New Releases for the Week of June 16, 2017


CARS 3

(Disney*Pixar) Starring the voices of Owen Wilson, Kerry Washington, Larry the Cable Guy, Bonnie Hunt, Armie Hammer, Chris Cooper, Nathan Fillion. Directed by Brian Fee

After a dominating run in the world of motorsports, Lightning McQueen is suddenly put out to pasture after suffering a terrible crash at the hands of a cocky young racer named Jackson Storm. Unable to compete with a new generation of lightweight, technologically advanced racecars, Lightning goes back to Radiator Springs, unable to believe he has been forced out of the sport he loves. With the help of an ambitious young technician, Lightning may still get back into the game – with the help of a few oldtimers who know what racing is truly all about.

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

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

Rating: G

47 Meters Down

(Dimension) Mandy Moore, Claire Holt, Matthew Modine, Yani Gellman. Two young women vacationing in Mexico decide to go diving in a shark cage in waters infested by Great Whites. When the cable connecting the cage to the boat snaps the girls plummet to the bottom of the seabed 47 meters down. With their oxygen supply running low and the waters filled with hungry sharks, the women will have to rely on their courage to survive their shark encounter.

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

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

Rating: PG-13 (for sequences of intense peril, bloody images, and brief strong language)

All Eyez on Me

(Codeblack/Summit) Demetrius Shipp Jr., Danai Gurira, Kat Graham, Lauren Cohan. The story of Tupac Shakur, one of the most distinct and revolutionary voices to come out of rap. Although he died far too young, his legacy remains one of the most honored and respected in music.

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

Release Formats: Standard
Genre: Musical Biography
Now Playing: Wide Release

Rating: R (for language and drug use throughout, violence, some nudity and sexuality)

The Book of Henry

(Focus) Naomi Watts, Jaeden Lieberher, Jacob Tremblay, Sarah Silverman. A precocious young boy takes care of his family including his mother, a hard-working waitress who lacks confidence. When a classmate who lives next door lets Henry in on a terrible secret, he resolves to help her. Utilizing his imagination and intellect, he concocts a plan that surprises his mom – who finds herself at the center of his machinations.

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

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

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

Chasing Trane: The John Coltrane Documentary

(Abramorama) Denzel Washington (voice), John Coltrane, Common, Carlos Santana. One of the most gifted, innovative and inspiring performers in the history of jazz was John Coltrane. This documentary about the man and his music is coming to the Enzian as part of their monthly Music Monday series; it was previously reviewed here on Cinema365 and that review can be found here.

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

Release Formats: Standard
Genre: Musical Documentary
Now Playing: Enzian Theater (Monday only)

Rating: NR

Dean

(CBS) Demetri Martin, Kevin Kline, Gillian Jacobs, Mary Steenburgen. A young cartoonist is working on his follow-up book but can’t seem to find inspiration. It doesn’t help that his mother, his biggest supporter, recently passed away and his dad and he are drifting further apart, particularly when the news comes that dad is selling their childhood home. Frustrated and needing a change of scenery, he takes off on a trip to California that might just give him a lot more than he bargained for. This was one of the Florida Film Festival’s standout spotlight films this past April.

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

Release Formats: Standard
Genre: Comedy
Now Playing: Regal Winter Park Village

Rating: PG-13 (for language and some suggestive material)

Kill Switch

(Saban/Lionsgate) Dan Stevens, Bérénice Marlohe, Mike Reus, Bas Keljzer. At first it was an experiment to create a limitless energy source, something our planet sorely needs. When things go horribly wrong, a pilot fights to save his family – and indeed, the whole planet – from the effects of the experiment gone awry.

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

Release Formats: Standard
Genre: Sci-Fi Action
Now Playing: AMC West Oaks

Rating: R (for language and some violence)

Rough Night

(Columbia) Scarlett Johansson, Jillian Bell, Zoë Kravitz, Kate McKinnon. Five best friends from college reunited for a weekend in Miami to celebrate one of their numbers impending nuptials. However, this badass bachelorette party turns a bit too wild and things get pretty real pretty fast. The girls elect to cover up the accident but that turns out to be a lot more difficult than they envisioned.

