New Releases for the Week of March 8, 2019


CAPTAIN MARVEL

(Disney/Marvel) Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Djimon Hounsou, Lee Pace, Lashana Lynch, Clark Gregg, Annette Bening, Gemma Chan. Directed by Anna Boden and Ryan Fleck

Carol Danvers, a human woman with only snippets of memory of her Earth past, becomes the most powerful being in the Universe. She is caught in the middle of a war between two starfaring races that threatens to engulf the Earth. This, the penultimate film in the Marvel Cinematic Universe, is the second to be set in the past (in this case, the 1990s).

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

Genre: Superhero
Now Playing: Wide Release

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

The Kid

(Lionsgate) Ethan Hawke, Dane DeHaan, Chris Pratt, Vincent D’Onofrio. A young boy is forced to go on the run across the American West in a desperate attempt to save his sister from a villainous uncle. Along the way he becomes entwined in the tragic confrontation between Sheriff Pat Garrett and outlaw Billy the Kid and will use what he learns from both men to decide his course of action.

See the trailer and video featurettes here
For more on the movie this is the website

Genre: Western
Now Playing: AMC Disney Springs

Rating: R (for violence and language)

ALSO OPENING IN ORLANDO/DAYTONA:

Badla
Yajamana

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

Badla
Cats Don’t Dance
Mapplethorpe
Ruben Brandt, Collector
Yajamana

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Badla
Yajamana

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

118
In Search of Greatness
Of Gods and Men
Roma
Yajamana

SCHEDULED FOR REVIEW:

Captain Marvel
Roma

FILM FESTIVALS TAKING PLACE IN FLORIDA:

Miami International Film Festival, Miami

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Infamous (2006)


Capote's flamboyant tastes are reflected in his sumptuous Manhattan apartment.

Capote’s flamboyant tastes are reflected in his sumptuous Manhattan apartment.

(2006) Biographical Drama (Warner Independent) Toby Jones, Sandra Bullock, Daniel Craig, Jeff Daniels, Hope Davis, Lee Pace, Sigourney Weaver, Gwyneth Paltrow, Isabella Rossellini, Juliet Stevenson, John Benjamin Hickey, Peter Bogdanovich, Michael Panes, Frank Curcio, Terri Bennett, Marco Perella, Libby Vellari, Terri Zee. Directed by Douglas McGrath

“Never let the truth get in the way of a good story,” but sometimes the truth is the good story. In the hands of a master storyteller, the truth can be the most powerful weapon of all.

Novelist and raconteur Truman Capote (Jones) is the toast of New York. Effeminate, flamboyant and the man everyone wanted at their parties,  he lived and moved effortlessly among the social elite of Manhattan in the 1950s,, counting Babe Paley (Weaver), wife of CBS chairman William and fashion icon Diana Vreeland (Stevenson) among his very best friends and confidantes. It was an endless parade of cocktail parties, power lunches and acclaim for his essays and novels. He was one of the few openly homosexual men able to live pretty much as he chose, with a lover (Hickey) who essentially allowed him to have sex with whomever he chose. He lived at the center of the world and knew it.

One morning a story nearly buried in the newspaper caught his attention; Family of Four Slain in Home. The Clutter family of Holcomb, Kansas had been brutally murdered, apparently without struggle and without anything taken from the home. The police were baffled and the town was deeply disturbed by so horrible a crime occurring in their midst. On impulse, Capote decides to go to Kansas to cover the murder but moreover its effect on the town. To aid him, he brings his childhood friend Harper Lee (Bullock) whose own novel To Kill a Mockingbird had just been published.

Once he gets there, the outrageous Capote fits in like a clown at a funeral. The dour district attorney Dewey (Daniels) isn’t inclined to grant the diminutive Capote special access and most of the other reporters make him the butt of their jokes. To his chagrin, Capote is mistaken for a woman on more than one occasion. Finally, with the charm of Southern belle Lee, he begins to make some headway among the suspicious Midwesterners, with tales of his dealings with Hollywood celebrities. That’s when the murderers are caught.

At first, they seem an odd pair. Richard Hickock (Pace) is loud and boisterous, young and terribly over his head. Perry Smith (Craig) is taciturn and sullen, almost paranoid. He knows what the future holds for him, and it is not rosy. The only control he has is whether or not he is exploited for the ends of others, and he thinks Capote smells of it. Capote, on the other hand, has astutely seen that the focus of the book has to change; from the effect of the murders on the townspeople, to something completely new and revolutionary; a true crime story told with the tools of a novel. In order to make it work, he needs the co-operation of the accused killers. While Hickock, with the promise of money, is eager to oblige, Smith refuses. Capote tries to woo them with porn and later, with literature. Slowly, grudgingly, Capote gets Smith to soften. Eventually the two are confiding in each other, but with the gallows looming over the two killers, Capote finds himself in an awful position as he writes what will be a classic novel – In Cold Blood.

