Swiss Army Man (2016) Movie Review

Something that I think most regular filmgoers notice is that people, that watch films casually, will often bring up how Hollywood is all remakes and superhero movies. They often complain that there isn’t any originality left in Hollywood, and that cinema is dying because of it. Why? Because people are fucking stupid. The problem isn’t that there isn’t original content; the problem is that no one bothers seeing or seeking it out. The Nice Guys made a total of $36 million dollars. Hell or High Water has made $24 million. Those are two of the best movies this year. And to follow in line with excellent original films not making much, I decided to watch Swiss Army Man last night.

Hank (Paul Dano) is ready to die. As he makes peace with the decisions in his life, ready to hang himself near the shore, when suddenly he spots a body laying on the beach. Hank runs over, trying to find out if the beached human is dead or alive, when the body begins to fart. Soon enough, we learn maybe it’s not as totally dead as we once thought. It is definitely not alive, but not quite dead, despite not remembering anything about its life before now. That’s how we are introduced to Manny (Daniel Radcliffe). Hank and Manny form a kinship, as Hank tries to help Manny remember who he is, which in turn helps Hank learn more about himself, all while they have a cellphone with no service, that has a picture of a mystery woman (Mary Elizabeth Winstead) on it. Together, Hank and Manny search for a way to get each other back home.

So this movie is one of the weirdest movies I’ve seen in some time. And that is very much a compliment of the highest order. Swiss Army Man, the feature film debut from Dan Kwan and Daniel Scheinert, is a film that is bursting at the seams with originality and flavor. The Daniels, as the trailer labels them, also wrote the film, which gives Manny and Hank two clear voices, allowing us to see the world the film portrays from both views. We get to see the world from the jaded perspective of Hank, who is as much a lost, directionless soul as the rest of us. And we also get to see it from the perspective of Manny, who is learning as he goes. This is aided by the spectacular visuals from Larkin Seiple, who gives the film a uniquely spectacular feel, and the music from Andy Hull and Robert McDowell, which has you humming alone as you enjoy the ride.

However, this film belongs to the two leads. While an actress the caliber of Mary Elizabeth Winstead has a very minor, but crucial part, the film hinges on the chemistry of Daniel Radcliffe and Paul Dano. Both men are hilarious, while being able to tap into the emotional weight that continuously pushes the film forward. Dano plays Hank as a man, who has never truly grasped any opportunity presented to him in his life, seemingly finding something wrong with every aspect of his life. Dano has carved out a nice career for himself, being a reliable every man in smaller films, while being able to play solid supporting roles in bigger films, such as There Will Be Blood.

While Radcliffe plays Manny as one of the most lovable corpses in film history, always wanting to ask questions, never able to control his thoughts, and getting erect uncontrollably. It’s been nice to see Radcliffe, who is probably the most popular child actor ever, transition into solid adult acting roles with this, Imperium and Kill Your Darlings. He’s shown a range of ability that many might not have predicted from his performances as Harry Potter.

Ultimately, I ended up loving Swiss Army Man. It’s hilarious, heartfelt and poignant which is weird considering one of its leads is a farting corpse. But it just works for me. Truthfully, I may be hyping it up too much, but I implore people to seek this film out.

Grade: A

Suicide Squad (2016) Review

So, I’m a pretty unashamed fan of DC Comics. I’ve loved the characters and story arcs and all things that come with being a comic book fan. Truthfully, despite trying to see every movie with an unbiased approach, I had been hoping that 2016 would be the year that DC put themselves back on the map. Here’s the thing about being a fan of DC comics in a world where Marvel Studios has set the standard for what to expect. It’s like being one of the guys in a Jackass movie; you keep psyching yourself up for something awesome to happen, but you inevitably just end up getting hit really hard in the dick. That’s how Suicide Squad, the latest DC Cinematic Universe film, continuously felt.

In a world where Superman has made himself rival the power of a God, and shown that gods can fall, the government now scrambles to find an answer for if the next Superman isn’t a farm boy with a mother named Martha (WHY DID YOU SAY THAT NAME?!) Cue Amanda Waller (Viola Davis), the Head Operator of A.R.G.U.S. and the woman who takes it upon herself to put together a team of super villains who can be coerced into doing the dirty deeds that the good guys can’t quite accomplish. Along with the most badass soldier on the planet, Rick Flag (Joel Kinnaman), Waller brings together Deadshot (Will Smith), Harley Quinn (Margot Robbie), Captain Boomerang (Jai Courtney), El Diablo (Jay Hernandez), Killer Croc (Adewale Akinnuoye-Agbaje), and Enchantress (Cara Delevingne).

Now, this review is going to seem fairly negative... and it is. This is not a good movie. But just know, at the rate that Warner Bros. seems to want to still their nose into every DC movie, people won’t be getting that Cyborg movie they’ve all been begging for. There are a lot of things wrong with the direction these movies seem to be taking.