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

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

Rating: R (for crude sexual content, language throughout, drug use and brief bloody images)

ALSO OPENING IN ORLANDO/DAYTONA

Slack Bay

ALSO OPENING IN MIAMI:

Beatriz at Dinner
The Happiest Day in the Life of Olli Maki
Past Life
The Recall
You’re Killing Me Susanna

ALSO OPENING IN TAMPA:

Ami Tumi
Jeremiah Tower: The Last Magnificent
Once Upon a Time in Venice
The Recall

ALSO OPENING IN JACKSONVILLE:

Kedi
The Lure
Tomorrow Ever After

New Releases for the Week of May 10, 2013


The Great Gatsby

THE GREAT GATSBY

(Warner Brothers) Leonardo di Caprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Jason Clarke, Amitabh Bachchan, Jack Thompson. Directed by Baz Luhrmann

A would-be writer comes to New York City from the Midwest in the Roaring ’20s to become neighbors with the notorious party boy from high society, Jay Gatsby and Gatsby’s cousin Daisy and her brutal husband Tom. As the writer is drawn into the world of the upper crust with all their deadly illusions and secrets he writes a story that reflects the world he has come to inhabit.

See the trailer, clips, promos and a featurette here.

For more on the movie this is the website.

Release formats: Standard, 3D

Genre: Drama

Rating: PG-13 (for some violent images, sexual content, smoking, partying and brief language)

From Up on Poppy Hill

(GKIDS) Starring the voices of Anton Yelchin, Gillian Anderson, Beau Bridges, Sarah Bolger. As Japan prepares to host the 1964 Olympics in Tokyo and show the world that they have returned to being a major power and fully recovered from the war, two young people join forces to save their high school’s ramshackle clubhouse from being torn down. While a budding romance develops between the two of them, they are forced to confront the changing times and attitudes that are warring with traditional values in Japan.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Anime

Rating: PG (for mild thematic elements, and some incidental smoking images)

Go Goa Gone

(Eros International) Saif Ali Khan, Kunal Khemu, Vir Das, Puja Gupta. A group of guys, tired of being smacked around by life, decide to take a vacation on a beautiful island off the coast of Goa. Unfortunately their revelry is cut short by an invasion of zombies.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood/Horror Comedy

Rating: R (for disturbing violent and sexual content, graphic nudity, language and some drug use) 

No One Lives

(Anchor Bay) Luke Evans, Adelaide Clemens, Lee Tergesen, Laura Ramsey. When a ruthless criminal gang takes a young couple hostage, things get bad. When they kill the girl, things get worse. There is a killer amongst them, one determined to make sure that nobody survives the night.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Thriller

Rating: R (for strong bloody violence, disturbing images, pervasive language and some sexuality/nudity) 

Peeples

(Lionsgate) Craig Robinson, Kerry Washington, David Alan Grier, S. Epatha Merkerson. A working class guy who has fallen in love and been in a longstanding relationship with a girl from an upper class background decides to crash her family reunion so that he can ask her father for his daughter’s hand in marriage. As you can guess, things don’t go exactly as planned.

See the trailer, clips, featurettes and a promo here.

For more on the movie this is the website.

Release formats: Standard

Genre: Urban Comedy

Rating: PG-13 (for sexual content, drug material and language)  

Django Unchained


Smoking the competition.

Smoking the competition.

(2012) Western (Weinstein) Jamie Foxx, Leonardo di Caprio, Christoph Waltz, Kerry Washington, Samuel L. Jackson, Gerald McRaney, Dennis Christopher, Laura Cayoutte, M.C. Gainey, Don Johnson, Bruce Dern, Tom Wopat, RZA, Anthony LaPaglia, James Remar, Jonah Hill, James Russo, Walton Goggins, David Steen, Nichole Galicia, Franco Nero, Russ Tamblyn, Amber Tamblyn. Directed by Quentin Tarantino

Quentin Tarantino is one of the most iconic film directors of our time. When all is said and done I truly believe he’ll occupy a spot in the pantheon among the best ever. He has a love and respect for genre films that places him squarely in fanboy territory, yet he understands what’s great about them and how to turn them into something more than just basic entertainment. He elevates them – which is why I sit waiting with baited breath for his first horror/sci-fi film.

