The Peanut Butter Falcon


Getting away from it all.

(2019) Dramedy (Roadside AttractionsShia LaBeouf, Dakota Johnson, Zach Gottsagen, Bruce Dern, Thomas Haden Church, John Hawkes, Jon Bernthal, Yelawolf, Jake Roberts, Mick Foley, Raquel Aurora, Michael Berthold, Deja Dee, Lee Spencer, Rob Thomas, Mark Helms, Dylan Odom, Nick Morbitt, Noah Hein, Annie Jamison, Susan McPhail, Karen B. Greer. Directed by Tyler Nilson and Michael Schwartz

 

Some movies have their hearts in the right place. You can tell that there’s a sincere desire to shine a light on the marginalized, or tell a story close to the heart of those telling it. But lofty as those ambitions might be, they are not always realized on celluloid.

Zak (Gottsagen) is a young man with Down’s Syndrome who has been warehoused in a nursing home simply because the state has nowhere else to put him. Abandoned by his parents, he is left to rot amongst old folks waiting to die. Zak makes it from day to day because of a dream – to attend the wrestling school of his hero, the Salt Water Redneck (Church) and become a professional wrestler himself.

Although treated kindly by nurse’s aide Eleanor (Johnson), Zak knows that he has to get out of there or risk watching life pass him by with his dreams unfulfilled. With the help of his roommate, crusty old Carl (Dern, who has made a career of portraying cranky old men) and some strategically applied soap, Carl wriggles out of the barred window wearing only his tighty whities and escapes to find his dream.

Tyler (LaBeouf) wants little more than to be left alone and be able to support himself by crabbing on the boat left to him by his older brother (Bernthal) who passed away recently. However, Tyler is one of those guys who is his own worst enemies – drinking too much, drowning in anger issues and playing by his own rules when it suits him, even if his rules supersede the rules of society and decency. On the run with some angry Outer Banks crabbers out for his blood, he and Zak meet and despite Tyler’s initial reluctance, decide to travel together at least as far as Aden, NC (site of the wrestling school) while Tyler high-tails it to Jupiter, Florida afterwards. With Eleanor desperately chasing after Zak, Tyler and Zak find themselves sailing on a raft through the by-waters and estuaries of the Outer Banks in a desperate bid for the freedom that has eluded the both of them all their lives.

This is sort of like Huckleberry Finn by way of the Discovery Channel. The connection between Zak and Tyler is central to the film and to their credit, the two actors manage to carry it off most of the time. The movie never condescends towards Zak’s condition; it is treated matter-of-factly, as the color of his eyes and hairs would be. In a sense, the movie portrays people with Down’s syndrome about as realistically as any movie has ever portrayed them. Again, heart in the right place.

But this is the hard part. I feel like a complete heel for saying this because I think Gottsagen is doing his best, but he doesn’t deliver a compelling performance here. Sad to say, quite the opposite; whenever Zak speaks the film comes to a grinding halt. Lines are bellowed without conviction and you never get a sense of the depth of his obsession with becoming a wrestler. It comes across as an idea that wandered across his radar one day and is just sitting a spell before moving on when supplanted by another. I know it makes it sound like I’m saying that hanging out with people with Down’s Syndrome is annoying and that’s not at all what I’m meaning to convey, but hanging out with this guy with Down’s Syndrome is annoying. I do give the filmmakers kudos for casting someone with Down’s Syndrome to play someone with Down’s and I applaud the effort to bring a marginalized group to the screen in a sympathetic non-comic relief role, but Gottsagen didn’t quite deliver as I might have hoped.

That’s a shame because the cast is marvelous and they all do great work, even Johnson who is often maligned for her work in the 50 Shades of Grey films. Hey, a paycheck is a paycheck and Johnson delivers on the sweet here, although her romance with Tyler comes off as unlikely at best. Still, the movie seems to have a theme of unlikely plot developments.

The cinematography by veteran Nigel Bluck makes nice use of the Georgia wetlands which substitute here for the Outer Banks – apparently the tax incentives are better in Georgia than they are in North Carolina. In any event, the film does its level best to be charming and often succeeds – but often shoots itself in the foot, seemingly taking on a philosophy of The Ends Justify the Means which is a bit disquieting. For those looking for a diversion from the summer blockbusters but can’t wait for the Fall’s Oscar contenders to arrive, this will do in a pinch.

