The Big Sick


Zoe Kazan and Kumail Nanjiani in happier times.

(2017) Romantic Dramedy (Amazon/Lionsgate) Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Anupam Kher, Zenobia Shroff, Adeel Akhtar, Bo Burnham, Aidy Bryant, Kurt Braunohler, Vella Lovell, Myra Lucretia Taylor, Jeremy Shamos, David Allen Grier, Ed Herbstman, Linda Emond, Shenaz Treasurywala, Rebecca Naomi Jones, Kuhoo Verma, Mitra Jourhari, Celeste Arias. Directed by Michael Showalter

 

The path to love is a rocky one. There is so much to overcome to make a relationship work. Sometimes there are situational things, other times cultural things and any other numbers of things that can conspire to keep two individual people from making that permanent connection.

Kumail (Nanjiani) is a standup comic struggling to make it. He drives for Uber to make ends meet. He was born in Pakistan and came to Chicago as a boy. His parents, both conservative traditionalists, wish to arrange a marriage for their son and his mother (Shroff) in particular manages to arrange for young single Pakistani women to “drop by” whenever Kumail visits their suburban home. But it is a white woman, Emily Gardner (Kazan) that Kumail falls in love with.

Things go well for awhile until she realizes that he has avoided introducing her to his parents and in fact hasn’t even told them about her. He tries to explain to her that their relationship doesn’t have a future; if he did marry her, his parents would likely cut all ties to him. The two break up but shortly thereafter Emily gets very sick to such a degree that doctors put her into a medially induced coma in order to fight the infection that is ravaging her body.

Kumail calls her parents and they fly in to sit vigil on their comatose daughter; feisty Beth (Hunter) and low-key Terry (Romano). They are both aware that their daughter and Kumail have broken up and are frankly surprised when Kumail offers to stay with them, Beth downright hostile. Nonetheless Kumail comes every day to wait with them as the days stretch on and Emily comes no closer to being cured.  Kumail begins to bond with the parents as his own attitudes towards love and marriage begin to shift.

This is based on the actual courtship between Kumail and his wife Emily V. Gordon  who co-wrote the script with her husband. While some events are fictional (the real Emily and Kumail never broke up prior to her illness), the main points actually happened and thus there’s an air of authenticity to the relationship between the onscreen Kumail and Emily that is refreshing.

The movie strikes the perfect balance between pathos and humor without leaning overly much in either direction, so as the kids today put it, you get all the feels. The performances from Nanjiani, Hunter and Romano are all top notch; Kazan spends half of the movie in a coma (well, her character does anyway) but she lights up the screen in the time that she’s awake.

Some of the more interesting aspects of the movie are the cultural differences. When Nanjiani talks about arranged marriage, he quips “Or as we call it in Pakistan, marriage” and it’s truly hard for an American to wrap one’s head around the concept. The family dynamic in Kumail’s onscreen family is fascinating and I wish they’d spent a little more time with them, but as it was I think the movie was just beginning to edge into the “a bit too long” category.

This is everything you’d want a romantic comedy to be and more. It is easily one of the best movies of the year and one well worth seeking out to stream or even buy. This is a couple you can root for, a movie that avoids clichés or at worst turns them on their heads. It is a movie that reminds us that even the most ingrained of cultural ideas can be overcome for the sake of love and that’s a very powerful message in a time when it feels like we’re divided so much by cultural differences.

REASONS TO GO: It’s a perfect mix between comedy and pathos. The performances by Romano, Nanjiani and Hunter are outstanding. The film captures the hyper-competitive camaraderie between stand-up comics nicely. This is a perfect conversation starter for cultural issues.
REASONS TO STAY: The film loses a little bit of steam near the end.
FAMILY VALUES: There is plenty of profanity including some sexual references.
TRIVIAL PURSUIT: Nanjiani’s real life wife Emily Gordon (whom Emily Gardner is based on) can be seen in the final comedy club scene sitting near CJ and Mary.
BEYOND THE THEATER:  Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 11/24/17: Rotten Tomatoes: 98% positive reviews. Metacritic: 86/100.
COMPARISON SHOPPING: (500) Days of Summer
FINAL RATING: 9/10
NEXT:
Spider-Man: Homecoming

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Mr. Roosevelt


Noël Wells contemplates life, the universe and her dead cat.

