Director: Spike Lee
Writers: Mark Protosevic
Stars: Josh Brolin, Elizabeth Olsen, Samuel L. Jackson

Synopsis: Obsessed with vengeance, a man sets out to find out why he was kidnapped and locked into solitary confinement for 20 years without reason.

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DIRECTION
As with any remake, the main question people will ask is how it compares with the original and Spike Lee’s Oldboy doesn’t quite make the cut. Lee adds some descent, but not great, new elements and changes up a few things to make it interesting. His camerawork, as usual, is pretty good and is pretty creative in some areas. Lee uses the flashback’s in a unique way that keeps the characters involved as they and you, the audience, see’s how the scenes play out. The aesthetic Lee creates is similar to Park Chan-wook but it has the 2013 vibe that you’d expect and need from a remake. Where Lee fails, is in the development of the overall story and the big moments from the original fall flat here. Overall, it’s rushed and needed a little more depth to allow for the story to work. To Lee’s credit, the producers cut his 140 minute version down to 105 minutes which played a crucial role in that. However, Non-fans may find this version of Oldboy okay but avid fans will for sure be disappointed.

Grade: C+

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SCRIPT
Mark Protosevic’s script, again probably effected by the producers cuts, hits most of the main elements but needed to dig a little deeper. The story is mostly shallow, underdeveloped and misses out on all the things that make the original film so great. The story is already pretty grim and depressing but this doesn’t add anything new or interesting enough to stand out on its’ own. The modernization changes were unique and made the story more relatable to the American audience of today, but I still question the authenticity. The dialogue doesn’t hit very many emotional beats and sometimes makes the characters seem laughable, especially in death moments. The main villain’s plot is arduous but on some levels, very hard to buy into. It’s just as disturbing as the original, but it’s not as well explained and is even more confusing. Again, I think the final cut makes it seem worse than perhaps what it was, but given what we see, it needed more. Overall, it’s not the worst script for a remake but there’s not much new or exciting about it.

Grade: B-

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MOVIE REVIEW: Philomena is the best “true story” film this year.

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PERFORMANCES
Josh Brolin does a pretty good job as our main character, Joe Doucett who is kidnapped for 20 years, without knowing why, and then without reason is finally released. His character changes aren’t as well written but Brolin does a good enough job of trying to make you care. Some of his developments are hard to believe but it’s not because of Brolin, he’s strong enough. Elizabeth Olsen shows me why I love her and why she’s the best Olsen sister. She shows some good emotional ranges and was very good, even though she wasn’t given much to do. Samuel L. Jackson goes back to his swearing mantra where every other word needs to start with the letter “F”, which is always funny and gives him character. Again, he’s not given much to do but he’s still effective. Some of the death scenes were not shot nor were they performed well. Some of the supporting roles ended in some laughable ways and in a film that’s anything but laughable, it took away from some serious moments.

Grade: B+

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SCORE
Roque Baños’ score is incredibly boring and is a big disappointment. The score for the original Oldboy was very, very good and added some great touches to the movie which made it really fun and entertaining, even in a story that is grim and depressing. That’s not easy to do. Baños only manages to make the film worse with anything that is uninspiring. The music adds absolutely nothing to the film.

Grade: D

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FINAL THOUGHTS
“Spike Lee’s” Oldboy is rushed, undeveloped and if you haven’t seen the original, you’ll feel lost. The story is not explained well and is a huge disservice to the twist that is supposed to hit you hard. The final end sequence is different than the original and was easily one of the best parts of the movie. It’s really fitting and is probably the only thing that really separates itself well. Overall though, this is a product of bad editing from a studio that just “didn’t get it”. When studios get this much involved, it’s usually not a good thing and it’s always disappointing. Let the filmmakers do what you’ve hired them to do; make a good film. The producers butchered a movie that may have had potential to be something good, but instead, we only get a semi-inspired remake that was completely unnecessary.

Overall Grade: C+

Director: Stephen Frears (High Fidelity, The Queen)
Writers: Steve Coogan, Jeff Pope, based on “The Lost Child of Philomena Lee” by Martin Sixsmith
Starring: Judi Dench (Skyfall, Shakespeare in Love), Steve Coogan
Synopsis: A world-weary political journalist picks up the story of a woman’s search for her son, who was taken away from her decades ago after she became pregnant and was forced to live in a convent.

