New Releases for the Week of November 9, 2018


THE GRINCH

(Universal/Illumination) Starring the voices of Benedict Cumberbatch, Rashida Jones, Angela Lansbury, Kenan Thompson, Pharrell Williams. Directed by Yarrow Cheney and Scott Mosier

Based on the beloved Christmas book by Dr. Seuss, a lonely and angry creature decides to spoil life for the Whos of Whoville by stealing Christmas, their most favorite time of the year.

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

Release Formats: Standard, 3D, 4DX, DBOX, DBOX 3D, Dolby, IMAX, RPX, XD
Genre: Animated Feature
Now Playing: Wide Release

Rating: PG (for brief rude humor)

The Girl in the Spider’s Web

(Columbia) Claire Foy, Sylvia Hoeks, Lakeith Stanfield, Stephan Merchant. Once again, computer hacker and iconoclast Lisbeth Salander finds herself caught in a deadly game of government corruption, cybercriminals and betrayal

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

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

Rating: R (for violence, language and some sexual content/nudity)

The Last Suit

(Outsider/Strand) Miguel Angel Solá, Angela Molina, Martin Piroyanski, Natalia Verbeke. An aging Jewish tailor from Buenos Aires whose children want to put him in a nursing home decides to run away instead to Poland and find the man who saved his life from the Nazis. This is being screened as the closing film in the Central Florida Jewish Film Festival.

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

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

Rating: NR

Overlord

(Paramount) Jovan Adepo, Bokeem Woodbine, Iain De Caestecker, Wyatt Russell. A pair of American soldiers find themselves way behind enemy lines on D-Day and discover a terrifying Nazi secret.

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

Release Formats: Standard, IMAX
Genre: Horror
Now Playing: Wide Release

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

Prospect

(Gunpowder and Sky) Sophie Thatcher, Pedro Pascal, Jay Duplass, Sheila Vand. In the future, a prospector and his young daughter discover a fortune in gems underneath the ground of a toxic forest. However, they aren’t the only ones interested in the find.

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

Release Formats: Standard
Genre: Science Fiction
Now Playing: Regal Waterford Lakes, Regal Winter Park Village

Rating: R (for some violence/bloody images)

Thugs of Hindostan

(Yash Raj) Amitabh Bachchan, Aamir Khan, Katrina Kaif, Fatima Sana Shaikh. The story of Ameer Ali, a thug whose gang caused the British Empire fits between 1790 and 1805.

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

Release Formats: Standard
Genre: Action
Now Playing: AMC West Oaks, Cinemark Universal Citywalk, Touchstar Southchase

Rating: NR

ALSO OPENING IN ORLANDO/DAYTONA:

Faberge: A Life of Its Own
Here and Now
River Runs Red
Sarkar
To Love Some Buddy
Trew Calling
Welcome to Mercy
Wildlife

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

A Private War
The Breadwinner
Lez Bomb
Outlaw King
Sarkar
Wildlife

ALSO OPENING IN TAMPA/ST. PETERSBURG:

In a Relationship
River Runs Red

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Sarkar
Thunder Road

SCHEDULED FOR REVIEW:

The Girl in the Spider’s Web
Overlord

FILM FESTIVALS TAKING PLACE IN FLORIDA:

Central Florida Jewish Film Festival, Maitland/Orlando
Miami Shorts Film Festival, Miami
Fort Lauderdale International Film Festival, Fort Lauderdale

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Celeste and Jesse Forever


There is nothing more romantic than smooching in front of a giant fondant ribbon.

There is nothing more romantic than smooching in front of a giant fondant ribbon.

(2012) Romantic Comedy (Sony Classics) Andy Samberg, Rashida Jones, Elijah Wood, Chris Messina, Emma Roberts, Chris D’Elia, Will McCormack, Ari Graynor, Eric Christian Olsen, Shira Lazar, Matthias Steiner, Rebecca Dayan, Janel Parrish, Rich Sommer, Rafi Gavron, Mathew del Negro, Kris Pino, Rafi Gavron, Zoë Hall, Lauren Sanchez, Ashli Dowling. Directed by Lee Toland Krieger
Cinema of the Heart 2016

It is said that it usually isn’t clear when love begins, but it’s always obvious when it ends. Sometimes couples that seem to be made for each other don’t make it; staying in a relationship in the 21st century is no easy task and requires sometimes a lot more of ourselves than we’re willing to give.

