Angels Crest


Here's an angel that Charlie missed.

Here’s an angel that Charlie missed.

(2011) Drama (Magnolia) Thomas Dekker, Lynn Collins, Jeremy Piven, Mira Sorvino, Elizabeth McGovern, Emma Macgillivray, Joseph Morgan, Greg Lawson, Chris Ippolito, Dave Brown, Colin A. Campbell, Marty Antonini, Ameko Eks Mass Carroll, Jonathan Lachlan Stewart, Julian Domingues, Aedan Tomney, Wally Houn, Lindsay Burns, Barbara Williams, Christianne Hirt, Kate Walsh. Directed by Gaby Dellal

Bad things happen, sometimes to good people and sometimes to bad. Even the worst of events that occur have nothing to do with a person’s goodness or lack thereof. What the true measure of a person is depends on how they deal with the truly awful things that life throws at us.

Ethan (Dekker) is a 21-year-old young man who works at an auto shop in the working-class Rocky Mountain town of Angels Crest. It’s one of those places where everyone knows everyone else, where rugged individualism is the expectation and where the bleak winters often mirror the bleak outlook for many, who have no hope of escaping the lives they lead.

Ethan is the father to 3-year-old Nate (Carroll) and his sole caregiver, mainly because Nate’s mommy Cindy (Collins) is a mess, a raging alcoholic who can barely care for herself with a side order of promiscuity. One bright afternoon, Ethan takes Nate for a boy’s trip into the woods. On the way back, an exhausted Nate falls asleep and as Ethan drives towards town, he sees some deer. For whatever reason, he gets out of his truck, makes sure Nate is strapped in to his child’s seat, and leaving the heater running, follows the deer out into the woods.

You can guess that wasn’t a very smart idea. When Ethan returns to the truck, Nate is gone. He searches through the woods fruitlessly, then races back to town, returning with a search party but Nate is nowhere to be found. It takes a little while but little Nate is eventually found, frozen to death. Of course, Ethan is devastated and the hot mess that is Cindy blames Ethan for her little boy’s demise.

The town is sharply divided by the event, some joining Cindy in blaming Ethan and calling for his arrest for negligence (a feeling that the prosecutor (Piven) shares) while others believe Ethan when he says he was gone for just a few minutes and that this was just one of those horrible things that could have happened to anyone.

Like Atom Egoyan’s The Sweet Hereafter, the film examines the effects of a tragedy on a small town but the similarities end there. In the Egoyan film, the school bus accident that took the lives of a fair amount of children touched nearly every family in town; here, the directly affected are few. Still, the howls of Ethan’s grief are no less heart-wrenching no matter the number of children lost; in some ways the grief of a single person is more relatable than the grief of multiple people.

But the movie goes off the rails because of the excessive number of subplots which for the most part have no real bearing on the matter of hand. There is a lesbian couple (McGovern and Walsh) struggling for acceptance, with McGovern trying to win the affections of her own son (Domingues) who is also a horror show. The prosecutor has some deep dark secret that is motivating him to obsessively pursue an investigation that is tearing the town apart. A diner waitress (Sorvino) struggles to raise her own son on her own and happens to be Cindy’s best friend. Ethan’s best friend (Lawson) feels guilt over having been banging Cindy at the time of the incident.

All of these little subplots are enacted by characters whose only reason to be in the movie is to be involved in these subplots. They add no insight and don’t really enhance the story any. While the movie is beautifully shot with plenty of picturesque snow-covered vistas, the whole thing feels a bit like a soap opera more than a drama. While some of the scenes carry a good deal of emotional resonance, an equal number of scenes fall flat. This is as inconsistent a film as you’re likely to see.

Still, there is enough here that the movie is worth a casual glance if the opportunity presents itself although I wouldn’t put a whole lot of effort into seeking it out. The deficiencies in the film’s story and script nearly (but don’t quite) exceed the movie’s emotional impact.

