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+

Director: Steve McQueen (Shame, Hunger)
Writer: John Ridley (screenplay), Solomon Northup (autobiography)
Starring: Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Paul Dano, Brad Pitt, Paul Giamatti, Quvenzhané Wallis
Synopsis: In the antebellum United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery.

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DIRECTION

Steve McQueen does it again, and this time on a much larger stage. Anyone reading this knows how beloved this film has become by now. Since mid-September when 12 Years A Slave won the increasingly meaningful People’s Choice Award at the Toronto International Film Festival (TIFF), we’ve heard nothing but how important, amazing, and brutally well-done it was. Most American moviegoers had to wait until November to see it, so the hype definitely increased expectations. The story of Solomon Northup has never gotten a lot of attention from Hollywood, perhaps because of the controversial nature of the story. So when Steve McQueen set out to tell this incredible tale of ‘there and back again’, he knew the importance of doing justice to Solomon’s autobiography which etched his story into the annals of time. McQueen’s films possess a glossy, candid, atmospheric tone to them which aided 12 Years tremendously in being able to relate to what was on screen. The timing choices McQueen makes allow for a heightened effect that shots and scenes have on the viewer. Sometimes it feels like McQueen holds on a shot for minutes, and the thoughts and ideas that these scenes provoke make all the difference in how it ultimately comes across. The sheer beauty of shots of the sky and land where our story takes place provides nice gaps between scenes in a way that allow viewers to digest events but also prepare for what may come afterward. McQueen is able to get a slew of great performances as well as tell a coherent, thrilling, and horrifying story regarding America’s past. It’s a movie which holds a lot of material you might wish to look away from, but the viewer should not concede to these temptations. In all, McQueen delivers in every single area of direction, and gives us one of the best films of 2013. When you talk about the future of Hollywood and the future of the film industry, Steve McQueen has to be in that discussion after what he has delivered in Hunger, Shame, and now 12 Years A Slave.

Grade: A+

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SCRIPT

The story of Solomon is told in such a way that gives the viewer credit. Sometimes Ridley gives us the beginning and end of an event but lets us fill in what happened between the edges, and this plays to the strength of the way McQueen is allowed to use time for craftsmanship as opposed to the filming of dialogue or moving from shot to shot very quickly. At 134 minutes this is no short film, but it does fly by. It seemed to me that just enough story arcs are introduced and explored that it keeps the viewer engaged at different levels consistently throughout the movie. The material we are dealing with here is incredibly heavy, and it feels like everyone involved realized that. Never are there moments of cheesiness or sentimentality where there should not be. This, to me, is the difference in a great films and a good film. A comparison that came to my mind was from earlier this year in Lee Daniels’ The Butler, a movie that I enjoyed but clearly got the royal Hollywood treatment and included many heavy-handed and contrived methods of engaging the audience. 12 Years opts for the honest approach and uses its performances and characters to deliver the emotional onslaught of this story. At times the dialogue drew out verbal reactions from my audience, and it certainly pressed down on me as I was locked into my seat. The level of talent involved in delivering a script like this is enormous, and Ridley will be awarded for his efforts in the coming months and years.

Grade: A+

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PERFORMANCES

Chiwetel Ejiofor plays Solomon Northup, the violinist who is kidnapped and forced into slavery. Ejiofor delivers what many would call a masterful performance, and seems like a veteran actor. Holding his own in scenes with many great actors which include McQueen-favorite Michael Fassbender, Brad Pitt, and Benedict Cumberbatch, this performance is easily my favorite of the year so far. Ejiofor captured the ocean of emotions Northup goes through, and deals with scenes of every kind with striking eloquence. To say he carried the film would be a slap in the face to the efforts of so many others here who were also great, but were it not for the perfect casting of Ejiofor and the heart he puts into this character, the film would not affect the viewer anywhere near the level it does. Props to all of the supporting cast members as well, especially Lupita Nyong’o and Paul Dano who have extraordinary impactful characters and moments to deliver on. I loved seeing Quvenzhané Wallis (Beasts of the Southern Wild) involved in this film as well, playing one of Northup’s daughters. Aside from Ojiofor though, the most memorable performance will definitely be Michael Fassbender’s Edwin Epps, slaver of Northup in the latter half of the film. While perhaps not as entertaining as Leonardo DiCaprio’s Calvin Candie, Fassbender delivers a much more hateful performance and personifies the evil of what slavery was when it came to relationships between whites and blacks. There’s not a bad performance in 12 Years A Slave, and this adds to its luster.

Grade: A+

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SCORE

Most of the time Hans Zimmer provides scores that guide the viewer in how to feel, but this time McQueen ordered a toned-down scoring of his film which results in a quieter, more subtle approach. There are still overarching themes and notes but what this score shows is Zimmer’s ability to react to a director’s intent and deliver a proper accompaniment.