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DIRECTION

The true story of Philomena Lee’s half-century search for her son didn’t take nearly as long to reach the big screen once the book was published in 2009. It should take only one time through the film or book to realize why. Tackling controversial subject matter is nothing new for Stephen Frears, as he successfully directed The Queen in 2006 which was destined for controversy regardless of how Her Majesty was portrayed. However, this time he chose to take on a story that involves the Catholic Church and the Irish government incarcerating over 10,000 women in state-run Magdalene Laundries (see: Ireland apologises for ‘slave labour’ at Magdalene Laundries) and selling their children in such a way that they theoretically could never reconnect. Frears masterfully and delicately handles each plot turn and development and delivers what is easily one of the year’s most captivating, eye-opening, and important films of 2013. The way that Philomena Lee is portrayed, the accuracy of the Church’s horrific actions, and the overarching delivery of it all combines for some very overdue cinematic justice to thousands of victims. The story never gets boring or muddled and the performances Frears’ delivers to the screen from a superb cast are indeed memorable.

Grade: A+

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SCRIPT

The screenplay was based on The Lost Child of Philomena Lee which was written by Martin Sixsmith (the character portrayed by Steve Coogan in the film). By all accounts I’ve come across, the screenplay stays true to the story for the most part, giving a much more accurate adaptation than Hollywood usually delivers. Of course, the film was produced by the BBC as well as some credit going to Canal+ and the British Film Institute. What you need to know is that the screenplay injects humor and grace into a story that could easily play entirely dark. The criticisms of religion are almost entirely avoided in order to bring the focus directly on this particular situation, and although Martin and Philomena do go head-to-head at times with Sixsmith being the non-believer, it is tastefully done and shouldn’t anger either demographic.

Grade: A

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PERFORMANCES

Judi Dench portrays Philomena Lee in such a way that audiences will not only fall in love with her but also the performance. Similar to Robert Redford’s performance earlier this year, Dench gives us a performance that utilizes the experience of her veteran A-list status and incorporates the wisdom of Philomena’s story and situation. Coogan is the perfect supporting man (or in this case newsman) for Dench and he seems to know how to let her showcase her skills and still hold his own. Together, they make for one of the best on-screen pairs this year. Dench’s range may not be on the level of Redford’s in this film, but with Philomena being an optimistic and enthusiastic sweetheart of a lady, she didn’t need to focus on extremes. She is consistently Philomena and never Judi Dench, a compliment rarely given to or earned by established stars.

Grade: A+

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SCORE

Frears manages to employ the composing talent of Alexandre Desplat again who received an Oscar nomination for his work with Frears on The Queen back in 2006. Since then, he’s been nominated for scores for The Curious Case of Benjamin Button, Fantastic Mr. Fox, The King’s Speech, and Argo. It goes without saying that this guy is at the top of his game, and he again produces a great score to go along with a great movie. He likely won’t receive an Oscar nod this year simply due to the fact we’ve had so many great scores, but this is one of the hidden gems of 2013.

Grade: A

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Final Thoughts:

If you love movies, you should see Philomena. Stories like this are stranger than fiction, and thankfully Philomena provides a nice way for audiences to learn a great deal and enjoy a great movie at the same time. Judi Dench should get a ton of recognition for this, but an Oscar win seems unlikely. That doesn’t really matter though, since this film is in itself a great achievement for all that were involved.

Overall Grade: A+

Director: Jean-Marc Vallée
Writers: Craig Borten (screenplay), Melisa Wallack (screenplay)
Stars: Matthew McConaughey, Jennifer Garner, Jared Leto

Synopsis: In 1985 Dallas, electrician and hustler Ron Woodroof works around the system to help AIDS patients get the medication they need after he is himself diagnosed with the disease.

