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

Whiplash (2014) Movie Review

"Get me a picture of Spider-Man, Parker!"

There are not many things worse than being humiliated in front of your peers. It's degrading, embarrassing and, somewhat, childish. Being told off or yelled at in front of people, as an adult, is like listening to Russell Crowe in Les Miserables. What I'm saying is it's super uncomfortable. And you need Hugh Jackman to sooth the pain. In both instances. But anyways. Now imagine that you're desperately trying to make it big in your dream profession, at the best school for that profession, and the most revered teacher at that program is the one ripping you apart. Alright, let the pants shitting commence.

Andrew Neiman (Miles Teller) is a jazz drummer. Or at least, that's his dream. He wants to be a big time drummer, and he's on his way towards being that at Shaffer Conservatory, the "best music school in the country". Andrew knows the only way to get anywhere at Shaffer is by being on the Studio band, run by Terence Fletcher (JK Simmons, who is not just kidding at any point). So one day Fletcher sees Andrew play, and calls him up to the Studio band, where it is trial by fire. The attitude is either play perfectly, or get ready for a new asshole. Oh, and get the fuck out too. So thus we follow Andrew desperately trying to prove to Fletcher he's the real deal, and Fletcher being the scariest motherfucker since the last time JK Simmons yelled in a movie.

Teller is fantastic as the timid Andrew, who loves music and playing, but, initially, has very little confidence, yet has the talent and drive of a star brimming from him. It's easily the best performance of Teller's career, as he, along with playing all the music in the film himself, takes Andrew through a journey of discovery and blisters that makes you appreciate your parents forcing you to go to med school. There is an inherent ease to how he plays Andrew, and has you sympathetic towards him throughout, despite some of the assholery he is guilty of.

However, the film really belongs to JK Simmons, who steals every god damn scene he's in. The beauty of the character, for me, was that I could never tell what his actual intentions were. Was he trying to make the best jazz band possible? Was he trying to push these kids to find their inner genius and reach that next level? Or did he just like shitting down some millennials throats? It's really a testament to Simmons, who is, most likely, Hollywood's most reliable character actor, that Fletcher can instantly go from berating, to charming to flattering all in the blink of an eye. I don't know if it's his best performance, but it'll bring some much deserved attention to a wonderful actor.

I also have to highlight the music in the film, as it plays out much like the third main character of the film. The songs that Andrew has to learn have a high degree of difficulty (or they may not, I never played drums) and when they are going well, the film has a free flowing jazz feel to it. It really helps to balance the extreme moments of tension. Writer/director Damien Chazelle has really brought a flair to the film that gives it life, along with strong direction and excellent writing that includes insults such as "limp dick faggot", it brings an air of discomfort yet believability to the whole film. The last ten minutes of this film had my stomach in my throat and me on the edge of my seat.

Ultimately, Whiplash is one of the best films of 2014. Carried by two amazing performances, brilliant direction and a love of music. Each scene is filled with tension, menace and jazz, making it one of the years must see films.

Grade: A 

The Skeleton Twins (2014) Movie Review

I always enjoy seeing comedic actors take on dramatic roles. Whether it's Jim Carrey in the Truman Show, Bill Murray in Lost in Translation or myself in everything I do, comedians showing their range is generally a treat. Also sometimes when serious actors do comedy. You can't convince me Russell Crowe singing in Les Miserables isn't some of best performed comedy I've seen. Anyways, when it comes to The Skeleton Twins, I'm pleased to say two SNL alums give some of the best performances of the year in a well made film.

Milo (Bill Hader) is a gay actor living in New York. He's not successful, he's depressed, and suicidal. Maggie (Kristen Wiig) is a housewife living with her husband, Lance (Luke Wilson), but is constantly miserable and tired of her life. After a situation that causes Milo to move in with Maggie, who haven't spoken in ten years, they begin to understand why they are how they are, what made them that way. That's honestly the best way to explain the plot. I wish there was more detail. But there isn't. Seriously.

Hader and Wiig are excellent as Milo and Maggie. Both actors, who are close friends in real life, have a natural report on screen that makes them really feel like siblings. Wiig is cold, miserable and, at times, stand-offish, and plays it perfectly, proving that her SNL characters being perfect parodies is due to her clearly understanding how people function. Hader is heartbreaking at times as Milo, who is clearly depressed and lonely, and who seems lost. It's really a strong performance from Hader, who could probably sneak in with a nomination if they campaigned him as Best Supporting. It's honestly a fantastic pair of performances.