Jones, who at the time was best known as the voice of Dobby the House Elf in Harry Potter series is truly a revelation here. He doesn’t just portray Capote, he inhabits the role as closely as an actor can. He is utterly believable from the moment he steps on-camera, and while Phillip Seymour Hoffman may have gotten the Oscar for essentially the same part, Jones may have actually delivered the superior performance. It doesn’t hurt that he physically resembles the late author.

Craig plays a decidedly un-Bond-like character. His Perry Smith is prone to fits of rage but is full of genuine remorse. He is the kind of man that can slip a pillow under a frightened boy’s head to make him comfortable, then shoot him in the head with a shotgun at point blank range moments later. Craig brings the role to life, making the notorious convicted killer as human as someone capable of that kind of horror can be. Bullock, who has been doing some of the best acting of her career in recent years (Crash and The Blind Side for example) is again excellent here as the shy, reclusive Lee who is capable of warmth and charm but seems more comfortable in Capote’s shadow, even though she was certainly his equal as a writer. Daniels, Pace, Weaver and Stevenson deliver strong performances in small roles.

The bleakness of small-town Kansas in winter contrasts with the bright sophistication of New York City, and the production design team does an excellent job bringing both locations to life. Director McGrath doesn’t resort to gimmicks to tell his story as recent movies set in this time period often do, but rather prefers to allow the story to tell itself, feeling that the story is sufficient. That’s a wise choice.

The movie had the great misfortune to be released after Capote. It unfortunately suffers from the comparison and while in many ways it’s a better movie, in many ways it isn’t as good – the Hoffman film has a bit more depth to it as Infamous essentially concentrates on a short period in Capote’s life whereas Capote gives us more perspective of who the author was as a person.

The recreation of the murders is a bit intense and there is a sexual encounter between Capote and another man that may be a bit much for the impressionable. Otherwise, you should absolutely see this movie, I say. Yes, some will say it covers the same ground as Capote – and it does – but let’s face it, this takes a far different approach to the subject than Capote did, and Jones’ performance is so authentic that you should see the film just for that. This is one of those hidden gems that got almost no notice during its initial theatrical release, overshadowed by a bigger star and better promotion; I can’t recommend this enough.

WHY RENT THIS: A career-defining performance by Jones. Strong supporting cast. McGrath wisely allows the story to stand on its own.
WHY RENT SOMETHING ELSE: Lacks context.
FAMILY MATTERS: There is a fair amount of foul language, some violence and brief sexual situations.
TRIVIAL PURSUITS: Sigourney Weaver’s first film role was in Annie Hall which also featured the real Truman Capote.
NOTABLE HOME VIDEO FEATURES: None listed.
BOX OFFICE PERFORMANCE: $2.6M on a $13M production budget.
SITES TO SEE: Amazon, iTunes, Flixster, Vudu
COMPARISON SHOPPING: Capote
FINAL RATING: 8/10
NEXT: Into the Grizzly Maze

The Twilight Saga: Breaking Dawn – Part 2


Robert Pattinson and Kristen Stewart eavesdrop on their accountants discussing future earnings.

Robert Pattinson and Kristen Stewart eavesdrop on their accountants discussing future earnings.

(2012) Romance (Summit) Kristen Stewart, Robert Pattinson, Taylor Lautner, Peter Facinelli, Elizabeth Reaser, Ashley Greene, Jackson Rathbone, Kellan Lutz, Nikki Reed, Billy Burke, Chaske Spencer, Mackenzie Foy, Michael Sheen, Maggie Grace, Jamie Campbell Bower, Christopher Heyerdahl, Lateef Crowder, Lee Pace, Omar Metwally, Dakota Fanning. Directed by Bill Condon

Our Film Library 2015

All things come to an end – even the Earth one day will flicker out of existence, the victim of our sun’s own demise. For fans of the Twilight Saga, the approach of the final movie in the franchise was met with a bittersweet mixture of anticipation and sadness, knowing that once the movie was viewed that the series would be done forever and yet looking forward to seeing the climactic chapters in the book come to life.