Suicide Squad clearly aims to give you an anti-hero story in the same vain as Guardians of the Galaxy, but with a much darker tone. The problem instantly is that the film forgets to write their characters as fun or compelling as any of the Guardians cast. Characters in Task Force X, as the government knows them, are merely there to be DC comics character name drops. The most obvious waste of interesting characters comes at the hands of Killer Croc, Katana and Captain Boomerang (though this might be the most charismatic I’ve ever seen Jai Courtney). I’ve been racking my brain, and I still don’t know what they bring to the story.

Also, I find it hilarious how we’ve been hearing about how method and weird Jared Leto has been to find the character of The Joker, when his screen time amounts to the smallest supporting part. And, frankly, I’m not sure if I liked his interpretation of the character. He’s clearly a superb actor, but his Joker feels more like a glorified thug as opposed to the Crown Prince of Crime. The Joker is supposed to feel like a total wildcard. We’re not sure if he’s gonna blow up a hospital or try to tell you a joke. Leto’s Joker just lacks the magic that Heath Ledger, Jack Nicholson and Mark Hamill have all brought to the role. I think that Leto needs to get a more substantial shot where he can really sink his teeth into it. Because he does some things excellently, but just doesn't capture you the way those others did.

However, the biggest problems that the movie faces are that it has no idea what it wants to be. The first act tries to set itself apart in its tone and introductions, giving characters a fun little introduction. However, after that, it falls hard into the tropes of being incredibly generic. The jokes that producers clearly felt would get standing ovations completely fall flat, numerous character moments fail to resonate because we have no stakes attached to most of the characters, and the pacing is so sporadic that you’re not sure if there’s something coming after this or if this is the final battle. Writer and director David Ayer, whose previous films include End of Watch and Fury, clearly either had to compromise a lot on his vision for these characters or had no god damn idea what he was doing with this property.

Now, there are a few things I enjoyed about the film, before I end this review. Will Smith, Viola Davis and Margot Robbie all nail their characters incredibly well, with Smith giving his best performance in some time. He plays Deadshot as a guy who sees being an assassin as a way to provide for those he cares about, and his internal struggle in that regard comes through. Robbie embodies Harley in a great way. Sure, she doesn’t have the accent that we all know Robbie can do, but Harley is fun and unpredictable and loves her Mista J. It’s Davis, however, that fucking nails Amanda Waller. She’s a no nonsense cold ice bitch, and she’d be the first to admit that before blowing your head off, and Davis plays it perfectly. Also, there’s a scene where Deadshot gets to let loose and shit a bunch of guys and it’s probably the highlight of the movie, so that was cool.

Ultimately, Suicide Squad fails because it feels more like a response than a statement. It feels like a response to fans that wanted DC to be more like Marvel, without laying any of the groundwork. The movie tries to be a fun romp, and ends up being a slow walk through a shit stained minefield where you step on every damn mine. That said, it's better than something like Green Lantern. It's just a movie that clearly could have used more time for everyone involved to get it right. While the criticism of a lot of Marvel films may be that most of them do and say the same thing, Suicide Squad shows up and fails to say anything.

Grade: D

Creed (2015) Movie Review

The Rocky franchise has seen some high highs and some low lows. As far as I’m considered, the original Rocky holds up and is one of the true great sports movies of all time. Then we’ve also seen the mediocrity of the franchise leading to Rocky V, which is horse shit personified. There was also the totally decent, nothing special Rocky Balboa. And after that, we assumed that the franchise was over. Then I heard about another Rocky movie, but with Apollo Creed’s son. And I felt like it could be fun, but it would probably be average. But my expectations were absolutely shattered by Creed, the latest film from writer/director Ryan Coogler, a film that pulls you in and refuses to let you relax until it’s all over.

           

Adonis (Michael B. Jordan), or Donnie as everyone calls him, is the product of an affair between his birth mother and Apollo Creed (previously played by Carl Weathers), arguably the greatest boxer of all time. When Donnie is adopted by Mary Anne Creed (Phylicia Rashad), Apollo’s widow, his childhood of group homes and detention centers is replaced by a mother who raises him as her own. However, despite her warnings, Donnie wants to box, like his father, though refuses to use his name, going by Johnson instead. It’s once he commits to the life of a boxer that he meets an old opponent and close friend of his fathers, Rocky Balboa (Sylvester Stallone), who helps to guide him and provide a mentor as well. Yeah, I realized I’ve done kind of a piss poor attempt at giving you the plot of this film. But I tried. And that’s what counts.

I’m really happy that Michael B. Jordan has this film to help us forget that he was in the Fantastic Four reboot, because he’s simply outstanding here. His previous collaboration with director Coogler, Fruitvale Station, snubbed him of an Oscar nomination, and I think he is equally deserving this year. Jordan makes you understand everything Adonis does, from the reason he wants to box, his fears, angers and resentments, and his connection to Rocky. His delivers a raw, emotional perform that is immensely aided by his clear physical transformation, looking like he could really be a boxer.