Until that day, you get to deal with his latest which takes on the spaghetti western, although this is set in the antebellum South so you might join Tarantino in referring to this as a “Southern.” In it a German dentist turned bounty hunter named Dr. King Schultz (Waltz) liberates a slave named Django (Foxx) from a group of slave traders delivering their property to the market. It seems that Django once worked on a plantation where a trio of wanted men – the Brittle Brothers – had worked as overseers. Dr. Schultz has paper on them but doesn’t know what they look like. Django does. A partnership is born.

They travel to the plantation of Big Daddy (Johnson) where Django spots the brothers, two of whom are getting ready to whip a slave. Oh, no you didn’t. Django shoots ’em dead, and then guns down the third as he tries to ride away. Big Daddy doesn’t take kindly to it  so he organizes a posse of bag-wearing rednecks (including Hill in a cameo role) which is among the movie’s funniest scenes – the riders can’t see very well in the improperly cut bags. However Dr. Schultz devises a plan that outfoxes the rednecks, which Django implements.

Django has earned his freedom and $75 in his share of the bounty and is eager to track down his wife, who was sold separately from him to a different plantation.

She has in fact been sold to Candyland, the fourth-largest cotton plantation in Mississippi and the home of young Calvin Candie, whose hobby is Mandingo wrestling – pitting slaves from different owners in battles to the death. Candie who isn’t above having his dogs tear slaves to pieces, is a seemingly diffident yet genteel sort on the surface but he has all sorts of bad seething below that surface. He is supported by his house slave Stephen (Jackson), a crotchety sort who jealously hordes his position and authority in the house; Leonide Moguy (Christopher), an oily lawyer and Mr. Pootch (Remar), a debonair but deadly bodyguard.

Django first must hone his  skills as a bounty hunter before taking on that bunch, and when he is finally ready in the spring he is quite the killer but he is up against some of the most ruthless, sadistic men in the South. Is Django more than a man?

Of course he is. This is a Quentin Tarantino mash-up and he is not only targeting Spaghetti Westerns but also Blaxploitation and B-movie revenge flicks from the 80s. Django harkens back to classic heroes from all of those genres (but particularly John Shaft whom Tarantino has said is his descendent; in fact, his wife’s slave name is Broomhilda von Schaft).

Foxx imbues Django with a quiet dignity, which is about what you’d expect. Django isn’t worldly but he’s bright; he learns quickly and while his voice rarely gets raised he carries himself with such self-assurance that it’s easy for him to convince white folks that he’s a free man. It’s not a flashy performance, but it’s a confident one and illustrates the growth that Foxx has made as an actor in just a few short years. In many ways this is an even better performance than his Oscar-winning turn in Ray but might not attract the attention in that regard not only because it’s so low-key but because the competition for Best Actor this year is so bloody fierce.

He has plenty of support though. Waltz, who achieved his breakout role in Inglourious Basterds for Tarantino, switches gears and is a good guy this time out, although he’s got a bit of a dark side. Here as Dr. Schultz, he is urbane, witty and erudite. He uses a lot of five dollar words that most of the people he deals with have not a clue what they mean. He smiles a lot, is a bit of a charmer and a flirt but is at his core a decent fellow who is repulsed from slavery and the vicious things that are done to the slaves.

Di Caprio is a serviceable villain; he doesn’t play villains often but when he does he can be as over-the-top as any and that’s what the role calls for; at one point in the movie Candie pounds a table in emphasis. Di Caprio hit the table so hard he cut his hand open. Tarantino refused to yell cut and the scene proceeded with Di Caprio’s hand bleeding and that’s the take that’s used in the movie. The intensity, as it always is with Di Caprio, is there.

Jackson also plays villains less often than heroes and like Di Caprio, is no stranger to over the top. This is a part tailor made for Jackson and he inhabits it. It’s not the part you’d think he’d play – Yessuh Massuh isn’t exactly his style – but when you think about it, who else would you cast in the role? As good as the talent is among African-American actors right now, none spring to mind when you think “who could play Steven properly?” Just SLJ and like the trooper that he is, he does it note-perfect. Of course, I’m not sure that Jackson would have taken a part like this for anybody other than Quentin Tarantino.

