Kung Fu Panda 3


Pandas and rabbits and pigs, oh my!!!

Pandas and rabbits and pigs, oh my!!!

(2016) Animated Feature (DreamWorks Animation) Starring the voices of Jack Black, Bryan Cranston, Angelina Jolie, Dustin Hoffman, Jackie Chan, Seth Rogen, David Cross, J.K. Simmons, Lucy Liu, Kate Hudson, Randall Duk Kim, Steele Gagnon, Liam Knight, Wayne Knight, Al Roker, Barbara Dirickson, Willie Geist, Fred Tatasciore, Ming Tsai, April Hong. Directed by Jennifer Yuh Nelson and Allesandro Carloni

Know thyself is a long-standing axiom, but it is hard to know who you are when you don’t know where you come from, or from who. It can leave us with a sense of feeling lost, floundering in a dark sea without any reference points.

You would think Po (Black) has at least some sense of who he is. After all, he is the Dragon Warrior. But he’s also an orphan, raised by Mr. Ping (Hong), the noodle vendor – who happens to be a duck to Po’s panda. Po has just figured that he was the only one.

But there is trouble brewing. In the spirit world, renegade General Kai (Simmons) has been stealing the chi (lifeforce) of all the great masters in the afterlife, which seems problematic at best considering they’re all dead. He’s even managed to grab the chi of Master Oogway (Kim). However, Oogway has a trick up his sleeve, one that is not revealed until later.

The addition of Master Oogway’s chi has given Kai enough power to return to the mortal world where he plans on gathering up all the chi of all the kung fu masters on the planet, culminating with the Dragon Warrior’s. The Dragon Warrior however is very much distracted. Master Shifu (Hoffman) is retiring and he wants Po to take over training the Furious Five, which is disastrous. The appearance of Li (Cranston), who turns out to be Po’s long-lost dad, leads Po and his adopted father Ping to the farthest reaches of China to the secret village of the pandas, where he meets all his long lost relatives.

Po is ecstatic and happy having found not just his people but himself but still has been unable to master chi, something that the pandas were reputed to be masters of. When the news arrives that Kai has beaten the Furious Five save for Tigress (Jolie) and he is on his way to the hidden panda village, Po realizes that there is no way he can beat Kai by himself. He is going to need an army – of pandas. But how to make these lazy, dumpling-eating, hill rolling creatures, as gentle as can be, an army?

The third installment in the KFP franchise has done pretty well at the box office despite its January release date and competition from Star Wars: The Force Awakens. However, of the three films in the trilogy (and this is supposedly the last one as the studio has revealed no further plans to continue the franchise at present, although the success of this movie leads me to think that DreamWorks might be reconsidering that decision) this is the weakest to my eye.

Many of the characters who made the series a success are limited to essentially cameo roles. Hoffman as Master Shifu is limited to maybe a couple of dozen lines after being essentially a main character for the first two films and the Furious Five are mainly an afterthought, appearing together in just one scene. While there are plenty of new characters to make an impression here (including Hudson as a seductive ribbon dancing panda), Kai as a villain seems no different than either of the first two villains, supernatural origin or no.

Black is earnest enough as Po and continues to center the franchise as a character who is slowly learning to believe in himself, which also is getting a bit tired but I suppose if you’re going to be child-oriented as an animated feature, a simple lesson in self-belief or being who you want to be needs to be front and center. I’m not saying this is a bad thing, only that there is nothing here that really stands out from any other animated feature out there.

Maybe I wasn’t in the right mood for a kidflick, particularly in an auditorium full of noxious little brats who were plainly too young or too undisciplined to be in a movie theater but this one left me pretty flat. In many ways this is not quite as good as the second film which got a similar rating, but I didn’t see enough wrong with this one to go down a notch. I got the sense the kids enjoyed the movie (particularly the little boys) and that the parents were more or less happy that their tykes weren’t at home driving them crazy. And that’s not really what I’d consider reason enough to see a film with the kids, animated or not.

