continuing the series would be, especially in the light of the rightfully chastised Lucas-scribed/helmed Prequels. But when Lucas sold his company along with all related franchises to Disney, he removed the very thing that was stifling the series’ creativity and well-being: Himself. Since he would no longer be playing an active creative role in future Star Wars films, the possibilities for the franchise were endless. It was the best creative decision that could have been made to guarantee its well-being.

Still, making a Star Wars movie must be an overwhelming notion, even for the most accomplished filmmaker. In fact, ‘overwhelming’ probably doesn’t even begin to describe the immense pressure of living up to the hopes of an entire generation of fans who grew up with and were inspired by these films, as well as ensuring the $4 billion+ Disney dished out for the franchise would not be in vain. Episode VII director/writer J.J. Abrams, co-writer Lawrence Kasdan, whose extensive writing resume includes the likes of The Empire Strikes Back, Return of the Jedi and Raiders of the Lost Ark (No biggie), and Lucasfilm head/Executive Producer Kathleen Kennedy had an immense task before them. 

But never tell them the odds. Somehow, despite everything working against this creative team, they’ve managed to succeed. And not only have they succeeded, they’ve succeeded with flying colors. The Force Awakens recaptures everything you loved about Star Wars in the first place - the wonder, the humor, the tangible believability - and coily nods to the past while expertly pushing the franchise into exciting new places for the future.

The core of Episode VII’s success is a strong emphasis on character and those characters’ relationships with one another. Despite their pioneering special effects and rip-roaring action, the reason the original Star Wars films were so beloved was because we cared so deeply about its core cast of characters. Abrams and Kasdan have recognized this and filled The Force Awakens with an ensemble that will remind you just how crucial this element was to the series.

All of the new players are fantastic and the assembled cast is extraordinary. Newcomer Daisy Ridley’s performance as Rey is a wonder to behold. She’s beautiful, strong and kindhearted - a star in the making. John Boyega is hilarious and endearing as the brave Stormtrooper-with-a-heart-of-gold Finn; Oscar Isaac is perfectly cocky and lovable as Poe Dameron, the Resistance’s best pilot. And, of course, we have BB-8, who is flatout adorable. 

Perhaps the most impressive addition to the new cast is Adam Driver as the film’s main baddie Kylo Ren. Kylo Ren is already one of the most fascinating characters of the entire franchise and it’s Driver’s performance, even more so than the writing itself, that is the driving force behind its success. He’s dangerous and frightening, and yet he carries a level of humanity about him. You empathize with him even when you don’t want to. A round of applause for the guy!

With the exception of Domhnall Gleeson’s strong performance as the ruthless General Hux, the remaining supporting cast is a bit forgettable. There was such emphasis placed on Gwendoline Christie’s involvement as Captain Phasma (that hulking, Chrome Trooper featured prominently in ads and posters) and it’s disappointing to see the character is mostly there as an excuse to sell pretty toys. Likewise Andy Serkis and Lupita Nyong’o, both playing fully CG characters, seem to fade into the background, providing interesting tidbits of plot info, but not much else. It’s by no fault of these actors that these characters don’t work as well as the primary players; all three of them are solid. It’s the script that comes up short in this particular instance.

Of course, anyone who’s seen any promotional materials for The Force Awakens is well-aware that the primary trio has returned for another go-round. And they’re great. Without going into specifics, I will say that I was really impressed with Harrison Ford in particular, who seems to have made a habit of phoning in his performances as of late. He really brings his a-game. It really feels like we’re watching the Han Solo we know and love from the Original Trilogy and not just an awkward impersonation of said character (I’m looking at you Indiana Jones and the Kingdom of the Crystal Skull). The same goes for Carrie Fisher, who I was perhaps the most worried about. She does a superb job, hitting all the right emotional beats and moments. And Mark Hamill? Well...if you haven’t seen the film by this point I’ll let you wait and find out for yourself how he fares. 

No joke, The Force Awakens has arguably the best performances this franchise has ever seen. I cannot emphasize enough how incredible this cast is and how damned lovable these new characters are. They are, by far, this new entry’s strongest assets.

Less successful is the plot itself, which relies a bit too heavily on storybeats from the original 1977 Star Wars. On occasion, The Force Awakens goes overboard from being a loving homage of the events in A New Hope to just plain derivative of them. I won’t spoil why exactly (stay tuned for another conversational review between Richie and me and check out our review/ranking of the Star Wars Saga up to this point), but considering all the time and effort put into making things feel fresh and fun, you’d think a little more effort would have been put into changing things up a bit more plot-wise. 

But now I’m getting nitpicky and to nitpick a movie that gets so much so, so right feels unwarranted. Abrams has instilled every moment with palpable glee. You get the feeling that everyone involved in its making has a great love for Star Wars and their passion comes through tenfold. 

What’s really impressive about Abrams is how much he seems to have matured as a director since the release of 2013's Star Trek Into Darkness. He allows moments to breathe, to flourish. When the pace is up and running, his direction and camera moves are exhilarating and breathtaking. When things slow down, the visuals are even more stunning. At this point I’ve seen The Force Awakens 3 times, and upon each repeat viewing, I catch more and more shots that, as a film fan, I couldn’t believe I took for granted the first (and even second) time around. It’s an outstanding directorial accomplishment and perhaps Abrams’ crowning achievement. 

I’ll admit, the first time I watched Episode VII, I was completely overwhelmed. I knew I liked it, but I wasn’t sure to what extent I liked it. Little things about the story irked me, and I wasn’t sure how I felt about certain character choices. The 2nd viewing was much more enjoyable, partially because I no longer had to stress out about what was going to happen and I could surrender myself to the power of its storytelling. I was pleasantly surprised to find that not only did I like the film, I genuinely loved it. 

To put it bluntly, Star Wars Episode VII: The Force Awakens is the most entertaining Star Wars movie since A New Hope, the best looking, most emotionally sound entry since The Empire Strikes Back and the most heartwarming since Return of the Jedi. It forgoes the stale artificiality of the Prequels and somehow, despite all odds, manages to recapture the spirit of George Lucas’ Original Trilogy. Most importantly, it is a delightful viewing experience that will put a smile on your face and remind you just how magical a galaxy far far away can be. Maybe Abrams and Kasdan played it a bit too safe with familiar plotting and storybeats, but the new cast of characters and some bold twists keep things fresh and exciting. This is one of the most joyous films of the 21st century so far and I for one cannot wait to see where Rian Johnson takes us in 2017.

FINAL RATING: 5/5

The End of the Tour

Back in good ol’ 1996, the year that gave us such cinematic masterpieces as Fargo, Trainspotting, and the greatest disaster movie of all time Independence Day, a little diddy called 'Infinite Jest' was unleashed on the world. Its author David Foster Wallace had prior to its release achieved moderate success with his first novel 'The Broom of the System' and a number of essays, but the publication of 'Infinite Jest' hurled him into the annals of writer superstardom. In a 2004 retrospective review, writer Chad Harbach declared 'Infinite Jest' “the central American novel of the past thirty years, a dense star for lesser work to orbit” and Time included the novel in its list of the 100 Best English-language Novels since 1923.

Despite Wallace’s general disdain of being considered a ‘celebrity,’ he agreed to an interview with writer/journalist David Lipsky for a Rolling Stone article. Lipsky joined Wallace for a five-day stint near the end of the Infinite Jest book tour, tape recording their many conversations. Although the interviewer/subject barrier was never fully breached, largely due to Wallace’s full awareness that Lipsky’s ultimate job was to get some dirt on the author in order to craft a stellar article, the two of them ended up developing something of a mutual respect for one another and even something resembling a friendship. It was kind of an older brother/younger brother dynamic in a way with Wallace functioning as the older on one end of the success spectrum and Lipsky representing the younger brother striving for the approval of his ‘better.’ The article never got published as it was deemed not sensational enough for Rolling Stone’s readers, but Lipsky ended up transcribing their conversations and releasing them in book form under the title ‘Although Of Course You End Up Becoming Yourself,’ released two years after Wallace's suicide in 2008.