(2017) Comedy (Paladin) Noël Wells, Nick Thune, Britt Lower, Daniella Pineda, Doug Benson, Andre Hyland, Armen Weitzman, Sergio Cilli, Paul Gordon, Jill Bailey, Christin Sawyer Davis, Anna Margaret Hollyman, Alex Dobrenko, Nicholas Saenz, Carley Wolf, Kelli Bland, Nathalie Holmes, Kenli Vacek, Gary Teague, Jill Fischer. Directed by Noël Wells

 

There are occasions which force us to confront our past. It might be something traumatic – say, the death of a loved one or a pet. On those occasions the loss forces us to see other losses and how we ourselves contributed to them and maybe even caused them directly. It forces us to look at ourselves in a harsher light.

Emily Martin (Wells) is a comedian in Los Angeles. Well, at least she’s trying to be. She spends her days going to auditions for comic ensemble programs (and doing maybe the best Holly Hunter impression you are ever likely to see) and working in an editing bay on commercials and Internet programming. By night she goes to improv performances by her friends and hooks up with other desperate comedians. It is in the middle of such a hook-up she gets a phone call from her ex.

Erik (Thune) was the man she left behind in Austin, possibly the most self-consciously hip place on the planet. He had been taking care of her cat Teddy Roosevelt but the cat was very sick – dying in fact. Emily drops everything to fly to Austin despite the fact that she can’t afford it, like, at all. When she gets there, the cat has already passed on. She hopes she can crash at the home she once shared with Erik but there’s already someone else living there – his new girlfriend Celeste (Lower) who is kind, generous and accomplished. Naturally, Emily hates her.

But kind, generous Celeste invites Emily to stay and so she does. Emily’s hostility and over-sensitivity towards Celeste leads to a restaurant meltdown during which she is befriended by waitress Jen Morales (Pineda) whom Emily decides to pal around with to parties in which Jen’s band plays, a topless outing to the river while Emily, who never really resolved her feelings for Erik, finds herself attracted to her ex in a very unhealthy way. Things come to a head during a memorial gathering to honor Mr. Roosevelt and to bury his ashes; Emily considers the late Presidential namesake to be HER cat and even though Celeste had been caring for him for two years resists any attempt to share the feline with anyone. The claws are definitely going to come out.

The Manic Pixie Dream Girl indie subgenre that Zooey Deschanel and Greta Gerwig both popularized has a new potential member in the club ; ex-SNL cast member Wells. Her first feature as a writer-director really doesn’t mine any new territory – indie film clichés abound here – but she manages to put her own spin on the film and gives it a distinct personality of its own. As a result I suspect this is going to play well in hipster film buff circles around the country but particularly in New York and El Lay.

Wells is an engaging presence and while her pixie-ish personality wears thin after awhile, Emily is just bitchy enough to keep our interest; her frequent panic attacks cause Jen to literally throw water on her in order to calm her down. However, as fascinating as Wells is, Pineda nearly steals the film. The free-spirited Jen is in many ways more interesting than the occasionally whiny Emily and definitely less prone to doing cutesy things (like her “can’t help myself” dance she does when Erik, an ex-musician who gave up his art for Celeste, goes back onstage).

There is definitely a millennial vibe here; most of the characters are obsessively self-centered and social media-savvy. Erik is going to school and getting a real estate license; Jen is caught up in the gig economy and shares a duplex with a collective of artists and stoners, one of whom becomes a revenge fuck for Emily during one of her many tantrums. Not that older viewers will be unable to relate; younger viewers will recognize and resonate with the characters better though.