One of the plot elements is that the story of the movie is supposed to parallel that of the legend of Siegfried which it kind of does. Like the legend, the movie’s story is told really in three parts. Each part has certain parallels with the legend – and no, I’m not going to explain it to you here. Just be reassured that Waltz tells you what the story is at the beginning and by the end you think back and say to yourself “Ohhhhhhhhhhhhhhhh yeah!” Far be it for me to remove the thrill of connecting the dots from you.

Now, the elephant in the room when it comes to this picture is the use of what has come to be called the “N” word. A lot of people are uncomfortable with that and I can understand it – it’s a word I don’t personally use and normally I don’t encourage its use. However, in this instance, Tarantino’s intent is to portray not only the physical degradation of the slaves but the mental and spiritual humiliation as well. The word was in wide use at the time for one thing and it wouldn’t be realistic to ignore it. I found that the first couple of times I heard it that it was kind of a shock, but after that I grew numb to it. Maybe that’s a point Tarantino is trying to make, but be warned that the word is used a lot and if it offends you, you might want to take that into consideration.

All of these things are fine by me but there are a few things that I do have to say that aren’t as positive. The movie is nearly three hours long; I’m guessing that about 20-30 minutes of it could have been cut without ruining the flow or continuity of the movie or disrupting the story. For example, there’s a scene near the end where Django is being transported to a brutal mine where he will be worked to death. How he escapes takes a good five to ten minutes; it’s a scene that under a more economical director could have been easily accomplished in under a minute. Of course, Tarantino is not known for his frugality (being kind of a gregarious sort of guy, that figures) but that kind of thing happens several times during the course of the film.

More unforgivably, the movie drags in places. Few if any write better dialogue than Tarantino but there are times when things just…drag. Too much talking. Not enough action. The directors of those movies Tarantino loves so much could let 15 minutes go by without so much as a word being spoken. Actions do speak louder than words and rarely is that so apparent as at the movies.

I was hoping that this would be one of the year’s ten best but it won’t make that list sadly. This isn’t one of Tarantino’s best. Plainly. And I’m sure that disappointment has probably brought down his rating a tad; if anyone else had directed this, I might well have given it more stars. At the end of the day though, it doesn’t measure up to his best works and that is part of your moviegoing experience – are your expectations being met. It’s not terribly fair that my expectations of a Tarantino film are so high but that’s the way the cookie crumbles. It’s a very good film. It’s just not a great one.

REASONS TO GO: Foxx, Waltz, di Caprio and Jackson are all at the top of their games. If you love Tarantino you’ll love this!

REASONS TO STAY: Way too long. Those who don’t like Tarantino will hate this. Drags in places.

FAMILY VALUES:  Extremely graphic violence (i.e. when people get shot they get shredded with blood going everywhere), plenty of bad language and some nudity.

TRIVIAL PURSUIT: Foxx rides his own horse, Cheetah, in the film during the bareback sequence.

CRITICAL MASS: As of 1/7/13: Rotten Tomatoes: 88% positive reviews. Metacritic: 80/100. The reviews are strongly positive.

COMPARISON SHOPPING: The Wild Bunch

SHOT IN THE NUTS LOVERS: Hopefully there aren’t a lot of you out there but if there are, there’s a whole lot of it going on in this movie.

FINAL RATING: 7.5/10

NEXT: Young @ Heart

Mother and Child


Mother and Child

Nobody beats Samuel L. Jackson in a staredown. Nobody.

(2009) Drama (Sony Classics) Naomi Watts, Annette Benning, Samuel L. Jackson, Kerry Washington, Jimmy Smits, David Morse, Marc Blucas, Shareeka Epps, Lisa Gay Hamilton, S. Epetha Merkerson, David Ramsey, Eileen Ryan, Cherry Jones, Amy Brenneman, Tatyana Ali, Elizabeth Pena. Directed by Rodrigo Garcia

 

Motherhood has a unique place in the female psyche. It may well be the driving force; the urge to procreate and then care and nurture for that child. Sometimes it’s not always possible for those instincts to be indulged the way you want to.