Wilson is also good as Lance, Maggie's clueless happy all the time husband. He plays it like most characters he's played before, but really shines near the end of the film. Ty Burrell is also strong as Rich, an old fling of Milo's, who is still in the closet.  Boyd Holbrook, who seems to just be a solid supporting character actor, and Joanna Gleason are also strong in supporting roles.

First time director Craig Johnson, who co-wrote the film with Mark Heyman, has a strong debut giving a character drama that makes the characters feel like real people. And makes the characters comes to their own realizations about themselves, instead of other characters doing it for them. It's a little thing, but goes a long way in terms of believability.

In the end, The Skeleton Twins is carried on the power of two strong dramatic performances from actors who you wouldn't expect them from. While it probably won't win any awards, or make a ton of money, it is a strong directorial debut and a great dramatic coming out party for Kristen Wiig and, especially, Bill Hader.

Grade: B

Interstellar (2014) Movie Review

What happens when the world is dying? When the human race is given their doomsday clock, and we have the slimmest chance for survival, does man fight for his existence, or simply walk hand in hand into extinction? The beauty of Interstellar, the latest film from Christopher Nolan, is that it asks you questions, then sets out to answer those questions. And it makes you, not only want, but need to talk about the film after you leave. I found myself thinking about aspects and concepts and ideas late into the night. What Interstellar made me ask myself (and the local Cineplex patron who, then, asked me politely to leave) is “If a big budget blockbuster can be this polarizing and ambitious, why do we settle for anything less?”

Cooper (Matthew McConaughey) is a farmer living off his corn production, in a world where the planet seems to slowly be dying. Earth seems to be rejecting our attempts to save it, and our end may indeed be in sight. There is dust everywhere, increasing as the planet becomes less habitable. Thing is, Cooper is also an engineer, capable pilot, and a man of science. He seeks to explain everything logically, trying to instill this nature into his son Tom (Timothee Chalamet) and daughter Murph (Mackenzie Foy). When Cooper and Murph notice something off with the way dust settles in Murph's room, it sets them on a path that sends Cooper into space in search for human survival. It is really hard to talk about the plot of this movie generally, because so much of the plot relies on specifics, and I don't want to spoil anything.

What Christopher Nolan is able to, in terms of pulling you into this world and accepting the questions the characters are asking, and the stakes with which they live, is nothing short of extraordinary. The film is clearly a love letter to films such as 2001: A Space Odyssey, and, like that movie, it is truly an experience. There are moments of true beauty that Nolan mines, whether it is a ship passing by a planet, only illuminated by the faint light of the sun, or glimpsing into a wormhole, or simply the embrace of family. I can't remember a movie that gave me such a sense of wonder and phenomenon. It's a blockbuster movie that seeks to stimulate you, and test you, as it never feels like Nolan is pandering, instead feeling like he is asking you to rise to his own level.

The performances in the film are all universally strong. Leading the charge is McConaughey, who gives a wonderfully layered performance. Cooper is a complex man who strives for simplicity, and it is fantastically embodied. One particular scene, in which he catches up on things he's missed will leave a lump in your throat. Equally as good is Jessica Chastain, who has made a career out of playing strong-willed women, as the adult version of Murph. There isn't a lot to say about her performance without ruining key points within the movie, so I'll just say it's quite good. Same goes for Anne Hatheway, playing Brandt, who is another astronaut going along with Cooper. The supporting performances from the likes of Casey Affleck, John Lithgow, Matt Damon, Topher Grace, Wes Bentley, Bill Irwin and Michael Caine are all strong as well. Not really a weak performance in the house, as is generally the deal with a Nolan movie.

Written by his brother Jonathan Nolan, and with the advisory of American theoretical physicist Kip Thorne, this is a beautiful and full realized film about space exploration that also uses accurate scientific (as far as I can tell, still waiting for Neil Degrasse Tyson to call bullshit on something). It totally invokes a sense of wonder, while giving full realized characters and ideas to explore. Also, it's pretty damn hilarious at times. Interstellar is shot wonderfully by Hoyte Van Hoytema, and Hans Zimmer brings the entire thing to life with another excellent score (though, at times, it was incredibly overpowering).