WHY RENT THIS: Some of the scenes work. Evocative. Beautiful cinematography.
WHY RENT SOMETHING ELSE: Some of the scenes don’t. Heavy-handed and plodding. Soap opera-esque.
FAMILY VALUES: Adult themes, strong language and some sexual content.
TRIVIAL PURSUIT: The film was titled Abandoned in the UK.
NOTABLE DVD EXTRAS: There are interviews with Dekker and Sorvino.
BOX OFFICE PERFORMANCE: $832 on an unknown production budget.
SITES TO SEE: Netflix. Amazon, iTunes, Google Play, Vudu
COMPARISON SHOPPING: Gone Baby Gone
FINAL RATING: 6/10
NEXT: Creed

Entourage


Rollin' with E, Vinnie, Drama and Turtle.

Rollin’ with E, Vinnie, Drama and Turtle.

(2015) Comedy  (Warner Brothers) Kevin Connolly, Adrian Grenier, Kevin Dillon, Jerry Ferrara, Jeremy Piven, Emmanuelle Chriqui, Perrey Reeves, Rex Lee, Debi Mazar, Rhys Coiro, Constance Zimmer, Haley Joel Osment, Billy Bob Thornton, Ronda Rousey, Emily Ratajkowski, Scott Mescudi, Alan Dale, Piers Morgan, Nina Agdal. Directed by Doug Ellin

Hollywood is as much a state of mind as it is a place on Earth. You can drive to it but you can never really achieve it; that is, unless you’re one of the lucky, magical few who make it in that town. And when you make it, so do those you brought up with you.

Vincent Chase (Grenier) is a movie star who is celebrating his divorce (or rather, his annulment) after nine days of wedded bliss on a yacht off of Ibiza. His boyhood chums – Eric (Connolly) who has been Vincent’s manager since his younger days; Johnny Drama (Dillon), his older brother whose stunning lack of success in becoming an actor is probably rooted in the fact that he can’t act for squat – and Turtle (Ferrara), Vinnie’s driver who just recently hit it big in a vodka line with Mark Cuban – are joining Vincent to drink away their sorrows, or whatever it is they’re drinking away.

Ari Gold (Piven), Vincent’s long time agent, has retired to Italy with his wife (Reeves) but at the behest of studio CEO John Ellis (Dale) has taken over the studio as production chief. His first order of business is to get Vincent locked into a new movie that looks like it could possibly become a smash hit – Hyde, a techno-retelling of the Robert Louis Stevenson classic .

When the movie runs into some financial issues and needs a few extra mill to finish up, Ari is forced to go to the money for the film – Texas rancher Larsen McCredle (Thornton) who sends his son Travis (Osment) to Hollywood to find out why more money is needed and whether or not the money already invested has been well-spent.

In the meantime, Vincent’s boys are having their own problems. Eric’s ex-wife Sloan (Chriqui) is about to have their baby and is willing to give their relationship another chance. However, perpetual nice-guy Eric has a relationship going with Dana (Zimmer) which might get in the way. Turtle is trying to get in good with MMA superstar Ronda Rousey (herself) who may nor may not be amenable to the idea, and Johnny Drama may have found the role that may finally turn his career around. The trouble is, it’s in his brother’s movie and Travis, the affable but dopey Texan, wants to cut him out of the film. And Vincent’s relationship with gorgeous starlet Emily Ratajkowski (herself) may complicate things more than either of them can imagine.

This takes place right after the HBO series ended its run four years ago after an impressive seven years on the cable network and is awash in celebrity cameos. So many that they are often of the blink and you missed them kind, like a venal encounter between Ari and Liam Neeson. Some of the cameos, like Rousey and Ratajkowski, are much more substantial and integral to the plot.

The good news is that if you didn’t watch the HBO series, you can still enjoy the movie – which is a fear I think may have kept some people away from theaters. Fans of the series will get a lot more of what they want; the teenage boy fantasy of endless parties, endless money and endless women, all of whom are SoCal gorgeous. Of course, there’s plenty of digs at the shallow Hollywood society, from the drug dealers to the studio heads to the creative sorts. Everyone has an angle, or so Entourage would have you believe, other than the innocents from Queens who stuck with their guy through hard times and are there with him to enjoy his success.