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DIRECTION
Jean-Marc Vallée’s Dallas Buyers Club is a film that is moving and let’s the characters and performances carry it all the way through. Vallée isn’t set on telling a narrative, but rather introduce you to some characters that have a need and a story that they want to tell. The movie is shot beautifully yet it’s very simple in terms of technique. There are a few defining shots that enhance the characters and their transformation, such as when a man opens the door for Ron and he’s never had that happen to him before. Brilliant decision-making by Vallée. He really let’s the characters shine through and through which is what was needed. The visual style was very mid-80’s and you never doubted it, especially when the brick phones came out. Overall, Vallée was simple and that made his work effective.

Grade: A

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SCRIPT
Dallas Buyers Club centers around Ron Woodroof (McConaughey), who finds out he has contracted the AIDS virus in the mid-80’s, in a time where the epidemic was at it’s peak and the medical community was still trying to figure it out. After trying a newly FDA approved product to treat HIV, called AZT, he finds out that over exposure to it will kill you, thus he sets out his own path. In the process, he meets Rayon, a transgender who also has HIV and is being treated with AZT. The two meet up and set up a business to sell memberships, a buyers club if you will, where they can get all the medication they want for a monthly fee. On the surface, it’s a unique story of a man doing whatever it takes to take care of himself and other people in his situation because he feels the government and the medical community isn’t doing enough. The problem is that it lacks a deep focus. The story tells us the transformation that Ron and Rayon go through and the dynamics of their relationship, which was really great to see on screen. But we also see how the business is run and how Ron gets the medications that he would sale to his members, all while trying not to be succumbed to his own addictions. The story also focuses on Ron’s battle with the U.S. government, the FDA and the medical community and how he thinks the Government is screwing people over and how all the legalities of that effect him and his people. While all those areas are covered well enough, the script is kind of all over the place and it lacks the real depth the story could of gone. Overall though, you get enough to still be engaged and the transformations of our main characters is moving and will define this film.

Grade: B+

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MOVIE REVIEW: The Hunger Games: Catching Fire is amazing!

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PERFORMANCES
Matthew McConaughey literally disappears into the role of Ron Woodroof and he is hardly recognizable. This is arguably McConaughey’s best performance of his career and it’s amazing to see the turnaround he has had. He is unbelievable as someone who is not only suffering from HIV, but he’s a character who has to transform from being homophobic to someone who is tolerant and ultimately even has a deep care for his gay friend and business partner, Rayon. Speaking of, Jared Leto, who’s back after a five year hiatus, gives his best performance of his career as the transgender Rayon. He is also unrecognizable with all the make-up, women’s clothes and even the female voice to go along with bringing this character to life. The dynamics between McConaughey and Leto are incredible and you drawn into their relationship and the heartfelt moments they would eventually have. Jennifer Gardner plays a smaller role and while she’s not terrible, she’s not great either. The other main leads around her are so on top of their game, that she seems very average. Overall though, this is the McConaughey and Leto show and they steal it away.

Grade: A+

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SCORE
Rather than use a traditional score, Vallée uses a composition of soundtrack songs to fill the music void for the film. The music, while mostly in the background, is actually really good. We get some great tracks by T. Rex, Tegan & Sara, The Airborne Toxic Event and, of course, Thirty Seconds To Mars. Leto is not only a great actor, but he’s a great singer and the song he has on the soundtrack is really great. This isn’t a soundtrack you’ll notice during the film, but it’s a solid listen to outside of it.

Grade: A-

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FINAL THOUGHTS
Dallas Buyers Club is incredibly moving and it’s all about the performances. If you have high expectations for the story, you may find yourself disappointed. The story does lack focus but the this movie isn’t as much about the story as it is two characters who needed each other in a rough time in their lives. We see Ron transform and the dynamics between him and Rayon more than make up for the script lacking. It won’t be a surprise at all if both McConaughey and Leto are nominated for awards.

Overall Grade: A

Director: Francis Lawrence (I Am Legend, Water for Elephants, Constantine)
Writers: Michael Arndt (Toy Story 3, Little Miss Sunshine), Simon Beaufoy (Slumdog Millionaire, 127 Hours), based on the novel by Suzanne Collins
Starring: Jennifer Lawrence, Josh Hutcherson, Woody Harrelson
Synopsis: Katniss Everdeen and Peeta Mellark become targets of the Capitol after their victory in the 74th Hunger Games sparks a rebellion in the Districts of Panem.