Yes, the movie suffers from problems. It's probably 20 minutes too long for most people. And the last 35 minutes or so could have been handled better. But those did not take away from my overall enjoyment of the film. And for those worried about the close to 3 hour runtime, if you immerse yourself into the movie, you won't notice it. And while I've heard people say it was boring, or too complicated, I would easily watch a movie willing to take risks and explore large ideas on a large scale than another Transformers movie (which we are getting because you fuckers won't stop seeing them).

Ultimately, this is unlike any film Nolan has made before; it's not a cat-and-mouse game like Memento and Insomnia, or a mind-bending thriller like Inception. It's a look into human nature and how we, as a species, will always seek to survive. At it's heart, Interstellar is a love letter to grand filmmakers of the past, seen through the veil of a man's journey to see his daughter again.

Grade: A

*Note: If you do plan on seeing it in theatres, see it in IMAX.

Birdman (2014) Movie Review

I genuinely can't explain to you how batshit insane and wonderful Birdman or (The Unexpected Virtue of Ignorance) is. It's like a hyper stream of thoughts that threatens to overwhelm the sense, but also knows just when to stimulate them. And also, did I mention that Birdman is so batshit insane? I feel like it needs to be mentioned often, because a lot of the time I would just stare at the screen going "What the fuck am I watching?" But in a good way. Like a fat person running a marathon. Or a fighter hugging his family before breaking the face of a man he doesn't know. Or me, running a marathon. Comedy works in rules of three, people.

Riggin Thomson is a former box office titan, been part of the Birdman franchise, a popular comicbook movie trilogy that earned billions. But that was over a decade ago, and now Riggin is, more or less, a washed up actor trying to make his mark in the acting world again, by adapting a Raymond Carver play for Broadway. He also has to worry about the other actors in the play; Laura (Andrea Riseborough), his current girlfriend, Lesley (Naomi Watts), an actress about to achieve her dream of being on broadway, and Mike (Edward Norton), a quasi-method Broadway veteran. There's also Riggin's best friend and agent Jake (Zach Galifanakis), his ex-wife Sylvia (Amy Ryan), and his former drug addict daughter and assistant Sam (Emma Stone).

Alejandro Inarritu is known for generally making some pretty downer films. He's made Amores Perros, 21 Grams, Babel, and Biutiful, all of which will makes you want to curl into a ball and call your family to tell you it'll be okay. With this movie, I felt like he just said "FUCK IT!" and decided to go balls to the wall and enjoy himself, though this movie can get dark at times. Another connection all his movies share, is that they showcase facets of the actors involved people may not have known they had. He put Gael Garcia Bernal on the map, showed the vulnerability of Benicio Del Toro, showed that Brad Pitt has always been more than abs and a perfect jawline, and that Javier Bardem can get sick too, despite being Spanish Brad Pitt.

Birdman is no different, as it shows that Michael Keaton is fucking force to be reckoned with. I'm not overly familiar with Keaton's filmography, to be honest, but this is the best performance I think he's given. Obviously, it's not hard to see the Birdman/Batman parallel to his life, but Riggin is an insane creation. He's a former A-list movie star that wants to prove he's a legitimate actor. That he's an artist. And Keaton is so wonderful in the role that I think he's certain to get an Oscar nomination for his work here. He perfectly embodies Riggin as someone who clearly knows they are better than what everyone sees, and he leaves it all out on the table. Beetlejuice feels tame compared to Riggin Thomson. BIRDMAN BIRDMAN BIRDMAN!

Similarly excellent is Edward Norton, as Mike, who is the type of actor everyone hates, but loves. He's an asshole, who knows he's brilliant, and is out there for himself. But Norton finds a way to make him utterly memorable, to the point where you can't wait for him to come back on screen. He nearly steals every scene he's in. But the first rule of acting, is you do not talk about acting. The second rule is make sure your cheek make up is in an L shape. Theatre basics.

The rest of the cast is all good. Naomi Watts as Mike's girlfriend is her usual fantastic self, as is Amy Ryan as Riggin's ex-wife, who is actually loving and supportive. Andrea Riseborough is strong, but fairly underused compared to the rest, while Zach Galifanakis plays it mostly straight, and puts in some of his strongest work. However, it's Emma Stone that surprised me, giving a range of emotion I haven't seen from her before. Yes, we all fucking love Emma Stone. She's all of our dream girls. But damn, she can act a storm up when she wants to. She makes Sam a fantastic character to watch, and one that we end up really caring about.