The humor here is crude and profane, and those offended by such things are going to have plenty of reasons to stay away. However, there are a lot of good reasons to go see this, in no small part thanks to Piven who made Gold an iconic character on HBO and shows that Ari, despite anger management courses and therapy, still rages with the best of them. Also of note is Osment, who after a successful child acting career has simply developed into a fine actor and shows some fine comic timing here; hopefully roles like this will help him garner more parts in a town which may have pigeonholed him into seeing dead people.

I don’t know that there was a demand to see Entourage again; while the creators were hoping that this would spawn a trilogy of big screen installments, the reality is that the show had something of a cult status at best and probably didn’t have enough of a core rabid fan audience to make those plans ill-advised. However, the movie that resulted was entertaining enough and even if you’re not counting cameos – which would be a fun drinking game when it makes it to home video – there’s plenty to make it worth your while.

REASONS TO GO: Ari Gold, man; Ari Gold. Osment shows some real comic chops.
REASONS TO STAY: Too many cameos spoil the broth. Maybe excessively crude.
FAMILY VALUES: A whole lot of profanity, nudity and sexual references, and a little bit of drug use.
TRIVIAL PURSUIT: The character Turtle is based on Mark Wahlberg’s real life assistant Donnie “Donkey” Carroll, who passed away at age 39 on December 18, 2005 from an asthma attack.
CRITICAL MASS: As of 6/22/15: Rotten Tomatoes: 39% positive reviews. Metacritic: 38/100.
COMPARISON SHOPPING: A Guide to Recognizing Your Saints
FINAL RATING: 6/10
NEXT: Spy

New Releases for the Week of June 5, 2015


Insidious Chapter IIIINSIDIOUS CHAPTER III

(Gramercy) Dermot Mulroney, Stefanie Scott, Leigh Whannell, Angus Sampson, Lin Shaye, Tate Berney, Michael Reid MacKay, Steve Coulter. Directed by Leigh Whannell

The third installment in the popular horror series is a prequel, focusing on psychic Elise Rainier and her reluctant entry into the spirit world in order to help a family and in particular an innocent teen girl in grave mortal peril from angry spirits from the other side, detailing her first steps into the otherworld known as The Further.

See the trailer, clips, interviews, a featurette and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Horror
Now Playing: Wide Release
Rating: PG-13 (for violence, frightening images, some language and thematic elements)

Barely Lethal

(A24) Hailee Steinfeld, Sophie Turner, Samuel L. Jackson, Jessica Alba. A young girl trained from childhood to be a deadly assassin has already tired of the life and yearns for a more normal adolescence. Determined to leave the life she never asked for, she fakes her own death and enrolls in a suburban high school. Her ex-handler and current nemesis discovers the ruse and sends an operative in to fetch her, which as you can guess the young lady in question isn’t planning to allow, particularly when her new friends and social circle are put in mortal danger.

See the trailer and stream the full movie from Amazon here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Spy Comedy
Now Playing: AMC Lake Square Leesburg
Rating: PG-13 (for sexual material, teen drinking, language, drug references and some action violence)

Entourage

(Warner Brothers) Kevin Connolly, Adrian Grenier, Kevin Dillon, Jeremy Piven.  Vincent Chase, a bona fide movie star surrounded by his friends from when he was young, is living the good life. Ari Gold, agent-turned-studio head who has a movie for his former protégé but Vincent isn’t biting – unless he can direct. The acclaimed HBO series/Hollywood satire hits the big screen in a move that is likely to skewer a few egos that need skewering.

See the trailer, interviews, a promo and fan video here.
For more on the movie this is the website.
Release Formats: Standard (opened Wednesday)
Genre: Comedy
Now Playing: Wide Release
Rating: R (for pervasive language, strong sexual content, nudity and some drug use)

Love and Mercy

(Roadside Attractions) John Cusack, Paul Dano, Paul Giamatti, Elizabeth Banks. Brian Wilson was the genius behind the Beach Boys sound and success. One of the most gifted composers and arrangers of his time, he was beset by demons of an abusive childhood and exacerbated by drug abuse. After a complete mental breakdown, he comes under the care of psychologist Dr. Eugene Landy whose motivations and methods become suspect. Emotionally fragile, he meets a courageous woman who helps him emerge from the darkness and back into his music.