Karen (Benning) is an emotionally brittle caregiver in every sense of the word – by day she works as a physical therapist, by night she returns home to care for her elderly mother (Ryan). Karen is not the easiest person to get along with; she tends to keep people at arm’s length. She’d had a baby when she was 14 and was forced to give her up for adoption. That has haunted Karen’s entire life; she won’t let anyone in, not even sweet-natured co-worker Paco (Smits), although his patience seems to be limitless.

Elizabeth (Watts) is a driven attorney who never seems satisfied with anything in life. She is hard, occasionally crude and tends to keep people at arm’s length. She has started work in a new firm, and in order to cement her position – and possibly even improve it – she has initiated an affair with her boss, Paul (Jackson). It is a relationship all about sex, power and ambition. Elizabeth was adopted and seems to have no desire at all to find out who her birth mother is (although I’m sure you can guess). However, her world turns upside down when she discovers she’s pregnant.

Lucy (Washington) is unable to have children. She and her husband Joseph (Ramsey) have elected to adopt and are looking for a baby to call their own. The agency that Lucy is going through, whose representative is Sister Joanne (Jones), sends along several expectant mothers who are giving up their babies for adoption. Ray (Epps) seems to be a suitable candidate, but she is understandably picky about what kind of home her baby will be placed in and has enough attitude to choke an elephant.

All three of these women’s lives are entwined in ways that are both visible and invisible. Their stories may be told separately, but they are all a part of the same story, one that will not end as expected for all of them.

This is a bit different than most ensemble anthology dramas in that the story really is a single story although told from the viewpoints of three different characters. Much of the story is telegraphed – anyone who doesn’t figure out that Elizabeth is Karen’s biological daughter is probably not smarter than a fifth grader. However, it is saved by some pretty good performances.

Benning, who would get Oscar consideration for her performance in The Kids are All Right that year showed why she is as underrated an actress as there is in America. It is difficult at best to play an emotionally closed-off character and still make them sympathetic, but Benning does it. In some ways this was a tougher role than the one that got her all the acclaim that year but because the movie wasn’t nearly as good as the other one she probably didn’t get the scrutiny here.

Watts also has a similarly difficult job and while she doesn’t pull it off quite as successfully as Benning does nevertheless acquits herself well and shows why she is also a formidable actress given the right material. Sometimes she flies under the radar, mainly because her films aren’t always as buzz-worthy but time after time she delivers film-carrying performances and while she isn’t the household name she deserves to be, she is still well-respected in Hollywood as one of the top actresses working today and this movie illustrates why.

The ending smacks a little bit of movie of the week schmaltz and the story relies way too much on coincidence. However one has to give the filmmakers credit for putting together a movie that is female-centric and tackles the effects of adoption on the birth mother, the child given up for adoption and the person doing the adoption in a somewhat creative manner. While other critics liked the movie a little more than I did (and I can understand why, truly), the contrived nature of the plot held the film back from a better rating. Had the three stories been a little bit more independent of each other I think it would have made for a better overall film. Not all stories have to be wrapped up with a neat little bow.

WHY RENT THIS: A surprisingly potent examination of women and their maternal instincts. 

WHY RENT SOMETHING ELSE: The ending strives for grace and lyricism but falls short.

FAMILY VALUES: There’s some sex and nudity, along with a decent dose of foul language.

TRIVIAL PURSUIT: Naomi Watts was pregnant with her son Samuel during filming; when you see her baby moving in utero during one scene, that’s actually Samuel.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $5.0M on a $7M production budget; the movie wasn’t a financial success from a box office perspective.

COMPARISON SHOPPING: Motherhood

FINAL RATING: 5/10

NEXT: Indiana Jones and the Kingdom of the Crystal Skulls

A Thousand Words


A Thousand Words

Eddie Murphy takes out his frustration after Cliff Curtis reads him some of the reviews of his latest film.