Following the conversion of Bella Swan (Stewart) to vampirism by her new husband Edward Cullen (Pattinson) in order to save Bella’s life while giving birth to their new daughter Renesmee (Foy and ten other actresses not to mention CGI babies) life has resumed normalcy in the vampire household of the Cullens but it won’t stay that way for long. The vampire ruling class, the Morituri, have been informed of Renesmee’s birth and have decided that the child is an abomination that will never age, will become exceedingly powerful and dangerous and must be destroyed. They don’t like her name much, either. Then again, nobody does.

So leader Aro (Sheen) and an army of vampires from throughout the world come to Forks to do battle. Meanwhile, werewolf Jacob (Lautner) has been imprinted upon by baby Renesmee, which means that the two are destined to be lovers which is kind of creepy when you think about it. The feud between Jacob and Edward is more or less resolved, although neither Bella nor Edward are all that keen on having a werewolf as a future son-in-law. However, with Jacob imprinted by the vampire Jacob’s wolf clan reluctantly agrees to aid clan Cullen in the coming fight, which they know about because Alice Cullen (Greene) is, as everyone knows, psychic. Convenient, that is.

Anyway, it’s all going to culminate in one big battle in the snow with vampires and werewolves alike getting their heads torn off like so many cheap action figures. Bella, however, is now one mother of a badass and no longer needs to be the weakling relying on the protection of Edward and his family. Can the Cullens defeat the numerically superior Morituri clan or will the Morituri succeed in destroying the Cullens and the new baby once and for all?

Well, I’m sure you can figure out the answer to that one even if you aren’t familiar with the series. I have to admit that I actually enjoyed the first movie in the series but they’ve gotten progressively worse as the series has gone along. The fifth and final cinematic opus in the saga is unfortunately the very worst of the lot.

The cast is as a whole excruciating to watch. Even eminently watchable actors like Sheen and Dakota Fanning overact so shamelessly that the union might have considered revoking their membership. Worse still are the special effects, which for a movie with a $75 million production budget are unforgivably bad. More on that in a minute.

Despite their poor performances, I do feel for the cast because quite frankly, there are no actors good enough to elevate the script which contains dialogue that doesn’t sound like real people talking. Mostly you get the sense that the producers wanted the cast members (particularly the main characters) to look cool to the tween audience and their moms that make up the core of the Twihard nation. Tweens and moms are generally not the most trustworthy arbiters when it comes to cool.

Even so, I can even feel for the screenwriter because the little of the Twilight books I’ve read have been uniformly poorly written. They are a soap opera on a page, a lily white telenovela that shamelessly pushes buttons but doesn’t have the grace of self-awareness. Everything that happens in this movie lands with a mind-numbing dull thud.

I will say this, however. The movies have as rabid a fanbase as any in the history of books and movies. Those who love this franchise do so with all of their heart and soul and their loyalty is kind of touching. They don’t care whether the books are great literature. They don’t care that Pattinson and Stewart are spouting dialogue that sounds like it was written by an alien who has never spoken with an actual human being ever. They don’t care if the CGI wolves move like wolves, or if the decapitations look realistic, or if the wire work of the actors is graceful.

None of that matters to them. What they care about is the fantasy that the love story gives them, and it certainly appeals to the target audience without question. One thing you can say about author Stephanie Meyer – she truly understands what the audience she’s writing for wants and gives it to them. Many authors would kill for that kind of knack and I can’t really condemn her for doing what many writers dream of doing – connecting to her audience in a meaningful way.

I really can’t recommend the movie to general audiences, but that’s okay. This is a movie made for a specific niche audience and at the end of the day, it serves them well. I look at the Twilight series much the same way I look at rap; it’s not written for me, I was never meant to relate to it and it’s okay if someone else relates to it and it’s certainly not a bad thing. At the end of the day, it’s a good thing to feel a strong connection to something, whether it be to a book, a rap song, or a movie. Saying merely that something sucks is to not only to judge the book/song/movie in question but also the person who connects with it deeply and doing so betrays a certain amount of arrogance. Certainly I can be critical of the cinematic missteps that I found here in the movie and I have to be true to myself when I say I can’t encourage anyone who isn’t a fan of the series already to go see it. That doesn’t mean that I hate this movie or what it represents; clearly there are people who are truly inspired by the Twilight books and films. Even if I don’t share that connection, I can’t deny that it exists nor can I entirely say that the series is unsuccessful because clearly it has not only made the filmmakers and the author a whole lot of money but a whole lot of fans as well and who am I to object to that?