REASONS TO GO: Plenty of fun new characters.
REASONS TO STAY: Left me feeling pretty “meh.”
FAMILY VALUES: Some animated martial arts action and slightly rude humor.
TRIVIAL PURSUIT: Has the longest time between sequels for any DreamWorks Animation film with five years.
CRITICAL MASS: As of 2/23/16: Rotten Tomatoes: 82% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: The Tigger Movie
FINAL RATING: 5/10
NEXT: The Witch

New Releases for the Week of January 29, 2015


Kung Fu Panda 3KUNG FU PANDA 3

(DreamWorks Animation) Starring the voices of Jack Black, Angelina Jolie, Dustin Hoffman, Jackie Chan, Seth Rogen, Lucy Liu, Bryan Cranston. Directed by Jennifer Yuh Nelson and Alessandro Carloni

Po is the most unlikely Kung Fu master in China, but he has built a great life. However, when his long-lost father appears, Po is whisked away to a hidden panda village, a paradise for the corpulent bears. However, there is trouble brewing; the demonic Kai has been resurrected and is sweeping across China, defeating all the Kung Fu masters in his wake. It will take an army to stop him – but all Po has is peace-loving dumpling-chomping pandas. Can he whip them into shape before Kai takes over all of China?

See the trailer, clips, interviews, promo video and premiere live stream footage here.
For more on the movie this is the website.

Release Formats: Standard, 3D, IMAX 3D
Genre: Animated Feature
Now Playing: Wide Release

Rating: PG (for martial arts action and some mild rude humor)

50 Shades of Black

(Open Road) Marlon Wayans, Kali Hawk, Fred Willard, Mike Epps. The 50 Shades of Grey franchise gets the parody treatment from master comedian Marlon Wayans.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Parody
Now Playing: Wide Release

Rating: R (for strong crude sexual content including some graphic nudity, and for language throughout)

The Finest Hours

(Disney) Chris Pine, Holliday Grainger, Casey Affleck, Eric Bana. On February 18, 1952, a massive nor’easter struck the American east coast, causing the oil tanker S.S. Pendleton to break and half, trapping 30 men in the sinking stern. The nearest Coast Guard station sends out a rescue mission in a wooden lifeboat with an ill-equipped engine and virtually no navigation equipment to face hurricane force winds, 60 foot waves and freezing temperatures to reach the ship before time runs out. And yes, this really happened.

See the trailer, clips, interviews, a promo, a featurette and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard, 3D, IMAX 3D
Genre: True Life Drama
Now Playing: Wide Release

Rating: PG-13 (for intense sequences of peril)

Ip Man 3

(Well Go USA) Donnie Yen, Lynn Hung, Jin Zhang, Mike Tyson. A crooked developer aims to take over the city and martial arts master Ip Man feels compelled to take a stand and right the wrongs being perpetrated against his neighbors. While the story is fiction, Ip Man was a real man who was Bruce Lee’s martial arts teacher.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Martial Arts
Now Playing: AMC Disney Springs

Rating: PG-13 (for sequences of martial arts violence and brief strong language)

Jane Got a Gun

(Weinstein) Natalie Portman, Joel Edgerton, Ewan McGregor, Noah Emmerich. A woman trying to leave her past behind her finds it hot on her trail again in the form of the ultra-violent Bishop Boys gang. With her husband badly injured and her family in peril, she turns to an ex-lover – a gunslinger – to protect her home and her family from certain destruction.

See the trailer, clips, interviews and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Western
Now Playing: Wide Release

Rating: R (for violence and some action)

Lazer Team

(Rooster Teeth) Colton Dunn, Alan Ritchson, Burnie Burns, Allie DeBerry. When four video game-playing losers discover a UFO crash site, they unwittingly genetically bond with advanced battle suits which they will then have to put to good use defending the Earth which is really gonna need it – oh dear God the Earth is in so much trouble!

See the trailer and a clip here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Science Fiction
Now Playing: AMC Disney Springs

Rating: PG-13 (for sexual material including references, language, action violence, teen partying and smoking)

Trumbo (2007)


Bath time is work time for Dalton Trumbo.

Bath time is work time for Dalton Trumbo.

(2007) Documentary (Goldwyn) Dalton Trumbo, Joan Allen, Brian Dennehy, Michael Douglas, Paul Giamatti, Nathan Lane, Josh Lucas, Liam Neeson, David Strathairn, Donald Sutherland, Dustin Hoffman, Kirk Douglas, Helen Manfull, Mitzi Trumbo, Christopher Trumbo, Walter Bernstein, Kate Lardner, Peter Hanson, Emanuel Azenberg. Directed by Peter Askin

documented

One of the core values of the United States is the freedom of speech. Our forefathers in their wisdom decreed that nobody’s right to it would be abridged by congress or any other legislative body. That freedom is one we take for granted…until someone tries to take it away.

In the late 1940s we were riding high, but all was not perfect. The Nazis had been defeated, but we weren’t quite out of the woods yet; the communists in the Soviet Union and elsewhere were on the rise and we were fully certain that a World War III was just on the horizon and there was a fatalism that it would be nuclear.