The relationship between the two writers forms the basis of James Ponsoldt’s latest film The End of the Tour, a deeply affecting and ofttimes hilarious examination of two writers coping with their varying degrees of success. It’s essentially a bromance tale minus whatever negative connotations the term ‘bromance’ evokes. It is a beautiful film and works on nearly every level, partially because it doesn’t require you to be a Wallace-devotee in order to fully enjoy the experience. I haven’t even read 'Infinite Jest' (I’m sure I’ll get around to it someday), but this never held me back from being totally invested in the fascinating relationship between these two prolific writers. The film is essentially one long conversation after another. It’s actually very reminiscent of Richard Linklater’s talky Before Sunrise Trilogy, and it’s to the credit of playwright Donald Margulies who penned the screenplay and the performances of Jason Segel and Jesse Eisenberg that the conversations flow so naturally and never once come across as dull.

And speaking of performances, can we take a moment to call these sexy guys out? I’ve always been a big fan of Segel’s ever since his work on Freaks & Geeks and this may be the best thing he’s done since the show was cancelled. That’s not a knock against his body of work; Forgetting Sarah Marshall and The Muppets are exceptional films, but his performance as David Foster Wallace shows just how much he’s matured as an actor and I wouldn't be surprised in the slightest if it ends up earning him his first Oscar nod.

Likewise, Eisenberg continues to prove himself as one of our finest young actors. I know the guy’s got his haters due to his eccentric awkwardness, but over the course of his career he has compiled a wide variety of work, consistently giving some really solid performances. Watching him and Segel bounce off each other (conversationally, not physically, though I’m sure if the entire movie was just the two of them literally bouncing off each other it would still be fantastic) is one of the more enjoyable experiences I’ve had in a movie theater this year. Their chemistry is impeccable and I love the way they play the relationship - often respectful and amicable, but occasionally their egos get in the way. Wallace and Lipsky clearly admired each other, but that admiration never once got in the way of them calling each other out on their respective B.S. Some of the film's most powerful moments come from the two butting heads and Segel and Eisenberg really excel in these scenes.

I was a fan of director Ponsoldt’s last film The Spectacular Now, but felt it relished a bit too much in its own depression, never quite striking the right balance between telling a story and being an anti-alcohol campaign. Here, he finds exactly the right balance and tone for the subject matter, allowing the naturalism of the dialogue and the performances to shine through all whilst crafting some truly beautiful imagery with the assistance of Jakob Ihre’s cinematography. I also appreciated that he and Marguilies never tried to unnaturally foreshadow the tragedy of Wallace’s ultimate fate or milk some superficial pathos from it. His focus is solely on the story being told and the relationship between Wallace and Lipsky and that focus makes the film all the more powerful.

The End of the Tour is Ponsoldt’s best work yet and one of the best films of the year. Regardless of whether or not you’re a fan of David Foster Wallace, you owe it to yourself to see this one. You just might learn something about everything.

FINAL RATING: 5/5

Fantastic Four Made Me Feel a Little Less Alive and Very Sleepy

In my experience, there are two kinds of Bad Movies. First is the kind so atrocious, so unbelievably awful, that it ascends simple ‘badness’ to become something more, something so bad it’s good (i.e. The Room, Miami Connection, Rocky IV, The Happening, etc.). Then there are movies that are just so painful it’s difficult to derive any enjoyment whatsoever out of watching them (i.e. The Star Wars Prequels, The Godfather Part III, X-Men 3, Die Another Day, Rocky V, The Last Airbender, etc.). Until this past week I hadn’t even considered the possibility of another, but the newest Fantastic Four has blown my mind wide open, introducing me to a whole new category of bad movie: the kind that makes you feel like you haven’t even watched a movie but witnessed some kind of amorphous black hole designed to drain any sense of joy or love from every fiber of your being. It’s not so bad it’s good; it’s so bad I’m surprised it was released at all. It’s something of an anti-movie. Even Roger Corman’s unreleased disaster-fest is a better storytelling venture and I never thought I would ever use that travesty as the prime example of any aspect of filmmaking.

Fantastic Four (or Fant4stic as the marketing campaign had dubbed it before the onslaught of furious fans forced them to get rid of the tacky ‘4 as an A’ idea) is the latest failed attempt to revitalize Marvel’s 1st family, this time in the vein of the ‘gritty reboot’ aesthetic that never actually works unless it’s made by Christopher Nolan. (See The Amazing Spider-Man and Man of Steel for further details) Why 20th Century Fox and director Josh Trank decided to go in this direction, aside from the money signs generated from Nolan’s Dark Knight Trilogy, is beyond me, especially when you consider that the Fantastic Four are essentially the Brady Bunch with superpowers. I mean, come on, we’ve got a character called Mr. Fantastic whose main superpower is the ability to stretch and the Human Torch who shouts, “Flame On!” as he bursts into flames and you expect us to take this seriously? This comic book is so inherently absurd that all you can do is embrace that absurdity and use it to your advantage. Even Tim Story’s god-awful Fantastic Four films got that aspect of the characters right. (Again, I can’t believe I’m using such terrible films as an example of how to do something right in a movie.) Fant4stic seems embarrassed by every aspect of its source material, doing its utmost to distance itself from it as much as possible, often to its detriment.

Things start off promisingly enough with a flashback that introduces us to a young Reed Richards and Ben Grimm and shows how they became friends. We flash forward a few years (only the first of many lazy flash forward moments – at least they kept that element from Corman’s catastrophe) to find Reed and Ben all grown up and looking an awful lot like Miles Teller and Jamie Bell. With Ben’s help, although it’s never clearly stated how exactly he helps since he’s not a scientist by any stretch, Reed has finally ‘perfected’ the transportation device he’s been working on ever since he was a kid. He catches the eye of Dr. Franklin Storm (Reg E. Cathey) who apparently frequents high school science fairs on the regular in the hopes that he might recruit budding new talent. Dr. Storm is attempting to make a breakthrough in teleportation in order to transport a team of scientists to an alternate dimension in the hopes of finding new resources to sustain human life. Reed seems to have cracked the code, so Dr. Storm jumps at the opportunity to recruit them. Well, maybe ‘jumps’ isn’t the right word for it; Cathey’s performance is so monotone that his excitement is more akin to being slightly sleepy as opposed to totally sleepwalking.

The first act of the film, in which Reed is introduced to Sue and Victor Von Doom and Johnny, is the only functioning act of the entire endeavor. Note, I said ‘functioning,’ not ‘successful,’ because it feels like the act is just barely working. Still, it does a decent job getting all the pieces in the right place and setting up the following acts.

If only there were any following acts.

It takes roughly 40 minutes or so before any superpowers are gained and as soon as they are the film throws up a ‘1 Year Later’ title card, which for some reason they thought would adequately take the place of an entire 2nd Act, no joke. Some military doofus gives some kind of Powerpoint presentation to show how the team has developed their powers and learnt to control them.  What follows is a jumbled mess of an attempt to create some kind of story from this shapeless mass of plotting and an inexplicable lead-in to a third act climax that is so rushed and underwhelming it would be hilarious if it wasn’t so pathetic. (My friend and I actually turned to each other and said, “Is this…supposed to be the final fight?”) The story is so uninvolving and so jumbled that at a certain point it was more entertaining keeping track of Kate Mara's awful wig than it was paying attention to the actual movie.