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DIRECTION

With Gary Ross stepping aside, Francis Lawrence takes over the director’s chair for what will certainly be a box office smash sequel that also attempts to continue to transform a cultural book phenomenon into Hollywood history. Ross certainly crafted up a respectable adaptation of the genesis of the Hunger Games Trilogy, but there were some flaws that made the movie slightly underwhelming, especially for casual moviegoers unfamiliar with the material. Lawrence has the advantage of working with established actors, characters, and crew members, not to mention an extra $50 million or so to increase the likelihood of this being not just a great movie, but a must-see globally cinematic event. The pressure of the director to deliver a satisfactory product when taking on such a universally-praised book and its characters is too great to cast into words, but departing a jam-packed theater last night, there were no moans or groans to overhear. The Hunger Games: Catching Fire is undoubtedly the result of hundreds of people who worked on the project, but it is especially noteworthy that Francis Lawrence was able to spearhead it with this level of precision. Having just finished the book hours before plopping down into a leather seat in one of Cinemark’s plush XD theaters, I felt as prepared as anyone to be critical of any missteps. It became quite hard to do that as the movie played out. From a direction standpoint, the most notable decisions were the handling of the fine lines of the story. More than a dozen times, our eyes are glued to the screen when a small detail that only readers of the series will be aware of is woven into a shot with such precision that it slides right by the casual viewer but intentionally catching the eyes of the educated. To me, this ability to handle material is the mark of a director who is passionate about his work and is unlike directors who view blockbusters as mindless entertainment.

Grade: A+

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SCRIPT

Here lies the greatest strength of this film. When Gary Ross left the project, so did screenwriter Simon Beaufoy. However, Lionsgate hired Michael Arndt who has previous writing credits such as Little Miss Sunshine, Toy Story 3, and Brave (how’s that for familiarity?). I’d be interested to know how much of Beaufoy’s script was included in the re-write and final screenplay written by Arndt simply because Beaufoy possesses Oscar-winning talent when it comes to adapting popular novels (Slumdog Millionaire, 2008). It is rare to feel certain that a screenplay is actually an improvement upon a well-known story, but this one would be a much more mature, interesting read to me than the book was. That is not to downplay the novel’s brilliance which has captured the minds and hearts of many, but to acknowledge the choices to eliminate and shrink many of the scenes in the book relating to fashion and teen angst. It’s not just the curation of the novel, though, but the addition of several scenes that we can assume did occur in the novel, but weren’t made aware of being that the book reads from the perspective of our protagonist. If there are any criticisms of the script, it would involve blending and blurring the facts a little to make things move more quickly, but at 146 minutes that seemed quite appropriate. Overall, one of the year’s best scripts and certainly the best one for a predetermined blockbuster.

Grade: A+

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MOVIE REVIEW: Delivery Man delivers for Vince Vaughn

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PERFORMANCE

It’s never easy acting as a beloved character, so the fact that 95% of the time I felt like these actors were convincing says a lot. Jennifer Lawrence is very aware of the pressure of being Katniss and makes sure to include small pivotal character tendencies from the book. One example of this is when a poison mist sprays over her and the nervous system suffers from the effects. The way Lawrence moves during the shots following this event could not have been executed more exactly from page to book any better. Aside from Lawrence’s beauty and talent are a cast of great supporting actors and actresses, not the least of which are Woody Harrelson (Haymitch), Lenny Kravitz (Cinna), and the hilarious Elizabeth Banks (Effie). I’m still not sold on Josh Hutcherson’s Peeta, but he is acceptable. Philip Seymour Hoffman, Donald Sutherland, and Stanley Tucci add even more flare to the film, and the casting of Jena Malone as the mysterious Johanna Mason was spot-on. Of course, I wouldn’t be myself if I didn’t mention that Amanda Plummer (Yolanda/Honey Bunny in Pulp Fiction) was absolutely perfect for her role. Overall, this is the mixed, experienced, and fresh-feeling cast that a franchise needs.