And just as good as Jordan, Sylvester Stallone gives, possibly, the performance of his career. Gone is the Stallone who is gonna flex out of his muscle tee, and instead there is a man who doesn’t quite know what he’s living for anymore. Adrian and Paulie are long gone, his son is off building his own life, and he simply lives every day closed off. Stallone gives Rocky a vulnerability that the character hasn’t had since the first film, showing the heartbreak and deep sadness that fills him. His chemistry with Jordan is evident, and is a big reason the movie feels as smooth as it does, and could be a reason both actors see themselves garner some serious, well deserved awards talk.

The supporting performances are all solid as well. Rashad has a small amount of screen time, but makes it work, as does Ritchie Coster, who plays Rocky’s old friend from the neighbourhood, and Tony Bellew, a real life boxer, who plays boxer “Pretty” Ricky Conlon. However, it’s Tessa Thompson who I really ended up enjoying as Bianca. Yeah, she’s the love interest, but she’s also a fully realized character who has her own motivations and concerns, and Thompson, who I loved in Dear White People, gives a fantastic performance.

Ryan Coogler does damn near everything right with them film. He gives you a reason to believe that Rocky Balboa is as relevant now as he was 40 years ago. Clearly, Coogler is a very talented director that knows how to get a film to make you feel. A lot of credit also has to go to the cinematographer Maryse Alberti, who makes each fight feel unique and different and makes them feel as real as any fight you will see in a film. The score, by Ludwig Göransson, is excellent, giving Creed a unique electric feel that gets you going, and once you hear that iconic Rocky theme, it feels so fucking earned.

In the end, Creed is simply a film you should not miss. It’s a boxing movie that wears its heart on its sleeve and dares you not to applaud. By the end of the film, I had a big stupid grin on my face and had wiped away a tear or two (unlike Justin who cried like a bitch the whole movie), and could not wait to see it again.

Grade: A

Ex Machina (2015) Movie Review

This is how actors keep looking so young.

How far are we from truly intelligent artificial intelligence? Are we a decade away? Or a couple of decades? Or have we already begun to experience it, just one major announcement from it being an essential part of our daily lives? ANSWER ME SIRI, YOU ICE QUEEN ROBOT BITCH. These are questions I tend to ask myself whenever I haven't eaten for several hours. Regardless, these are also questions I began to think about after seeing Ex Machina, the directorial debut from Alex Garland.

Caleb Smith (Domhnall Gleeson) is a coder at Bluebook, the worlds most popular search engine. When he wins a special lottery at work, he is given the opportunity to spend a week with the company's president and founder, Nathan Bateman (Oscar Isaac). Nathan is young, brilliant and a fun time to be around. However, Nathan has something much more interesting in mind. See, Nathan, being a genius billionaire, has been attempting to create intelligent AI, and he may have cracked it with the creation of Ava (Alicia Vikander), a robot with the figure and face of a beautiful woman. He tasks Caleb to interact with this AI and see how well it functions and if she is really as intelligent as Nathan hopes. Caleb takes an instant liking to Ava, and begins to evaluate her. But is there more to Ava, and Nathan, than we initially believe?

The cast are all universally excellent. Gleeson plays Caleb with a sense of naivete that slowly begins morphing into suspicion and distrust. He draws your attention towards him despite being the most quite aspect of a scene, giving a performance along the caliber of his father, Brendan Gleeson. Vikander holds her own opposite Gleeson, as she plays Ava, a robot who knows she is a robot, but yearns for so much more. You can hear the thought and emotion in her voice, despite the fact that she may not be sure what they are. She effortlessly glides between innocent, sexual, cunning and intrigued, covering a range of depth most actors want. And Isaac is in typical fantastic form here as Nathan. I've been a big fan of his since I saw Inside Llewyn Davis, believing that he deserved a lot of love for that. He plays Nathan in a way that feels like Nathan believes in his own hype about being some kind of tech god among men, yet clearly is able to back it up. Nathan comes across as a wildcard, never quite clear about what his motives actually are. He continues to prove he's one of the best young actors in Hollywood. All three actors give performances that deserve to be seen.

Alex Garland, who also wrote the film and whose previous writing credits include 28 Days Later, Sunshine, and Dredd, has created a taut, intelligent thriller that is one of the best science fiction films I've seen in recent memory. It shows that good sci-fi doesn't need all the bells and whistles of ballooning budgets and James Spader being a smarmy voice. Instead, he crafts a believable world that instantly draws you in, and makes you question whose side you are on throughout the film. Nothing is quite as it seems.

The score feels like if David Fincher decided to make a science fiction film not about aging backwards. It elicits a tension and urgency in each scene that makes you want to keep moving forward. Similarly, the cinematography is fantastic, giving gorgeous frames and allowing us to feel as the characters do. When we need to feel enclosed and claustrophobic, we feel it. And when we need to feel as though we are seeing things from a new perspective, we have that as well. Strong work from cinematographer Rob Hardy, who I assume is Tom Hardy's less talented and less handsome troll brother. 

Ultimately, Ex Machina is one of 2015's best films, and I highly doubt that will change. It's smart, stylish, urgent and well made. More films should aspire to greatness the way this film does. A definite must-see for science fiction and movie lovers alike.