Is it really this hard to make a decent Fantastic Four film? We’ve already gotten four (how ironic) and not a single one has been good. Brad Bird has already proven the formula works with his animated masterpiece The Incredibles, so what gives, people?? And, unlike 99% of the nerd community, I actually had high hopes for this one. I loved Josh Trank’s first film Chronicle, a fresh, entertaining take on the superhero origin story, and was excited to see what he could bring to the table with a larger budget. While we might not know the full extent of the drama that happened between 20th Century Fox and Trank behind the scenes, one thing is for certain: someone done effed up. Big time. Not even in the film’s most inspired moments (and I’d hate to use the word ‘inspired’ when it comes to anything to do with Fant4stic) does Trank’s direction seem anything but lifeless. The majority of the film takes place in two locations, an underground warehouse and the giant green screen the cast stood on in order to film the alternate dimension sequences. It’s claustrophobic in the worst way and the drab production design and overwhelmingly grey color scheme is mind-numbing.

Likewise, it’s painful to watch such a talented young cast have to make their way through this drudgery. Miles Teller in particular gives it his best go before giving up about halfway through. The rest of this doomed ensemble, which includes Kate Mara as a muted Sue Storm, a barely-present Jamie Bell as Ben Grimm/The Thing, a brooding Toby Kebbell as Victor Von Doom, and a robotic Reg E. Cathey as Dr. Franlkin Storm, doesn’t even bother trying, having even less to work with.

By the time Fant4stic’s eternal 100-minute runtime had concluded, I was desperate to get out into the bright summer sunshine and do anything to remind me that I was indeed a human being and capable of emotion and joy. Calling it a mess is giving it too much credit. I can’t remember the last time a movie made me feel so utterly bereft of anything. One can only hope that the sting of this immense failure will contribute to the rights returning to Marvel Studios. Perhaps then the Fantastic Four will finally get their due. And some actual color. Please, just, for the love of God, give me ANY color.

FINAL RATING: 1/5

My Mission: Impossible - Rogue Nation Review, Should You Choose to Accept It

It’s hard to believe the first Mission: Impossible film came out a little over 20 years ago. I remember the first time I saw it - my dad and his buddies were big fans of the TV show growing up and had to drag my brother and me along to the theater with them. My brother and I did our best to convince our dad that the film would be way too violent for us impressionable young’uns and that we should be left at home. (I was 9 at the time; my brother was 7) Neither of us really believed we wouldn’t be able to handle the movie. We just wanted to stay at home and play video games. Thankfully, our dad ignored the juvenile protests and we both ended up loving the film. I had no clue what was happening story-wise, but it didn’t matter; the action was unlike anything I’d ever seen and Tom Cruise was a total BAMF, hanging from ceilings and bullet trains like it was no biggie. He was my new hero, joining the annals of Superman, Batman, and the Power Rangers. No easy feat.

The franchise may have stumbled early on with the blatantly atrocious M:I-2, but it managed to find its footing with J.J. Abrams’ entry (his big-screen directorial debut) and eventually hit a major stride with the sheer cinematic gold that was Brad Bird’s Ghost Protocol, the series’ highest grossing (without adjusting for inflation) and most critically acclaimed entry. The challenge for M:I-5: Rogue Nation was whether or not it could meet the high expectations set by its predecessor, maintaining the revitalized momentum of the franchise and securing the future of the Mission: Impossible film series.

I’ll get the bad news out of the way first: Rogue Nation doesn’t live up to the sheer exhilaration and blast of creativity that was Ghost Protocol. The good news is that it is a spectacular action film full of unparalleled stunts and sequences, and serves as further proof that this 20-year-old franchise is showing no signs of slowing. And, let’s be honest with ourselves for a minute, few things are as exciting as hearing that iconic Lalo Schifrin theme song while Tom Cruise hurls himself into one nutso action scene after another.

Tonally, Rogue Nation falls right in line with Ghost Protocol, following that film’s winning template of breathtaking action set-pieces and hilarious exchanges between our heroes. This time around, IMF agent Ethan Hunt comes head to head with the Syndicate, an agency which functions as an ‘anti-IMF,’ spreading chaos and terror wherever it sees fit.  Just as a breakthrough discovery regarding the identity of the Syndicate’s leader is made, disgruntled CIA Director Alan Hunley manages to shut down the IMF and have its resources absorbed into the CIA. Hunt’s friend and colleague William Brandt (Jeremy Renner) holds Hunley at bay while Hunt goes rogue, operating independently to uncover the Syndicate and take them down before it’s too late.

This is the first time really that Hunt has had a consistent team over the course of more than one film and it’s great to see them all back together again (with the unfortunate absence of Paula Patton, whose schedule prevented her from being in the film). Joining Cruise and Renner on this mission are returning vet Ving Rhames as series favorite Luther Stickell and the hilarious Simon Pegg as tech expert Benji Dunn. This cast has great chemistry and watching them work together to solve each ‘impossible’ provides endless laughs and thrills.

New to the crew is Rebecca Ferguson as Ilsa Faust, who gets caught up in Hunt’s crusade as she struggles with multiple allegiances. Ferguson is stunning and kicks major ass, holding her own as an action star. Baldwin is another welcome addition as CIA Director Alan Hunley, who is intent on shutting the IMF down due to their unorthodox methods, and Sean Harris gives a great turn as the big baddie, playing it straight for the most part but offering little moments of knowing goofiness. He has a lot of fun with this role, elevating the material from being more of a generic villain to a more memorable threat.

For the entirety of its running time, M:I-5 offers up one spectacular set-piece after another with Christopher McQuarrie’s guiding hand keeping things fresh and fun. Cruise’s mad devotion to performing his own stunts further proves just what a bonafide movie star the guy is. Precious few actors are this devoted to putting themselves in harm’s way to ensure their audience is fully entertained. The real pleasure of this series is in watching the odds increasingly stacked against his character and how he manages to overcome them regardless. Unlike the overtly CG-ridden summer cinema that saturates the majority of the season, the stunts here look and feel real, painfully so at times. Few things are more thrilling than watching one of the most insane car/motorcycle chase sequences ever filmed and seeing beyond any doubt that it is in fact Mr. Cruise going a zillion miles an hour on a motorcycle.

Where Rogue Nation stumbles, and what holds it back from being on the same level as its predecessor, is in the moments between the action. Where Bird managed to keep Ghost Protocol’s pace up and running at all times (even during the slower moments) McQuarrie’s direction isn’t quite as deft. Character motivations feel a bit muddled at times and stretches of the film are devoted to explaining dull, confusing plot details. But the sheer exhilaration of the action, the chemistry of the main cast, and the overall entertainment value are more than worth these minor shortcomings.

With Rogue Nation, Mission: Impossible firmly asserts itself as one of modern cinema’s best franchises. It’s fun, it’s exciting, it is, to put it bluntly, exactly what action cinema should be aspiring to in this day and age, even despite its flaws. Word on the street is that a sixth entry is due to begin production as soon as next year. Here’s hoping the creative team is able to maintain the quality of the series’ last few entries. I, for one, will be more than happy to accept whatever missions they throw my way.

This review will self-destruct in five seconds.

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Sorry, no. I don’t think that’s actually possible. I just thought that would be a cool way to end it. And then I had to go and ruin it with this additional rambling.

Actually, you know what? Maybe THIS is the review self-destructing!

I’m just gonna let myself out now.

FINAL RATING: 4/5

Paper Towns May Be Paper-Thin, But It's Still Sweet

Ah, young love - the perfect fodder for a Young Adult novel, and no author in this day and age may have cracked the genre’s formula better than John Green. Unlike a large number of his peers, the guy is actually pretty talented and comes across as a genuine, caring individual (at least through his various social media avenues). While he experienced modest success with his first few novels, he was catapulted to the level of ‘Superstar Author’ with the release of 2012’s ‘The Fault in Our Stars, which received critical acclaim and debuted at #1 on The New York Times Best Seller list for Children’s Chapter Books. The film adaptation raked in crazy big bucks so it’s only natural that other adaptations of his works would follow, hence 2015’s Paper Towns.