(2012) Fantasy Comedy (DreamWorks) Eddie Murphy, Cliff Curtis, Kerry Washington, Clark Duke, Allison Janney, Ruby Dee, Jack McBrayer, Alain Chabat, Lennie Loftin, David Burke, Emmanuel Ragsdale, Eshaya Draper, Sarah Scott Davis, Brian Gallivan, Steven M. Gagnon. Directed by Brian Robbins

 

Words are paramount. We communicate everything with them; civilization would be impossible without them and yet we use them to obfuscate, to twist the truth, to spin lies. Some of us use words as tools; others as weapons. However, words are meaningless without the underlying concepts and emotions behind them. Without truth, words are as empty as the space they fill.

Jack McGill (Murphy) knows all about words. He is a literary agent, one who makes a living selling words. The irony is that Jack isn’t much of a reader. A good book, he tells his youthful assistant Aaron Wiseburger (Duke), is good in the first five pages and the last five pages – everything else in between is just filler.

Jack has his sights set on Dr. Sinja (Curtis), a new age slash kinda Buddhist philosopher who has been gaining an amazing worldwide following. Rumor has it he’s written a book and Jack can see dollar signs all over the puppy. He goes to Sinja’s temple, posing as a follower and wrangles his way into a personal audience with the good Doctor.

Jack makes his pitch and manages to convince Sinja that he has his best interests at heart, that he believes in his message and wants to spread it. The only message that Jack believes in however is the message that money delivers. And that message often gets in the way of his life.

His wife  (or is it girlfriend? this isn’t made clear) Caroline (Washington) wants to live in a house that is more suitable for a family; they are living in what is essentially Jack’s old bachelor pad and Jack who loves the amenities and the view is loathe to give it up for a suburban split-level. Caroline wants Jack to spend more time with their son Tyler (Ragsdale) but Jack’s manic career precludes that. However, he makes time to visit his Alzheimer’s-stricken mom (Dee) in the home on her birthday; she confuses him with his father, who passed away when Jack was a little boy and for that Jack has been unable to forgive him.

One night a Bodhi tree appears in their yard, fully formed with a thousand leaves on it. Jack is puzzled at first but he quickly figures out that for each word that he speaks or writes, a leaf falls. Dr. Sinja explains that once the Bodhi tree loses all its leaves, the tree will die and since Jack is somehow linked to the tree, he will die as well.

The rest of the movie is about Jack’s attempts to communicate non-verbally in a world where he is expected to speak. There is some hilarity because whatever happens to the tree happens to Jack as well; if it’s watered Jack gets wet; if fungicide is sprayed on it, Jack coughs. If squirrels run around its trunk playfully, Jack is tickled. You get my drift.

It also gives Eddie Murphy the opportunity to mug outrageously with twisted lips, eyes as wide as saucers and arched eyebrows. This gives him the look of a black constipated  Don Ameche from Cocoon doing an impression of Bette Davis while auditioning for “Project: Runway.” It’s unsettling to say the least.

This was actually filmed in 2008 (pre-Tower Heist) and is one in a long line of Murphy mis-fires (i.e. Meet Dave, Imagine That, The Adventures of Pluto Nash ad nauseam). This isn’t strictly a family movie but it isn’t very funny either. The sad part is most of the best humor comes from Duke, who made an indelible impression in Hot Tub Time Machine. Murphy has always been one of the better verbal comics and robbing him of his most effective weapon is a ballsy move but one that ultimately doesn’t pay off here.

Hopefully his work on Heist will have generated some better scripts for Murphy, although clearly his Oscar-winning turn in Dreamgirls didn’t. There is plenty of concept here, but the execution is tired and lame. Nothing unexpected happens, there are no laugh-out-loud moments and the comedy is pretty low-brow generally speaking. Movies like this one, which are mediocre at best, make me wonder how long it will be before Murphy’s films start going direct-to-home-video.

REASONS TO GO: There are a few mildly amusing moments. Duke gets most of the laughs.

REASONS TO STAY: Another family-oriented Murphy comedy that isn’t laugh-out-loud funny. All concept and no execution.

FAMILY VALUES: There are a few bad words here and there, some sexual dialogue and a bit of drug humor.

TRIVIAL PURSUIT: This is the third movie that Murphy has been directed by Robbins in, the first two being Norbit and Meet Dave. It is also the first one of the three not to have the lead character’s name in the title.