The story isn’t always authentic but the characters within it always are, if that makes any sense. While there are plenty of safe choices made by Wells in the writing and execution of the film, there’s still plenty about it that has its own voice, enough to recognize that Wells could very well be the next great indie filmmaker. Here’s your chance to jump on her bandwagon early.

REASONS TO GO: Wells is an engaging lead.
REASONS TO STAY: The movie is too overwhelmed by indie clichés.
FAMILY VALUES: There’s a bunch of profanity, sexuality, drug use and nudity.
TRIVIAL PURSUIT: Immediately after losing her job at SNL, Wells began work writing and directing this film.
CRITICAL MASS: As of 11/17/17: Rotten Tomatoes: 100% positive reviews. Metacritic: 73/100.
COMPARISON SHOPPING: Frances Ha
FINAL RATING: 6.5/10
NEXT:
Destined

New Releases for the Week of July 7, 2017


SPIDER-MAN: HOMECOMING

(Columbia/Marvel) Tom Holland, Michael Keaton, Robert Downey Jr., Marisa Tomei, Jon Favreau, Gwyneth Paltrow, Zendaya, Donald Glover, Tyne Daly. Directed by Jon Watts

Peter Parker makes his long-awaited feature film debut in the Marvel Cinematic Universe after a well-received appearance in Captain America:  Civil War. Here, the young wall-crawler gets used to his life as a high school sophomore while contending with his nascent superpowers. Supported by Tony Stark, the young superhero feels constrained by Stark’s attempts to keep him facing more neighborhood concerns but with the emergence of the Vulture, a villain who has an axe to grind of his own, everything and everyone Peter holds dear is in danger.

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

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

Rating: PG-13 (for sci-fi action violence, some language and brief suggestive comments)

The Big Sick

(Lionsgate/Amazon) Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano. Based on the real-life courtship of Pakistan-born comedian Nanjiani, he falls in love with a white American grad student. They have a difficult time navigating their cultural differences as well as their parents disapproval but when Emily falls prey to a mysterious life-threatening illness Kumail must try to get through the crisis with her parents and fend off the emotional tug-of-war that follows.

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

Release Formats: Standard
Genre: Dramedy
Now Playing: AMC Disney Springs, Regal Winter Park Village

Rating: R  (for language including some sexual references)

OPENING IN ORLANDO/DAYTONA

Cartels
Mom
Ninnu Kori

ALSO OPENING IN MIAMI:

Guest in London
The Journey
Letters from Baghdad
Maudie
Moka
Mom
Ninnu Kori
The Ornithologist
The Painting
The Skyjacker’s Tale
Undercover Grandpa

ALSO OPENING IN TAMPA:

The Hero
Mom
Ninnu Kori
Undercover Grandpa

ALSO OPENING IN JACKSONVILLE:

The Hero
Moka
Mom
Ninnu Kori

Batman v. Superman: Dawn of Justice


The sky weeps at a wasted opportunity.

The sky weeps at a wasted opportunity.

(2016) Superhero (Warner Brothers) Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne, Jeremy Irons, Holly Hunter, Gal Gadot, Scoot McNairy, Callan Mulvey, Tao Okamoto, Brandon Spink, Lauren Cohan, Mark Edward Taylor, Michael Shannon, Ripley Sobo, Sammi Rotibi, Michael Cassidy, Harry Lennix, Rebecca Buller, Kevin Costner, Soledad O’Brien. Directed by Zack Snyder

I really wanted to like Batman v. Superman: Dawn of Justice. I really, really did. I was hoping that this would set up the DC cinematic universe in the same way Iron Man set up Marvel’s. I was hopeful that there is room in the multiplex for competing comic book universes, just as there are on the newsstands. I was hoping for something that would make me eager to see more. Instead, I got this.