So, in case you hadn't heard, the entire film feels like it is shot in one gigantic take. The way the camera weaves along with the actors, along with seamless editing and beautiful cinematography, it really makes you feel like you're a part of the show along with them. A lot of credit has to go to DP Emmanuel Lubezki , who shoots with a wonderful crispness. Lubezki is pretty much the master of long takes, as he also shot Gravity last year (with it's 14 minute opening), as well as Children of Men (which has some of the best long takes ever put on film). The point is, don't bother looking for the edits. You won't find them. They'll find you. Oh, and gotta give it up to Antonio Sanchez, as well, for an up tempo jazz feel to the score, that keeps you, as well as the film, on your toes. 

Ultimately, the credit has to go to Inarritu, as he seems to blend all the aspects of this film together with such ease and craftsmanship. In the hands of a lesser director, this film could have been a total shit show. Yeah, the film has a couple of problems. Mainly that it can be a tad hard to follow, with so many pieces in play. And that the ending felt like a few false endings (Lord of the Rings syndrome). But otherwise, it's fucking great. I'd highly recommend you watch it with other people. And if they don't like it, shame them for being wrong and dumb and ugly.

Grade: A

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+

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+

The Rover (2014) Movie Review

Bella and Edward

It is ten years after the collapse, and the world seems to have gone to hell. We open up on a barren, desolate Australian terrain with Eric (Guy Pearce), our often silent eyes into this world, as he sits in a car seemingly waiting for time to pass. The Rover offers up another post-apocolyptic setting where each character seems to be looking out for themselves, and scrounging to survive. People will not hesitate to kill each other, as each day looks to be an inevitable countdown towards death.

When Eric's car is stolen by a trio of shady individuals on the run (Scoot McNairy, Tawanda Manyimo and David Field), he makes it his mission to get that car back at any cost. The trio, led by McNairy's Henry, manages him to give him the shake and get away. However, Eric is determined, as the car holds some kind of value to him, perhaps an attachment to his life before the collapse. It seems the car and men are long gone, when Eric happens across Rey (Robert Pattinson), Henry's younger brother who was thought dead in the events they were running from before stealing Eric's car. Yeah, The Rover is bleak, dark, violent and depressing, but wonderfully acted, directed and made.

In the lead role, Pearce does career best work as Eric. He is a no bullshit man, willing to get his hands dirty and seemingly fighting for a single unknown cause. Often known for playing more bookish or suave characters, Pearce really sinks his teeth into the role, bringing an aggression and power that he isn't typically known for. McNairy is also his reliable self in a small supporting role. He makes you think he is menacing, but clearly only is when he has to be and his kill-or-be-killed attitude is visible on his sleeve.

However, the big suprise for me was Pattinson, in a role so unlike what he is known for. Rey has a mental disability, and often has trouble stringing together numerous thoughts at once, but Pattinson makes you believe he has a kind heart, and is clearly in over his head, yet knows enough that he is a survivor. There is a level of performance and honesty that I've never seen from him as an actor, and I hope he gets more roles like this, as opposed to the team heartthrob roles that made him a star.

The film is beautiful made as well. It's directed by David Michod, who made the brilliant Animal Kingdom, and written by him and actor Joel Edgerton, who was in Animal Kingdom. The written never wastes any time, often getting to the point, and letting you get a feel for how the world is now. And the direction is on point as well. The film evokes the feeling of Children of Men and The Last of Us, and gives us a great take on a genre that has been done to death.

In the end, The Rover is a film that was clearly made for film audiences, and not general ones. It can feel slow at times, but constantly keeps you on edge if you invest, and doesn't let you figure how it's going to play out at any point. 

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+

Guardians of the Galaxy (2014) Movie Review

Star Warlords

Let's gear up, this Summer, for the surprise winner of the big budget blockbuster so far in 2014. When the fate of the galaxy is threatened by a warlord hell bent on destruction, to fulfill a prophecy he believes he is meant for, it will be up to Bert Macklin, Avatar Green, Not Brock Lesnar, Silver Linings Playbook and I am Vin to stop him. As you can tell, so far, I fucking loved this movie. This is how comic book movies that aren't Batman should be made.

When Peter Quill (Chris Pratt) decides to steal an artifact from cave, he sets off a chain reaction that leads him on course to becoming a hero. You see, Quill is a thief, except this time, he's stealing without his usual crew, led by Yondu (Michael Rooker), and Yondu don't like that. Little does he know, by stealing this artifact, he's put himself in the sight lines of Ronan the Accuser (Lee Pace) and Thanos (Josh Brolin). This lands him in prison, where he meets Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (Bradley Cooper), and Groot (Vin Diesel). Once all that happens, the fun really begins.