Grade: A+

Exodus: Gods and Kings (2014) Movie Review

Christian Bale when he was in the NWA

I really had no expectations when I decided to sit down and watch Exodus: Gods and Kings, the latest loud, nonsensical film from aging filmmaker Ridley Scott. Let me make it clear from the get go: I used to be a huge Ridley Scott fan. He's made masterpieces like Blade Runner and Alien, and Gladiator was the movie that made me want to start acting. So it makes me really kind of sad to see him Exodus: Gods and Kings, which is a stupid title, and should have been titled Excrement: Farts and Poops. I'm a comedian.

We begin with the tale of Moses (Christian Bale) and Ramses (Joel Edgerton), two young men in Egypt who have been close friends since they were children. Ramses is the heir to the throne as pharoah, a title currently held by his father Seti (John Toturro). So when Moses goes to a town to oversee something, and speaks to Gandhi...err.. Nun (Ben Kingsley), he finds out he is Hebrew, and is then banished from the kingdom, when one of Ramses allies named Hegep (Ben Mendelsohn) tells him of this. And so begins the story that has the first act doing a sub par knockoff of Gladiator and the other two acts functioning as a fart cannon to your senses.

A lot was made of the fact that the cast is predominantly white, but honestly who cares? Christian Bale, who is arguably one of the best actors alive, and Joel Edgerton give fine performances in the lead roles. Same with pretty much the entire cast. They are all good actors and don't give you any reason to question why they were cast. Except for Sigourney Weaver, who has like three lines in the whole movie, and Aaron Paul, whose character Joshua is nothing more than a character inserted to ask plot forwarding questions the audience is probably thinking like "But how come Moses?" It's truly riveting stuff that shows why he has three Emmy awards. Just kidding. It explains why he agreed to do Need For Speed.

It's not to say that Ridley doesn't try to make them look more Middle Eastern. Little things like dirtying them up when they are outside to give the appearance of darker skin are tactics that he assumed people wouldn't catch because they'd be too busy trying to get refunds for this turd sandwich. But I caught it all Ridley. I caught everything. Because my crippling loneliness wouldn't allow me to look away from the screen.

Ultimately, Exodus: Gods and Kings does a lot more wrong than it could possibly do right. A muddled plot, weak character motivations, sloppy pacing, dialogue that even the Bible would have edited out and a third act so bad that it made me laugh harder than anything so far this year. Audible, loud, angry laughter at my laptop til I wrote this review.

Grade: D-

Begin Again (2014) Movie Review

Pirates of the Caribbean 12

Anyone that knows me knows I love movies about music. It's my musical theatre upbringing. If I can find a reason to be singing after a movie, it's a good thing. Hence why I watch all the Disney movies. And I loved Inside Llewyn Davis. I love music. Can I sing? Yes. Is it good? ..No, it isn't. I'm not a good singer. But whatever. I don't need your judgement. Anyways, it's rare that I watch a movie and have a big stupid grin on my face through most of it. But that's just what Begin Again, the latest effort from writer/director John Carney, does so damn well to me.

Dan (Mark Ruffalo) is an executive working at a popular record label. But the thing is, he hasn't brought in a good act in years, and is kind of a mess of a human. Gretta (Keira Knightley) is a songwriter who has lost the inspiration that made her good, and has reached the end of her rope living in New York. One night Dan hears Gretta at an open mic and loves her songs and knows he can turn it into something special. And so they agree to work together, and start the journey of trying to make a record.

Ruffalo and Knightley are both excellent in the lead roles. Dan is the type of guy who you know cares about the music, but has become tired and jaded. He loves music, but hates what the music industry has become. And it's a testament to Ruffalo's performance that we can sense everything he is feeling, as Dan keeps trying to build himself up again. Knightley, who I have admittedly never been a big fan of, is equally as good. Performing all the songs herself, she brings a natural vulnerability to Gretta that instantly makes you root for her, despite how she may sometimes act. Gretta is someone who believes in herself, but isn't sure anyone else does, and Knightley does a fantastic job bringing out her subtitles

The supporting cast is also very good. James Corden, who I'm pretty sure is my white counterpart, as Gretta's friend Steve brings the right amount of levity to scenes and is the supportive fat friend we all love to have. Adam Levine is also surprisingly quite good as Dave, Gretta's boyfriend, who is a big time musician working on his big follow up album. Then there's Hailee Steinfeld and Catherine Keener as Dan's daughter and wife, who he is currently not living with, but who both clearly need him. Both actresses are their reliable best, especially Steinfeld. And then there's Cee-Lo Green, who I'm pretty sure is my black counterpart, as a rapper named Troublegum, who owes his whole career to Dan. Classic Troublegum.