At that time in Hollywood, Dalton Trumbo was also riding high. One of the most acclaimed and honored screenwriters in the business, he fell afoul of the House of Un-American Activities Committee, or HUAC led by the notorious Senator Joseph McCarthy. The committee, attempting to root out what was rumored to be a heavy communist influence in Hollywood, went after Trumbo who was unapologetically a member of the Communist Party (although he would later leave it, disillusioned). When questioned as to his activities, Trumbo asserted his First Amendment rights and refused to answer. He was found in contempt of Congress and jailed for a year. When he was released, he discovered he was blacklisted by the major studios and had to make a living writing scripts under “fronts” – other screenwriters who were credited with the scripts that Trumbo (and other members of the so-called Hollywood Ten) wrote. Two of them, The Brave Ones and Roman Holiday, would net Oscars for Trumbo which he couldn’t collect at the time.

Eventually Kirk Douglas enlisted Trumbo to write Spartacus, perhaps the most well-known of all his movies. Once that became a blockbuster, the blacklist essentially ended. and Trumbo resumed his writing career which lasted into the mid-70s (he would die in 1976 of a heart attack).

His son Christopher Trumbo created a play from the letters Trumbo wrote during the period of his trial before HUAC, his incarceration and the years he was blacklisted. Askin has skillfully weaved that into an unusual documentary, taking the elder Trumbo’s words read by a variety of socially conscious Hollywood actors skillfully interwoven with archival footage, home movies and contemporary interviews detailing Trumbo’s ordeal.

The readings themselves vary; some are very emotional, while others feel stiff. Clearly some of the voice actors connected more with the material than others did, and quite frankly some of the letters sound better in the mind read on the printed page than they do spoken aloud. However, the home movies and some of the archival footage is absolutely riveting, and Askin maximizes their effect. Editor Ken Engfehr is to be commended for his deft touch.

Through these readings, interviews and footage, we get a glimpse of Trumbo the man, a man of unique principles and courage. Standing up for his beliefs at a time when conformity was more the norm – well, I suppose that can be said of any time – but certainly at a time when rocking the boat when it came to communism was tantamount to treason. Trumbo, despite his disdain for capitalism, had a deep abiding love for the Constitution and despite the fact that he could have pleaded the Fifth chose not to and ended up going to jail because he did not. He felt that the First Amendment was precious and needed to be protected, no matter the cost.

We honor those soldiers who have fought to keep us free and justifiably so. They put their lives on the line to uphold the principles that founded this nation and made it, despite all its flaws, a great one, and that’s something that should be treated with respect. However, along with those who defended our nation on the battlefield, respect should also be given to those who fought for our liberty on different battlefields; in the courtrooms, in the halls of our legislature and in the hearts and minds of our citizens. It would take decades before Dalton Trumbo’s courage would be recognized and honored but better late than never.

The story is compelling enough that it has been made into a feature film, with Bryan Cranston starring as Trumbo. It is in the process of a staggered release and should be coming to a theater near you soon (it’s already out in major markets like Los Angeles and New York City as this is published). Cranston is said to be on the Oscar shortlist for Best Actor and wouldn’t it be ironic indeed if he won an Oscar for the role. I haven’t seen the new movie yet but something tells me it will be a sentimental favorite.

WHY RENT THIS: Excellent use of archival footage. Some of the letters are really touching.  Important story.
WHY RENT SOMETHING ELSE: Some of the readings sound a bit stilted.
FAMILY VALUES: There are some sexual references.
TRIVIAL PURSUIT: Debuted at the 2007 Toronto International Film Festival.
NOTABLE HOME VIDEO EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $109,057 on an unknown production budget.
SITES TO SEE: Netflix, Amazon, iTunes, Vudu
COMPARISON SHOPPING: Trumbo (2015)
FINAL RATING: 8/10
NEXT: Documented concludes!

The Graduate


So here's to you, Mrs. Robinson.

So here’s to you, Mrs. Robinson.

(1967) Comedy (AVCO Embassy) Dustin Hoffman, Anne Bancroft, Katherine Ross, William Daniels, Murray Hamilton, Elizabeth Wilson, Buck Henry, Brian Avery, Walter Brooke, Norman Fell, Alice Ghostley, Marion Lorne, Eddra Gale, Richard Dreyfuss, Elaine May, Mike Farrell, Kevin Tighe, Ben Murphy, Harry Holcombe, Noam Pitlik, Elisabeth Fraser, Lainie Miller. Directed by Mike Nichols

With Mike Nichols, one of the more acclaimed directors of the 60s and 70s, passing away recently it behooves the critic to look back at some of his best films and this one, his second feature, is considered by many to be his best which is a difficult choice to make when you consider you also have Who’s Afraid of Virginia Woolf, Carnal Knowledge and Silkwood to choose from.