Chris Pratt is fantastic as Quill aka Starlord. He brings the perfect leading man looks and charisma, while also maintaining the right kind of comedic nature (something Robert Downey Jr. has made a career resurgence on). He gives the performance of his career, giving us a great anti-hero. Bautista, Cooper and Diesel are all excellent as well in their roles. Bautista plays Drax with a certain aloof nature that benefits his character, Cooper snarls and yells Rocket's way into our hearts, and Diesel is given a character that suits his acting style. Groot may only be able to say "I am Groot" with Rocket being the only one that understands him, but the vocal inflection helps the audience to get a sense of Groot. Saldana as Gamora is fine, but did nothing to stand out in my opinion. Lee Pace as Ronan is completely menacing and Karen Gillan as Nebula is such a badass.

The thing that this movie, due in large part to writer/director James Gunn, is that it knows how to be properly funny. The humour isn't just joke-punchline, but rather the characters playing off each other, and humour coming from the characters nature, as opposed to the words being said. Bautista in particular has some absolutely hilarious line deliveries that had my whole theatre rolling.

Overall, Guardians of the Galaxy is everything I hoped for from a Marvel movie. As most people know, I'm not their biggest fan, but with the last Captain America and now this, they are on an upswing. Full of big laughs, awesome action and a compelling story, this movie will have you happy you spent as much as you did to see it.

Grade: A

Calvary (2014) Movie Review

If someone told you that they were going to kill you in one week because of the sins of someone else? Now what if you might know who that person is? This is the driving force behind Calvary, the latest from John Michael McDonough, the story of Father James Lavelle, a priest told in confession that he will be murdered in a week because of the pedophilia abuse given by another, now dead, priest. The problem is, it's told to him in confession, and he's not entirely sure if he can break that secrecy, or that he knows exactly who it is. And so we begin our journey in this incredibly dark humoured film.

Father James is a good man with darkness in his past, trying to do right by the people of his small Irish town. All around him, there is adultery, greed, and hatred, amongst many other vices. So when he is told that he will be killed in one week, off we go to figure out who it is, even though we're pretty sure he already knows. Add into that his daughter visiting from London, and we've got what should be a hilarious comedy from the makers of The Guard. Instead, we get a dark, introspective look at the evil inside all of us, and what it takes to control it. 

Brendan Gleeson is fantastic has become a commonplace expression, but it, nevertheless, rings wholeheartedly true here. The Irish actor has the look of a man at his wits end, desperately trying to understand his place among sin. His ability to make you believe in his own beliefs, yet harbour a deep sadness in his eyes is the work of a truly extraordinary actor, and one that I hope gets some more love at some point down the road.

The supporting cast is all excellent too. Chris O'Dowd, as a butcher whose wife is openly cheating on him, is great, as he's given some of the funnier dialogue, but also balances it out with a strong dramatic turn that will definitely get him some work down the road. Kelly Reilly is great as Father James' daughter, Fiona, Dylan Moran is great as a wealthy business man and Aiden Gillan is hilarious as a drug addicted local doctor. Domhall Gleeson, son of Brendan, is also great in a couple scenes as an inmate who ate the people he murdered.

What I was most surprised with in this movie was how dark and serious it got as The Guard, McDonaugh's previous film, was full of hilarity. And with his brother, Martin McDonaugh, who has done In Bruges and Seven Psychopaths, there's always been an overtly comedic nature. However, the writing and feel of Calvary is somber, reflective and powerful. Ultimately, the film relies on the pairing of John Michael McDonaugh and Brendan Gleeson, who one again prove that they both deserve way more attention than they seem to get, and that their next film is something to definitely look forward to.

Grade: B+

The Normal Heart (2014) Movie Review

How would you react to seeing your friends, the people you loved, and anyone you really identified with, dying without any end in sight? That is the focus at the center of The Normal Heart, the new HBO film by Ryan Murphy. Set in the early 1980's at a time when gay men finally felt comfortable with their sexuality, and love. However it is not long before they start to get sick, unable to do anything to stop the AIDS virus from spreading. At the heart of this problem is Ned Weeks, an openly gay screenwriter who is fighting anyone and everyone who stands in his way to find a cure. Except the government seems to be absent when it comes to funding, despite overwhelming research conducted by Dr. Emma Brookner (Julia Roberts). So the war wages on while an epidemic threatens to wipe out an entire generation.