Celeste (Jones) and Jesse (Samberg) have been married for six years and they’re everybody’s favorite couple. Celeste is essentially the breadwinner, owning a trendy L.A. agency that has just landed Riley (Roberts), a brand new super-hot pop star. Jesse is an artist but doesn’t seem to have enough gumption to actually produce much in the way of art. Still, they clearly care for each other and share a great deal of love. Everything is perfect – except they’re getting divorced.

Their impending divorce is not terribly well-received by their friends, for whom they have been something of an icon; if these two can’t make it work, how can the rest of us? But most are puzzled by the way the two hang out together all the time, how Jesse lives in his artist studio shed in their back yard while Celeste sleeps in her own bed at night. Why don’t they hate each other? And why oh why are they breaking up in the first place?

However, this idyllic circumstance of two best friends begins to change as things inevitably do. Jesse, whose slacker existence was an issue for the more controlling Celeste suddenly finds himself in a situation that changes his outlook. Celeste is unable to handle the change in Jesse and suddenly finds herself adrift, not ready to move on as Jesse had not been ready to move on initially.  Now it is obvious that Celeste and Jesse aren’t forever.

Jones wrote the film with Will McCormack who has a supporting role as a pot dealing friend of the couple. The film has some smart writing, realistic dialogue (i.e. the characters say things real people actually say) and a hefty dose of heart. It also has a surfeit of indie cliches that definitely reduce my affection for a film that could easily have garnered more of it.

Jones and Samberg are at their best here; both are enormously likable actors who get roles here they can sink their teeth into. Samberg in particular comes off as a much more multi-dimensional performer than he had shown previously on SNL and the Adam Sandberg movies he had done. He has enormous star potential which he shows here and some of his Funny or Die clips. He’s one good role away from the A-list.

Jones has been one of those actresses who never seem to deliver a subpar performance. I’ve always thought her immensely talented and this is one of the first roles in which she really shows off her potential. Celeste is very complex and in some ways unlikable; one feels throughout the movie that Celeste is taking a good thing and tossing it in the waste basket but eventually we begin to see that things aren’t that simple and a lot of that has to do with Jones’ emotional performance.

The movie works when we get into Celeste’s head; Jesse seems to be mainly an instigator for the various things going on there. When the movie tries to be indie-hip, it drags – there is a mumblecore sensibility here that doesn’t quite jibe with the overall mood. When the film gets away from that sense, it works.

Some relationships are meant to be and others, not so much. It is how we handle the not-so-much that prepares us for the next ones down the line and makes us better partners. Not every relationship is forever even though we want them to be; letting go can often be the hardest thing we ever do.

WHY RENT THIS: Jones and Samberg make an engaging non-couple. Cute in a quiet sort of way.
WHY RENT SOMETHING ELSE: At times feels like there’s nothing going on. Overloaded with indie cuteness to the point of distraction.
FAMILY VALUES: A bit of bad language, plenty of sexual content and some drug use.
TRIVIAL PURSUIT: The original title was Jesse Loves Celeste before it was decided that the focus of the film was going to be on Celeste.
NOTABLE HOME VIDEO EXTRAS: Footage and a Q&A from the premiere, and also footage of Chris Pine, whose tiny role was cut from this film before he went on to star as Captain Kirk.
BOX OFFICE PERFORMANCE: $3.1M on an $840K production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray Rental only), Amazon, iTunes, Vudu, Google Play, M-Go
COMPARISON SHOPPING: The Break-Up
FINAL RATING: 6.5/10
NEXT: Cinema of the Heart concludes!

A Very Murray Christmas


More fun to make than it is to watch?

More fun to make than it is to watch?