See the trailer, clips and a featurette here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Music Biography
Now Playing: Regal Winter Park Village, AMC Downtown Disney, Cinemark Artegon Marketplace
Rating: PG-13 (for thematic elements, drug content and language)

Saint Laurent

(Sony Classics) Gaspard Ulliel, Jeremie Renier, Louis Garrel, Lea Seydoux. Designer Yves Saint Laurent was one of the iconic figures in fashion during the 60s and 70s. His couture changed the idea of fashion permanently and his ideas reverberate in the industry today; his lifestyle and personal problems kept the tabloids busy. He has been the subject of several films as of late; this is the most recent and features a performance by Ulliel that has been attracting some attention.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Fashion Biography
Now Playing: Regal Winter Park Village
Rating: R (for graphic nudity/strong sexual situations, substance abuse throughout and some language)

Spy

(20th Century Fox) Melissa McCarthy, Jason Statham, Jude Law, Rose Byrne. A CIA analyst with dreams of field work gets her chance when a ruthless arms dealer threatens world peace and because they are familiar with all of the field agents in the Agency, someone who isn’t known to them must infiltrate their organization and stop a global disaster from occurring.

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: Spy Comedy
Now Playing: Wide Release
Rating: R (for language throughout, violence, and some sexual content including brief graphic nudity)

Unfreedom

(Dark Frames) Victor Banerjee, Adil Hussein, Bhanu Uday, Preeti Gupta. In New Delhi, a woman is placed in an arranged marriage that she doesn’t want to undertake because she’s in love with someone else; another woman, in fact. In New York City, a fundamentalist Muslim kidnaps a liberal Muslim scholar who has outspoken views about his religion. All four will come face to face with gruesome acts of violence that will affect their views on religion, sexual identity and family.

See the trailer and stream the full movie from Amazon here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Drama
Now Playing: Fashion Square Premiere Cinema
Rating: NR

Welcome to Me


Not every ugly duckling gets to be a swan.

Not every ugly duckling gets to be a swan.

(2014) Comedy (Alchemy) Kristen Wiig, Wes Bentley, Linda Cardellini, Joan Cusack, Loretta Devine, Jennifer Jason Leigh, James Marsden, Thomas Mann, Tim Robbins, Alan Tudyk, Kulap Vilaysack, Mitch Silpa, Anelia Dyoulgerova, Joe Roland, Joyce Hiller Piven, Jack Wallace, Rose Abdoo, Hannah Chodos, Sabra Williams, Charlotte Rabbe, Shanna Strong. Directed by Shira Piven

Florida Film Festival 2015

We all like to fantasize about what we’d do if we won the lottery. Buy a new house, a new car, a new boat; pay off all our debts, take a fabulous vacation, maybe give some back to the community or to charity. I’m fairly sure most of us would not have buying ourselves our own talk show on the radar.

Alice Klieg (Wiig) ha s just won the California lottery. Up until now she’s led a kind of a drab existence although that’s largely drug-induced. Not the fun kind even – the prescription kind. She has a borderline personality disorder and needs meds to stabilize her moods which have a tendency to get savage without warning. She mostly keeps to herself and watches VHS videotapes of Oprah shows, which she has largely memorized.

So she says goodbye to her pills, much to the objections of her therapist (Robbins), puts herself on a diet low on glucose, high on protein and low on carbohydrates which she pronounces “carbohydrants.” With not a lot to do in Palm Desert (her home), she moves into a hotel room at the local Native American casino and finds herself fascinated by a product that she sees on a local shopping network that seems to fit into her dietary needs. She and her best friend Gina (Cardellini) get tickets to a studio audience for an infomercial huckstering the product and feeling empowered by her recent success, manages to get some camera face time. Flush with the success of that, she informs the station owner Rich (Marsden) that she has an idea for a talk show that she’s willing to pay for, starring herself with the subject of…herself.