CRITICAL MASS: As of 3/20/12: Rotten Tomatoes: 0% positive reviews. Metacritic: 26/100. The reviews are bad, bad, bad!

COMPARISON SHOPPING: Liar, Liar

TREE LOVERS: While the Bodhi tree is a real tree (remarkable for its heart-shaped leaves) the one in the film is not.

FINAL RATING: 5/10

NEXT: The Maiden Heist

New Releases for the Week of March 9, 2012


March 9, 2012

JOHN CARTER

(Disney) Taylor Kitsch, Lynn Collins, Willem Dafoe, Samantha Morton, Mark Strong, Ciaran Hinds, Dominic West, James Purefoy, Bryan Cranston, Thomas Haden Church. Directed by Andrew Stanton

A Civil War veteran finds himself inexplicably transported to a strange new world. No, not Bolivia – Mars. He finds himself caught up in a genocidal civil war there, falling in with an unexpected ally, an eight-foot-tall four-armed green man named Tars Tarkas and the beautiful Martian princess (and more human-looking) Dejah Thoris. Carter will have to confront the demons of his past and learn from them if he is to save himself and Mars. From the series of books by “Tarzan” creator Edgar Rice Burroughs.

See the trailer, clips, promos, featurettes and a film short here.

For more on the movie this is the website.

Release formats: Standard, 3D and IMAX 3D

Genre: Science Fiction

Rating: PG-13 (for intense sequences of violence and action)

A Separation

(Sony Classics) Leila Hatami, Peyman Moaadi, Shahab Hosseini, Sareh Bayat. An Iranian woman initiates divorce proceedings to get custody of her daughter and move away from their home which her husband won’t leave because he is caring for his Alzheimer’s-stricken father. The daughter winds up staying and the man hires a maid to help care for his father, but discovers she’s been lying to him and events begin to escalate beyond control.

See the trailer and a clip here.

For more on the movie this is the website

Release formats: Standard

Genre: Drama

Rating: PG-13 (for mature thematic material)

A Thousand Words

(Paramount) Eddie Murphy, Kerry Washington, Cliff Curtis, Allison Janney. A glib literary agent who prides himself over being able to talk anyone into anything discovers that after failing to get a new age guru for representation that a bodhi tree has miraculously appeared in his yard. For every word the agent speaks, a leaf will fall from the tree and once the tree is bare, both the agent and the tree will die. He will have to use different means of communicating and treasure his words wisely.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: PG-13 (for sexual situations including dialogue, language and some drug-related humor)

Deadline

(Roadside Attractions) Eric Roberts, Steve Talley, J.D. Souther, Anna Felix.  An investigative journalist re-opens a case of an African-American boy who had been murdered twenty years earlier. The case had never been properly investigated and thus the murderer had gone uncharged for the crime, let alone punished for it. Inspired by actual events, the movie is based on a novel called “Grievances” by Mark Ethridge.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: True-Life Drama

Rating: PG-13 (for sexual content, language, some violence and thematic material)

Friends With Kids

(Roadside Attractions) Adam Scott, Jennifer Westfeldt, Jon Hamm, Kristen Wiig.  A group of young twenty-somethings who have been friends for awhile have mostly paired off. The last two singles in the group observe the effect of kids on the lives of their friends and decide they want a child of their own – they just don’t want to get married to each other so they decide to have a kid together – and date other people.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: R (for sexual content and language)

Silent House

(Open Road) Elizabeth Olsen, Adam Trese, Eric Sheffer Stevens, Julia Taylor Ross. A young woman and her father decide to renovate their secluded lake house. While there they are mysteriously sealed in and all contact with the outside world cut off and soon strange and terrifying things begin to occur as they soon realize that their lives are in mortal danger in this silent place. The movie is presented as a single uninterrupted shot taking place in real time and is based on an Uruguayan movie of the same name that was their country’s official Foreign Language Oscar submission last year.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Horror

Rating: R (for sexual content, graphic nudity, language and drug use)

The Dead Girl


The Dead Girl

The late Brittany Murphy is about to become The Dead Girl.