Originally performed as a stage play written by Larry Kramer, The Normal Heart definitely feels like a play. It's full of monologues, features a tight ensemble and is over two hours long. But, like a play, the performances shine through in it. Mark Ruffalo has never been better as Ned, pouring his heart and soul into every fit of rage, powerful monologue and emotional breakdown. Julia Roberts is equally good, bringing the sense of frustration and loss over not being able to do anything to treat these dying men, but never losing hope. Alfred Molina does strong work in a handful of scenes as Ben, Ned's brother, who wants to help but still isn't sure about this whole gay community yet. Jonathan Groff is also strong in a few scenes as Craig, Ned's close friend.

However, the performances from Taylor Kitsch, Jim Parsons and, particularly, Matt Bomer are what surprised me. Kitsch, known for Friday Night Lights and John Carter, is fantastic as Bruce Niles. He brings an honesty to the character, one who is still in the closet because he is in the army, yet doesn't know how to take in everything happening around him. His scenes with Ruffalo were always good. Parsons was a massive surprise for me. As someone who doesn't care much for The Big Bang Theory, he shows a lot of range as Tommy. While his natural cadence mirrors Sheldon Cooper a tad much, the underlying sadness and loneliness his character felt, along with a particularly moving funeral scene, won me over. 

But it was Matt Bomer who I think deserves some serious looks for Emmy voters. Known primarily for the show White Collar, as well as Magic Mike, Bomer gives a gut-wrenching performance as Felix Turner, Ned's lover. He plays into the fact that he's very handsome, but throws you off with a vulnerability, and later, a sense of looming fear and death that gave me a lump in my throat. That, along with the grueling transformation he went through, showed me an actor looking to get his hands on more substantial work.

Make no mistake though, this film isn't for everyone. If homosexuality makes you uncomfortable in the least, you will not like this movie. There are sex scenes, plenty of kissing, and nudity to go along, and the movie does a good job of normalizing it for the viewer, instead of making a big deal of it. Also, a dude with a giant dong walks by in the first five minutes, so if you can't hang through that, you'll be okay.

While the film mainly suffers from pacing problems, and a needlessly long running time (the first half of the film feels long), it is still something that should be watched. Showing the destruction the AIDS virus caused, even at the beginning, and the lives it tore apart put a lot of things into perspective. It is a reminder that the war against it is not over, and needs to keep being fought.

Grade: B

Enemy (2014) Movie Review

Double dose of Jake Gyllenhaal aka Handsome McBeardy-Face

How can we really know who we are? Are we everything we perceive ourselves to be, or simply different figments of an unrealized whole? That is the driving force behind Denis Villeneuve's film Enemy, a slow-paced, mind bending, character study into a man who has found his doppelganger. Adam Bell (Jake Gyllenhaal) is a disgruntled, lonely professor in Toronto, who goes about the same routine daily. Teach, grade papers, get drunk, and have sex with his girlfriend Mary (Melanie Laurent). One day, at the recommendation of a colleague, Adam rents a movie, and seemingly spots himself in the movie. Confused, he searches and finds out there is an actor named Anthony St. Claire, who looks and sounds identical to him. From there, Adam begins to obsess over Anthony, taking himself down a path of self destruction. Or is he?

While the movie makes you think and try to solve the mystery behind the characters, it is squarely placed on the handsome shoulders of Jake Gyllenhaal to carry the film. And carry it he does. Playing the double roles of Anthony and Adam, Gyllenhaal brings a subtly and nuance to both performances that is undeniable. As Adam, he is refrained, quiet and constantly hinting at a deep underlying rage. And as Anthony, he is confident, arrogant and seemingly ready to blow given the opportunity. The fact that I actually forgot that it was the same actor, and simply viewed them as two characters is a testament to his performance and also helps to  give both characters a certain air of ambiguity.

Laurent is also good as Adam's girlfriend, sick of his borderline disinterest in all things except sex. Acting more as a tool to take out Adam's sexual aggression, Laurent still brings her usual level of performance, garnering the right amount of sympathy for a part most seen, and not often heard. Sarah Gadon is also very good as Anthony's pregnant wife, who seems to love Anthony to a fault, but is also tired and frustrated of his arrogance, both members of the marriage ready to start yelling at the drop of a hat. I read people complain about how their characters feel underwritten, but in the grand context of the film, it makes sense why we know what we know about the characters, and how they behave.