I have to admit something right off the bat: I haven’t actually read a single one of Mr. Green’s novels. My introduction to his work was through the 2014 film adaptation of ‘The Fault in Our Stars,’ which, despite some saccharine elements, surprised me with its pleasant earnestness and humor, not to mention the knockout performances of its two leads. I approached Paper Towns with the same amount of ignorance and zero expectations and once again came away moderately impressed, though not nearly to the extent I had been with The Fault in Our Stars. Paper Towns features a similar brand of the charm that made The Fault in Our Stars such a memorable and moving experience. What makes it inferior to its predecessor is that it never manages to connect on a deeper level beyond the surface due to a lack of well-drawn characters and a primary romance that just doesn’t work.

Right from the get-go we’re in familiar territory with an opening narration courtesy of our main protagonist Quentin Jacobsen (Nat Wolff). The narration is standard fare from screenwriting pair Scott Neustadter and Michael H. Weber, who can, at this point in their careers, adapt Young Adult novels in their sleep. Quentin takes us through a brief recounting of his relationship with Margo Spiegelman (Cara Delevingne), the girl who moved into the house across the street from him when they were kids and whom he’s been in love with ever since. Even at a young age, Margo exhibited a devil-may-care attitude, seeking out adventure at every opportunity. Quentin was more cautious, opting to play it safe. He’s totally enraptured by the allure of Margo and it carries into their high school years, even as they drifted apart to the point of not even speaking to one another.

But all of that changes one night when Margo shows up at Quentin’s bedroom window to recruit him as her getaway driver for a revenge vendetta. She’s just discovered her boyfriend has been cheating on her and a number of their mutual friends knew about it. She plans to get a little payback by pranking them all in the course of an evening, everything from catching her now ex-boyfriend in the act of cheating to saran wrapping another ‘friend’s’ car.  Quentin, although reluctant to join her quest at first, can’t resist her charms and agrees to tag along. The night ends up going down in history as one of the greatest of his life as it provides him ample opportunity to stare longingly at Margo while they drive around Orlando, Florida, blaring your obligatory repertoire of indie-rock tunes, standard for any film of this genre. When the experience comes to an end, Quentin feels like things will finally be different between the two of them, but when he heads to school the next day Margo is nowhere to be found. Turns out she’s skipped town and after discovering a couple of clues she’s left for him, Quentin is determined to solve the mystery of her whereabouts and prove his undying love and affection for her.

The film version of Paper Towns has a decent amount of things working in its favor. The performances are mostly on-point, particularly from Nat Wolff and the two lads cast as his best friends, Austin Abrams and Justice Smith. When these three boys are on screen together, everything works. They expertly capture the dynamics of a high school friendship in its twilight years. Their scenes work so well, in fact, that the film ends up functioning better when it focuses on them as opposed to the shallow romance, which is supposed to be the main point of the entire story. The script never seems to know which plotline it should give focus to and this is at the primary reason of why Paper Towns doesn’t fully work.

That and its subpar romance.

I’ll just be blunt: the core relationship that drives the mystery of the film’s entire plot simply isn’t that interesting. This is largely due to the fact that Quentin and Margo never come across as fully formed characters and neither the screenwriters nor the director give us much of a reason to buy into the idea that Quentin would abandon all logic and reason for this girl. That goes double for Margo herself, who isn’t nearly as alluring as the film seems to think she is or even all that likable. Delevingne does what she can with the material, but she just comes across as bored. It’s a shame the filmmakers never see fit to develop her character beyond her physical appearance or literary and musical tastes. (From what I can gather from those who have read the book, the source material contained the same issues.)

Despite its paper-thin premise and characters, Paper Towns managed to hold my attention and keep me entertained, if not necessarily involved, thanks to its performances and Jake Schreier’s upbeat direction. It’s not a waste of time by any stretch and fans of John Green’s work will probably go ga-ga for it. It’s just a shame that its main plot and lackluster romance aren’t given the same amount of development as the subplot that examines the bittersweet pangs of leaving high school friends behind.

FINAL RATING: 3/5

Ant-Man Wins Big By Keeping Things Small

Sometimes the best things really do come in small packages, as evidenced by the Marvel Cinematic Universe’s 12th feature Ant-Man. After the chaotic, overstuffed mayhem of Avengers: Age of Ultron, Ant-Man feels like a breath of fresh air. It has its negatives – familiar story beats; an underwhelming villain; not to mention its proceedings carry an inescapable sense of triviality. But these are easily outweighed by an overall sense of fun and a stellar lead performance from Paul Rudd.

Ant-Man scales things down significantly for a Marvel movie, both literally and figuratively. Its story follows Scott Lang, a kindhearted thief who’s just been released from prison following a legendary single-man heist. He’s determined to leave the life of thievery behind him and to make good by his 5-year-old daughter, who lives with her mother (Judy Greer) and step-father (Bobby Cannavale). Despite Scott’s good intentions, his criminal record makes it difficult to maintain a steady job and despite his reluctance he ends up getting pulled back into the thieving world by the promise of a major score. Turns out, the ‘score’ is an elaborate ruse to assess his skills orchestrated by none other than Hank Pym (Michael Douglas), a mastermind scientist and (as comic fans are well aware) the original Ant-Man. Hank was forced out of his company by its new CEO and his own ex-apprentice Darren Cross (Corey Stoll), who is hard at work developing his own shrinking formula to sell to the highest bidder. This could spell disaster for the future of mankind, so, Hank recruits Scott to help him steal Cross’ formula and ensure it doesn’t fall into the wrong hands.

Ant-Man works in so many ways it’s easy to forgive its structural shortcomings, which have become almost commonplace for Marvel Studios’ origin tales. It carries the zippy, tossed-off punchline energy of the first Iron Man, which keeps it feeling fresh and fun even as the plotting and exposition threatens to hold it back from true excellence. Director Peyton Reed does an admirable, if relatively uninspired, job keeping things breezy and exciting. The smaller-scaled action sequences are often stunning and frequently hilarious. As unfair as it might be, it’s difficult not to ponder the potential of an Edgar Wright-helmed Ant-Man film, but Reed proves to be a decent successor.

Where this film truly shines is in its casting. As I’ve already mention, Rudd’s performance is what truly elevates the material. He is a natural leading man, charming and self-effacing without being overly cloying. He’s the perfect everyman and makes it very easy to root for him. Michael Douglas is immediately likable as the original Ant-Man Hank Pym and Evangeline Lilly gives a solid turn as his daughter Hope. Lilly gets the short stick of development as the token female character/romantic interest, but she manages to hold her own and the promise that she’ll have a bigger role to play in future films helps lighten the blow. Corey Stoll as the film’s primary antagonist has to deal with the same underwritten villain territory that plagues practically all of these films, but he’s totally game for it and actually manages to elevate the material with a sheer sense of villainous glee. My personal favorite supporting characters are Scott’s personal thieving team, played by Michael Pena, David Dastmalchian, and Tip “T.I.” Harris. All three provide the best possible comic relief, with Pena being the show-stealer for practically every scene he’s in.

Ant-Man wraps up Phase 2 of the Marvel world with a nice little bow and sets the stage nicely for things to come without getting bogged down by Marvel’s incessant need to foreshadow future events and provide cameos for its other beloved characters. Though the lack of significant stakes makes it difficult to get too concerned about any of our primary players, the sheer volume of fun, laugh-out-loud moments is enough to keep Ant-Man’s head above water. Truth be told, I think I may prefer Age of Ultron, but I appreciated Ant-Man more due to the simple fact that it takes the time to tell a story and allows its characters to breath without the incessant need for constant, chaotic action.

FINAL RATING: 3.5/5

Jurassic World is Moderately Entertaining and Completely Forgettable

Jurassic World is exactly what I expected it to be.

No more. No less.