Benjamin Braddock (Hoffman) has just graduated from a prestigious Northeastern university and like many 21-year-olds then (and now) has not a clue where to go from here. After a party thrown by his parents to celebrate his graduation, he drives the wife of his father’s law partner, Mrs. Robinson (Bancroft) home where she tries to seduce him. A little unnerved, he turns her down and scurries home.

Afterwards, he reconsiders and awkwardly arranges a hook-up at a local hotel. The affair continues on through the summer; Mrs. Robinson just in it for the sex. Mostly though Benjamin just drifts in the pool at home, not able to make a decision on graduate school or heading directly into the workforce. He’s not even looking to date anyone, although Mr. Robinson (Hamilton) and Ben’s dad (Daniels) push him into dating Elaine (Ross), the daughter of the Robinsons. Benjamin is at first reluctant and does everything possible to sabotage the date but realizes that he was unkind to the poor girl who ran out of the strip club he took her to in tears. He tries to make it up to her and the two end up connecting and Benjamin feels like he might be falling in love.

Mrs. Robinson is NOT pleased and wants him to cut things off with her daughter. Benjamin has no intention of doing so, even though Mrs. Robinson threatens to come out with their affair so Benjamin heads this threat off at the pass and tells Elaine about it. This does not go well and she ends up fleeing back to Berkeley in the fall.

Benjamin, thoroughly besotted at this point follows her there and tries to explain what happened. That’s when Mr. Robinson gets involved, letting Benjamin know that their relationship is over and he will press charges if he continues. He also lets him know he is pulling Elaine out of Berkeley and marrying her off to Carl (Avery), a high school sweetheart leaving Benjamin at a crossroads.

The American Film Institute lists this as the 17th best movie ever made which is pretty impressive when you consider that well more than 100,000 films have been made all time just in the United States alone. Nichols established himself as one of the finest film directors of all time with his first two movies (Virginia Woolf was his first) after making his name as a theatrical director, which he returned to regularly over his long career.

In many ways this was a counterculture film in the sense that it looked at the hypocrisy of American culture and examined the angst of the younger generation which was at the time beginning to rise up and rebel against the norm. When placed in the context of its time, this was a monumental touchstone to the film industry who began to break away from the strictures of the studio system and were making movies that reflected the growing unrest and taking artistic and creative risks that would redefine the medium in the 70s and set the stage for a new golden age of movies.

Hoffman was not well known when he was cast for the part; his audition consisted of a love scene with Katherine Ross which Hoffman, who had never done one, felt awkward about. It was that awkwardness that convinced Nichols to cast Hoffman, as he was looking for a kind of underdog quality to Benjamin. Hoffman’s performance was a career-maker; it established him as a major new talent and led to one of the more interesting acting careers in the history of Hollywood. Bancroft also turbo-charged her own career, playing an older woman even though she was merely 35 at the time. Her performance here is considered one of the finest of her career.

And we can’t discuss The Graduate without talking about the soundtrack. “Mrs. Robinson” by Simon and Garfunkel was one of the greatest songs ever written for a movie and plenty of other Simon and Garfunkel songs pepper the soundtrack, most notably “The Sounds of Silence.” Few films have ever utilized the songs of a single artist the way this one did and as well.

This is definitely a movie of the 60s and while some of the visual and dialogue references are somewhat dated, the movie stands up surprisingly well. Even today the affair between Mrs. Robinson and Benjamin can seem a little bit daring. One wonders how the movie would have fared if it had been made in 2014 and released now (as a matter of fact this Tuesday is the anniversary of the movie’s release). Something tells me that modern audiences would have taken to it as much as the audiences of its time did (see the Box Office Performance if you don’t believe me).

The Graduate is a bona fide classic and should be required viewing for all film students and film buffs alike. There are many transcendent moments in the movie – the climactic scene in the church is one that I can watch over and over again, for example. While the movie may feel a bit too sophisticated for some, it nonetheless remains a movie whose greatness cannot be denied.