In the aftermath of Man of Steel, Bruce Wayne (Affleck) has gotten a mad on about Superman (Cavill). His Metropolis headquarters of Wayne Enterprises was destroyed during the battle with General Zod, although at the time he has no idea what’s going on and who is good and who is not. Friends of his die literally before his very eyes in a kind of 9-11 redux.

18 months later, the U.S. government isn’t quite sure how to handle Supes. Sure he comes in to save the day but often people die and buildings crumble as a result. After he rescues Lois Lane (Adams) from a terrorist cell which ends up with U.S. soldiers dead, Kentucky Senator Finch (Hunter) is calling for Superman to have some sort of oversight.

In the meantime, plots are afoot; Batman/Bruce Wayne is out to take our Superman once and for all; he’s too big a threat to be allowed to run free. However, Lex Luthor (Eisenberg) has some plans of his own – and they involve the corpse of General Zod (Shannon) and keeping the Son of Krypton and the Dark Knight at each other’s throats.

This is a very bare-bones explanation of the plot and doesn’t take into account all the little subplots that go on, some of which have to do with setting up the DC universe – and we get brief cameos of superheroes who have movies come out in the near future – although Diana Prince/Wonder Woman (Gadot) has a more extensive presence in the film.

The premise is a fascinating one – what responsibility do superheroes have to the general public that they’re trying to protect, and should there be oversight to their actions. It’s a theme that we’re going to see once again this summer in the upcoming Captain America: Civil War which will divide the Avengers and the Marvel Cinematic Universe, but while I suspect we’ll get a thumping good storyline from the Russo Brothers who did so marvelously with their own superhero films, Snyder displays his Michael Bay tendencies and turns this into a bloated, incomprehensible mess.

That’s not to say that there aren’t reasons to go see this, mind you. Affleck, the subject of much Internet fanboy venom, actually turns in an outstanding performance as Batman – maybe the best ever. Christian Bale always made, in my opinion, a better Batman than Bruce Wayne; Affleck carries both aspects of the character nicely.

I do appreciate that there is a larger-than-life quality to the film. While it isn’t Lawrence of Arabia, it does give us an idea that the events we’re witnessing are changing the world that the movie exists in. There are some definitely epic battle scenes between Batman, Supes and a to-be-named supervillain who shows up in the third act as a kind of special surprise guest.

But the movie is sooooo dark, both literally and figuratively. Nearly all of the movie takes place at night, particularly when Clark Kent takes off his glasses and Bruce Wayne dons his cowl which I don’t necessarily mind; it’s the tone which gets to be more of a problem for me. Snyder did a magnificent job with Watchmen which needed this kind of darkness but here it becomes almost burdensome. Both Batman and Superman are supposed to stand for something good, but they are almost as bad as the villains, often caring little for lives of people who aren’t necessarily close to them. Batman aims to kill Superman which doesn’t seem to be in character with someone who had forsworn lethal force; Superman also shows little compunction in sending non-combatants to their early graves.

Another misstep was casting Eisenberg as Luthor. One of the hallmarks of Lex Luthor in the comic books is that he’s completely ruthless, but clearly brilliant. He often has plans within plans, schemes that aren’t so easily discernible. He is nothing like the tic-heavy loon that Eisenberg plays, unable to complete a single thought when giving a speech at a charity ball. If Luthor is completely insane, he should at least be lucid and Eisenberg plays him as the unholy offspring of Mark Zuckerberg and Sarah Palin.

The pace is ponderous and at two and a half hours long, the movie gets a little bit monotonous. How many times can you see a building reduced to rubble before you start yawning? Maybe I’m a little jaded here, but shouldn’t superhero battles be more than just throwing people into masonry and punching their way through walls?

There are enough positive elements here to recommend the film somewhat, although I have to say that I was disappointed with it overall. I was hoping for something that would inspire me to submerge myself in a new cinematic universe but now I have almost no desire to see any of the ten or so films that are scheduled to follow this one, particularly if they are directed by Snyder who showed an absolute leaden touch here. I hope Suicide Squad can redeem the series and bring back some anticipation for the following movies, although at the moment I wonder if DC can bounce back from a debacle which may fill their coffers for the moment but long-term will render it much more difficult to get the attention of fans the same way Marvel has been able to.