It functions as passable summer entertainment, putting forth nearly zero effort into being anything more. That’s not to say it’s a bad movie (It’s not), it’s just not a particularly memorable one. It’s about as inoffensive as can be, providing serviceable entertainment and then disappearing into the ether. Even as I was watching it, I could feel it slipping from memory and while it’s undoubtedly the best of the three Jurassic Park sequels, that’s not really saying much when you consider its competition.

Twenty-two years after the original incident, a new dinosaur theme park has been established on the island of Isla Nublar. Thanks to the ingenuity of InGen (wait a second...InGen...uity...HOW DID I NOT SEE THIS BEFORE?!?!), this new park is fully functional and enjoying great business. But it’s not enough!! The bean counters behind the scenes want more, more, more, and the best guarantee for bigger sales is bigger and badder dinosaurs.

Claire Dearing (Bryce Dallas Howard), Jurassic World’s operations manager and token female character, has been having conversations with potential investors to find a sponsor for a brand new attraction: the Indominus Rex, a genetically modified dinosaur designed to be the biggest and baddest dinosaur the world has ever seen. She’s so involved in her work that she doesn’t have time to hang out with her visiting nephews, Zach and Gray. (Nick Robinson and Ty Simpkins respectively) The kids, whose parents are in the midst of a messy divorce, are put in the care of Claire’s assistant in order for Claire can deal with the ‘more important’ things. They escape their babysitter and scamper off to enjoy the park’s attractions on their own.

Elsewhere on the island, dino-expert Owen Gray (Chris Pratt) is training a group of Velociraptors. InGen’s head of security Vic Hoskins (Vincent D’onofrio) hopes to raise the ultimate Dino Squad fighting force to sell to the army for some big bucks. Owen’s not a fan of this plan, insisting that the key to controlling the dinosaurs is by developing and maintaining a personal relationship with them, but Hoskins doesn’t care because, you know, he’s a bad guy and he doesn’t care about feelings. Poor D’onofrio, who excelled as Wilson Fisk in Marvel’s Daredevil series, gets stuck with playing ‘Generic Main Villain #3’ this time around, and despite his best efforts, he can’t quite overcome the lack of material.

All of this setup is basically just biding time for the inevitable dino mayhem, which makes it feel little more than inconsequential. Once the Indominus Rex manages to escape and wreak havoc on the park’s attendees, the film more or less follows the original Jurassic Park’s story beats: Dinosaurs break free, chaos ensues, people get eaten. Wash, rinse, repeat.

I’ll give credit where credit is due, Jurassic World is certainly not a boring film. The action is impressive considering director Colin Trevorrow’s (Safety Not Guaranteed) relative inexperience with this genre. Some of his sequences are even, dare I say it, kind of exciting. Additionally, it’s a thrill to see the Dino-Park in all its functioning majesty, as is the sight of Chris Pratt riding into action on a motorcycle with his Velociraptor posse in tow. But beyond the surface-level entertainment, I didn’t feel very invested in anything happening on screen. Despite Pratt’s charms and Howard’s general likeability, neither character feels fully formed beyond their types. The forced romance between them feels awkward and unearned. Likewise, the two kids feel more obligatory than necessary. The main plus they offer is allowing us the opportunity to see the theme park in all its glory, including a giant whale-like dinosaur that eats sharks for breakfast. Literally. But when the bombardment of CG action starts you’ll be hard-pressed to care much about any of them.

Truth be told, I felt more invested in the dinosaurs than the humans. I loved the Raptor Squad and the Indominus Rex makes for a formidable foe, even if the concept of a ‘highly intelligent’ dinosaur already feels tiresome. I felt worse for the dinos that functioned as innocent bystanders than I did the actual human bystanders. There’s this awful scene where Pterodactyls run rampant and you can see them carrying off a poor little baby Triceratops. That got more of a visceral reaction out of me than anything that happened to the humans...so kudos to the animation department!

There’s another particularly emotional scene where Owen and Claire comfort a dying Apatosarus, one of the victims of Indominus Rex’s rampage, which was far more affecting than anything else in the entire film.

While I can appreciate the attempt on behalf of director Trevorrow and screenwriters Rick Jaffa, Amanda Silver, and Derek Conolly (Jaffa and Silver wrote Dawn of the Planet of the Apes; Conolly wrote Trevorrow’s Safety Not Guaranteed) to instill Jurassic World with an underlying ‘bigger doesn’t necessarily mean better’ theme that seems to be a comment on the state of cinema in this day and age, it can’t help but feel more than a little hypocritical. After all, Jurassic World is exactly the kind of movie it’s supposedly condemning; it’s like your drunken uncle constantly cracking jokes about the cliche ‘Drunken Uncle’ stereotype. It doesn’t make any sense.

Additionally, the screenplay is full of clunky exposition and dialogue. Characters’ backstories are awkwardly recounted to individuals that are already well-aware of said information, and it always seems to happen at the most inconvenient time. For example, the two kids, Zach and Gray, are sitting on a monorail on their way to see another marvelous attraction. Unprompted, the younger one (Gray) starts to talk about their parents’ divorce. As Gray sobs, his older brother desperately tries to comfort him. The moment comes out of nowhere, and feels like a desperate attempt on the screenwriters’ part to make us care about these two.

But let’s not kid ourselves: no Jurassic Park sequel will ever live up to the majesty and sheer thrill-ride splendor that is Steven Spielberg’s 1993 classic. That singular work not only raised the bar for special effects and cinematic entertainment, but also gave us lovable characters and reasons to root for their survival. Trevorrow and co. try their darndest to give us a reason to care about Jurassic World’s characters, but never succeed in making any of them live and breathe in the same way Jurassic Park did. The whole thing just feels too calculated; it lacks that elusive Spielbergian touch.

That being said, Jurassic World managed to keep me entertained, even as it struggled to keep me engaged. It’s undemanding fun and has some nice fan-pleasing moments. Chances are you’ll forget about the movie as soon as you leave the theater. If your life was sorely missing a rampaging ‘Dinosaurs Eat People and Destroy Stuff’ cinematic experience, Jurassic World will be the answer to your prayers. But the ‘Dinos Eat People’ concept can only take us so far. At a certain point, this franchise will need to evolve and provide more substance if it wants to survive creatively. Judging from the opening weekend box office numbers, the writers/directors probably won’t need to worry about straining their creative sensibilities too far in order to rake in the big bucks, but here’s hoping they pay attention to Jurassic World’s message and try a little harder next time around to give us a product with some soul.

FINAL RATING: 3/5

Going Mad for Max - Reviewing the Mad Max Trilogy

Greetings and salutations, folks! It's been a while, hasn't it? As much as I'd love to keep up with this film review blog, things have been kinda busy lately. I've been serving as the head editor for a brand spankin' new TV review/news site called ShowVote. If you haven't already, you should definitely give it a looksee; we've got some cool stuff in store for you.

But, anyway, let me get to the point. I'm MAD. That's a fact!! I found out I won't be seeing Mad Max: Fury Road until tomorrow (Saturday, May 16) and I don't want to wait any longer! In order to ease my nerves as I countdown the hours to the screening, I've decided to take a look back at the original trilogy. Here's what I thought. 

MAD MAX (1979)

I don’t know what I was expecting when I sat down to watch Mad Max for the first time. Judging from the hype surrounding the film that put both director George Miller and star Mel Gibson on the map as well as its glowing reputation, I anticipated a rollicking action flick with car chases galore. But take away the hype, the nostalgia factor, and the unquestionable visual influence it’s had on other action movies and you’ll find Mad Max is a surprisingly tame viewing experience.

Really, the most impressive thing about the film is its history. Originally a doctor, Miller had never directed a film prior to Mad Max. It was made on a shoestring budget of roughly $400,000 (in 1979 Australian dollars) and went on to become one of Australia’s highest grossing films ever, bringing in about $100 million worldwide. Considering the minimal resources at hand and the limited experience of everyone involved, Mad Max is impressive. However, it is lacking in far too many categories to earn a wholehearted recommendation. It’s actually, dare I say it, kind of dull. It contains none of the wit, excitement, or creativity found in its vastly superior sequel The Road Warrior, and barely stands on its own two feet as a satisfying viewing experience.