(2006) Mystery (First Look) Josh Brolin, Rose Byrne, Toni Collette, Bruce Davison, James Franco, Marcia Gay Harden, Mary Beth Hurt, Piper Laurie, Brittany Murphy, Giovanni Ribisi, Nick Searcy, Mary Steenburgen, Kerry Washington. Directed by Karen Moncrieff

Every so often we experience something profound; it changes our point of view and might well change our lives completely. Not all of these experiences are pleasant. Some, in fact can be grisly and ugly. That is simply the nature of life; not all of it is pretty.

Arden (Collette) discovers a badly beaten and mutilated body of a young woman while out jogging. She calls the police and becomes a bit of a local celebrity which gets the notice of Rudy (Ribisi), a bagboy at her local grocery who asks her out. Arden lives with her mom (Laurie) who is a bit of a sadistic monster, forcing her daughter to wait on her hand and foot and generally degrading and belittling her.

Leah (Byrne), a graduate forensics student, finds out about the body on the news and thinks it might be her long-missing sister. Her mother (Steenburgen) urges Leah to let go and move on but Leah is convinced it’s the missing girl. However, after a close medical examination it turns out that Leah is mistaken.

In the meantime Ruth (Hurt), a devout Christian, suspects that her husband Carl (Searcy) is sleeping with another woman. She sets about finding proof of his infidelity and discovers instead evidence that her husband might be a serial rapist and murderer. She is torn between her loyalty to her husband and telling the police what she’s found.

The dead girl is identified as Krista Kutcher (Murphy) and her devastated mom (Harden), from whom Krista had run away from years back, tries to pick up the pieces, visiting her roommate (Washington) to find out more about the daughter she never knew – and to meet the granddaughter she never knew she had.

Finally, we see the last day of Krista, her relationship with her pimp boyfriend (Brolin) and the love she has for her daughter and the determination that she doesn’t repeat her past mistakes. We also discover what led her to the fateful encounter with the man who would leave her in that field for Arden to discover.

The story is told in a series of five vignettes, each concerned with a specific woman and how she is affected by the discovery of the dead body, even indirectly (as with Ruth). Moncrieff who attracted some critic love with her feature debut Blue Car resists the temptation to interweave the vignettes and instead tells them consecutively, back to back to back to back to back, letting each story play out to its conclusion and leaving us to wonder about the dead girl until the final tale.

She cast some very strong actresses here starting with the late Murphy, who would die tragically young only three years after making this. She makes Krista a strong woman but one who has allowed her emotions to override her sense time after time. She’s a little unstable and that has led to her girl being raised by others. Although we know in advance what fate is to befall her, she is not portrayed so much as a victim here as much as someone who refuses to be one any longer.

Harden also gets kudos as the mom who alienated her daughter to the point where she ran away, now realizing too late she can never make things right between them. It’s a powerful portrayal and while there is much pathos to it, Harden is never manipulative in the role, preferring to make her character try to understand her daughter rather than grieve nonstop over her.

Some of the vignettes work better than others (the first two are less effective than the last three) but all of them work as a whole. There is a certain squalor here – this isn’t a pretty picture as mentioned earlier – and a dark undertone that is relentless throughout. This isn’t a happy tale, although there are moments where characters experience some kind of enlightenment.

This isn’t always an easy movie to watch. It hits hard on an emotional level, aided and abetted by strong performances throughout (including the ones highlighted). It is definitely a woman’s movie, about how women are affected by the death of a sister, a daughter, a stranger. It also illustrates how vulnerable women are in a world where men will absolutely take what they want regardless of consequence, both to themselves and to the woman involved.

WHY RENT THIS: Very well-acted and the stories resolve together nicely. 

WHY RENT SOMETHING ELSE: Like all of these sorts of anthology films, not every vignette works.

FAMILY VALUES: There’s plenty of bad language, some nudity and sexuality and some images that are a bit grisly and disturbing.

TRIVIAL PURSUIT: In the film, the Dead Girl’s last name is Kutcher. Actress Brittany Murphy dated Ashton Kutcher for a time after both starred in the movie Just Married.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $905,291 on an unreported production budget; it wouldn’t surprise me to discover that the movie lost money during its brief theatrical run.

FINAL RATING: 7/10

TOMORROW: Hatchet II