Seth Rogen and Evan Goldberg’s This Is The End (B) is a super-raunchy, self-aware, nihilistic comic adventure with zeitgeist to spare. Playing winking versions of themselves, Jay Baruchel, Danny McBride and James Franco are among the most hilarious of a raucous ensemble as the apocalypse comes to the Hollywood Hills. Although it overstays its welcome, this is a blissful mash-up of The Goonies, Ghostbusters, Dogma and Entourage and has more offensive laughs per minute than any comedy in a long time.
All posts by Stephen Michael Brown
“World War Z” is Ho-Hum Zombie Film
In Mark Forster’s World War Z (C-), a ham-fisted and improbable zombie adventure, Brad Pitt turns in a vacant-eyed performance to match the sleepwalking screenplay. There are three nice action sequences, one of which will probably not screen on an airplane any time soon.
“Star Trek Into Darkness” Not as Good as Predecessor
J.J. Abrams’ Star Trek Into Darkness (B-) missed its mark in building upon the high standard set by its predecessor. Still, it starts off very exciting and has very nice stunts and effects along the way. Benedict Cumberbatch doesn’t get much to do in a throwaway role, but Chris Pine shines once again in the lead. There are just lots of missed opportunities given some homages made to the original series that don’t pay off with as rich an emotional effect as expected.
Ryan Coogler’s “Fruitvale Station” (2013) a Poignant Drama and Showcase for Michael B. Jordan
Shockingly efficient in its character building and its 90 minutes of sustained dread, Ryan Coogler’s Fruitvale Station (A) tells a true story plucked from today’s headlines about the plight of young black men in America. Michael B. Jordan is a revelation as Oscar, a 22 year old father trying to reform after jail time, whose slow-burn collision with contemporary destiny is sealed from the film’s first frame. His charismatic demeanor – he calls everyone “bruh” – is just seconds away from reverting to his powderkeg past, and he is alternately “hella” humorous and heartbreaking throughout. Melonie Diaz and Octavia Spencer are outstanding as the women trying to anchor and protect him. It’s a tough and essential experience.
Baz Luhrmann’s “Great Gatsby” (2013) Largely Succeeds
After about 45 minutes of Baz Luhrmann’s excessive whirling dervishness settles down and a captivating Leonardo DiCaprio finally arrives as the titular playboy man of mystery, The Great Gatsby (B-) becomes a pretty engrossing potboiler about forbidden love and tragic obsession. Nearly cloaked in all the razzmatazz, glamorous sets and anachronistic hip hop music is the morality tale of self-made nouveau riche versus entrenched American wealth. Tobey Maguire is his typical boring self as wingman writer, Carey Mulligan is only moderately enchanting as Daisy (really only captivating in her scenes with Leo) and Joel Edgerton is fairly menacing as Tom. Leave it to this spastic Aussie auteur to take a Great American Novel and turn it into the same Harlequin Romance he’s made five other times. A notch better than Australia though. Glad he didn’t add an exclamation point to the title to go along with the 3D.
“Thor: The Dark World” (2013) is the Opposite of a Marvel
The discipline of director Kenneth Branagh is missed this time around as all the king’s horses and all the king’s men can’t put this kingdom back together for the sequel again. Director Alan Taylor’s Thor: The Dark World (D+) reunites Chris Hemsworth as Thor Tom Hiddleston as Loki for more interplanetary highjinks, although this time none of it makes sense. Worse, Natalie Portman, who was charming in the first film, is a hot mess in the sequel. Except for a clever effect in the final reel involving a wormhole between worlds that keeps dumping characters into the middle of awkward battle sequences, this film misses most marks. It can’t even get the film stock or color choices consistent from scene to scene. It’s unfocused, poorly written, drably filmed and a bit of a missed opportunity. What’s the opposite of a Marvel?
“Room 237” Explores Curse of the Overlook Hotel
Rodney Ascher’s Room 237 (B-), the documentary about eccentric conspiracy theories around Stanley Kubrick’s The Shining, is an intriguing dissection of one puzzling, polarizing movie. Despite the crazy rabbit holes ranging from the film being a subliminal meditation on genocide or a cover-up for the director’s alleged involvement in a fake lunar landing, the proceedings and format are all a bit silly. Movie buffs may still get a kick out of it.
“The Way Way Back” is Nostalgic Summer Comedy
Being a sucker for movies about lonely teens gaining new confidence, it’s no surprise that I adored Jim Rash and Nat Faxon’s The Way Way Back (A), a coming of age dramedy buoyed by a charming ensemble including Liam James as the troubled hero and Sam Rockwell as his unlikely role model. A beachside summer domicile and a classic water park become the East and West Egg of the action as the protagonist maneuvers life with his insecure mom (the always marvelous Toni Collette) and her slick suitor (a restrained Steve Carell) and his new set of secret friends. Allison Janey is also a delight as the sauced-up next door neighbor. Funny, moving and fun in all the right measures.
“Man of Steel” Flies Some of the Time
Director Zack Snyder completely reboots the Superman legend with an otherworldly alien quality to the superhero’s power and backstory in Man of Steel (B-). Henry Cavill was effective as the outsider, and Snyder enjoyably shakes up the formula with flashbacks and a story told out of order. Amy Adams plays a plucky Lois Lane (Daily Planet as blog) and Michael Shannon is decent in an underwritten role as villainous General Zod. The Smallville sequences were nicely done, and the themes of pleasing one’s father (Jor-El/Superman has earthly father played by Kevin Costner and Krypton father played by Russell Crowe) were strong throughout. Some of the action sequences are tedious with too high a body count. But ultimately the reinvention afoot here is fascinating and helps the franchise fly with renewed purpose.
“Broadway Idiot” (2013) Document’s Green Day’s Journey to Broadway Stage
Doug Hamilton’s Broadway Idiot (B) is an effective documentary about how the dueling aesthetics of punk rock and musical theatre find their place together on the Great White Way. In this case, the doc tracks how theatrical wunderkinds including Michael Mayer and Tom Kitt translate the watershed Green Day concept album American Idiot to the musical stage, winning new fans including the band itself. There’s great access to backstage footage as the production evolves and awesome sequences from the show itself; but since there’s not a lot of dramatic tension behind the scenes, it registers more straightforward than surprising.
Soderbergh’s “Side Effects” Takes on Big Pharma
Steven Soderbergh’s Side Effects (B+) is both a twisty psychological thriller and a cunning examination of the pharmaceutical industry with an all-star cast including Catherine Zeta-Jones, Channing Tatum and Jude Law. Soderbergh uses his trademark ability to showcase characters in shades of gray to leave viewers guessing about a death and who is to blame. It’s a smart and sometimes wickedly on the mark indictment of medicine’s role in modern day relationships.
“The Impossible” an Epic Survival Story
J.A. Bayona’s The Impossible (A-) is a rousing and resilient adventure set against the horrific backdrop of the 2004 Indian Ocean earthquake and tsunami in Thailand. Italian is based on a real-life story chronicled by María Belón. A close-knit family played by talented actors including Naomi Watts, Ewan McGregor and Tom Holland find their idyllic holiday turns into a nightmare as black water devours nearly everything in its path. In the family’s darkest hour as they are plunged into chaos, unexpected displays of kindness and courage help punctuate their terror. Watts in particular gets an amazing showcase here and displays epic fearlessness and vulnerability, especially opposite remarkable child actor Holland. Cinematographer Óscar Faura should be deeply commended for recreating the disaster and its aftermath with such precision and accuracy. The film is spectacularly exciting and resists a tilt toward sensationalism as it depicts one family’s journey from separation to hope.