It’s a bit odd that the film advertises itself as a revenge flick, seeing as how Max doesn’t really engage in his personal vendetta until the final 15 minutes of the runtime. (The title ‘Mad Max,’ then, becomes a bit of a cop-out – he doesn’t even get mad until the very end!) And with the exception of those final moments and the extended car chase sequence that opens the film, the rest is a bit of a slog. The whole thing feels like a first act with an inciting incident an hour into it and a rushed 2nd and 3rd act in its final 30 minutes. Sure there are colorful characters - an unhinged performance from Hugh Keays-Byrne as the main villain Toecutter gives the film a much-needed energy boost - but for the most part, Mad Max has a tendency to drag...and I don’t mean like the races. Its screenplay is about as bare-bones as it gets, containing neither a compelling story or interesting characters, and the action - what little there is -  just isn’t satisfying enough to hold up the rest of the picture.

And what about Max himself? Well, he’s a bit of a cipher. Mel Gibson exudes star presence, but the role doesn’t offer much in the way of charisma. He spends a lot of time looking worried and running around, but he doesn’t really do much until the end. He’s more of a Sad Max than a Mad Max. (*Cue Audience Laugh Track*)

Despite its shortcomings, Mad Max should be commended for putting the Australian film industry on the map and for its visual influence. It’s also worth checking out to see the advent of not only Miller’s career, but Gibson’s as well. Outside of those things, its status as a cinematic classic doesn’t feel justified.

FINAL RATING: 3/5

THE ROAD WARRIOR (1981)

Now that’s more like it.

Where my viewing of Mad Max left me feeling underwhelmed and a little sleepy, Mad Max 2: The Road Warrior left me feeling exhilarated and exuberant. It’s clear from the first frame why this one has been hailed as not only the best of the trilogy (though it won’t be a trilogy for much longer) but as one of the most beloved action films of all time. It’s a thrill ride of the finest order, wrought with excitement, cute dogs, lethal boomerangs, explosions, fast cars - everything a growing boy needs! Lots of films over the years have tried to match its level of frantic energy, but few have come close. The Road Warrior stands alone as a primal force of action cinema.

The setting is not only desolate, but an emotional vacuum. A waste bin for hope and desire. Some time in the not-too-distant future, the economy has collapsed resulting in war and chaos. The world has fallen apart and all that remains is the desert and the road. Both are ruled by scavengers and madmen, hellbent on wreaking havoc and destruction wherever they may roam. Gasoline is more precious than any other resource and if you don’t have a car with a full tank to keep you on the move, you’d better get the hell out of the way.

Who do you reckon is at the center of it all? Mad Max, bitches. Much to my delight, Max starts out mad and stays that way through pretty much the entire film. (And this time he’s got a doggy with him! I award this movie 5,000 points!) With the aid of the Gyro Captain, a creepy looking fella with a gnarly flying contraption and even gnarlier teeth, he stumbles upon an oil-refinery which doubles as a small settlement for a band of survivors. The community is under constant attack by the fearsome mohawk-sporting Wez and the hockey-masked maniac Humungus. Yes, this is the kind of movie that has characters named Humungus. Max casts his lot in with the settlers to help them escape with their gasoline, as long as he gets to keep a large portion for himself. This results in a 15 minute chase scene near the film’s end that goes down as one of the best ever committed to celluloid.

Where Mad Max 1 felt unfocused and lacking in the way of action or compelling story content, The Road Warrior contains enough action for the both of them and it pays little mind to plot or nuance, opting instead to run on pure adrenaline. That might sound like a knock of sorts, but the truth is that it works wonders. The simple plot keeps the film from getting bogged down by extraneous detail and clears the way for breathtaking action and car chase sequences. In some ways, Mad Max 1 feels like an extended appetizer with The Road Warrior serving as the main course.

Not only does The Road Warrior feel more focused than its predecessor, it also has a stronger sense of identity. Tonally and aesthetically, each Mad Max film feels like it could be its own standalone film, but this one stands head and shoulders above the others as being the most distinct. The vast wasteland, unforgettable characters, and incredible art direction are captured with striking clarity by George Miller who is aided this time around by cinematographer Dean Semler. Miller’s direction seems more refined here, but still maintains the manic, untrained energy of his work in the original Mad Max.

While I wouldn’t go so far as to call The Road Warrior the greatest action film ever made, it certainly belongs on any list of great action films. Of the first three Mad Max films, it is the only one I would recommend checking out without hesitation. Which I guess brings us to the third and, for a long time, final Mad Max film...

FINAL RATING: 4/5

MAD MAX: BEYOND THUNDERDOME (1985)

What the hell was that?

After watching Mad Max: Beyond Thunderdome for the first time, I contacted my friend Matt to express my disappointment about there being barely any Thunderdome in the movie.

His sardonic response: “Well, technically you got exactly what the movie title was advertising. It’s BEYOND Thunderdome. So you get to see Thunderdome briefly and then you never get to see it again!”

What a shame, because the Thunderdome sequence is the movie’s only good one. The rest is a godawful mess. I guess after swinging the quality pendulum so far in the ‘good’ direction with The Road Warrior, things were bound to swing even further in the opposite direction.

Mad Max #3 feels as if George Miller wanted to make a movie about one thing...and then decided to throw in a couple totally different ideas for good measure. Then co-director George Ogilvie strolls in and decides he wants to throw in a few more of his own ideas as well and they just combined it all into a total wreck of a story, added a car chase at the end, and slapped the ‘Mad Max’ title on it to earn some easy bucks. It’s undoubtedly the weakest entry in the Mad Max series and is flat out awful. Not even Tina Turner’s ‘We Don’t Need Another Hero’ can save this one.

Fifteen years after the events of The Road Warrior, Max (who only looks one or two years older, even with his unruly Braveheart haircut) comes across Bartertown, a remote city run by Aunty Entity a.k.a. Tina Turner. His transport is stolen and in order to get it back, he strikes a deal with Aunty to kill Master Blaster. (Miller’s talent for naming characters remains unparalleled.) Master Blaster is actually two men, one (Master) is a midget on the back of a much larger, armored man (Blaster).  The dude’s a bit of a pain in the ass for Aunty. She may run Bartertown, but he’s the only one who knows how to operate the town's power. He taunts her by switching it off and forcing Auntie to announce that he is the ruler of Bartertown before he’ll switch it back on.

At Auntie’s bidding, Max challenges Master Blaster to a throw-down in the Thunderdome, an arena/cage where ‘two men enter, one man leaves.’ The two are strapped into bungee-like contraptions that allow them to hop around like a drunken Spider-Man. An assortment of weapons are strapped to the walls of the cage to be used at their leisure. It's kind of great.

So, everything I’ve described above makes up about the first thirty or so minutes of Beyond Thunderdome, and they are the film’s best by far. The second act switches gears entirely with Max getting banished to the desert for not killing his foe in the Thunderdome. He stumbles on a settlement run by a bunch of kids pulled straight from every awful kid-pandering 80s movie ever made and, for some reason, he spends the remainder of the movie trying to help them.

I think all this kid stuff is at the core of what makes Beyond Thunderdome’s so lame. First of all, the film is rated PG-13 where the first two were rated R, so the level of unflinching violence and mayhem is toned down. Second, the kids’ storyline feels so unrelated to everything that’s been set up in the film’s first act that it’s essentially its own movie. Max contributes very little to this second act. The third act deals with Max trying to get all the kids to a safe place. He steals Master from Bartertown for some reason and (FINALLY) a car chase ensues, one that isn’t nearly as exciting as the ones in The Road Warrior or even Mad Max 1. The overall picture is so thematically jumbled and all over the place, it’s hard to get a solid footing. The lackluster action helps nothing.