While the acerbic director Dawn (Cusack) thinks that this is a monumentally bad idea, Rich is desperate for money to save the station, much to his brother Gabe’s (Bentley) chagrin. He was the face of the product that attracted Alice’s attention and now is attracting Alice’s attention for a whole other reason.

Alice, who has never had any sort of filter and blurts out whatever comes into her head (and reads prepared statements when she wants to get something across) has begun sleeping around with whoever catches her fancy. On the show she makes her grand entrance in a swan boat-like vehicle (she has a thing for swans, which decorate her house) and mostly talks about her diet, and re-enacts incidents from her life that bother her to this day, like someone stealing from her make-up bag on a ski trip, or a former friend who told others in high school that Alice had some mental issues. When provoked, Alice throws things or goes into screaming rages.

As the show continues to run and gets a kind of viral success, Alice begins to spin out of control. She is able to afford to buy what she wants which continues to feed into her disease. Her self-absorption becomes almost maniacal and even the loyal Gina is horrified and can’t cope with the new Alice. She is re-inventing herself, but is it into a person she truly wants to be?

Wiig’s post-SNL career has been largely of characters like this, although Alice is a bit of an extreme. She excels at characters who are just a bit off-beat, who march to their own drummer and who aren’t just ordinary folks. She has also been choosing of late indie films that allow her to really display her best work, roles that are really in her wheelhouse. In many ways, this is her best performance on the big screen, even more so than her work in the blockbuster hit Bridesmaids which essentially set her up as a star leading actress. Even as Alice becomes more unlikable, she remains sympathetic for the most part as we know she doesn’t really control her own actions.

This is one of two films I’ve seen at this year’s Florida Film Festival that has at their center a person with emotional/mental issues that make the conscious decision to stop taking their medication. It is played to much more comedic effect here and less to the chilling effect it is in Gabriel which might make those who are advocates for those who have issues to take pause; however, it should be said I didn’t get a sense that either Wiig or the filmmakers were making fun of Alice but showing the side of her that might provoke an audience to laugh. Certainly I went in thinking that I was going to be cringing more than laughing and ended up doing more of the latter than the former.

The movie starts out strong and kinda peters out near the end. A strong supporting cast, particularly Cusack who has become for my money one of the strongest character actresses working today, helps keep the movie interesting throughout, although some of the characters are a bit cliche. At times it feels like the writers had stretched out the movie to make it feature length.

Still in all, this is solidly entertaining. There’s some subtle – okay, not so subtle – commentary on our obsession with fame and of our consumerist, self-involved society which is quite welcome but for the most part shooting fish in a barrel. What it isn’t is an issue movie on mental health. Wiig remains an acquired taste for some, mainly because the roles she tends to go for are pretty quirky (and none more than this one) but when she’s on as she is here, she’s as good as any comic actress out there. For those who want to avoid the crowds at the big summer movies, this makes for a nice alternative.

REASONS TO GO: Wiig gives a stellar performance. Much funnier than I expected. Great supporting performances, particularly from Cusack.
REASONS TO STAY: Falls apart near the end. A couple of cliche characters in the mix. Some of the material feels a bit forced.
FAMILY VALUES: Plenty of sexuality, some graphic nudity, a fair amount of foul language and a brief scene of drug use.
TRIVIAL PURSUIT: Shira Piven is actor Jeremy Piven’s older sister; the actress who plays Alice’s mother in the film is actually Shira and Jeremy Piven’s mom.
CRITICAL MASS: As of 5/13/15: Rotten Tomatoes: 71% positive reviews. Metacritic: 67/100.
COMPARISON SHOPPING: Gabriel
FINAL RATING: 6.5/10
NEXT: Kill Me Three Times

Sin City: A Dame to Kill For


Born to be wild.

Born to be wild.