WHY RENT THIS: Twihards will want to see this again and again.
WHY RENT SOMETHING ELSE: Horrible special effects, bad acting, worse writing and a sense that the studio just punched this out without support or care in order to make as much money as possible.
FAMILY VALUES: Violent battle sequences, some disturbing images, a little sensuality and brief nudity.
TRIVIAL PURSUIT: Had the highest budget of any of the films in the series, and also was the only film in the series that had a complete opening credits sequence.
NOTABLE HOME VIDEO EXTRAS: The Blu-Ray contains a feature that allows you to jump to either Edward or Jacob-centric scenes. The making of feature is surprisingly good and Condon proves to be an interesting subject as he talks about the pressures of meeting fan expectations and staying true to the book while remaining cinematically viable. It’s really a lot better than most of these. There’s also an interesting featurette on the logistical issues that came from shooting two movies simultaneously.
BOX OFFICE PERFORMANCE: $829.7M on a $75M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental), Amazon (buy/rent), Vudu (buy/rent),  iTunes (buy/rent), Flixster (purchase only), Target Ticket (not available)
COMPARISON SHOPPING: Romeo + Juliet
FINAL RATING: 3/10
NEXT: Our Film Library concludes!

The Hobbit: The Battle of the Five Armies


Martin Freeman mulls "His Precious".

Martin Freeman mulls “His Precious”.

(2014) Fantasy (New Line/MGM) Ian McKellan, Martin Freeman, Richard Armitage, Lee Pace, Luke Evans, Cate Blanchett, Orlando Bloom, Evangeline Lilly, Aidan Turner, Jed Brophy, Ken Stott, Graham McTavish, Richard Kircher, James Nesbitt, Stephen Hunter, Dean O’Gorman, John Callen, Peter Hambleton, Mark Hadlow, Adam Brown, Hugo Weaving, Christopher Lee, Ian Holm, Sylvester McCoy, Benedict Cumberbatch (voice), Billy Connolly, Stephen Fry, Ryan Gage. Directed by Peter Jackson

Since I read The Hobbit by J.R.R. Tolkein as a boy, I was hooked not only on Middle Earth but on fantasy films in general. From Tolkein, I went on to read the works of Robert Howard, Fritz Leiber, Terry Brooks, Melanie Rawn, Piers Anthony, David Eddings, Raymond Feist and many others. I became an avid Dungeons and Dragons player in college. In short, I became a fantasy nerd.

When Peter Jackson did the Lord of the Rings trilogy I was in fantasy nerd heaven. All three of the movies were standout films, epic in scope and yet humanized by Frodo and Sam who ironically weren’t human but Hobbits. I looked forward to the new Hobbit trilogy eagerly.

The first two movies I enjoyed but less than the LOTR films; the third one I enjoyed less than the first two. Essentially what happens here is that the Dwarves led by their new King Thorin Oakenshield (Armitage) have taken Erebor back and the dragon Smaug (Cumberbatch) has gone on a rampage, taking out Laketown with fire and destruction. At last Bard (Evans) the Archer with most of the city fleeing for their lives takes out Smaug.

However, the damage has been done. His town is no longer habitable and his people are refugees. They’ll need assistance in rebuilding their lives, and so Bard approaches Thorin to get a share of the mountain’s treasure which Thorin had promised, but Thorin – now mad with greed – refuses and turns his back on them. He also refuses to return to Elven King Thranduil (Pace) artifacts which belonged to him. With little choice, a battle looms between the three armies.

This is where Gandalf (McKellan), who has been a prisoner of the Necromancer (Cumberbatch again) until rescued by Galadriel (Blanchett), Elrond (Weaving) and Saruman (Lee), arrives to warn all the parties that a massive orc army is approaching. When it arrives, the dwarves are in for the fight of their lives, even aided by Dain (Connolly) a cousin of Thorin’s. When a fifth army arrives from an Orc stronghold, it appears that the Elven, Dwarven and Human armies may be annihilated. However, the courage of a special Hobbit named Bilbo Baggins (Freeman) may be the turning point for the entire affair.

Lots of fans have groused at the adding of new material that wasn’t in the original source material in the first place, particularly of Tauriel (Lilly) an Elf created by the filmmakers to have a romance with Kili (Turner). I can only say that while much of the material served to pad out the book which would have never supported three films on its own that for the most part enhances the original material somewhat. I blow hot and cold myself on the matter but it is at least interesting to see Jackson’s take on the background of the book although I still wish that he’d found some way to shoehorn Beorn into the movies. C’est la cinema.