REASONS TO SEE: Never too sweet, never too edgy. LaBeouf reminds us why he was considered one of Hollywood’s up-and-comers not too long ago.
REASONS TO AVOID: Whenever Gottsagen opens his mouth, the movie comes to a grinding halt. Seems to promote an “ends justifies the means” philosophy.
FAMILY VALUES: There is plenty of profanity and some violence.
TRIVIAL PURSUIT: In the scene where Zak, Tyler and Eleanor jump off the oil rig by swinging on a rope, the actors did the swinging; no stunt doubles were used.
CRITICAL MASS: As of 8/27/19: Rotten Tomatoes: 95% positive reviews: Metacritic: 69/100.
COMPARISON SHOPPING: Mud
FINAL RATING: 6/10
NEXT:
Brian Banks

New Releases for the Week of August 23, 2019


ANGEL HAS FALLEN

(Lionsgate) Gerard Butler, Morgan Freeman, Jada Pinkett Smith, Lance Reddick, Tim Blake Nelson, Piper Perabo, Danny Huston, Nick Nolte. Directed by Ric Roman Waugh

An assassination attempt on the President leaves his trusted Secret Service agent and confidante Mike Banning wrongly accused. He is forced to go on the run to clear his name, keep his family safe and root out the real threat to the country and stop it before it’s too late.

See the trailer, video featurettes and a clip here
For more on the movie this is the website
Genre: Action
Now Playing: Wide Release
Rating: R (for violence and language throughout)

After the Wedding

(Sony Classics) Michelle Williams, Julianne Moore, Billy Crudup, Abby Quinn. The administrator of an orphanage in India gets an unexpected and generous donation from a mysterious benefactor in New York. She must go to the Big Apple to accept the gift in person but there is much more going on there than meets the eye.

See the trailer and video featurettes here
For more on the movie this is the website  
Genre: Drama
Now Playing: Regal Winter Park Village
Rating: PG-13 (for thematic material and some strong language)

Luce

(NEON) Naomi Watts, Octavia Spencer, Kelvin Harrison Jr., Tim Roth. Ten years after adopting their son from Eritrea, a pair of suburban white parents believe their son has a bright future ahead of him. An academic all-star, well-regarded in the community and an example for his peers, Luce turns in a term paper with a troubling point of view. His African-American teacher begins to fear the worst which puts her into direct conflict with his parents.

See the trailer, clips and video featurettes here
For more on the movie this is the website  
Genre: Drama
Now Playing: Regal Winter Park Village
Rating: R (for language throughout, sexual content, nudity and some drug use)

The Nightingale

(IFC) Aisling Franciosi, Sam Claflin, Baykali Ganambarr, Damon Herriman. In early 19th century Australia during the penal colony days, a woman suffers repeated sexual assault at the hands of a British officer. When her husband intervenes, the officer murders both her husband and her infant. Destitute and bereft, she goes on a journey to exact revenge. This previously played at both the Miami Film Festival and Florida Film Festival; you can read the review by clicking on the link in the “Scheduled For Review” section below.

See the trailer, a video featurette and a clip here
For more on the movie this is the website  
Genre: Historical Drama
Now Playing: Enzian Theater
Rating: R (for strong violent and disturbing content including rape, language throughout and brief sexuality))

Overcomer

(Affirm) Alex Kendrick, Priscilla C. Shirer, Shari Rigby, Cameron Arnett. When a small town is devastated by a plant closing throwing thousands out of work, the local high school basketball coach wonders what sort of future he has in the town. Pressed into service to coach the girl’s cross country team, he encounters an extraordinary athlete whose faith may very well move mountains.

See the trailer here
For more on the movie this is the website  
Genre: Faith-Based Drama
Now Playing: Wide Release
Rating: PG (for some thematic elements)

The Peanut Butter Falcon

(Roadside Attractions) Shia LaBeouf, Dakota Johnson, John Hawkes, Bruce Dern. A young man with Down’s Syndrome and a yen to become a professional wrestler, confined to a nursing home because the State doesn’t have an opening at a proper facility for his care, runs away to find his wrestling hero who runs a wrestling school. He falls in with an ex-con on the run from some angry fishermen as the two search for a place where they can live life on their own terms.