(2014) Action (Dimension) Mickey Rourke, Josh Brolin, Eva Green, Joseph Gordon-Levitt, Powers Boothe, Rosario Dawson, Jamie Chung, Jessica Alba, Dennis Haysbert, Christopher Meloni, Jamie King, Bruce Willis, Alexa Vega, Jeremy Piven, Christopher Lloyd, Stacey Keach, Martin Csokas, Ray Liotta, Juno Temple, Jude Ciccolella, Julia Garner, Kimberly Cox. Directed by Robert Rodriguez and Frank Miller

The world is a rough place and nowhere is it rougher than Sin City. A place where the corrupt wield absolute power with ruthless brutality, where tough guys hook up with even tougher dames, where anything can be had – for a price. That price might just be your soul.

Like the original Sin City, the story here is told in vignettes. In one, the ultra-lucky Johnny (Gordon-Levitt) finds a poker game which is run by Senator Roark (Boothe), the spider at the center of all the corruption of Sin City – and he doesn’t like to lose. It’s bad for business.

In the next, Dwight (Brolin), a former newspaper photographer turned private eye is looked up by his ex-girlfriend Ava (Green) who dumped him for a rich man (Csokas). He never could turn down a damsel in distress, and the brutish Manute (Haysbert) who watches Ava for her husband, isn’t about to let Dwight get in the way of the plan.

 

Nancy (Alba) still mourns the death of her love, Detective John Hartigan (Willis) who watches over Nancy from the other side. Nancy longs to take her revenge on Senator Roark who was responsible for Hartigan’s early exit, but she doesn’t have the nerve to pull the trigger. However, when Roark comes after her she knows that she has no choice but to take on the powerful senator. She can’t do it alone and so she enlists the aid of Marv (Rourke), the iron mountain of a man who protects her as best he can in a city that has no mercy.

It has been nine years since the first Sin City has been released and times as well as movie-going audiences have changed. However, the look of the sequel/prequel is pretty much the same as the first, shot in black and white with bursts of color – a headful of red hair, a bright blue coat, burning green eyes – with highly stylized backgrounds. I would imagine nearly the entire film was shot on green screen.

Still, if you like your noir hard-bitten with sexy dames more dangerous than the big guns of the guys, you’re in for a treat. The all-star cast all are down with the vision of Rodriguez and Miller, the latter of whom penned the graphic novels that the movie is based on; for the record, two of the vignettes are from the graphic novels, two were written by Miller especially for the movie.

 

Rourke, as Marv, is a force of nature. He’s grim, not too bright and damn near unstoppable, the kind of jamoke you’d want to have your back in a fight. Rourke gives him dignity and a love of violence in equal measures. He don’t remember things too good but he can be counted on when the chips are down.

Brolin takes over for Clive Owen who played Dwight in the first movie – his work on The Knick precluded his involvement here. Brolin is less suave than Owen but captures the inner demons of Dwight far more viscerally than Owen did. They do explain why Dwight’s face changed (and near the end Brolin is wearing prosthetics to look more like Owen) but they can’t explain away the English accent that Dwight affects in the first movie. Oops.

In fact, several roles have been recast. Michael Clarke Duncan passed away between films and Haysbert takes over the role of Manute nicely. Brittany Murphy, who also passed away between movies, had played Shellie in the first movie. Rather than recast her, Miller and Rodriguez instead wrote a new character to take over her part. Finally, Devon Aoki who played Miho in the first film was pregnant at the time of shooting, so Jamie Chung took over. Miho in either actress’ hands is one of my favorite roles in the series.

What is also missing from the first movie is attitude. There’s some of it here but the movie is a little more grim than the first, takes itself a little more seriously than the first one did. Whereas there is a ton of violence and gore here, it is missing the same kind of energy that the first film had. It feels more cynical and less fun.

There is enough going on here to make it worth your while and fans of Mickey Rourke are going to enjoy him cutting loose here as he does – he’s in nearly all of the vignettes. There are also some fun cameos, like Christopher Meloni as a besotted cop, Christopher Lloyd as a medico who doesn’t ask too many questions and Ray Liotta as an amoral husband having an affair who plans to end it the hard way.