Grade: A+

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SCORE

With a soundtrack that includes Coldplay, Lorde, The Lumineers, and Imagine Dragons, there is a nice companion piece to be had alongside the movie. Not just that, though, since James Newton Howard scored the film. With 8 Oscar nominations for Best Score under his belt, Howard ensures an appropriate mood throughout different parts of the film. While nothing outstanding, this is what you’d expect–a blockbuster treatment.

Grade: B

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Final Thoughts:

Improving on the first movie in the series, The Hunger Games: Catching Fire demonstrates the ability to effectively translate a popular novel to the screen not only with justice but perhaps with improvement. It’s a good thing Lionsgate signed Francis Lawrence to finish out the series, as he will surely make this one of the biggest franchises in movie history. After the first film finished only behind The Avengers and The Dark Knight Rises at the box office in 2012, this time around The Hunger Games should be the highest-grossing film of the year. There’s no reason to skip this one.

Overall Grade: A+

Director: Ken Scott
Writers: Ken Scott (screenplay), Martin Petit (original screenplay “Starbuck”)
Stars: Vince Vaughn, Chris Pratt, Cobie Smulders

Synopsis: An affable underachiever finds out he’s fathered 533 children through anonymous donations to a fertility clinic 20 years ago. Now he must decide whether or not to come forward when 142 of them file a lawsuit to reveal his identity.

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DIRECTION
The big question for me coming into this movie wasn’t whether it was good or not, but rather was it something different and better than what we’ve seen from Vince Vaughn lately. The short answer to that question; heck yes it was. Delivery Man is the re-hashing of Ken Scott’s French-Canadien film, Starbuck, which has the same premise and story. Scott uses a lot of the same scene set ups and imagery he used in Starbuck but put the focus on Vaughn’s strengths as an actor. There’s one sequence where Vaughn’s character takes one of his “daughter” to the hospital, and while there he goes back and forth talking with the daughter and the doctor. It’s really funny, purposeful and really exploits the character really well. Those sequences stand out for Scott and how this movie can work. Overall, the humor isn’t going to blow you away but Scott captures some heart felt moments which makes the film likable.

Grade: B+

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SCRIPT
The story focuses on David Wozniak, an underachiever who just found out his girlfriend his pregnant and is not sure if she wants David to be the father. In the middle of that, he also finds out that he has fathered 533 children after donating to a sperm bank 645 times, in which the clinic used most of them for reproduction. And now, the children he fathered are suing to find out who this mysterious person is to find out who their real father is. The film is a bit formulaic and very contrived as it sets up every moment, which makes it a crazy story. For most critics, who apparently have no ability to suspend disbelief anymore, it’s the part they have a hard time with. However, the premise of the story isn’t going for realism but for the heart. Yes, it does have some weird moments and some head scratchers but in a movie like this, it’s expected. The film is mostly about the effects decisions have on children and at the very core of every person, they want a father and a mother. Those relationships are hit on hard in several aspects, not just with David and his 533 kids. Predictability and formula doesn’t make a movie bad. Delivery Man, while it hits those beats, brings heart which is what makes movies fun.

Grade: B+

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PODCAST: Hear us discuss Robert Redford in All is Lost!

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PERFORMANCES
Well as I mentioned earlier, the big question for me was whether this was something of worth for Vince Vaughn. Vaughn’s latest years haven’t been crazy and since Wedding Crashers he’s been mostly on a steady decline. Delivery Man is by far, the best work he’s done in 100 years, or at least since his small role in Into the Wild. Vaughn isn’t particularly funny here, there are some good moments, but there’s depth here we haven’t seen in ages. He brings his usual charm but also some emotional aspects every man has to deal with at some point. The father/son moments are brilliant and gripping. The final scenes of the film are incredible and it’s Vaughn at his best. Chris Pratt also does a good job and has more to do than originally thought. He’s the lawyer/friend who helps Vaughn’s character through the court case and has some good, fun moments. It’s all stuff we’ve seen before but it was good and never distracting. There’s one moment after the court case is over that is absolutely hilarious and unexpected. Cobie Smulders has a small role but does a find job and adds some great moments near the end.