The biggest gripe I have with the movie and the reason why I have given it the lowest rating I have given any of the Middle Earth films is that it is mainly one long battle scene. Everything in the movie is either battle or leading up to it, beginning with the fight with Smaug at the beginning, Thorin’s battle with his own morality and of course the major battle scene that concludes the film which lasts not quite an hour. Sure, there was an extensive battle sequence at the conclusion of the first trilogy, but that film also had the quest of Frodo and Sam interweaving in to relieve the nonstop clanking of swords.

That said, the CGI effects continue to impress, particularly at the increased frame rate and in IMAX 3D which as I’ve said before, is a rare upcharge that’s actually worth it. Also worth it are the performances of Armitage, who is plagued by demons of greed and at last realizes that he is not that guy, and Freeman who is the heart of the Hobbit and at last demonstrates it. At times throughout the series we have seen that there is more to Bilbo than what we see on the surface and never more than in this film. Freeman is a superb actor – those who saw his performance in the Fargo mini-series earlier this year will agree. He is finally coming into his own after years of being stuck in character actor purgatory. I look forward to seeing him continue to get expanded roles in important projects.

While the movie goes full circle in linking to the original trilogy with some off-hand remarks and essentially reuniting Gandalf and Bilbo as the preparations for the party that began The Fellowship of the Ring are underway, in many ways the links to that trilogy are more assumed than anything else. I would have wished for a little tighter of a bond between the two trilogies.

This will be Jackson’s last foray into Middle Earth and in that sense, we do get some closure, saying goodbye to a film series that will always remain close to my heart as a fan and as a critic. It is not the best movie to go out on and really shows quite graphically how the decision to make three movies out of The Hobbit was not a good artistic decision although it must be said it was a sound financial one as the second trilogy will have generated close to three billion dollars U.S. in box office by the time all is said and done.

Still in all, the movie is sufficiently entertaining to be worth seeing if just for the special effects, although those who didn’t care for the first two films in the trilogy or for fantasy in general will continue to dislike this trilogy. For the rest of us, it is a bittersweet occasion as I will miss our trips to Middle Earth and the company of hobbits, elves, dwarves and wizards.

REASONS TO GO: A pretty solid farewell to Middle Earth. Freeman and Armitage do solid work. Terrific effects.
REASONS TO STAY: Too much battle which gets numbing after awhile. Lacks relief from the constant battle scenes.
FAMILY VALUES: Plenty of violence mainly of the fantasy warfare sort, some scary monsters and other frightening images.
TRIVIAL PURSUIT: Lee Pace, who plays the father of Orlando Bloom in the film, is actually two years younger than Bloom.
CRITICAL MASS: As of 1/4/14: Rotten Tomatoes: 61% positive reviews. Metacritic: 59/100.
COMPARISON SHOPPING: Lord of the Rings: Return of the King
FINAL RATING: 7.5/10
NEXT: Into the Woods

Guardians of the Galaxy


Just don't call him Rocky...it pisses him off.

Just don’t call him Rocky…it pisses him off.

(2014) Science Fiction (Disney/Marvel) Chris Pratt, Zoe Saldana, Bradley Cooper (voice), Vin Diesel (voice), Dave Bautista, Lee Pace, Michael Rooker, Karen Gillan, Djimon Hounsou, John C. Reilly, Glenn Close, Benicio del Toro, Laura Haddock, Peter Serafinowicz, Christopher Fairbank, Gregg Henry, Josh Brolin, Alexis Denisof, Tomas Arana, Lindsay Morton. Directed by James Gunn

So what makes for a great summer movie? Is it spectacle? Over-the-top action? Bigger than life characters? A mix of comedy, pathos, drama and action? A movie that puts you in a place where you can relax and forget all your cares?

Marvel Studios, the cinematic arm of Marvel comics, has been dominating the summer market ever since they broke out with Iron Man back in 2008. Since then, it has been one blockbuster after another as they have successfully created a shared cinematic universe in a similar fashion to the one they developed for their four color division, keeping audiences invested in the goings on and eagerly anticipating the next film in the franchise. This year has been particularly successful for the Marvel brand, not merely in box office (although that is the bottom line for most studio sorts) but also by delivering what are arguably the two best films in the brand both in 2014.

After Captain America: The Winter Soldier utilized a ’70s-style political thriller as a kind of framework for a superhero movie that had repercussions across the Marvel cinematic universe (and greatly affecting the TV series Marvel Agents of SHIELD) the House of Ideas has taken a bold move; to center on a little-known group of heroes in a space opera setting that is the final stand-alone installment in Marvel’s Phase 2 before next year’s Avengers: Age of Ultron.