See the trailer, a clip and video featurettes here
For more on the movie this is the website  
Genre: Drama
Now Playing: AMC Altamonte Mall, AMC Disney Springs, AMC Lake Square, Regal Oviedo Marketplace, Regal The Loop, Regal Waterford Lakes Regal Winter Park Village, Rialto Spanish Springs Square
Rating: PG-13 (for thematic content, language throughout, some violence and smoking)

Ready or Not

(Fox Searchlight) Samara Weaving, Adam Brody, Andie MacDowell, Henry Czerny. A young woman marries into a wealthy family who have an eccentric tradition; a game must be played at midnight on the night of the wedding to welcome the new member of the family. When she selects a game of Hide and Seek, she discovers that the game is no laughing matter and she is in a fight for her very survival.

See the trailer and video featurettes here
For more on the movie this is the website  
Genre: Horror
Now Playing: Wide Release
Rating: R (for violence, bloody images, language throughout, and some drug use)

ALSO OPENING IN ORLANDO/DAYTONA:

Mike Wallace is Here

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

The Best Summer of My Life
Comali
Tel Aviv on Fire

ALSO OPENING IN TAMPA/ST. PETERSBURG/SARASOTA:

Jacob’s Ladder (2019)
Tel Aviv on Fire
Tone Deaf

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Comali
Twice the Dream

SCHEDULED FOR REVIEW:

Angel Has Fallen
The Nightingale
The Peanut Butter Falcon
Ready or Not

Three Billboards Outside Ebbing, Missouri


Frances McDormand demands answers in this Oscar-nominated film.

(2017) Drama (Fox Searchlight) Frances McDormand, Sam Rockwell, Woody Harrelson, Abbie Cornish, Caleb Landry Jones, Zeljko Ivanek, Lucas Hedges, Kerry Condon, Darrell Britt-Gibson, Peer Dinklage, Amanda Warren, John Hawkes, Clarke Peters, Kathryn Newton, Sandy Martin, Jerry Winsett, Samara Weaving, Christopher Berry, Malaya Rivera Drew. Directed by Martin McDonagh

 

There is nothing that compares to the pain of a parent whose child has been murdered. It is the unthinkable, the unimaginable – what every parent has nightmares about. Some unlucky parents don’t have to imagine though.

Mildred (McDormand) is one of those. Nine months have passed since her daughter Angela was raped and then set on fire by some sadistic freak. No progress whatsoever has been made in finding her killer. To make things worse, the spot where her daughter spent her last tortured minutes was on the site of three dilapidated billboards near enough to Mildred’s house that she must drive past them every time she leaves the house, where she can see the burn mark where her daughter gasped her last.

Her fury has threatened to consume her. She has to do something, anything to help her little girl get justice. So she marches into the ad agency that services the billboards and plops down five thousand bucks for the first month of a year-long rental. The three billboards are painted red with copy in big black letters: RAPED AND KILLED, AND STILL NO ARRESTS? and finally HOW COME CHIEF WILLOUGHBY?

The billboards have immediate and profound effect. Deputy Dixon (Rockwell), a drunken and violent racist creep who’d much rather be arresting black folks, is the first to see the messages. He informs Chief Willoughby (Harrelson) who goes ballistic but after asking Mildred politely to remove the billboards, he confesses that he has pancreatic cancer and he doesn’t want his family to have to deal with another unpleasant thing.

It turns out Willoughby is actually a decent sort who is trying his damndest to solve the case but there simply isn’t enough evidence. Dixon, who owes a lot to the chief is much more direct; he goes after Red Welby (Jones) who runs the ad agency and gives him a terrifying beating. Things begin to escalate in the war between the cops and Mildred; her surviving son Robbie (Hedges) is caught in the crossfire. Yet all is not what it seems to be in Ebbing, Missouri.

On the surface it seems like a very cut and dried story but as the movie unspools you quickly realize you’re seeing a work of uncommon depth and complexity. While it appears that there are some villainous characters in the story, there are in fact none. Even Dixon ends up finding some sort of redemption although it is hard to justify his previous behavior.