REASONS TO GO: Affleck is a terrific Batman. Some spectacular battle sequences. A definite epic quality to the film.
REASONS TO STAY: Bloated and often hard to follow. Too bloodthirsty. Eisenberg as Luthor was a colossal mistake.
FAMILY VALUES: A whole lot of superhero violence, and some suggestive scenes.
TRIVIAL PURSUIT: Gal Gadot is the first non-American actress to appear as Wonder Woman.
CRITICAL MASS: As of 4/2/16: Rotten Tomatoes: 29% positive reviews. Metacritic: 44/100.
COMPARISON SHOPPING: Green Lantern

Won’t Back Down


There's no cause so great that matching t-shirts won't solve.

There’s no cause so great that matching t-shirts won’t solve.

(2012) True Life Drama (20th Century Fox) Maggie Gyllenhaal, Viola Davis, Oscar Isaac, Holly Hunter, Rosie Perez, Emily Alyn Lind, Dante Brown, Lance Reddick, Ving Rhames, Bill Nunn, Ned Eisenberg, Marianne Jean-Baptiste, Lisa Colon-Zayas, Nancy Bach, Keith Flippen, Robert Haley, Lucia Forte, Sarab Kamoo, Teri Clark Linden, Joe Coyle, Jennifer Massey. Directed by Daniel Barnz

When it comes to our kids, we are all agreed on one thing; a good education is important. Sadly, not all kids receive one. Areas which are economically under-advantaged tend to receive shoddy educations in crumbling facilities from disinterested teachers.

But some parents won’t take that situation lying down. Jamie Fitzpatrick (Gyllenhaal) works at a car dealership and tends bar at night to make ends meet. Her daughter Malia (Lind) is dyslexic and gets bullied at her Pittsburgh school, all under the eyes of teachers who don’t care and a principal (Nunn) hamstrung by union regulations and a venal school board. Fed up, Jamie tries to get her daughter into a charter school, but her number isn’t picked in the lottery.

There’s another parent there that Jamie is surprised to see – Nona Alberts (Davis), a teacher at Jamie’s school. Why doesn’t Nona try to make things better at her own school for her own daughter? Of course she’s tried to, but has hit stone wall after stone wall from the Union and the Board and she’s tired of fighting.

&But there’s a ray of hope; there’s a law on the books that will allow parents to take over a school that is underachieving (as Malia’s school is) but parents so inclined have to jump through an awful lot of hoops in order to do it. That doesn’t dissuade Nona and Jamie as they take on the Union, who try to intimidate the teachers with potential job loss (which is a very real possibility) and the School Board, who don’t want to cede control of one of their schools to parents lest it spark a district-wide revolt.

In the midst of this, single Jamie finds a boyfriend in math teacher Michael Perry (Isaac) who gets a bit miffed whenever Jamie expresses her frustration with the Union but he ends up being a staunch ally and Jamie and Nona slowly begin to win the parents to their side, giving them all matching T-shirts for a rally (was there ever a cause that didn’t benefit from matching t-shirts?) that will take on those who stand against their kids having a fighting chance at a future.

If this sounds a bit strident and political, it’s because it is. I won’t say that the film is outright anti-Union, but it does paint the Union as villainous, more concerned about protecting bad teachers than about educating the children of their communities. The School Board doesn’t come off much better, painted as a group that plays politics when it comes to funding and personnel. I suppose your reaction to the film is going to depend on your point of view; those who are very much pro-Union are going to have issues with it, those who think that privatizing education is the way to go will love it.

That set aside let’s look at the filmmaking itself. Technically, the film is decent – nothing to write home about on the one hand but on the other competently done. It’s hard to make the less prosperous end of Pittsburgh look glamorous but Barnz at least makes it look like a nice community to live in for the most part.