Being his second film of 2013, after the critically acclaimed Prisoners (also starring Jake Gyllenhaal), Denis Villeneuve is a filmmaker who is more interested in making a good, interesting film, than something accessible to everyone. Where Prisoners was hard to watch because of it's brutality and dark subject matter, Enemy is a very confusing slow burn. While he creates a sense of despair and paranoia among the characters, he excels at driving a film forward. The driving force being that, as a viewer, I genuinely had no idea what was going to happen next. So many intricate details are lightly sprinkled throughout the film, that it was on a second viewing that I began to put together more of the puzzle.

And make no mistake, the movie is a puzzle, ultimately, with no right answer. A lot of viewers enjoyment of the movie will hinder on their interpretation of the ending, and the subsequent mystery. And despite some flaws, the main one being the God-awful pacing of the film, it a film for those of use who like our films to live in a constant grey area.

Grade: B+

Godzilla (2014) Movie Review

Andy Serkis with ping-pong balls

The first time I saw Monsters starring Scoot McNairy, what really caught my eye was the attention to character that director Gareth Edwards put into making the viewer care about humans in that monster movie. Even while working on a very small budget, he was able to evoke a sense of dread and constant unnerving that many big budget summer films fail to do. So when I heard he would be directing the new Godzilla, my expectations were somewhat lifted. The last time Hollywood tackled Gojira, we got Mama Godzilla protecting her babies in Madison Square Garden. Fuck you Roland Emmerich. But then I started seeing trailers and promotion for this film and got excited. While it may not live up to the hype, it is still an engaging film.

Starting in the 90's in Janjira, Japan, the Brody family, consisting of Sam, Joe (Bryan Cranston) and Sandra (Juliette Binoche) begin their days like anybody else. When what seems like an earthquake hits the nuclear plant that Joe and Sandra work at, Joe must leave the plant and go to his son. Fast forward 15 years, with Joe being a broken shell of a man, convinced what happened at the plant wasn't an earthquake, and Sam (Aaron Taylor-Johnson) in the army, tired of his father spouting conspiracy. When Joe is arrested in Japan, soon after Sam returns to his wife (Elizabeth Olson)  and son after a tour of duty, Sam must go and retrieve Joe. Little do they know, scientists Ishiro Serizawa (Ken Watanabe) and Vivienne Graham (Sally Hawkins) have been doing some of their own exploration, and when the same pattern of earthquakes, from 15 years before, shows up again, Joe's conspiracies no longer seem so far fetched.

I feel like that is the least spoilery plot synopsis I could give, seeing as we all know Godzilla is in the movie. What director Gareth Edwards does so well is not ruin the reveal of the titular monster. He ratchets up the suspense and tension, so that when we do finally get to see it in all it's glory, it feels well earned. He also has a keen eye on how to shoot action, with the HALO drop sequence looking outstanding. What he accomplishes is shooting the action and monster from the human perspective, making everything that happens feel larger and more epic. I feels like you are a human immersed in the experience, rather than someone simply watching from far away.

Another staple of Edwards work is his focus on character. While Monsters simply had two characters to follow, Godzilla offers much more of an ensemble piece. While Ken Watanabe and Aaron Taylor-Johnson take up a bulk of the screen time, and are fine within their roles, it's Bryan Cranston who gives a performance full of heart and agony. The character arcs suffer when he isn't on screen, as he gives the type of performance you expect from a character drama and not a summer blockbuster. 

I do wish they would have given Watanabe and Elizabeth Olsen more to do, as Watanabe is relegated to looking mistified by Godzilla, and Olsen plays the damsel in distress. I can't stay mad at Olsen though, as I love her and all. Oscar nominees Sally Hawkins and David Strathairn are fairly wasted, as Strathairn plays an army general used to update the viewer on the army's plan for Godzilla and it's progression, though he is given some nice scenes before the climax of the film. Hawkins plays a throw away role that could have been played by anyone, bringing little to the plot, and working as a device to inform the viewer about the science aspects of the film.

But obviously, what we come to a big budget summer movie about monsters for is the Fuck-Shit-Up aspect of the film. And boy, do things get wrecked. Cities are destroyed, people are killed, and it gives an authentic feeling to how people would react to a giant monster in their city. First, a sense of awe, instantly followed up fear and panic. Edwards knows how to make Godzilla cool again, and there were several moments where I turned into a child and just went "That was so freaking cool!". 