The acting in this movie is nothing short of astonishing. Three cast members received Oscar nominations – McDormand, Rockwell and Harrelson – and there easily could have been more. While it is McDormand’s movie, it is not hers alone. Watching her tightly controlled rage which from time to time her humanity breaks through is simply a clinic. We eventually find out that Mildred’s pain isn’t just because of the incompetence of the police; her last interaction with Angela literally sent her on the road to her fatal encounter. It’s some powerful stuff and shows how a great actress can take a well-written character and create a classic performance. If the competition for Best Actress weren’t so stiff this year she might well be a shoo-in. Harrelson also plays a decent sort with rough edges who is facing the end of his life and not necessarily with the dignity he would like to. Rockwell, who won a Golden Globe, may give the best performance of all as the loutish Dixon who literally comes through the fire a changed man.

It is hard to believe this is McDonagh’s third feature and as good as In Bruges and Seven Psychopaths are, this is by far the best of the three. His background as a playwright shines through more in the writing than in the direction which is not stage-y in the least. However, the sense that the town is much smaller than it appears to be lingers throughout.

I would have liked to have seen less contrivance in some of the events; some things happen that appear to happen only because the plot requires them to. There is also a bit of a lull in the middle where it feels that the movie is hitting a plateau, but the ending is absolutely extraordinary. Making a great ending to a movie is something of a lost art but McDonagh seems to have mastered it.

Nearly all of the characters are dealing with some sort of pain, either physical or emotional. The movie is about that true but it is also about forgiveness, redemption and humanity in the face of intolerable grief. While this isn’t a perfect movie, it had the potential to be and if the second act had been a little better, this might have gotten a higher rating. Still, it stands out in a year of really great independent films as one that is going to be in our hearts and minds for a long time to come.

REASONS TO GO: The acting is Oscar-worthy throughout the cast. The characters are all riddled with pain in one way or another. The ending of the film is sublime.
REASONS TO STAY: Some of the events feel a little bit contrived. The film loses momentum in the middle third.
FAMILY VALUES: There is a goodly amount of violence, plenty of profanity and some brief sexual references.
TRIVIAL PURSUIT: This is the first feature film directed by McDonagh that didn’t feature Colin Farrell in a lead role.
CRITICAL MASS: As of 1/24/18: Rotten Tomatoes: 93% positive reviews. Metacritic: 88/100.
COMPARISON SHOPPING: Fargo
FINAL RATING: 7.5/10
NEXT:
In the Shadow of Iris

Everest (2015)


Climb ev'ry mountain!

Climb ev’ry mountain!

(2015) True Life Drama (Universal) Jason Clarke, Josh Brolin, Jake Gyllenhaal, John Hawkes, Michael Kelly, Sam Worthington, Keira Knightley, Emily Watson, Ingvar Eggert Sigurösson, Robin Wright, Naoko Mori, Martin Henderson, Justin Salinger, Elizabeth Debicki, Chris Reilly, Ang Phula Sherpa, Tim Dantay, Charlotte Bᴓving. Directed by Baltasar Kormákur

There are a certain type of people who feel compelled to push themselves to the limits. They don’t feel truly alive unless they are facing down death. Most of us don’t require this kind of validation of our own supremacy, but those that do can’t live without it. Thee and me will never climb Mt. Everest simply because we don’t need to. Others, however do it because they have to.

\At one time, Everest was the province of experienced mountain climbers and at that only the best of that breed. However, New Zealander Rob Hall (Clarke) figured out that there was money to be made in getting ordinary travelers (who could afford it and were in good enough physical condition) to the top of Everest. His company, Adventure Consultants, specialized in getting people to the summit of Everest – the highest place on Earth.

The 1996 climbing seasons sees a proliferation of these sorts of outfits, all clustered in Everest’s base camp. Rob Hall is bringing an experienced team of climbers including Sherpa Ang Doree (Sherpa), Andy “Harold” Harris (Henderson) and clients Doug Hansen (Hawkes) who had nearly made it to the summit the previous year but was turned back by Hall 100 meters from the top, Yasuko Namba (Mori) who was summiting the final of the Big Seven – the seven highest peaks on seven continents – which is an accomplishment only elite climbers ever meet and Texas doctor Beck Weathers (Brolin). Accompanying them is respected writer Jon Krakauer (Kelly) who’d be providing much needed publicity for the company.