The cast is terrific, with five Oscar nominees (past and future) and/or winners (Hunter, who plays the smug Union head here, won for The Piano in 1987). Gyllenhaal is marvelous and for Davis who was just beginning to cement her reputation as a talented actress when this was made also is memorable as the teacher who goes from zombie to ace during the course of the movie. Isaac, essentially an unknown when he made this, also is fine as the love interest.

While I don’t necessary agree with the filmmakers’ point of view – the Teachers Union isn’t the sole reason for problems with American education; one has to also look at the decline of parental involvement, poverty, the rise of distractions like videogames and the Internet and also the high cost of higher education for the reason why education has fallen so drastically. Adding new charter schools, vouchers and other solutions advanced from the right aren’t necessarily the only things needed but don’t address other conditions that are obstacles to every child receiving a proper education.

This is a complicated issue and while I think that the hearts of the cast and crew are in the right place, the execution takes a kind of Hollywood “happy ending in 90 minutes guaranteed” point of view. Nevertheless I don’t necessarily think that it’s a bad thing to call attention to issues that affect all of us – and the education of our children certainly does. Innovation has to come from somewhere and if our population is lagging behind the rest of the world in know-how and let’s face it, desire to innovate, we could find ourselves a third world nation sooner than we think.

WHY RENT THIS: Attempts to tackle real issues facing modern education. Fine performances by Gyllenhaal and Davis.
WHY RENT SOMETHING ELSE: A little smug and simplistic. Pro-union viewers will be outraged.
FAMILY VALUES: Some mild profanity and thematic elements.
TRIVIAL PURSUIT: Loosely based (very loosely based) on actual events in Sunland-Tujunga, California in 2010.
NOTABLE HOME VIDEO EXTRAS: There are a couple of featurettes here, The Importance of Education and the somewhat disingenuous Tribute to Teachers considering how much teacher-bashing the film does.
BOX OFFICE PERFORMANCE: $5.3M on a $19M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray Rental only), Amazon, iTunes, Vudu, Google Play, M-Go
COMPARISON SHOPPING: Waiting for “Superman”
FINAL RATING: 6/10
NEXT: The Time That Remains

New Releases for the Week of October 18, 2013


Carrie

CARRIE

(Screen Gems) Chloe Grace Moretz, Julianne Moore, Judy Greer, Portia Doubleday, Alex Russell, Gabriella Wilde, Ansel Elgort, Barry Shabaka Henley. Directed by Kimberly Pierce

A young picked-upon girl, the daughter of an obsessively devout mother, develops telekinetic powers among other things. Some bitchy cheerleader sorts decide to play a prank on her at the prom – not a very good idea. A remake of the classic 1976 film with Sissy Spacek and itself based on one of Stephen King’s earliest novels.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday night)

Genre: Horror

Rating: R (for bloody violence, disturbing images, language and some sexual content)

A.C.O.D.

(The Film Arcade) Adam Scott, Richard Jenkins, Catherine O’Hara, Jane Lynch. The adult son of a divorced couple whose acrimonious divorce scarred him to the point of needing therapy needs to get his bickering parents to make peace so that they can attend his brother’s wedding. He also discovers the therapy he underwent to get through the pain of the divorce was actually a project by a writer to chronicle the effects of divorce on children which led to a bestseller on her part but exposing all of
his most painful secrets. When he finally gets his parents together, his life goes spinning off into directions he couldn’t have imagined. This played the Sundance Across America series at the Enzian earlier this year and my review can be found here.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: R (for language and brief sexual content)

Boss

(Viacom 18) Akshay Kumar, Shiv Pandit, Mithun Chakraborty, Ronit Roy. A petty criminal takes the fall for his father when he accidentally and unknowingly kills a teenager. After serving his time, he relocates to another city, only to discover that his younger brother has gotten into a conflict with the bullying son of a home minister. He will have to return home to defend his family – a home that doesn’t want him back.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Escape Plan

(Summit) Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel, Vincent D’Onofrio. An expert on structural security who makes a lucrative living exposing the defects in prisons and other correctional institutions takes on a brand new high-tech state-of-the-art Supermax prison. Unbeknownst to him, someone wants him to disappear from the grid – permanently. To survive he is going to have to make an alliance with a brutal inmate and assuming he survives long enough to put his plan into action, find out who put him there…and make whoever it is pay!