With a title like ‘Mad Max: Beyond Thunderdome,’ I would hope for something even more madcap than even The Road Warrior, but instead, Beyond Thunderdome feels lifeless and thematically castrated. It’s a shame the trilogy had to go out with such a resounding whimper of a sigh. But, perhaps hope is not lost...for another road looms on the horizon...a Fury Road, one might call it.

FINAL RATING: 2/5

There you have it. How'd I do? Am I on-point with my critiques or totally off my rocker? Or both?

Whiplash makes me not wanna work, I just wanna bang on the drum all day

Think a movie about music couldn’t possibly keep you on the edge of your seat, gasping for breath by its final frame? Hoo boy. You have no idea what you're in for. Whiplash is an absolute powerhouse of a film. It’ll keep you riveted from beginning to end. By its masterful conclusion, you’ll feel like you might drop from exhaustion in the best way possible.

Andrew Nieman (Miles Teller) has a major passion for drumming and jazz. He attends Shaffer Conservatory in New York, the finest music school in the entire country, and spends every waking moment dreaming of being 'one of the greats,' like his hero Buddy Rich. His dreams are put to the test when he meets one of the institution's most infamous conductors Terence Fletcher (J.K. Simmons), who recruits Andrew as an alternate drummer for his Studio Band. Fletcher is determined to bring out the best in his students, by any means necessary. And I mean by any means necessary. No matter what kind of physical and mental turmoil he inflicts, Fletcher’s convinced he’s working towards achieving a greater good. Andrew is caught directly in his spotlight and the two engage in a psychological battle of the ages that will leave Andrew bruised and battered both physically and emotionally. You’ll feel exactly the same way by the time the end credits roll.

Whiplash’s plot is simple and it hits a lot of familiar beats (did you see what I did there? Beats. Like it’s a…never mind), but presents them in such a fresh and compelling way that you’ll never know exactly what’s going to happen. It's a drama in the guise of a thriller and its levels of intensity rival those of even the most suspenseful films. Writer/Director Damien Chazelle, still in his twenties, already exhibits a mastery of his craft that most seasoned directors can’t even lay claim to. Every frame bursts with energy, some of which boils beneath the surface before unleashing its full fury.

As great as Chazelle’s work is, what carries this film off into the stratosphere is the talent in front of the camera. Miles Teller and J.K. Simmons give two of the most enthralling performances of their careers. Teller is one of this generation’s finest young actors and he continues to show his diversity as a performer. I’m amazed he’s been so ignored this awards season; this is one of 2014’s best performances, hands down. Of course, as we’re all well aware, J.K. Simmons is the guy to beat for the Best Supporting Actor category and now that I’ve finally seen Whiplash there’s no question as to why that's the case. Simmons is one of the decade's best on-screen villains thus far. I was so on edge every time he was on screen and I loved every moment of it. It’s a stunning performance and I’m so thrilled Simmons is finally getting his due. (Hey, there's a reason Sony's reluctant to include J. Jonah Jameson in their abysmal Amazing Spider-Man franchise - they know they'll never top Mr. Simmons, and rightfully so)

Whiplash is mesmerizing, hypnotizing, thrilling, funny, painful, and totally exhilarating. Really, I can't come up with enough adjectives to describe how great it is. It deserves every bit of the praise and attention it’s getting this awards season and even more so. It's easily earned its place amongst my favorite films of 2014, which is just about the highest honor any movie can receive, and I can’t wait to see what Chazelle does next. Whiplash is back in select theaters to get a quick Box Office boost from its recent Oscar nominations. Get out there and see it as soon as you can!

FINAL RATING: 5/5

American Sniper Isn't Quite the Sharpshooter We Hoped For

Throughout his four tours in the Iraq War, Navy SEAL Chris Kyle accumulated 160 confirmed kills out of 255 probable kills, making him the most lethal sniper in U.S. military history. He received numerous medals and commendations for his bravery and services and in 2013 was murdered by one of the many war veterans he had devoted his post-war career to helping. Many of his accomplishments are referenced in Clint Eastwood’s biopic, which is based on Kyle’s memoir American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History. Sadly, a feeling of disingenuousness hangs over the proceedings due to a mediocre screenplay and uninspired direction. Despite an excellent performance from Bradley Cooper, American Sniper is a major disappointment.

The plot unfolds in predictable fashion. We’re treated to a brief glimpse of Kyle’s childhood in Texas where, of course, a parental figure imparts some divine wisdom on him which will inspire his character for the remainder of the movie. We see Kyle’s fledgling career as a bronco rodeo rider and his decision to join the Navy SEALS. He meets his wife at a bar shortly thereafter in an awkwardly portrayed ‘meet-cute’ scenario that feels pulled from the pages of countless other sequences of the same make and model. Before too long, Kyle is swept off to war and it’s here that the movie finds its wobbly stride.

Eastwood’s direction is most impressive during the action sequences, in which we witness the intensity and violence of Kyle’s four tours and his impeccable skill on the battlefield. But for all the bloodshed displayed on screen, American Sniper feels unusually bloodless. It’s a by-the-numbers biopic, jumping from one moment to the next, never bothering to color in any of the details along the way. There are so many scenes where some random character reminds Kyle about all the amazing things he’s done over the course of his career as a SEAL, but we never get to experience any of these moments with him. The cinematic mantra ‘Show, don’t tell,’ is broken far too often and as a result we’re treated to far too many instances of ‘Remember when…’ that would have carried far greater impact if we’d actually seen them.

Maybe the ‘telling’ wouldn’t be so bad if Jason Hall’s screenplay wasn’t filled with such awful dialogue. Hall has plunged into the deepest depths of army biopic clichés and emerged with the motherload. He hits every major biopic bullet point, including a love interest who nags and grates and cries throughout the movie, without ever coming into her own as a fully formed character. It’s hard to get invested in these characters when everything they say carries the gravitas of a play written by a high schooler. Of course, Sienna Miller playing the part of Kyle’s wife is the biggest victim here. Forced into a role as the film’s melodramatic center, she does what little she can to keep things afloat, despite a stunning lack of material to work with. Other supporting characters are just blurred lines in the background with nary a personality to differentiate them from one another.

It may be a decent effort, but American Sniper can’t shake an overall vibe of artificiality. Bradley Cooper tries to pull the rest of the film up to his level – his performance is the only thing that feels genuine in the entire movie - but try as he might, he can’t hide Hall’s second-rate script and Eastwood’s stagnant direction. It’s not that the movie’s horrible; it really isn’t. It just feels so passionless. It never delves beyond a surface level and spends more time telling us how great Kyle was rather than actually showing us why. Clint Eastwood is a living legend and a great filmmaker, but this is definitely one of his weaker efforts.

FINAL RATING: 3/5

Inherent Vice is more of an Incoherent Mess

Inherent Vice is pretty much incomprehensible and I have little doubt that’s exactly what Paul Thomas Anderson intended when he set out to adapt Thomas Pynchon’s novel of the same name. Sadly, this doesn’t make it any less of an endurance test to watch, which is unfortunate considering the talent both in front of and behind the camera. Sporadically funny and occasionally intriguing, but not consistent enough in either category to merit a high recommendation, Inherent Vice is a major disappointment from one of the finest American filmmakers of this day and age.

Joaquin Phoenix is the guiding force through this nonsense as Larry ‘Doc’ Sportello. Doc is a private detective for hire in the early seventies. His world is turned upside down when his ex-girlfriend Shasta (the beautiful Katherine Waterston) stops by to ask for a favor. Something about her new lover’s wife trying to commit the guy to an insane asylum. Doc agrees and is plunged into a whirlwind labyrinth of a plot, chock-full-o’ countless characters and situations that never gel into a coherent whole.