At base camp is den mother Helen Wilton (Watson) who would be overseeing the operation from there as well as team physician Caroline MacKenzie (Debicki). A close friend of Rob’s, American Scott Fischer (Gyllenhaal) runs a rival team. Scott is known for being more of a go-for-it guy whereas Rob tends to be more methodical. As the two discover that the sheer number of climbers are creating bottlenecks on the mountain, they determine to work together so as to reduce traffic. Scott’s Russian right hand, Anatoli Boukreev (Sigurösson) is there to lend a hand.

Waiting at home is Rob’s wife Jan (Knightley) who is about to give birth to their daughter, an event Rob is planning on being home in Christchurch for. Also at home is Peach Weathers (Wright), a no-nonsense Texas woman who is a mite ticked off at her husband who is undertaking this adventure despite her distinct disapproval – and despite having had eye surgery recently.

After months of preparing, the time for the final ascent to the summit arrives but things start to go wrong almost right away; the Sherpas who were supposed to have fixed the ropes had inexplicably failed to do so, leaving the guides to fix them on trail, causing long delays. The teams end up staying on the peak long past the turnaround time of 2pm. And headed towards them is a monstrous rogue storm. This would be the worst day of fatalities on the mountain (until 2014 when ironically enough an avalanche occurred while the second unit was filming in Nepal would break the record) and who survives and who doesn’t is an act of will and sheer luck.

The story itself is riveting. Those who have read Krakauer’s book on the subject or watched the documentary that was made in 1998 will know in advance who survives but even so there’s a tension here that is right up there with any movie released this year. The performances are for the most part terrific; Clarke has become a very reliable lead although he hasn’t ever had a breakout performance that would mark him as an A-lister and this won’t be the one that does so either, although in many ways it is one of his most memorable pieces of work. Brolin and Hawkes, solid actors both, continue to do impressive work. Watson ends up being the emotional core of the film.

There are some truly heartbreaking scenes here, the most notable being one where the wife of one of the trapped climbers contacts him on satellite phone, urging him to keep moving forward, pleading with him all the time knowing that he is dying even as he speaks to her. We see the horror unfold as Helen keeps in contact with survivors, discovering the grim toll taken by the mountain.

This is almost an impossible story to tell properly; for one thing, giving audiences a sense of the mountain’s size and grandeur really can’t be done with just pictures. Some of the footage was taken on Everest itself but a lot of studio re-creation was done, particularly for some of the more perilous scenes and in all honesty I wasn’t convinced. Still, the story is so compelling that I was able to overlook the flaws of the film and enjoy it for what it was; an adventure and tragedy rolled into one.

Like Meru, this isn’t a movie that really motivated me to want to go and climb Everest on my own. Everest at least makes an attempt to explain why men are willing to climb up to the cruising altitude of a 747 where the air is so thin that the body begins to die, but in the end we never really get a clear picture of why – perhaps because the men doing this thing don’t really know themselves. Oh, Doug Harris does say he’s doing it to prove to his kids that nothing is impossible – even a letter carrier on the summit of Everest – but is the price for a lesson like that truly worth it? I think that a lot of kids whose mothers and fathers didn’t come back from this trip would say it wasn’t.

REASONS TO GO: Edge of the seat filmmaking. Some very solid performances.
REASONS TO STAY: Doesn’t give us a sense of the majesty or the size of the mountain.
FAMILY VALUES: Scenes of intense and graphic peril, some gruesome images and a bit of swearing.
TRIVIAL PURSUIT: Although the bodies of all the victims of this expedition have been found, all but one remain on the mountain.
CRITICAL MASS: As of 10/11/15: Rotten Tomatoes: 72% positive reviews. Metacritic: 64/100.
COMPARISON SHOPPING: Into Thin Air: Death on Everest
FINAL RATING: 7/10
NEXT: Sicario

Higher Ground


Vera Farmiga purchases a good review.

Vera Farmiga purchases a good review.

(2011) Drama (Sony Classics) Joshua Leonard, Norbert Leo Butz, Michael Chernus, Vera Farmiga, McKenzie Turner, Donna Murphy, John Hawkes, Bill Irwin, Taissa Farmiga, Boyd Holbrook, Ebon Moss-Bachrach, Reagan Leonard, Lucy Owen, Nina Arianda, Dagmara Dominczyk, Molly Hawkey, Warren Haynes, Sean Mahon, Natalie Thomas, Deborah Hedwall. Directed by Vera Farmiga

Karl Marx once described religion as the “opiate of the masses.” There is some truth to this, although as with most pronouncements about faith, religion, belief and the lacks thereof, it comes off as rather simplistic. Religion is many things to many people.