WHY RENT THIS: Bancroft and Hoffman both set the bar high. One of the best films about sexual politics ever. One of the greatest soundtracks ever. Holds up pretty well approaching 50 years later.
WHY RENT SOMETHING ELSE: A little dated in places.
FAMILY VALUES: Some adult themes and situations, sexual situations and a bit of mild foul language.
TRIVIAL PURSUIT: Faye Dunaway was offered the part of Elaine but turned it down in favor of Bonnie and Clyde.
NOTABLE HOME VIDEO EXTRAS: There is a one-on-one interview with Dustin Hoffman and an extensive six-page booklet with notes and photos from the film. The 40th Anniversary edition (from 2007) includes the Hoffman interview but oddly not the booklet. It does contain a featurette on how the movie influences modern directors, a four-song CD with the Simon and Garfunkel songs from the movie and finally, a featurette on the seduction scene and what prompted the characters to do it.
BOX OFFICE PERFORMANCE: $105M on a $3M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental/Stream), Amazon (Stream only), Vudu (buy/rent), iTunes (buy/rent), Flixster (not available), Target Ticket (buy/rent)
COMPARISON SHOPPING: Goodbye, Columbus
FINAL RATING: 10/10
NEXT: From Russia With Love

Chef


Just don't call it a roach coach.

Just don’t call it a roach coach.

(2013) Dramedy (Open Road) Jon Favreau, Sofia Vergara, John Leguizamo, Emjay Anthony, Scarlett Johansson, Bobby Cannavale, Dustin Hoffman, Oliver Platt, Amy Sedaris, Robert Downey Jr., Russell Peters, Gloria Sandoval, Jose C. Hernandez ‘Perico’, Nili Fuller, Aaron Franklin, Roy Choi, Gary Clark Jr., Benjamin Jacob, Rachel Acuna. Directed by Jon Favreau

This might well be called the age of the Chef. We are more aware of those who cook are food than ever; some develop into a kind of rock star status with television shows, restaurant chains, food products and frequent appearances on talk shows. Getting to that point though takes a lot of hard work.

Carl Casper (Favreau) had reason to believe he was on that fast track to the big time. He came out of Miami as one of the most acclaimed up-and-coming chefs in the business, but it is certainly a business of “what have you cooked for me lately?” as that was a decade or more ago. Now, he toils as the head chef in a popular Beverly Hills eatery run by the control freak Riva (Hoffman). He’s lost his edge and his passion, cooking Riva’s menu even when one of the more influential bloggers and food critics Ramsey Michel (Platt) comes to review the restaurant.

That review goes very badly for Carl as Michel trashes the food but also Carl himself, blasting him for complacency and assuming the reason he’s put on so much weight is that “he’s eating all the food returned to the kitchen.” Carl takes it very personally, leading to a heated exchange with the critic which is caught on enough cell phones to go viral. Carl finds himself without a job and too much of an Internet punch line to get a new one.

On the personal front, Carl has an amiable relationship with his ex-wife Inez (Vergara) but his 10-year-old son Percy (Anthony) wants more of a relationship than his dad is able to supply right now. Percy lives in a perpetual state of disappointment when it comes to his father. Inez thinks that Carl needs to go back to his roots in Miami and get himself a food truck. Her other ex-husband Melvin (Downey) has one that’s pretty dilapidated but has some potential.

Right at his side is his former line cook Martin (Leguizamo) who is far more loyal than Carl maybe deserves, but between the two of them they come up with the best Cuban sandwich you may ever eat. They are going to drive the truck to L.A. from Miami with stops in New Orleans and Austin; of course, Percy will come along for the ride. This is a road trip that Carl needs to discover his passion not just for food but for life.

Favreau started out as a director doing Swingers which 20 years ago redefined the whole indie film genre and while Favreau has gone on to big franchise films for the most part, his heart has always been with these sorts of movies. The trouble with being an in-demand franchise film director is that there isn’t time for him to do small movies like this one. However, after excusing himself from the Iron Man franchise he went in this direction first and to his credit it’s a wise move.

Not that the Iron Man films are without heart but they are so much less intimate than a movie like this. Chef is often described as a foodie film (and I’m as guilty of it as anyone) but it really isn’t about food so much as it is about being an artist; Carl’s medium happens to be food. Inspiration is important to any artist; ask any artist who is working for somebody else how easy it is to have their own inspiration and style curtailed by someone who doesn’t understand art, doesn’t understand the artist.

One of the problems with art is that from time to time an artist will take themselves too seriously but this isn’t about the arrogance of the artist (although Carl certainly has some of that – art requires an absolute belief in your own talent) but about the artist who has lost their way and must find it again. First though he must find his own heart.

Kids can often be cloying in roles like this one but Anthony manages to avoid that. Sometimes he comes on a bit strong with the disappointed face, but other than that he has a very natural relationship with Favreau. The two seem genuinely fond of one another and that translates well to the screen.