John Carney, who also wrote and directed the always wonderful Once, gives another movie that feels totally believable. He creates fully formed characters, who have their own traits and lets them live in this world. The fact that he makes you invest in these characters and root for them is something that is totally underrated nowadays. Yes, he probably could have directed a couple of scenes better. The opening scene I didn't find particularly well done, actually. But the film plays out in a way that feels natural and honest, and never tries to trick you or cop out. I think this is due to Carney's work. Also, go see Once on Broadway. I heard the show is really good.

Ultimately, Begin Again is a movie that rewards you for investing in its characters. It's a film that is partially about redemption, but also about finding your place in the world. Because sometimes, what you think of yourself, and what the truth is, are two completely different things. Also, did I mention I love movies with singing? Right. Now let me annoy my roommate with my raspy dungeon troll voice.

Grade: A

Nightcrawler (2014) Movie Review

Wait, this isn't X-Men

Have you ever believed your own philosophy so completely that you were willing to go further than you ever thought possible in order to achieve your self perceived destiny? What if you not only subscribed to that ideal, but also were willing to do whatever you needed to do, whether it was lying, stealing, manipulating or just being a regular ol' motherfucker. That's what you get from Nightcrawler, the directorial debut from Dan Gilroy, a movie so full of ideologies and anarchy that you'll have a hard time believing what is happening.

Lou Bloom (Jake Gyllenhaal) is a hard worker. He's the type of guy that spouts lines like "If you want to win the lottery, you have to make the money to buy the ticket". When Lou figures out that he has a knack for being a freelance stringer, (guy who records events at a crime scene right when they happen, then sells it to a news station), he sets himself down a dark road of blood, twisted metal and, potentially, murder. You see, when you're a stringer, blood sells. So with the help of his assistant, a homeless man named Rick (Riz Ahmed), Lou sets out to record as many gruesome things as possible, and perhaps impress Nina (Rene Russo), an executive at the local news station, along the way.

First and foremost, this movie does not function without Jake Gyllenhaal. Looking gaunt and a tad terrifying, Gyllenhaal gives, perhaps, a career best performance. We've seen him play vvulnerable damaged, charming, witty and earnest. But the thing that separates Lou from every character that Gyllenhaal has ever played is that Lou is unhinged. He's a psycho, and he comes across as a ticking time bomb. He's terrifying, unsympathetic and has a stare that will cut right through you. It's a masterful, restrained performance from one of the best actors of his generation, and one that should garner some serious awards buzz.

Also very strong are the supporting cast, made up of, the aforementioned, Riz Ahmed and Russo, as well as Bill Paxton as a rival stringer named Joe. All three are great; Ahmed seems to effortlessly play Rick as a bohemian who gets caught up in Lou's fantasy and feels like he's getting in too deep. Russo is at top form as Nina, who will just as quickly praise your work, as she will call you out on bullshit. And it seems like Paxton is having a mini character actor resurgence. He was great in small roles in Edge of Tomorrow (Or is it Live. Die. Repeat?) and Million Dollar Arm, and he's fantastic here as Gyllenhaal's foil. I don't know what to call his mini-comeback. Paxtonnaisance sounds gross.

Writer/director Dan Gilroy, brother of Tony Gilroy (writer/director of Michael Clayton), crafts an interesting story that often plays on our morals. Is what is happening right? That's what I asked myself a lot of the time. The dialogue is crisp and feels real, and his direction is very good for the most part. At times, it feels like things could have been a bit tighter, though. However, it's a strong debut, and one that I hope he can follow up. 

The film mainly suffers from being a tad overlong, and has a bit of trouble finding it's footing in the first 20-25 minutes. What particularly bothered me was the score, by James Newton Howard, because it simply didn't fit the tone of the movie during that stretch. The score during the final two thirds is great, but the first little while feels like something you'd hear in an episode of Friday Night Lights.

Ultimately, I ended up enjoying the movie. Yeah, it sounds like I had issues with it, but I loved the way the story ended up playing out. And, oh yeah, Gyllenhaal acts so damn well it makes my nuts hurt. It's a story of greed that plays out well thanks to Gyllenhaal's grandstanding performance and my love of self-serving monologues.

Grade: B+

Fury (2014) Movie Review

The Justice League

War movies often have the tendency to glorify the brutality of war, or to patrioitize whoever is being depicted. And in most cases, it is justified. I can't imagine the courage that those people had, and still do have, and it makes me admire what they have done for freedom. The thing that Fury did that I admired was that it made me feel these things for these men, while also allowing me to understand them, sympathize with them, and even hate and pity them. 

It is April, 1945 and in a last ditch effort to win the war, Hitler has militarized all men, women and children in Germany, while the Allied forces continue to press deeper into the country. Don "Wardaddy" Collier (Brad Pitt) is the leader of the tank named Fury, and the leader of the operators of that tank. Those men are Boyd "Bible" Swan (Shia LaBeouf), Trini "Gordo" Garcia(Michael Pena), and Grady "Coon-Ass" Travis (Jon Bernthal). When their assistant gunner is killed, they receive Norman Ellis (Logan Lerman), a typist who is assigned to Fury. He is afraid, and does not fit in with these hardened men, and fears constantly for his life as they embark on a mission to take a neighbouring town, and, simply, hold the line.