Corinne Walker (V. Farmiga) got married early in life. As a teen (T. Farmiga) she got pregnant by would-be rocker Ethan Miller (Holbrook) and, as Springsteen once said, man, that was all she wrote. While traveling by bus to a gig, an accident changes all their lives and in the aftermath Corinne and Ethan find religion.

Now a grown-up Ethan (Leonard) and Corinne live in what could be characterized as a Christian commune; a community of evangelical sorts in the Midwest for whom folk singing and Bible study occupy large portions of their time. Now with two daughters, Corinne has not questioned her faith and has been a devout follower of Christ.

But doubts are beginning to rear their heads. She feels constricted by the traditional roles assigned her and when she attempts to voice an opinion she feels the disapproval of her community, particularly from the women. Her lone confidante is Annika (Dominczyk), a free spirit who talks frankly with Corinne about her sex life and her female needs. Corinne craves these talks like Robinson Crusoe craves companionship.

But when a further test besets Corinne and the religious community, her faith is tested to the breaking point. When does faith become blind obedience, and how long do you blindly obey before making your own mind up about faith?

Now these sounds like questions that an atheistic Hollywood would be using to attack Christianity but I assure you that’s not what’s happening in this movie. Rather, what Farmiga and screenwriter Carolyn S. Briggs (who based her screenplay on a book based on her own experiences) are trying to do is to examine the nature of faith, when it is appropriate to question it and the powerful role it plays in all our lives.

To the credit of writer and director, the believers are not painted with the fanatic paintbrush that believers are often painted with in Hollywood; rather those of faith come by it honestly, either through tragedy or self-examination or more to the point, both. Also to the credit of writer and director, there is no judgment going on here either. Religious faith isn’t portrayed as a crutch but the fact that it can be isn’t ruled out. Instead, it is portrayed as part of the tapestry of our lives. In some ways it reminded me of the 1991 apocalyptic movie The Rapture in which a hedonistic Mimi Rogers is brought to faith by a gentle, loving man whom she later marries, then loses it when her husband is senselessly murdered. While the events her are less epochal, the examination of faith has the same honesty to it.

Farmiga, whose younger sister plays her as a teen, carries the movie. Her Corinne is never shrill but she isn’t meek either. She has questions that need answering and they require answers that aren’t “mind your place.” Corinne is not the sort of woman who can fit in to a mold and indeed most women aren’t. However, there are some that can and do, and some who believe it is their religious duty to do so. That is the part of faith that can be difficult to understand.

The odd thing here is that while these are based on someone’s actual experiences, there is kind of a contrived feeling to the plot – as in that certain characters show up at crucial times when they are needed, or events happen at exactly the right time to have maximum impact on Corinne’s faith and doubts. While the movie doesn’t stereotype the faithful here other than perhaps the disapproving pastor’s wife, it doesn’t really explore them as people as much as I would have liked and the questions of faith that are raised here don’t get more than a very surface examination. While that does leave room for finding your own answers, you don’t get a sense of what the filmmakers think of all this and I would have really liked that insight as well.

This had the potential of being an important movie and indeed I do admire it for raising questions that Hollywood – and independent film for that matter – doesn’t tackle and while it ends up being more or less a morality play without really explaining the morality, you do have to admire its gumption if not its execution.

WHY RENT THIS: Doesn’t sink to stereotypes. Farmiga is a compelling lead.
WHY RENT SOMETHING ELSE: Feels a bit contrived. Tackles the subject in a cursory manner.
FAMILY VALUES: There’s some foul language and sexual situations, as well as adult themes.
TRIVIAL PURSUIT: Farmiga directed the film as well as acted in it while five months pregnant.
NOTABLE DVD EXTRAS: There are a couple of outtakes and a production diary.
BOX OFFICE PERFORMANCE: $841,733 on a $2M production budget.
SITES TO SEE: Netflix (DVD rental only), Amazon (purchase only), iTunes (purchase only), Vudu (purchase only),  Flixster (purchase only), Target Ticket (unavailable)
COMPARISON SHOPPING: The Rapture
FINAL RATING: 5.5/10
NEXT: Toast