Favreau, who often plays smartass sorts (maybe hanging around so much with Vince Vaughn early on in his career contributed to that) but while his character can be a bit of a dick sometimes, this is a much more mature character than we’re used to seeing from him although on paper, he is pretty childish in places. By mature, I mean a character that has a lot more depth to them than just one-line zingers. This is one of Favreau’s strongest performances to date both in front of and behind the camera.

And yes, you will leave the theater hungry, longing for a good Cuban sandwich or some fine beef brisket (Aaron Franklin, whose Franklin Barbecue in Austin is considered to be the best in the country by many experts, makes a cameo appearance showing off his brisket). That’s all right. For my own purpose I left the theater not just hungry for good food but for more films like this from Favreau.

REASONS TO GO: Warm without being overly sentimental. Will make you hungry. Realistic relationships.

REASONS TO STAY: Will likely end up somewhat dated.

FAMILY VALUES: A decent amount of foul language.

TRIVIAL PURSUIT: Favreau was trained in knife-work and cooking techniques by Roy Choi, a well known fusion chef and food truck owner in the LA area who was also credited as a producer on the film (and makes a cameo appearance as himself).

CRITICAL MASS: As of 5/27/14: Rotten Tomatoes: 87% positive reviews. Metacritic: 68/100.

COMPARISON SHOPPING: No Reservations 

FINAL RATING: 8/10

NEXT: The Immigrant

New Releases for the Week of May 23, 2014


X-Men: Days of Future PastX-MEN: DAYS OF FUTURE PAST

(20th Century Fox) Patrick Stewart, Ian McKellan, Hugh Jackman, Michael Fassbender, James McAvoy, Jennifer Lawrence, Halle Berry, Peter Dinklage, Nicholas Hoult. Directed by Bryan Singer

The original X-Men, living in a future devastated by mutant-hunting Sentinels who have begun hunting all life down, must send Wolverine back into the past to fight alongside their younger selves and convince a young and bitter Professor X to bring the X-Men together. He, however, is not so willing no matter what the cost. Singer returns to the franchise he originated.

See the trailer, promos, clips, interviews and B-Roll video here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Superhero

Rating: PG-13 (for sequences of intense sci-fi violence and action, some suggestive material, nudity and language)

The Angriest Man in Brooklyn

(Lionsgate) Robin Williams, Mila Kunis, James Earl Jones, Melissa Leo. A Brooklyn man, notorious for his ill temperament, goes to see a doctor about a raging headache. When she tells him that he has a brain aneurysm, he demands to know how long he has. He finally bullies her into telling him – 90 minutes. He sets out to make amends with those he has wronged in his life in the short time he has left. She, filled with remorse, sets out to find him and bring him to the hospital before the angriest man in Brooklyn becomes the angriest corpse in Brooklyn.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: R (for language throughout and some sexual content)

Belle

(Fox Searchlight) Gugu Mbatha-Raw, Tom Wilkinson, Emily Watson, Miranda Richardson. Dido Elizabeth Belle was the illegitimate mixed race daughter of a British Royal Navy Admiral in the 19th century. Raised by her aristocratic great-Uncle, she exists in a strange half-life of the privileged class but due to the color of her skin unable to participate fully or take advantage completely of her circumstances. Her passion, dignity and spirit inspire her great-Uncle to be one of the catalyzing forces in ending slavery in England.

See the trailer, interviews, clips and B-roll video here.

For more on the movie this is the website.

Release formats: Standard

Genre: Historical Drama

Rating: PG (for thematic elements, some language and brief smoking images)

Blended

(Warner Brothers) Adam Sandler, Drew Barrymore, Kevin Nealon, Joel McHale. Two single parents are set up on a blind date by his boss and her roommate who are dating. Date ends in disaster. Boss and roommate break up. African safari that they were going to go on is up for grabs. Single parents grab the spots. Single parents take their kids. Single parents hate each other. Laughs (hopefully) ensue.

See the trailer, clips, interviews and B-Roll video here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Romantic Comedy

Rating: PG-13 (for crude and suggestive content, and language)

Chef

(Open Road) Jon Favreau, Sofia Vergara, John Leguizamo, Dustin Hoffman. Frustrated at having his culinary inspiration curtailed by a control freak owner, a classically-trained chef quits the fine dining establishment in a move viewed by some of his friends as career suicide. Without prospects, he sinks everything he has into buying a food truck. Taking along his ex-wife and best friend for the ride, he takes to this new trend in great food and re-discovers his passion not just for cooking but for life.