What writer/director David Ayer crafts with Fury is very much akin to what he did with End of Watch, delivering a powerful character drama with real human moments. The men who sit and operate inside Fury are as close as brothers, and are willing to do whatever it takes to make it out alive. What I really enjoyed about it was that it was never about winning the war to these men, it was simply about survival. It shows you the side of these men, where they are busting each others balls, having a meal together, fighting each other, or fighting beside each other. It allows into the minds of each man, and Ayer does a good job fleshing out each character. He makes you feel the bond between these men without ever having to explicitly state it.

He also does well to balance the action once the plot begins to move. The trailers make it seem as though it is non-stop tank action, which is not true. The action comes in waves, with each wave becoming more overpowering than the last, but it is still a film about the characters, and the effect this has on them. It's a character study taking place in World War II. Ayers eye to realism really pays off in this sense.

The entire cast is outstanding. Brad Pitt is his usual outstanding self, playing Wardaddy as a man who has seem some shit. He's angry, bitter and tired about the war, and you see it from the way that Pitt simply looks at another character, or his posture or the way he clenches his  jaw. It's a performance of subtly, but it's something Pitt is used to. He's a man who is functioning on the mantra of kill or be killed, and he refuses to die.

Michael Pena, who was also in End of Watch, plays the driver, and brings the right amount of intensity, passion and drunkenness to the role. He's a character, you can sense, feels lost in the war, but at home in Fury. Jon Bernthal plays a bull of a man, playing Coon-Ass like the classic loose cannon assholes that made DeNiro a star. It's another reliable turn from the actor. And LaBeouf, who seems to be the topic of so much hate, is also excellent as Bible, the operator of the cannon. LaBeouf may get shit about being somewhat crazy, but he can act. And does he. Something about having a southern accent makes his performances all the more believable and genuinely better (see Lawless for proof of this). Also the silly moustache actually works. Don't ask me how.

The performance I most enjoyed, however, was the performance of Logan Lerman. After The Perks of Being a Wallflower, I've been excited to see what he can do, because that was a fucking brilliant performance. And he's aptly game here, often going toe-to-toe with each member of the cast and deliver another very strong performance. You believe Norman goes through a change in the movie, and while it feels a tad fast, you feel the emotion he feels. It's the kind of performance that made Joseph Gordon Levitt an A-list star.

Honestly, I simply enjoyed the hell out of this movie. It's not perfect. Not by a long shot. It suffers from some pretty bad pacing at times (mainly the beginning), and often simply lingers too long. But it's a movie that makes you appreciate the calm before the storm, because the storm is pure hell. It made me genuinely afraid of the situations these men were in. And, while it's no Saving Private Ryan, it will have your stomach in your throat and your balls in a vice (we all have balls in this scenario, I don't write for gender). It also suffers from some lackluster cinematography at times, as it doesn't quite do the tank battles or destruction justice.

Ultimately, Fury is a story about men who want the war to be over, but continue to fight because it's what they have to do. It's not about winning the war for their country, or to kill Hitler. It's about fighting because it's all they can do.

Grade: B+

Gone Girl (2014) Movie Review

I've tried several times to sit down and read Gone Girl, but either never had the time, or just not had the motivation to read a novel. Despite the fact that numerous people, whether they are friends, family or the Chapters girl who told me it's so much better than Horns, have all told me it's fantastic, but I just couldn't bring myself to do it. I've been close. I actually own a hardcover copy and paperback copy (I thought my hardcover one was lost. Nope, just in a box). So it's been on my mind. I'm glad I hadn't read the novel, however, because what I saw on screen kept me transfixed throughout and has me still wanting to talk about it.

When Nick Dunne (Ben Affleck) comes home in the morning after checking in with his sister Margot (Carrie Coon), he comes home to a situation. The coffee table has been smashed, it looks like there was a struggle, and his wife, Amy (Rosamund Pike), is nowhere to be found. Once the police arrive, and see that there are flecks of blood on the cupboards of the kitchen, the search to find out about Amy takes place. And it leads us down a smart, twisty, incredibly fucked up road.

Honestly, I can't reveal much more about the plot than that, because there are so many things that can be delicately spoiled. The film jumps between the current investigation led by detective Rhonda Boney (Kim Dickens) and officer Jim Gilpin (Patrick Fugit), and Amy's diary entries, which denote when her and Nick met, when they got married, why they had to leave New York and move to Missouri and that their marriage had become a shaky one. 

On the performance level, there needs to be some serious awards love for Rosamund Pike as Amy, who gives a performance unlike anything you've ever seen from her. She's loving, impulsive, conniving and volatile all at once. It's easily the best performance of her career. Opposite her, Affleck gives a fantastic performance as Nick, who slowly begins to figure out what may have happened to Amy, and he gives one of the best performances of his career as well (I'd argue his best performance is in The Town).