At the very least the cast is great. As I mentioned previously, Phoenix is a revelation, per usual. Whatever charm and enjoyment can be derived from this dull film is mostly thanks to his hilarious performance. Josh Brolin is another standout as a Detective who tries to get Doc to function as an informant for the LAPD.

Doc’s state of mind is a perpetual haze, exacerbated by his non-stop pot smoking, and it’s clear P.T. Anderson wants the audience to feel the same way. I get it. We’re supposed to be in a constant state of confusion. That doesn’t excuse how boring the movie is. The whole thing feels like Anderson’s answer to the Coen Brothers’ masterful The Big Lebowski, but without the consistent laughs or the strong screenplay and characters. At 150 minutes, Inherent Vice gets real old real fast and it throws so many plots and extraneous characters at the audience that you’re almost guaranteed to never ever care about anything that’s happening.

FINAL RATING: 2.5/5

Catching Up on 2014's Best and Brightest: Selma

In March of 1965, approximately 600 proponents of the civil rights movement led by Dr. Martin Luther King Jr. marched from Selma to Montgomery, Alabama. This march was a major landmark in the fight for racial equality and was capped by President Lyndon Johnson’s signing of the Voting Rights Act of 1965, which reinforced Americans’ right to vote, regardless of color or creed. It’s a remarkable story and a significant moment in U.S. history. In her third feature film, director Ava DuVernay depicts in unflinching detail the events leading up to the march from Selma to Montgomery and the struggles faced by the community who fought for equality in a tumultuous time period. Selma is heart-wrenching and unforgettable. That one can say its subject matter feels relevant in our current day and age is disturbing to say the least. In the wake of the events involving Ferguson and Staten Island, Selma’s release doesn’t just feel timely, it feels necessary.

DuVernay effectively captures the tension of these events and the bravery of the men and women who stood up in the face of adversity at great risk to their lives. The performances are strong across the board – Carmen Ejogo is superb as Coretta, Dr. King’s wife; Tim Roth is almost too good as the governor who fights off racial equality at every turn George Wallace. But it's David Oyelowo’s portrayal of Martin Luther King Jr. that stands head and shoulders above the rest. Oyelowo expertly captures both Dr. King’s inspiring presence and his vulnerability. Dr. King was not so great as to be above fault, something he was well aware of himself, and Oyelowo’s performance aided by DuVernay’s direction and Paul Webb’s screenplay keeps his humanity in sharp focus. It’s one of 2014’s finest performances.

Selma is not without its faults. DuVernay’s direction is admirable, but feels a tad routine at times, lacking in inspiration. Likewise, Webb’s commendable screenplay can’t fully resist over-reliance on a few storytelling tropes that seem to be synonymous with the ‘based on a true story’ genre. Some embellishments, such as conflicts between characters that feel a bit too contrived, take away from the authenticity and strength of the story. It’s a shame because the story and the events portrayed are powerful enough without these trappings.

Despite these minor squabbles, the overall impact of Selma is undeniable. Ignore the superfluous arguments regarding supposed historical inaccuracies; these do not dim the overall impact of the film in any way, nor do they distract from the overall significance of its message. Selma might not be 2014's best film, but it is arguably one of its most important. A definite must-see.

FINAL RATING: 4/5

Shawn Eastridge's Fantastically Spectacular Favorite Movies of 2014 Part 3: Favorite Films of the Year Vol. 2

And here we are, ladies and gentlemen! I'd like to personally congratulate each and every one of you for making it this far. This is the big finale, the moment you've all been waiting for! Starting with #10 and moving our way up, here, at long last, are my…

TOP TEN FAVORITE MOVIES OF 2014

("You don't think it's too subtle, Marty, you don't think people are going to drive down and not see the sign?")

10. SNOWPIERCER

Arguably the most original action film of 2014. Joon-ho Bong is an amazing filmmaker and he continues to prove himself as such with this thrilling and unforgettable experience. Gotta love Tilda Swinton as a total nut.

9. DAWN OF THE PLANET OF THE APES

The eighth film in the Planet of the Apes franchise is arguably the best of the bunch. It's a stunning achievement on nearly every level, deepening the themes and characters of its predecessor. The effects are extraordinary, but even more impressive is just how affecting the story is. Matt Reeves is quickly becoming one of the best directors of this day and age and Andy Serkis continues to cement himself as one of the greatest actors ever.

8. EDGE OF TOMORROW

One of the most unfairly overlooked movies of the year, Edge of Tomorrow is also one of 2014’s most original, both exciting and consistently entertaining. Think Groundhog’s Day meets sci-fi action super kickass extravaganza and you'll start to get the idea, but even that description doesn't do full justice to how awesome it is. It's nice to see both Tom Cruise and director Doug Liman back on track after a string of disappointments.

7. GONE GIRL

Another hypnotizing thriller from David Fincher. Based on Gillian's Flynn superb novel, Gone Girl functions as both a black comedy of the highest order and a taut, well-spun mystery with amazing performances from Ben Affleck, Rosamund Pike, and the rest of the supporting cast. Trent Reznor and Atticus Ross craft another incredible soundtrack and Jeff Cronenweth's cinematography is some of his best work yet.

6. THE LEGO MOVIE

So much energy, so much heart, so much fun. The Lego Movie is hilarious and even finds the time to be incredibly touching. One of the best animated movies I’ve ever seen.

5. CHEF

Simple, hilarious, and immensely charming, Jon Favreau takes a break from big budget filmmaking to deliver one of the finest films of his career and one of 2014’s most endearing. In some ways, it feels like a successor to the great Jimmy Stewart/Frank Capra collaborations, and that's quite an achievement.

4. CAPTAIN AMERICA: WINTER SOLDIER

Everyone's still going gaga for Guardians of the Galaxy and rightfully so, but I firmly believe the award for best Marvel movie of 2014 belongs to the Captain. Captain America: Winter Soldier takes the Marvel franchise into exciting new territory, deservedly meriting comparisons to Christopher Nolan's masterpiece The Dark Knight. It also stands tall as one of the year’s finest action flicks. Captain America: Winter Soldier continues Marvel Studios' winning streak, upping the stakes for the entire Marvel franchise and further developing its characters.

3. THE GRAND BUDAPEST HOTEL

Nobody makes ‘em like Wes Anderson and he continues to prove this point, following up his 2012 masterpiece Moonrise Kingdom with yet another work of genius. Incredible performances from one of the best casts Anderson has ever assembled (and that's saying a lot) matched with one of his best screenplays and trademark unforgettable imagery. Anderson has an unparalleled imagination (gotta love his use of different aspect ratios to indicate different time periods) and The Grand Budapest Hotel serves as further proof that he is one of the great artistic minds of our time.

2. BIRDMAN

I adore Birdman with all my being. On every level, from Alejandro González Iñárritu's direction and the unparalleled work of cinematographer Emmanuel Lubezki to the incredible cast, which features the likes of Michael Keaton (giving a career-defining performance), Edward Norton, Emma Stone, and Naomi Watts; from one of the best screenplays of the year to Antonio Sanchez's jazz-infused whirlwind of a soundtrack, Birdman is an indisputable masterpiece and one of the single most remarkable films I have ever seen. Hilarious and heartbreaking.

1. BOYHOOD

And now we come to it, a film that has the power to invoke more hyperboles than every other movie released in 2014 combined (or perhaps the entire century thus far). And yet, there's no other way to put it, because in the entire history of film there is simply nothing quite like Boyhood. Filmed over the course of 12 years, following the life of a young boy and his family, Boyhood is a singular cinematic experience and a celebration of life, rejoicing in the little moments that make us who we are. Richard Linklater has made quite a few remarkable films in his career, but this stands as one of his finest moments and perhaps the crowning achievement of his entire filmography.

And there you have it! Agree? Disagree? Something in-between? I'd love to hear about it! Thanks so much for checking out my favorite films of 2014. We'll see you in Sweden!…er…2015!