 

Peter Quill (Pratt) is an adventurer and thief who used to live on Earth before being abducted by a group of outlaws named The Ravagers on the night his mother (Haddock) passed away from cancer. Did I mention that the Ravagers are a group of aliens led by Yondu Udonta (Rooker)? Quill has more or less broken away from the gang and is on the deserted, lifeless and ruined planet Morag. As he jauntily dances his way through the ruins he eventually finds a nondescript orb, using high tech to capture the artifact in a nod to the Indiana Jones movies.

Turns out he’s not the only one who wants the Orb. A renegade Kree named Ronan the Accuser (Pace) needs the Orb which hides a devastating secret. He’ll stop at nothing to get it and sends Gamora (Saldana), an adopted daughter of Thanos (Brolin), a malevolent figure who has designs on ruling the galaxy. Ronan is merely insane, akin to a religious terrorist who means to impose his version of morality on the Galaxy which begins with exterminating the planet Xandar, home of the Nova Corps who have signed a treaty with the Kree’s ancient enemies the Skrull as well as with the Kree themselves. Ronan will not tolerate this and needs the Orb to exact his version of justice.

Yondu also wants the Orb to get the massive pay day that’s being offered for it but Peter is making his own deals these days, so Yondu sets a bounty on Peter’s head. A pair of disreputable bounty hunters, a genetically modified raccoon named Rocket (Cooper) and a humanoid tree named Groot (Diesel) who only speaks three words and in the same order every time – “I Am Groot,” want Peter and the Orb so that they can get paid.

 

Then there’s Drax the Destroyer (Bautista) who doesn’t want the Orb or Peter – he wants vengeance on Ronan who murdered his entire family. When he espies Gamora battling Peter for the Orb, he figures he can start moving his way up the ladder by sending Gamora to the sweet Hereafter. However, since all of this is transpiring on Xandar, the Nova Corps arrest the whole lot of them and send them off to prison.

Gamora reveals that she intends to betray Ronan and keep the Orb from him permanent-like as the Orb conceals one of the Infinity Gems, an artifact of immeasurable power that can level planets and wipe out civilizations. Quill, normally the most mercenary of men, grows a conscience but figures that the five of them can escape from this inescapable prison, avoid Ronan and is henchmen Nebula (Gillan) who is also one of Thanos’ adopted “daughters,” and Korath (Hounsou) a fearsome fighter. If they can keep from killing each other while they’re doing it, so much the better.

James Gunn is an inspired choice to helm this film; as previous movies on his resume like Slither and Super showed, he has a quirky sense of humor and a stylish visual sense. One of the things he utilizes to full effect is a group of songs from the 60s and 70s that Peter has collected on the Awesome Mixtape Vol. 1 which his mother gave him prior to her death and is his sole link with his life on Earth. The tape (which is available for download or on CD) has some amazing songs that have a certain cheese factor but are actually all pretty damn catchy, ranging from “Hooked on a Feeling” by Blue Swede and  “Come and Get Your Love” by Redbone to “Ain’t No Mountain High Enough” by Marvin Gaye and “Spirit in the Sky” by Norman Greenbaum (the latter two both classics for different reasons). It’s one of the most engaging soundtracks in recent years.

This is a galaxy that may be far, far away but there’s an awful lot that’s familiar about it too. Part of the reason for that is that Gunn takes the time to develop all of his characters. It isn’t just Quill and Gamora, the two leads, who are given personalities, but all five of the Guardians and to a certain extent, some of the villains as well – Yondu, Ronan and The Collector (del Toro) all become defined, fleshed-out characters that everyone in the audience will root for – or against as the case may be.

 

Pratt, who has mostly been known for supporting roles but made some career headway in Parks and Recreation, establishes himself as a lead movie star here. He’s funny, but also handles his action sequences with aplomb and when the time comes for him to be heroic, handles that aspect nicely. He has a great deal of screen presence and seems comfortable being the film’s center. While Saldana’s chemistry with Pratt isn’t as incendiary as I would have liked, the rest of the crew all come off pretty well.

The characters of Rocket and Groot are just as real as the flesh and blood actors is; there is a moment near the very end of the film when Rocket lets down his guard and we see his pain in a very real way. It is one of the most moving moments of the film alongside of young Peter mourning his mother. I think it isn’t unfair to say that the two CGI characters very nearly steal the film. One of the moments I loved most in the movie is Groot getting absolutely medieval on a bunch of Ronan’s thugs, beating the holy crap out of them to the point of overkill, then turning to Peter – a.k.a. Star-Lord by the way – and giving him a sheepish grin that had the whole theater in stitches.