The supporting performances are all great too. Kim Dickens and Patrick Fugit are great as the law enforcement trying to figure out what happened to Amy, and if maybe Nick is behind it. Carrie Coons is superb as Nick's twin sister Margot, who is always in her brother's corner. Lisa Banes and David Clennon are also good as Amy's parents. Neil Patrick Harris is equal parts creepy and Barney Stinson (one line in particular really), but is very good nonetheless. And Tyler Perry (!) gives a great performance as Tanner Bolt, a high profile defense attorney who Nick hires to help him. Who knew Tyler Perry is as good at trying to keep Ben Affleck out of prison as he is trying to send Madea back to it? Oh also, Scoot McNairy (who I think everyone knows I love), makes a nice single scene cameo as well.

David Fincher weaves an expertly told tale, along with Gillian Flynn (who wrote the novel and screenplay), that keeps you on the edge of your seat, wondering what the hell is coming next. It's a testament to Fincher's skill as a director and attention to detail, that he is able to keep the audience hooked and, in my theatres case, make the audience react to every twist and turn throughout the films lengthy 2 hours and 25 minute run time. And yes, I am a massive Fincher fanboy. Normally, I'd talk about the way the film is shot and looks, but unfortunately, Pasan and I had the pleasure of watching the film from the second row in an AVX theatre that was sold out hours ahead of time. And if you don't know who Pasan is, listen to the damn podcast. The link is on the right side of every page.

Flynn writes an incredibly dark screenplay that is also incredibly hilarious. No this isn't a dark comedy in any sense, but the moments of humour help to offset the incredibly dark moments so well. The score is typically good from Trent Reznor and Atticus Ross, who seem to have become Fincher mainstays. It's not quite as dark and brooding as their scores for The Social Network or The Girl With the Dragon Tattoo, as it allows moments of levity and tranquility, while still underscoring the scenes perfectly. 

Ultimately, Gone Girl is a fucked up movie. Honestly. It had me audibly react to the events on screen numerous times. But it's a movie that will get you talking and leaves you with so many questions and morally dilemmas. Regardless, it's expertly directed, written and acted, and will definitely make my top ten at the end of the year.

Grade: A+

The Grand Seduction (2014) Movie Review

Original casting for Tom Hanks and Wilson

I love movies that are about small towns. Probably because I never lived in a town small enough to know everyone by name, to be honest. There's something so warm and inviting about the idea. And I just love the general notion of people from Newfoundland. Those Newfies just feel like a bunch of kind-hearted-not-sure-if-they're-Irish-people. It's probably what caused me to like The Grand Seduction as much as I did, despite the fact that it has some issues at times.

Murray French (Brendan Gleeson) has been a resident of the town of Tickle Head his entire life. He remembers the good old days of the men of the town being fishermen, going out, providing for their families, then coming home and living happy lives. However, that time is now gone, and because of fishing bans, the residents of Tickle Head live paycheck to paycheck, in hopes that their town can get a factory into their town to create jobs. However, they don't have a town doctor, and without a town doctor, none of that can be improved. That's where Dr. Paul Lewis (Taylor Kitsch), a young doctor needing a break from city life, comes in. Paul is coming to Tickle Head for one month, and the residents are adament to make him fall in love with the town and stay.

The strength of the film really lies in the performances of the actors involved, specifically Gleeson and Kitsch. There's something about Brendan Gleeson's acting style that just lends him perfectly to any role he chooses, and this is no exception as he plays Murray with an instant lovable nature. He's just a guy who loves his home and will do anything to make sure it continues to carry on. Kitsch is equally as good, playing a departure from the characters he's known for, instead playing a naive kind doctor looking to make a change and find where he fits in. It's nice seeing him do this kind of movie, instead of the big budget stuff that seems to follow him post Friday Night Lights.

The supporting cast is all decent, none of them particularly standing out, though I felt, for a movie trying to make you root for its residents and invite you into their lives, I never really knew a whole lot about anyone besides Murray and Paul. That along with some pacing issues as well as musical choices for scenes left me wondering why such a delightfully written and directed film could lose steam in certain scenes as fast as they did. However, they do make the town look like everything you'd expect from a small fishing town of less than 150 people, so kudos for that.

Ultimately, The Grand Seduction probably won't stick with you long after you've seen it. It's a nice, light film with strong performances from the always reliable Brendan Gleeson, and Tim Riggins himself Taylor Kitsch. It's got fun dialogue and clearly a labour of love to make, but falters in scenes where it should be cementing itself. Not quite a seduction, but still pretty damn enchanting.

Grade: B-

Boyhood (2014) Movie Review

Usually when you hear about a movie taking 12 years to get made, it's because they can't get funding, or the lead actor left or they need a new director. You don't ever hear about a movie being filmed over a 12 year span. But that's exactly what Boyhood is. It's a movie about the life of a boy from the age of 6 to 18. It's about his growth and development till he's able to go out on his own. What ends up unfolding in front of you is unlike any movie I've seen this year, and any movie I can think of.