See the trailer, promos and clips here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday night)

Genre: Action

Rating: R (for violence and language throughout)

The Fifth Estate

(Touchstone/DreamWorks) Benedict Cumberbatch, Daniel Bruhl, Anthony Mackie, Laura Linney. Idealists Julian Assange and Daniel Domscheit-berg, disgusted and disillusioned by all the chicanery going on in secret, decide to found a website where whistle-blowers can expose the corruption and crime going on in the political and corporate worlds. However their idealism will be put to the test when a cache of top secret documents from the U.S. Military is leaked and leads to a fundamental dilemma – is the freedom of accessible information more important than the potential loss of human life?

See the trailer and featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: True Life Drama

Rating: R (for language and some violence) 

The Hunt

(Magnolia) Mads Mikkelsen, Thomas Bo Larsen, Annika Wedderkopp, Lasse Fogelstrom. A substitute teacher in a small Danish town in the midst of a bitter divorce and custody battle is unexpectedly accused of molesting the daughter of his best friend. Despite his protestations of innocence and a lack of any evidence, nobody believes him and he is ostracized from nearly everyone in the town. As events escalate and grow uglier, he will have to find a way to convince the town – and his friend – that he is an innocent man. One of the best films to come out of this year’s Florida Film Festival, you can read my review here.

See the trailer, a clip and a promo here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: R (for sexual content including a graphic image, violence and language)

I’m in Love with a Church Girl

(High Top) Ja Rule, Adrienne Bailon, Stephen Baldwin, Michael Madsen. A young man who has made his fortune as a drug trafficker attempts to get out of the business and go straight although the DEA is skeptical of his intentions. When he meets a beautiful but devout woman, he falls for her despite the difference in their lifestyles. Both of them will be sorely tested in their faith if their love is to overcome the long odds that it faces.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Faith Drama (opens Thursday)

Rating: PG (for thematic elements, a scene of violence, some suggestive content and brief language) 

Paradise

(Image/RLJ) Julianne Hough, Russell Brand, Octavia Spencer, Holly Hunter. A young woman who has led a sheltered life in a small Montana town is nearly killed in an accident, causing her to take stock of her situation and her mainly unlived life. Deciding to see for herself what the other side has to offer, she takes her insurance settlement to Las Vegas and falls in with some fellow wounded souls and finds something a little more lasting than sin.

See the trailer, clips and a link to stream the full move at Amazon here.

For more on the movie this is the website.

Release formats: Standard

Genre: Dramedy

Rating: PG-13 (for sexual material, substance abuse, some language and thematic elements)

The Snitch Cartel

(BN) Manolo Cardona, Tom Sizemore, Juana Acosta, Kuno Becker. Based on the life of Andreas Lopez-Lopez, a young boy from a poor background tries to win the heart of the girl he’s had a crush on since he was very young but doesn’t have the money to catch her eye. He joins one of the more vicious drug cartels in Colombia and works his way up the ladder but in doing so catches the eye of the DEA as well.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Crime Drama

Rating: R (for strong violence, language, drug content and sexuality/nudity)

O Brother, Where Art Thou?