New Releases for the Week of April 5, 2013


Evil Dead

EVIL DEAD

(Tri-Star) Shiloh Fernandez, Lou Taylor Pucci, Jane Levy, Jessica Lucas, Elizabeth Blackmore, Jim McLarty, Rupert Degas (voice), Randal Wilson. Directed by Fede Alvarez

You’ve seen it before but you’ve never seen it like this. The 1981 cult hit gets a new coat of paint as a group of young people go to a remote cabin in the woods where they find (da-da-DAAAAAAAAH) the Book of the Dead. Even though they’re warned not to of course one of them reads aloud from it, unleashing demonic possession and all kinds of carnage. You’d think people would know by now…

See the trailer, clips and a promo here.

For more on the movie this is the website.

Release formats: Standard

Genre: Horror

Rating: R (for strong bloody violence and gore, some sexual content and language)

6 Souls

(Radius) Julianne Moore, Jonathan Rhys-Meyers, Jeffrey DeMunn, Frances Conroy. After the death of her husband, a psychiatrist has lost her faith in God, choosing to believe only in science. She is then introduced to a patient with multiple personalities who takes on the physical characteristics of each personality. As she discovers that each of those personalities is the soul of a murder victim living inside him, she discovers that what is happening may transcend science and have deadly consequences for her and those she loves.

See the trailer, clips and a link to download the full move on Amazon here.

For more on the movie this is the website.

Release formats: Standard

Genre: Horror

Rating: R (for violent content, disturbing images and terror)

Himmatwala

(UTV) Ajay Devgn, Tamanna Bhatia, Paresh Rawal, Zarina Wahab. A remake of a 1983 blockbuster in India, a shy schoolteacher inadvertently witnesses a local thug commit a crime, only to see him go free after his testimony. Ashamed and terrified, he leaves his village. His family then sets out to redeem his good name.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Jurassic Park 3D

(Universal) Sam Neill, Laura Dern, Richard Attenborough, Jeff Goldblum. The question is, does post-converting this ’90s classic add anything to the experience that your imagination didn’t already put there? Thought not…

See the trailer, clips, a featurette and a link to download the full move on Amazon here.

For more on the movie this is the website.

Release formats: Standard, 3D

Genre: Adventure

Rating: PG-13 (for intense science fiction terror) 

The Playroom

(Freestyle Releasing) John Hawkes, Molly Parker, Olivia Harris, Jonathan Brooks. A teenager is forced to become a surrogate mother to her younger siblings during the 70s. She tells them fantastic stories to mask the realization that their parents’ drinking is raging way out of control.

See the trailer and a link to download the full movie on Amazon here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: NR 

Tattoo Nation

(D&E Entertainment) Danny Trejo, Don Ed Hardy, Freddy Negrete, Travis Barker. How did tattoos go from being something sailors got when drunk on shore leave in Singapore or something prisoners got to identify themselves as criminals to becoming “body art” and where 25% of all young adults under the age of 40 now have one? It’s actually a pretty good question…

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Documentary

Rating: NR

The Perfect Storm


Cowabunga!

Cowabunga!

(2000) True Life Drama (Warner Brothers) George Clooney, Mark Wahlberg, John C. Reilly, Diane Lane, Michael Ironside, William Fichtner, John Hawkes, Mary Elizabeth Mastrontonio, Bob Gunton, Karen Allen, Allen Payne, Cherry Jones, Rusty Schwimmer, Janet Wright, Christopher McDonald, Dash Mihok, Josh Hopkins, Todd Kimsey, Chris Palermo, Wiley Pickett, Hayden Tank, Merle Kennedy, Jennifer Sommerfield. Directed by Wolfgang Petersen

There is a certain romance that we landlubbers assign to the life of a fisherman. It is not an easy life, one of hard labor, patience and more often than not, frustration. Men leave their families and the comforts of home for days and weeks at a time, hoping to make a big catch that will keep them and their families heads above water when storm season makes deep sea fishing too dangerous.