I don’t often give perfect scores to summer movies but this is one that is getting one. This is as entertaining a movie as I’ve seen in years. I’m not big on going to see a movie more than once in theaters – there are only a very few that I’ve done that with – but as I write this, I’m getting ready to head down to the IMAX 3D theater at Pointe Orlando to see it a second time, this time in 3D IMAX. So you still want to know what makes a great summer movie? Just watch this.

REASONS TO GO: Great balance between humor and action. Spectacular visuals. Career-making performance by Pratt. Rocket and Groot work so much better than I expected.

REASONS TO STAY: You don’t like sci-fi, you don’t like superheroes, you don’t like Marvel or you don’t like movies in general.

FAMILY VALUES:  Sci-fi action and violence and a little bit of harsh language.

TRIVIAL PURSUIT: Diesel recorded all of his dialogue in a number of languages including Spanish, Mandarin and French so that the same voice can be heard in every version.

CRITICAL MASS: As of 8/10/14: Rotten Tomatoes: 92% positive reviews. Metacritic: 76/100.

COMPARISON SHOPPING: Serenity

FINAL RATING: 10/10

NEXT: Sex Tape

New Releases for the Week of August 1, 2014


Guardians of the GalaxyGUARDIANS OF THE GALAXY

(Disney/Marvel) Chris Pratt, Zoe Saldana, Vin Diesel (voice), Bradley Cooper (voice), Dave Bautista, Lee Pace, Michael Rooker, John C. Reilly, Glenn Close, Benicio del Toro. Directed by James Gunn

Peter Quill, a human adventurer in the far reaches of the galaxy – okay, maybe thief is a better word – acquires a strange and mysterious orb. What he doesn’t know is that the persistent and enigmatic Ronan the Accuser covets that item. What he also doesn’t know is that the orb possesses terrifying power. When the chickens come to roost – not that there are chickens in the far reaches of the galaxy – it will be up to Quill and a ragtag group of bickering teammates to keep that orb out of the hands of Ronan if the galaxy is to remain safe.

See the trailer, clips, interviews, featurettes, a promo and B-roll video 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 violence and action, and for some language)

Boyhood

(IFC) Patricia Arquette, Ellar Coltrane, Lorelei Linklater, Ethan Hawke. Richard Linklater’s acclaimed new film is already on track to appear on an awful lot of top ten lists at the end of the year. Linklater filmed the same actors portraying a family, particularly through the point of view of the son, over a twelve year period. The rocks and shoals of growing up are told with a soundtrack that keeps pace with the boy’s tastes in music year after year.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: R (for language including sexual references, and for teen drug and alcohol use)

Get On Up

(Universal) Chadwick Boseman, Viola Davis, Octavia Spencer, Dan Aykroyd. The story of James Brown, who rose from impoverished conditions, abandoned by his own mother to become the Godfather of Soul. Brown is one of the most influential figures in the history of music but is often relegated to a less important status behind white artists, many of who themselves were influenced by Brown. In other words, it’s about damn time.

 

See the trailer, clips, interviews, premiere footage, a promo and B-roll video here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Musical Biography

Rating: PG-13 (for sexual content, drug use, some strong language and violent situations)

Living is Easy With Eyes Closed

(Outsider) Javier Camara, Natalia de Molina, Francesc Colomer, Ramon Fontsere. Based on actual events, an English teacher in Spain who is obsessed with his hero, John Lennon, decides to take a road trip to Almeria in hopes of meeting his idol who is making a film there. Along the way, he picks up a couple of runaways and together the three will find a deeper meaning in their journey than they were expecting.

See clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: NR

The Hobbit: The Desolation of Smaug


A merry company indeed.

A merry company indeed.

(2013) Fantasy (New Line/MGM) Ian McKellen, Martin Freeman, Richard Armitage, Ken Stott, Graham McTavish, Aidan Turner, Evangeline Lilly, Orlando Bloom, Lee Pace, Benedict Cumberbatch, Stephen Fry, Luke Evans, Cate Blanchett, Sylvester McCoy, Mikael Persbrandt, William Kircher, James Nesbitt, Dean O’Gorman, Stephen Hunter, John Callen, Peter Hambleton, Jed Brophy, Mark Hadlow, Adam Brown, Manu Bennett. Directed by Peter Jackson

It’s not the destination, it’s the journey but that isn’t always true. Sometimes the journey really begins when the destination is reached.