Mason (Ellar Coltrane) lives with his mom, Olivia (Patricia Arquette), and his sister Samantha (Lorelei Linklater). His dad, Mason Sr. (Ethan Hawke) has been fairly absent early on in his life, since his parents got a divorce, but he's now trying to fix that and be a better father. But don't let any of this vague plot synopsis fool you, this film is about Mason Jr., and his journey from a 6 year old kid to a high school graduate is something to behold. Not because it is full of excitement and big events, but it reminds you that sometimes life is just the day to day, and before you know it, it's been 12 years.

Ellar Coltrane as Mason is actually a very good choice because he has a natural acting style that never makes it feel as though he's trying to do anything. And that's a good thing. He feels comfortable in the role, showing Mason as a smart, good hearted kid, who sometimes has to go through shitty times, like the rest of us. It helps that Coltrane never seems to be trying to act, instead just being Mason. Lorelei Linklater, daughter of director Richard Linklater, is also good as Samantha. She plays her as loud and obnoxious as a kid, and shy yet confident as she gets older. It's a part that doesn't demand a lot of range, but she is perfectly fine in the role.

Ethan Hawke and Patricia Arquette are both their reliable selves, making their relationships with the kids and each other feel genuine. Hawke plays the early years with energy and vigour, much like a young Ethan Hawke, before he settles down and becomes more relaxed. It's the type of performance we expect from him. Arquette is fantastic though, as she is given a lot of heavy lifting to do, being that she wants to be as present in her kids lives as possible. Her protectiveness of her kids, hard working attitude and fiery personality instantly reminded me of my mom. Hopefully this brings her into a career resurgence, along with her role on Boardwalk Empire. 

Writer and director Richard Linklater is honestly one of the most underrated directors in Hollywood. Probably the most. He's directed the Before Sunrise, Before Sunset, Before Midnight, Dazed an Confused, School of Rock and Bernie. I truly hope this is the film that gets him that Best Director nomination because it's a film that reminds you what life is really like. The complete honesty that you feel in Boyhood is what makes it one of the best films this year.

I think that's what Boyhood does so well. It reminds you what it was like to grow up. Going to see Harry Potter, or when you went to school after a bad haircut, or the first time you went camping, or your first real girlfriend.  It reminds you that life isn't about waiting for big moments or trying to capture the small ones. Everything we do is a moment. We just have to remember to live in it. 

Grade: A+

Locke (2014) Movie Review

Tom Hardy in Locke

What happens when one mistake leads to everything you know falling apart? Do you brush it under the rug, deal with it head on, forget about it, or let it catch up to you? That is the dilemma at the center of Locke, a tense character study set entirely in a moving car. A million thoughts swirling around, distracting, engaging and confusing, while we, the audience, make sense of what is happening and begin to weigh how we would handle the situation.

Ivan Locke (Tom Hardy) is a simple man. He works for a company that puts down cement, he's the head of his department, and he's damn good at his job. He has a loving family at home, and is considered an all around great guy. Except last year, he had a one night stand with his secretary, leading to her getting pregnant, and him setting out in order to be there for the birth of the child, because he didn't have a father, and Locke will be damned if this kid doesn't have a father either. And so begins one of my favourite movies of 2014 so far, and a truly great character study.

At the center of the film is my man crush, Tom Hardy. An actor normally known for his physicality, Hardy is restrained to the driver seat of his BMW for the entire film. However, the sheer intensity he brings to the way Locke speaks (with a thick Welsh accent), to how he reacts to his ongoing situation, to how he reacts to the traffic around him, Hardy commands the screen at every instance. He is able to express so much simply through the way he moves his eyes, or adjusts how he is sitting, further cementing himself as one of the most talented actors of his generation, and giving a performance that should be a lock (fuck you, I'll use puns) for an Oscar nomination, but will be overlooked.

The supporting cast is all good as well, despite only being heard through the bluetooth in Locke's car. Ruth Wilson is fantastically heartbreaking as Locke's wife, desperately trying to deal with the fact that her husband cheated on her. Olivia Colman is solid as always as Bethan, Locke's former secretary in labour, who is clearly in love him with, despite him blatantly stating he isn't. And Moriarty, err, Andrew Scott is good as Donal, Locke's coworker who is trying to help Locke clean up the mess at work.

The thing that Locke does so well is that it never loses your attention, despite nothing incredibly exciting happening. There are no car crashes, flashbacks or any reason to leave the car. Everything that unfolds simply relies on Locke and his conversations on the phone. Writer and director Steven Knight crafts a beautiful tale of a man at his wits end, desperately clinging to everything that he holds dear and trying not to implode as it all keeps slipping away. He never lets our attention wain as we try to figure out what's going to happen next.

Ultimately, Locke is a great lesson in minimal storytelling. Shot on a short schedule and shoestring budget, it doesn't show, as the level of talent involved shines through. If I had any problem with the movie, it was that there was a character or two that could have been written out, or their dialogue given to another character to deliver. Otherwise, it is a brilliant film with a performance from Tom Hardy that simply proves him as one of the most interesting and talented actors working today.

Grade: A+