While not a perfect film by any stretch, Godzilla is a lot of what we can expect from a good monster movie. It makes the monsters cool, scary, and awesome, and makes the people feel real and adds stakes to the film. Yes, it suffers from being about 15-20 minutes too long, and the occasional illogical coincidence, but those can be forgiven in favour of an entertaining film. This feels like Pacific Rim for the more passionate film watcher, as opposed to a general audience.

Grade: B-

X-Men: Days of Future Past (2014) Movie Review

Ringo, John and Paul

How far would you have to go to stop your own annihilation? That is the question prompts the events of X-Men: Days of Future Past. When the mutants of the present are on the brink of extinction, being wiped out by the seemingly indestructible Sentinels, Professor X and the rest of the remaining prominent mutants decide that going back in time to 1973 and stopping the Sentinel Program from ever being operational is the best bet. However, having your mind sent back in time is a process is pretty rough, so it's decided that Wolverine is the only one who can stand doing it. Once you get past the somewhat confusing aspects of time travel, Days of Future Past is an excellent film that may be the best X-Men film yet.

Being helmed by X-Men and X2: X-Men United director Bryan Singer, Days of Future Past is a huge return to form for the franchise. While I really enjoyed X-Men: First Class, many of the mutants felt underwhelming and not well thought out, and while there are a few new faces (Blink, Warpath, Sunspot, Bishop) that don't get much of an introduction, their powers and the fight scenes with them more than make up for it. In particular, Blink (Bingbing Fan) was pretty cool. Also, Warpath was played by a guy named Booboo Stewart. I just want you to think about that. Anyways, what Singer does is balance the timelines of the film, dedicating just enough time to  the present day situation to keep us emotionally invested, while letting us see how the past plays out. Along with writer Simon Kinberg, they manage to put forth two engaging story lines that are ultimately part of one cohesive story.

Part of that cohesive story is delving deeper into the relationship between Professor X (Patrick Stewart and James McAvoy) and Magneto (Ian McKellan and Michael Fassbender). While First Class showcased the dichotomy of their friendship, this goes into their history as friends and enemies, both wanting to mend old wounds, but not wanting to budge. While we know that McKellan and Stewart are sublime actors who bring gravitas to these roles, McAvoy and Fassbender really make them their own as well. McAvoy is great as a young Charles no longer able to deal with pain and loss, while Fassbender has charisma for days and makes you see why people would follow him into the Brotherhood. McAvoy, in particular, has a scene where he confronts himself that is sublime. We really get to see what makes him who he is.

While we get our regularly scheduled dose of Wolverine (Hugh Jackman) throughout (don't worry, he's as good as always, if not a little subdued), it was nice to see a much more expanded role for Mystique (Jennifer Lawrence), which is obviously due to her becoming the most popular actress in the world, and an Oscar winner to boot. But she handles her scenes well, showing someone who, through pain, anger and betrayal, has lost their way. Beast (Nicolas Hoult) also gets more time to shine, and does a good job. But I have to end this paragraph by talking about Quicksilver (Evan Peters). When pictures came out with his look for the film, fans protested and booed. Fear not, nerds, he's awesome. Though only being in a couple of scenes, he easily steals the movie in one of the best scenes in the entire movie, and Peters finds the right mix of humour bewilderment to nail the character.

I feel like I could keep talking about this movie, because honestly there's so many people I haven't mentioned yet. Mutants such as Storm (Halle Berry), Kitty Pryde (Ellen Page), Iceman (Shawn Ashmore), Colossus (Daniel Cudmore) and Havok (Lucas Till) all return, as well introducing us to William Stryker (Josh Helman), and Bolliver Trask (Peter Dinklage). Your connection to the returning mutants and their plight is dependent on whether you've seen the previous films or not. All the actors are good, though I wish they would put in more of an effort to show how bad ass Colossus can be. 

If there was one thing that was missing, it was a central antagonist, such as how Sebastian Shaw was in First Class. But the more I think about it, the more I like that the mutants biggest enemy was themselves. Perhaps that's me simply  reading too much into an underwritten villain, but it was an interesting approach.

Ultimately, I'm excited to see what Singer can do in his next outing, as he's been confirmed to direct the next one. X-Men: Days of Future Past is a film that is fan service. Not in the sense of winks or nods to Easter eggs, but more-so that it is a superhero movie done right. Balancing strong acting, great action and an engaging story, this is a film worth seeing.

Grade: A