The romance comes from the uncertainty of the ocean. She may be calm and give freely of her riches on one trip; the next she may give nothing but death. For the fishermen of Gloucester, Massachusetts, it’s the life they’ve known and loved since 1623. In that time, more than 10,000 men and women of Gloucester have lost their lives in the great, unmarked grave of the North Atlantic.

The skipper of the F.V. Andrea Gail, Billy Tyne (Clooney) knows the ocean and her fickle nature. One of the most respected captains in the Gloucester fishing fleet, he is in the middle of a horrible run of luck that has begun to get his crew doubting his abilities. Bob Brown (Ironside), the boat’s owner, is a bottom-line kind of guy who is thinking of replacing Tyne if he can’t get the boat to pay. Under this kind of pressure, Tyne decides to take the Andrea Gail for one last run on the Grand Banks even though it is October, and the Banks are no joke in October.

His crew, including the young, starry-eyed-in-love Bobby Shatford (Wahlberg) and the teddy bear-ish divorcee Murph (Reilly) know the risks, but are willing to follow the captain if it will mean a fat paycheck. However, as the voyage continues and the scarcity of a catch has begun to weigh heavily on their minds, Tyne decides to push for the Flemish Cap, east of the Banks and on the edge of the Andrea Gail’s range. There, they finally begin to have the kind of trip they’ve been dreaming of.

What they don’t know is that three weather fronts — a cold front from Canada, an embryonic Atlantic storm just waiting for enough energy to turn it into a monster, and Hurricane Grace, a category five storm moving north from Bermuda — are about to collide and turn the North Atlantic into a buzzsaw. And, because their radio antenna was destroyed (one of a series of mishaps that have plagued the trip), they don’t know they are headed straight into the maw of the mother of all storms.

Of course, this is the kind of script that even Hollywood screenwriters couldn’t dream up without a little help. The events of The Perfect Storm actually happened, with waves verified at over 100 feet (think of a wall of water the size of a seven-story building coming your way and you’ll get the idea).

Director Wolfgang Petersen (Das Boot, Air Force One) captures the harshness of a fisherman’s life, as well as the courage that all fishermen must possess to brave the sometimes deadly seas. He also captures the agony of those who love them and must wait for their safe return. The people here are not wealthy or famous; they are ordinary, blue-collar folks who work hard to make ends meet (barely). They are heroic in the ways that we are heroic, struggling to make something better for our families.

The cast, which includes a nearly-skeletal Mastrantonio (how did she get so gaunt?), a too-rarely-seen Allen, Gunton and the lustrous Lane (one of my very favorite leading ladies), all give solid performances as people whose lives are changed forever because of the storm. The effects by Industrial Light and Magic are terrifying to watch as the sea’s fury grows and multiplies.

The real star of the movie is the Atlantic herself. Changeable in mood, eternal in her allure, she beckons the folk of Gloucester with a saucy wink and gentle, caressing whispers of wealth and wonder. And, like a woman, for all her beauty and charm, sooner or later she shows her volatile side. Still, I believe that not one of the 10,000 souls who went to their rest at the bottom of the sea would have traded their lives, even knowing their end, for any other. Perhaps that is the greatest mystery of all.

Da Queen lost count of her hankies for this one, so you can draw your own conclusions. The movie drags a bit during the fishing portion of the movie (think of “The Deadliest Catch” and you’ll get the drift) while the storm develops, but once it gets rolling, the tension doesn’t let up a bit. The Perfect Storm falls just short of being the perfect movie, but only JUST short.

WHY RENT THIS: Awe-inspiring effects. Gripping story. Terrific performances by Clooney and Wahlberg but in support by Lane, Reilly, Fichtner and Hawkes.

WHY RENT SOMETHING ELSE: If you’re terrified of storms this will put you into the nut house for sure.

FAMILY MATTERS: Plenty of salty language (they’re sailors after all) and some disturbing scenes of peril.

NOTABLE HOME VIDEO FEATURES: The DVD and Blu-Ray have an HBO special on the making of the film as well as interviews with actual survivors of the storm, and a very moving photo montage. as well as a brief featurette on Horner’s scoring on the film.  There are also collectors editions and signature editions which include lobby cards and other non-disc extras.

BOX OFFICE PERFORMANCE: $328.7M on a $140M production budget; the movie was profitable.

COMPARISON SHOPPING: The Day After Tomorrow

FINAL RATING: 9.5/10

NEXT: Mama