See the trailer, clips and B-roll video here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: R (for language, including some suggestive references)

The Double

(Magnolia) Jesse Eisenberg, Mia Wasikowska, Wallace Shawn, Noah Taylor. A drone in a retro-futuristic industrial setting, Simon James is a mousy sort who pines away for a co-worker but does nothing to pursue her. A hard worker, his accomplishments are overlooked and indeed few even know his name. Then one day, the company hires a new worker – James Simon, who looks exactly like Simon. To his horror, the outgoing and charismatic James begins to take over Simon’s life; even the girl of his dreams falls for the man who looks exactly like him. One of my films from this year’s Florida Film Festival, look for my review this Sunday.

See the trailer, a clip and find a link to rent the full movie for streaming here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama/Black Comedy/Fantasy

Rating: R (for language)

Fed Up

(Radius) Michele Simon. Rocco diSpirito, Senator Cory Booker, Jamie Oliver. The epidemic of childhood obesity and adult-onset diabetes has led nutritionists and medical professionals to rethink our concepts of diet and exercise. The food industry with its emphasis on prepared foods, salt, sugar and fats make it nearly impossible for us to eat responsibly. This documentary will open your eyes as to the way you eat and the things you take for granted.

See the trailer here.

For more on the movie this is the website .

Release formats: Standard

Genre: Documentary

Rating: PG (for thematic elements including smoking images, and brief mild language)

The Immigrant

(Weinstein) Marion Cotillard, Joaquin Phoenix, Jeremy Renner, Angela Sarafyan. At the turn of the 20th century a Polish woman is emigrating to the United States with her sister. When they are separated, she falls prey to a charming but wicked man who forces her into prostitution. Her only salvation may come at the hands of an enigmatic stage magician – who happens to be her tormentor’s cousin.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Mystery

Rating: R (for sexual content, some nudity and language)

The Love Punch

(Ketchup) Pierce Brosnan, Emma Thompson, Timothy Spall, Celia Imrie. Richard and Kate are happily divorced and looking to go into their sunset years blessedly apart from each other. When an unscrupulous businessman screws them out of their pension, the two are forced to team up and get back what they worked their whole lives for.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Caper Comedy

Rating: PG-13 (for some sexual content, language and rude humor)

Manam

(CineGalaxy)  Akkineni Nageshwara Rao, Nagajurna Akkineni, Naga Chaitanya, Samantha Ruth Prabhu.Two souls encounter each other again and again during a hundred year period. Inspired (very) loosely by Back to the Future. This would be Rao’s final film; the veteran Bollywood star passed away shortly after filming wrapped.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Quartet (2012)


Professor McGonagall at the Hogwart's 50th Class Reunion.

Professor McGonagall at the Hogwart’s 50th Class Reunion.

(2013) Dramedy (Weinstein) Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins, Michael Gambon, Sheridan Smith, Andrew Sachs, Dame Gwyneth Jones, Trevor Peacock, Michael Byrne, Ronnie Fox, Patricia Loveland, Eline Powell. Directed by Dustin Hoffman

Going from the spotlight to obscurity must be an incredibly hard situation to accept, particularly when it is age that has relegated you thus. Even the most beautiful and bucolic of environments may pale when compared to the limelight.

Beecham House in the English countryside is certainly a beautiful environment. Named for the noted British conductor Sir Thomas Beecham, it is now a retirement home for professional musicians – opera singers, popular vocalists, chamber musicians and the like. Like many such institutions, it faces economic difficulties and relies on benefit concerts staged by its residents, many of whom still have names that resonate on the English music scene.

The upcoming concert marking the birthday of Giusseppe Verdi is the occasion for a kind of organized panic overseen by Cedric Livingston (Gambon) – who pronounces his first name See-dric, not Seh-dric as he reminds Wilf Bond (Connolly) regularly to his great exasperation.

Otherwise, things are pretty much as normal at Beecham House where friends and colleagues Wilf, Reggie Paget (Courtenay) and Cissy Robson (Collins) live a quiet life of looking back. Wilf though is just as concerned with chasing skirt as his libido remains in full flower even if the bloom has withered a bit on the rose. Cissy is growing increasingly forgetful but it is just a part of the indignities of old age. The somewhat courtly Reggie gives lectures to opera to schoolchildren who are more interested in rap. Everything is more or less peaceful.

But things are turned upside down on themselves and into an uproar when the pretty but harried Dr. Lucy Cogan (S. Smith) introduces the newest resident – the diva Jean Horton (M. Smith), one of the most famous and beloved opera singers of her day. However, she had a tumultuous marriage to Reginald that ended with her infidelity. They haven’t spoken in decades.