Grade: A-

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SCORE
The score is very forgettable. You will hardly notice that there is one. Jon Brion hits all the familiar comedic tones you’d expect and doesn’t do anything that’s worth noting. However, the soundtrack music is amazing and is one I would recommend seeking out. There are some fun uses of Thunderstruck which I thought was great as well.

Grade: B

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FINAL THOUGHTS
Delivery Man is the reason I love going to the movies. While it’s mostly formulaic and a bit contrived, it’s a lot of fun and has some good depth to the film. It’s not trying to do something outside of the box or become an Oscar contender. It’s just a movie that has a fun and weird story that wanted to bring something more than a comedic tone. I was intrigued by the trailer as it seemed to be something more for Vaughn. And you know what, it didn’t disappoint at all. It’s easily his best work in a long time and was worth the theater experience.

Overall Grade: B+

Director: J.C. Chandor
Writer: J.C. Chandor
Starring: Robert Redford
Synopsis: After a collision with a shipping container at sea, a resourceful sailor finds himself, despite all efforts to the contrary, staring his mortality in the face.

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DIRECTION
Writer and director J.C. Chandor’s first feature film was Margin Call, a then-topical investment bank crisis story with an all-star lineup. Now, in his sophomore effort he casts Robert Redford out to sea on his own, where the Hollywood veteran proves that his star still shines bright even on a sailboat in the middle of nowhere with no one else to interact with. Not only is this one of the better films of 2013, but a film that will outlast most other films from this era due to the recognition it will acquire for being an instance in which someone who is thought to be well past their prime proves that he can still turn it on when the situation arises. Sometimes with new or unknown directors it takes time to recognize what their real strengths are. Well, after two films, I’d say Chandor’s strength is pulling performances out of proven talent, and making them look, sound, and seem brilliant. In Margin Call it was Kevin Spacey who benefited from Chandor’s talent, and in All is Lost it’s Robert Redford who’s plucked from the starry sky of Hollywood’s elite to a small movie about an expert sailor who is shipwrecked and determined to survive. Chandor jars us with rich emotion that is earned every step of the way. He makes even the most menial chores entertaining in All is Lost, and I can’t wait to see what’s next for him.
Grade: A

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SCRIPT
I think the “written & directed by” phrase doesn’t get as much respect as it should, and Chandor shows what cohesion between story and director can enable. The lack of spoken words took nothing away from the film and in fact added a great level of realism from my point of view. This script would have only worked with a great actor, and arguably only an elderly one. The messages and themes of All Is Lost are many, but most will agree that perseverance, self-discipline, and ageing are all addressed and explored through various shots and scenes. Key scenes involving set changes were dealt with very well from the script and direction sides, and the methods Chandor uses to tell the story of this man are timely and well-executed. The ending will throw some folks off I am sure, but it felt natural and correct to me.
Grade: A+

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PERFORMANCE
Robert Redford is breathtaking and engages the material and camera like the expert talent that he is. Now I know why my grandmother’s generation was so in love with this man. Even at an age that is getting close to 80, Redford maintains the poise and charisma necessary to keep the viewer interested and fascinated by what is happening. Scenes which on paper would seem as exciting as watching someone watch paint dry are electrified by Redford and lead to a character which we care about and seem to empathize with. He takes us on the journey with him, and has many highlights throughout the film. For me, the best scenes in this film got us closer to knowing the character, even if we never really know his name. This is the kind of performance that trophies are made for.
Grade: A+

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SCORE
The score here played vital to the film’s accessibility at times, and grew stronger and more intense as the film progressed. Specifically, keep your ears focused on the homage to the Jaws score. This was a great score.
Grade: A+

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Final Thoughts:

Now that I’ve seen 12 Years a Slave and All is Lost, I don’t think I’ve ever been more torn on who I will be rooting for come Oscar Sunday in the Best Actor category. On one hand, Chiwetel Ejiofor gave one heck of a performance as Solomon Northup, and on the other you have Redford’s spectacular performance here as our captain. Either way, this film is not one to miss, and if you appreciate film as a medium which can make you feel and think but also as one to keep you entertained at the edge of your seat, you’ll love All is Lost.

Overall Grade: A+