For the company of dwarves under Thorin Oakenshield (Armitage) that couldn’t be more true. After the events of The Hobbit: An Unexpected Journey, they must travel through the Mirkwood, a once-green and pleasant forest grown dark with corruption. There be spiders in them words, big ones the size of Volkswagens. There are also wood elves, led by the dour King Thranduil (Pace) who isn’t exactly on Thorin’s Christmas list – when Erebor originally fell, Thranduil failed to aid the dwarves in their hour of need, turning his thin aristocratic back on them. Thranduil’s isolationism mirrors that of America and Great Britain (for that matter) in the pre-World War II days when the original book was written and reminds us that Tolkein wasn’t just writing a children’s story – there was plenty of allegory to go around too.  Among the wood elves is a familiar face – Legolas (Bloom) who happens to be Thranduil’s son. Also there is Tauriel (Lilly), an elf Legolas is a bit sweet on. She also is the object of attention for Kili (Turner), one of the dwarf company.

Also on their tails are a party of Orcs led by the gruesome Azog the Defiler (Bennett) who appears to be answering to a mysterious Necromancer (Cumberbatch). Gandalf (McKellen), fearing the worst, goes to Dol Guldur accompanied by fellow wizard Radagast (McCoy) to investigate and gets more than he bargained for.

Meanwhile the company has made their escape from the elves with Tauriel and Legolas hot on their trails and make it to the human village of Laketown where they receive aid from Bard (Evans), a ferry captain who is dissatisfied from the corrupt regime of Laketown’s master (Fry). Still, Thorin manages to convince the Master that a dwarven presence in Erebor will only mean prosperity for Laketown. They are sent on their way with weapons and provisions leaving behind Kili who is gravely hurt after an Orc attack.

Once at the Lonely Mountain, the company will need to find the hidden doorway into Erebor and Bilbo (Freeman) will have to search for the Arkenstone, a powerful talisman and symbol of the right of the King Under the Mountain to rule Erebor without waking Smaug (Cumberbatch again) which is beastly difficult when you consider how much a dragon loves his treasure. Can Bilbo retrieve the jewel before Smaug becomes fire…and death?

To tell the truth I was more impressed with the visuals of the first movie than the overall film which I thought was more exposition than action. I’m pleased to report that’s thankfully not the case here where the film moves at a more suitable pace for fans of the original trilogy. There’s also more of Middle Earth to be explored (we’d already been in Rivendell and the Shire where the first film was primarily set) and a lot more action sequences.

Freeman remains a pitch-perfect Bilbo although he’s given less to do here. While Thorin and Balin (Stott) remain the primary focus within the dwarves, Kili gets a lot more attention here while we get to spend a goodly amount of time with new characters Tauriel, Bard and Thranduil although returning Legolas gets his share of screen time as well.

Once again the visuals are remarkable, particularly in the IMAX 3D High Frame Rate presentation, which is one of those rare instances where the upcharge is worth it. Of special note is Smaug, who is done through motion capture but the detail to his look is so exquisite you can see the individual scales as his muscles ripple under his skin. This may well be the most life-like CGI creature ever captured on the big screen.

Some Tolkein purists are grousing about the character of Tauriel who is a whole cloth invention of the filmmakers but I for one appreciate the inclusion of a female character in a book that was distinctly male-centric. Personally I don’t get that kind of complaint. It’s not like it’s headline news that the film version of a classic book is going to be different. That the movie version is different does nothing to diminish the original source material. You can still read it; it’s not like once the movie shows up in the local multiplex all the copies of the book are confiscated and burned. If you don’t like the movie version, don’t watch it. It’s really that simple.

This is definitely fine holiday entertainment. Jackson’s Middle Earth films may not have the same appeal as they once did but that doesn’t mean they aren’t entertaining enough to be worth your time and money. This is a great improvement over the first movie of the new trilogy; if the second film makes the same kind of improvement we’re in for a crackerjack of a time in 2014.

REASONS TO GO: A distinct improvement over the first film in the trilogy. Smaug is an amazing creation.

REASONS TO STAY: Still lacks the heart of the first trilogy. Cliffhanger ending abrupt and unsatisfying.

FAMILY VALUES:  There are some seriously frightening images and plenty of fantasy violence.

TRIVIAL PURSUIT: Tauriel is a complete invention of the filmmakers and doesn’t appear in any of Tolkein’s writing. She was brought in to add female characters into the film as the book has very few of them.

CRITICAL MASS: As of 12/26/13: Rotten Tomatoes: 75% positive reviews. Metacritic: 66/100.

COMPARISON SHOPPING: Lord of the Rings; The Fellowship of the Ring

RATING: 8.5/10

NEXT: The Godfather Part III