But worse still Cedric wants a reunion between Jean, Reggie, Wilf and Cissy whose quartet of Rigoletto‘s “Bella figlia dell’amore” was one of opera’s greatest moments ever and has recently been re-released on compact disc – which in itself is a bit anachronistic. Jean however wants no part of it and Reggie while understanding that the revenue such a reunion would generate might well save their home is understandably unenthusiastic for such a grouping. However, he’s game and sets out to change the mind of the diva.

Cissy for some reason seems particularly motivated to see it happen and she befriends Jean who seems somewhat lost and soon the reason for Jean’s reluctance becomes clear – she’s terrified that her voice is gone, that in doing this performance her fans will always remember her for a last debacle instead of the great career she enjoyed. And as the time draws nigh for the performance, it appears certain that there may not be a home for her to live in for much longer.

This is Hoffman’s directorial debut (technically he directed Straight Time for a few days back in 1978 but withdrew after he found it too difficult to direct and act simultaneously – he doesn’t appear hear as an actor for that reason) and he chose his material wisely. As a director he’s smart enough to keep things fairly simple; there aren’t a lot of camera tricks here, the storytelling is simple and elegant. While he doesn’t show anything extraordinary neither does he make any mistakes.

This is based on a play by screenwriter Ronald Harwood, a Hollywood veteran whose résumé includes The Dresser, The Pianist and Being Julia. Like many of his works, Quartet shows Harwood’s fascination for performers and their venues. This shows performers in the twilight of their careers which you’d almost expect from Harwood who is himself a septuagenarian.

The material here holds some interest but it is the actors who really elevate the work. Connolly, one of Scotland’s great treasures, is at his very best here – a charming Lothario who has no problem expressing his sexuality, seemingly fascinated that he still has any. Wilf claims that a stroke left him without any sort of filter so he says what’s on his mind which the others seemingly forgive him for, although the wily Scot may well be just saying that so he doesn’t have to waste time and energy prevaricating.

But Courtenay will be the one I remember here. His quiet gentility has a timeless quality to it. When I think of English gentlemen, it is Reginald Paget that will come to mind. He’s polite and gentle, but also shows fits of outrage and wounded pride from time to time. More than the others he’s accepted who he is and his place in the universe. His mind is still active and seeks to learn more about the world around him but he isn’t especially eager to seek out the world in general. He wants a “dignified senility,” he tells Wilf and you can imagine nothing but for him. Courtenay is one of those actors who has appeared onscreen only periodically over the years but every time he does you find yourself wishing he would appear more often.

Maggie Smith, who received a Golden Globe nomination for her work here, delivers a haunting performance as a diva who is terrified of a future of anonymity and decay. “I used to be someone, you know” she says and it is perfectly clear how important that status was to her, to be someone. Her harsh exterior hides that insecurity that she’ll be forgotten in the end, a fate worse than death for someone like Jean. Smith, who last year performed in Best Exotic Marigold Hotel which some have (quite erroneously I think) compared this to, shows once again her extraordinary range as an actress. There are a lot of layers to the character and she nails them all, never hitting a single false note.

Veterans Gambon and Collins also deliver in their roles. Hoffman in a showing of finesse, fills much of the cast with actual retired British musicians and in a bit of a grace note during the end credits shows the mostly elderly cast with their stage credits along with pictures of them from their glory days. Hoffman shows some promise as a director if this acting thing doesn’t work out for him.

I found myself really liking this movie early on from the absolutely magnificent gardens and spaces in Beecham House and environs to the charm of the actors. While there were a few spots which seemed to be a bit on the too-sweet side, for the most part this is a really good movie that has to do with aging gracefully which I suppose anyone could do if they had a place like Beecham House to do it in – a place filled with music in all hours and in all corners. I could certainly retire happily to a place like that.

REASONS TO GO: Connolly is a gem. Courtenay, Smith and Collins are very much underrated who make the most out of every opportunity. Gambon is marvelous. Beautifully shot.

REASONS TO STAY: Can get treacly in places.

FAMILY VALUES:  There are a few bad words here and there and some mildly sexual suggestive dialogue.

TRIVIAL PURSUIT: This is the second movie of the same title that Maggie Smith has been in; the first Quartet came out in 1981 and is completely unrelated to this one.

CRITICAL MASS: As of 3/5/13: Rotten Tomatoes: 79% positive reviews. Metacritic: 64/100; solid reviews here.

COMPARISON SHOPPING: How About You?

FINAL RATING: 8.5/10

NEXT: Intermedio