I did enjoy parts of it enough to give it a very mild recommendation, but it simply doesn’t hold up next to the first film which was over the top, and balls to the wall. This one tries to be but ends up trying too hard.

REASONS TO GO: Still a visual treat. Some hard-bitten performances.

REASONS TO STAY: Lacks panache. Grimmer than the first.

FAMILY VALUES:  All sorts of violence, bloodshed and foul language as well as a surfeit of sexuality and nudity.

TRIVIAL PURSUIT: In the film Eva Green and Martin Csokas play a married couple. In real life, they had a romantic relationship for four years.

CRITICAL MASS: As of 9/1/14: Rotten Tomatoes: 45% positive reviews. Metacritic: 45/100.

COMPARISON SHOPPING: Cold in July

FINAL RATING: 5.5/10

NEXT: Carriers

New Releases for the Week of June 6, 2014


Edge of TomorrowEDGE OF TOMORROW

(Warner Brothers) Tom Cruise, Emily Blunt, Bill Paxton, Jeremy Piven, Ciaran Hinds, Noah Taylor, Kirk Gurry, Jonas Armstrong, Tony Way. Directed by Doug Liman

In the not-so-distant future, the Earth is being invaded by a vicious alien species intent on overrunning the indigenous inhabitants – us. Despite our own military advances, they are seemingly unbeatable, able to counter our every move. Into this miasma of violence and despair is dropped an officer with no combat experience. During a disastrous invasion of alien-held territory, he is killed within five minutes – only to wake up again just before the invasion. The same events unfold and he wakes up again. He begins to try to do things differently – and to his surprise, the outcome is altered somewhat. When he meets up with a woman who has been through a similar experience, he realizes that he may be the key to winning the war. Based on the acclaimed Japanese graphic novel All You Need is Kill.

See the trailer, a promo and footage from the premiere here.

For more on the movie this is the website.

Release formats: Standard, 3D, IMAX 3D (opens Thursday)

Genre: Science Fiction

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

The Fault in Our Stars

(20th Century Fox) Shailene Woodley, Ansel Elgort, Willem Dafoe, Laura Dern.Two young people who definitely fall into the “strong independent outsider” category share an acerbic sense of humor, a love for the unusual and a nearly pathological refusal to accept anything normal fall deeply in love. Unfortunately, they both share one more thing – cancer. Realizing that they could have a very limited time left, they choose to embrace the time they have and live life to the fullest while they still can. Based on the bestselling novel for young people by John Green.

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

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Drama

Rating: PG-13 (for thematic elements, some sexuality and brief strong language)

Holiday

(Reliance) Akshay Kumar, Sonakshi Sinha, Govinda, Dipendra Sharma. This Hindi remake of the 2012 Tamil film Thuppakki  features Kumar as a soldier who while on vacation becomes involved in weeding out a crime ring.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Night Moves

(Cinedigm)  Jesse Eisenberg, Dakota Fanning, Peter Skarsgard, Alia Shawkat.Three ecoterrorists with different background formulate the plan to blow up a controversial dam. Afterwards their actions begin to unravel their resolve as the unintended consequences create an atmosphere of paranoia and doubt among the trio of young people.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Thriller

Rating: R (for some language and nudity)

Words and Pictures

(Roadside Attractions) Clive Owen, Juliette Binoche, Bruce Davison, Amy Brennerman. Two teachers at an exclusive prep school – one an art teacher who can no longer paint, the other an English teacher who no longer writes – get into a war over which is more important to society, words or pictures. As the students get drawn into their good-natured conflict, the two wounded souls begin to grow attracted to each other. The review for this Florida Film Festival feature can be found here.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romance

Rating: PG-13 (for sexual material including nude sketches, language and some mature thematic material)

I Melt With You


Never drink alone, Jeremy  Piven.

Never drink alone, Jeremy Piven.