Grade: A+

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Final Thoughts:

This is why I love the film industry. There is no experience like going into a theater and being shaken and worked over by the cinematic experience, and 12 Years A Slave delivers that for over two hours. The story of Solomon Northup may have been largely unknown for the last 150+ years, but by the end of this Oscar season, everyone will know who he was. In my theater and many others, the Mandela trailer was shown before 12 Years A Slave, and it featured quite the companion quote from Mandela in which he states that “people can learn to hate, but that also means that they can be taught to love.” This film has the power to change minds, and this film will be one for the ages. It is by far the best 2013 feature thus far from the acting and directing perspectives, and to miss this one is to miss out on what makes going to the movies special.

Special Note from Scott: 30 million people live as slaves in 2013, and tens of thousands still do in America. If you wish to learn more about modern day slavery, visit NotForSaleCampaign.org and inform yourself of what the world largely chooses to ignore.

Overall Grade: A+

Director: Alan Taylor
Writers: Christopher Yost (screenplay), Christopher Markus (screenplay)
Stars: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins

Synopsis: Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.

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DIRECTION
Alan Taylor, mostly known for TV, gets the directors chair for Thor: The Dark World and brings us Thor in some new and fun ways. This version of Thor is much more complex and darker than the first time we met the God of Thunder. The visuals are just as amazing and the main characters get a little more interesting. The camera work is solid, especially when shooting the aerial combat scenes we get. There’s also another great shot when we first see Loki and Thor together where Loki is being sarcastic and the camera work almost operates as another character. Not to mention, Taylor throws in some great cameos there. The pacing is very good and there’s a great mixture of Thor in action and dialogue that sets up the story. Some of what Taylor is doing can come across off as confusing, especially to new fans but overall what Taylor does is entertaining and fun.

Grade: A-

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SCRIPT
The story pretty much picks up right after The Avengers as Thor is now back in his realm making sure that all the realms are at peace. We are introduced to a new alien race that is an old enemy of Asgard. Their secret weapon is eventually found by Jane Foster (Natalie Portman) and all the worlds collide (literally) as Thor and Odin try to find a way save Jane and destroy this secret weapon. At the same time, Loki is now in an Asgard prison because of his actions in The Avengers. However, after an attack on Asgard and a tragic incident, Thor must now rely on Loki to help him destroy the enemy. The conflicts created here are interesting and well explored. Much of the dialogue and scenes between Thor and Loki are very funny and well crafted, showing realistically what a brother-brother relationship looks like, but amongst Gods. The story is also very science-y and is heavy on the dialogue that is sometimes hard to keep up with. The main villain isn’t that interesting and isn’t explored enough to really care about much. Overall, it’s still a fun story and the gripping relationship between Thor and Loki keep it engaging.

Grade: B+

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PERFORMANCES
Chris Hemsworth has become a defining character in the Marvel universe and hammers down this character well (see what I did there). He’s fantastic as usual and brings a wittiness to the character we haven’t see much of yet. His action shots, especially with the Hammer are really good. Portman on the other hand is more hit or miss. The character could be written better but for what she’s doing she’s okay. Portman really didn’t want to reprise this role and it’s easy to tell in some scenes but overall brings it when it mattered. Tom Hiddleston is unbelievable as Loki. And by unbelievable, I really mean it’s hard to believe how believable he is as that character. He’s got all the charm and evilness that makes this a fun character. Anthony Hopkins is also great as Odin. I thought he was fantastic in the first Thor movie and again, he’s perfect as the Asgard King. The rest of the supporting cast, including the awesome Idris Elba, is very good even though they have little to do overall.

Grade: A-

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SCORE
This is perhaps the best Brian Tyler score yet. Tyler’s scores in the past haven’t been bad but they haven’t been stand out worthy either. Patrick Doyle’s score for the first Thor is really good and stands out on it’s own very well. Tyler doesn’t use the same themes here but the theme he does come out with is very good and brings a good element to the film. It’s not too distracting but it’s also fun to listen to inside and outside of the movie. Without giving anything away, I do want to mention there’s an Alan Silvestri theme that plays out in a cameo appearance that’s really awesome. The crossovers have even gone into the scores as well. I love it.

Grade: A

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FINAL THOUGHTS
Thor: The Dark World is a great continuation in the Marvel Universe and it’s a better direction than Iron Man 3. It’s entertaining and the relationship between Thor and Loki is great. It’s a good step up from the first film and introduces some new characters. The average fan may have a hard time with this though and some elements are tough to care about but overall it’s still very enjoyable. Also, if you see it in 3D, there’s some awesome footage you’ll see of Captain America: The Winter Soldier.

Overall Grade: A-