O Brother, Where Art Thou?(2000) Comedy (Touchstone) George Clooney, John Turturro, Tim Blake Nelson, John Goodman, Charles Durning, Holly Hunter, Michael Badalucco, Del Pentecost, Chris Thomas King, Stephen Root, Daniel von Bargen, Frank Collison, Wayne Duvall, Musetta Vander, Mia Tate, Christy Taylor. Directed by Joel and Ethan Coen

Joel and Ethan Coen have become one of America’s finest filmmaking combos, and for good reason. Looking at their portfolio, you see a common theme of understanding the cadences, rhythms and twangs of American speech, and seeing the cracked side of American life. In films such as Fargo, Raising Arizona, The Hudsucker Proxy and Blood Simple, the characters are basically good but not particularly moral — there’s a criminal side to the heroes (with the exception of the Frances McDormand police chief in Fargo) that makes them charming, flawed but still in a realm to which the audience can relate.

Loosely (make that very loosely) based on Homer’s Odyssey, O Brother, Where Art Thou?  begins with convict Ulysses Everett McGill (Clooney) escaping a Mississippi prison farm with his dim cohorts Pete (Turturro) and Delmar (Nelson). They are off to find the loot hidden by McGill from an armored car job before the valley it resides in is flooded by a WPA project. They almost immediately run into a blind seer (Duvall) who predicts that they will find great treasure, albeit not the one they are seeking.

Along the way, they run into a variety of characters, from a one-eyed Bible salesman (Goodman), to a corrupt Mississippi governor running for re-election (Durning) to a blind radio station owner (Root) who records the three convicts singing “Man of Constant Sorrow” which, unbeknownst to the three Soggy Bottom Boys (so dubbed because Delmar and Pete elect to be baptized, to the amusement of McGill) has become a huge hit.

Heck, you even get to meet the manic/depressive Baby Face Nelson (Badalucco). They also run into three larcenous sirens and McGill’s wife, who is preparing to marry a man she considers “bona fide,” which McGill is not. When McGill objects to his wife remarrying and takes issue with her new suitor, he gets soundly thrashed and tossed out of a Woolworth’s, to his humiliation. Indeed, the three Soggy Bottom Boys do find a treasure beyond price, although they don’t realize it at the time.

The Coens capture the period perfectly, and give all the characters enough eccentricities to make them interesting, without making them overbearing. Clooney, in particular — with his obsession about his hair — commands attention. He is not “bona fide,” but that’s mostly bad luck. We root for him throughout and for his two dim-witted sidekicks. This is ostensibly a comedy, but it is a dry wit despite the occasional soggy bottom. The Coens lavish the characters here with interesting eccentricities and the actors repay him with excellent performances.

Refreshingly original, O Brother, Where Art Thou? remains quintessential Coen and those who love their movies, as I do, will love this one. Da Queen and I were laughing till our faces were beet red, particularly during an early train sequence, and at the final performance of the Soggy Bottom Boys near the end of the film. Clooney won a Golden Globe for his performance here, and I think it’s basically from this point he got taken seriously as an actor, as well as one of Hollywood’s biggest stars.

The humor isn’t for everyone – some find it a bit too quirky. Still, there are some pretty wonderful country-fried performances from Durning, Badalucco and Root and especially from Goodman, Hunter, Turturro and Nelson and of course Clooney steals the show. I’d never thought of him as a comic actor before this, but he is quite good at it as he has proven in several films since which you can always check out later. In the meantime, enjoy O Brother, Where Art Thou? and anticipate future celluloid from the Coen Brothers

WHY RENT THIS: Hysterically funny in places. Great performance from Clooney. Among the best the Coens have ever done.

WHY RENT SOMETHING ELSE: If the Coens’ quirkiness isn’t you’re style you won’t like this.

FAMILY MATTERS: There’s a little bit of violence and a few cursin’ words here and there.

NOTABLE HOME VIDEO FEATURES: There’s a music video and a featurette that shows how the filmmakers obtained the golden hue that tones the film.

BOX OFFICE PERFORMANCE: $71.9M on a $26M production budget; the movie was profitable although given the success of the soundtrack, probably more so than the box office receipts would indicate.

COMPARISON SHOPPING: Raising Arizona

FINAL RATING: 10/10

NEXT: Rashomon