(2011) Drama (Magnolia) Thomas Jane, Rob Lowe, Jeremy Piven, Christian McKay, Carla Gugino, Sasha Grey, Zander Eckhouse, Abhi Sinha, Arielle Kebbel, Tom Bower, Joe Reegan, August Emerson, Rebecca Creskoff, Melora Hardin, Anthony Newfield, Tom Donald, Emma Friedman, David Lowe, Natalia Nogulich. Directed by Mark Pellington

Regret is a powerful drug, more addictive than cocaine and more destructive than heroin. As we reach middle age it becomes a drug we are less and less able to resist.

Four friends from college have reached that plateau. They meet every year for a weekend to party like rock stars and remember the good old days. All of them seem successful on the surface  but are living lives of quiet desperation. Ron (Piven) is a Wall Street hotshot who is under SEC investigation and will doubtlessly be arrested when he returns home. Jonathan (Lowe) is a physician whose practice consists mostly of prescribing drugs to Beverly Hills housewives who don’t need them and whose daughter identifies more with her mom’s new husband than with her dad.

Then there’s Richard (Jane), a published author who did get his book published but has been unable to write anything since and is teaching high school English to make ends meet. Finally there’s Tim (McKay), openly bisexual whose relationship with a couple turned tragic when the other two people in the relationship died in a car accident.

All of these men are at crisis points in their lives and are turning to self-medication, self-loathing and self-examination to try and figure out what went wrong, or better still to numb the pain. They also turn to sex, bringing home a waitress and her friends. During the debauchery, one of the four friends abruptly commits suicide, leaving as a note a suicide pact the four of them made in college to the effect of if they were disappointed by life when they reached middle age, they would agree to kill themselves and thus avoid further disappointments in old age.

After burying their friend, the survivors decide to hide the evidence of his deed just in case the police assigned them responsibility for his action after reading his note. However, his act and the justification for it is weighing heavily on each of their minds.

This is one of those movies that is made with the best of intentions but doesn’t quite make the grade. Pellington and writer Glenn Porter intended this to be a journey into the male psyche, but as a male I can tell you this wasn’t a journey into MY psyche. These guys mistake taking lots of drugs, drinking lots of alcohol and having lots of sex as a trip down memory lane reclaiming their lost youth. While I’ve known guys like that, I’ve never seen anyone with this degree of denial.

Part of the problem is that the dialogue is so bloody pretentious. Real people don’t speak like this. I can have deep conversations with my buddies about the meaning of life and manhood and all that without sounding like Diablo Cody on Quaaludes. The pacing is leaden and the dramatic tension is nil. By the time all the excrement goes down you’re not much caring what happens to who.

I will say that the actors give this thing the old college try. Piven in particular is meritorious, doing some of his best work with his sad, trapped animal eyes. He has a tendency to play characters who are just this side of being a jerk, but who are nonetheless compelling for all that.

The soundtrack, mainly made up of 80s college rock standards, rocks the house. Adam Sandler would get a chubby listening to it. Seriously, if you like the ’80s you’re going to find one or two songs that you’re going to go “Oh yeah, I really need to download that to my iPhone.”

I really wish this had been written a bit better. Pellington spoke in the press notes of wanting to provoke a polarization and I suppose that there is some value in that, in the initiating a conversation sense. After seeing this though, I really didn’t want to talk about any of it; I just wanted to forget it and move on.

WHY RENT THIS: Impressive soundtrack. The four main leads are solid.

WHY RENT SOMETHING ELSE: Cringe-worthy, pretentious dialogue. Ponderous pacing and lacks any sort of reason for the audience to get involved.

FAMILY VALUES: The drug use here is pretty pervasive as is the foul language. There is also some sexual content and a little bit of violence.

TRIVIAL PURSUIT: The movie was shot chronologically in order for the actors to see and feel the consequences of their character’s actions.

NOTABLE HOME VIDEO EXTRAS: There are close to six hours of extra features and not a one of ’em rises up beyond the usual, although a couple of guerilla promotional pieces from Piven and Jane nearly do.

BOX OFFICE PERFORMANCE: $6,361 on an unknown production budget; probably didn’t make back the catering costs, let alone the production costs..

COMPARISON SHOPPING: Bachelor Party

FINAL RATING: 5/10

NEXT: Back to the Future II