(2015) Musical (Netflix) Bill Murray, Paul Shaffer, George Clooney, Miley Cyrus, Chris Rock, Michael Cera, Rashida Jones, Jason Schwartzman, Maya Rudolph, Jenny Lewis, Amy Poehler, David Johansen, Dmitri Dimitrov, Julie White, Phoenix. Directed by Sofia Coppola

Back in the day, celebs like Dean Martin and Judy Garland used to put on Christmas specials and variety shows that would have the thinnest of plot lines but were mainly an excuse for them to sing a few Christmas tunes, have a few friends show up and generally just be themselves.

Director Sofia Coppola is trying to resurrect that vibe and has picked the perfect guy to do it; Murray plays a version of himself, contracted to do a live Christmas special at the Hotel Carlyle in New York City with its retro-cool Bemelmans’s Bar and Cafe Carlyle. An impressive guest list and audience however has evaporated as the city is paralyzed by a blizzard. Sensing catastrophe, Murray sinks into a booze-fueled depression as Hollywood handler-types (Poehler, White) and wanna-be agents (Cera) beset his Christmas mellow.

Guests happen by (Rock) or turn up as hotel employees (Lewis as a waitress, who has one of the better songs when she covers the Pogues’ “Fairytale of New York”, the band Phoenix whose frontman is married to Coppola, as a group of singing chefs) and musical numbers ensue. Murray captures the barfly/hipster mode nicely and sings adequately, but this is the type of Christmas show you’ll want to watch with a shaker full of martinis, a bowlful of peanuts and a pack of cigarettes.

Murray is a genial host but not in the tradition of a Dean Martin, a Mel Tormé or a Steve and Edie. Yes, he’s got that same rumpled charm that Dino had, but there is a weather-beaten feel to him, like someone who’s been too far and seen too much. The show opens with a bluesy downbeat Christmas song that sets the tone; world-weary Murray feeling the depression that often accompanies the Holidays. Essentially confined to the hotel by the weather and prowling the hallways like a claustrophobic cat, he hangs out in the bar and drinks away his sorrow, interacting with a bride (Jones) and groom (Schwartzman) whose wedding fell apart and whose relationship may be as well and listening to a lounge singer (Rudolph) belt out a few Christmas tunes.

Much of the action takes place in the hotel, other than a fantasy sequence featuring Clooney and Cyrus that takes place after Murray passes out. This is the kind of Christmas special for the crowd that identifies strongly with Mickey Rourke in Barfly or Nicolas Cage in Leaving Las Vegas. And yet, there is a hipness to it, like Murray has us in on the coolest night in that crazy New York town ever, a place where Chris Rock might just stumble in from out of the cold and warble a duet of “Do You Hear What I Hear?” with Murray.

So this isn’t for everybody, needless to say. Some will find it too irreverent and even take insult – those who think there’s a war on Christmas might see this as yet another salvo (it’s not). I think it’s far more subversive, taking a pot shot at our attitudes towards the holiday and snickering at it, reminding us at once that there are those who are lonely and depressed at this time of year, but also reminding us that the holidays can take a bunch of strangers and make them family, even if just for one night. In that sense, A Very Murray Christmas is suffused with holiday magic. I don’t know that this would bear repeated viewings but I suspect that those who revel in this sort of thing will make it an annual tradition. As for me, I’ll take A Charlie Brown Christmas every time.

REASONS TO GO: Hippest Christmas special ever. Murray is always a hoot.
REASONS TO STAY: Might be overly irreverent for some. A bit heavy on the quirk.
FAMILY VALUES: Some profanity, adult themes, drinking and general attitude.
TRIVIAL PURSUIT: Bill Murray doesn’t have Netflix and refuses to get it, which means he won’t be able to watch his own movie – not that he does that anyway.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 12/11/15: Rotten Tomatoes: 79% positive reviews. Metacritic: 69/100.
COMPARISON SHOPPING: Scrooged
FINAL RATING: 6.5/10
NEXT: Children of Men

Inside Out (2015)


Antonin Scalia reacts to recent Supreme Court decisions.

Antonin Scalia reacts to recent Supreme Court decisions.

(2015) Animated Feature (Disney*Pixar) Starring the voices of Amy Poehler, Phyllis Smith, Richard Kind, Bill Hader, Lewis Black, Mindy Kaling, Kaitlyn Dias, Diane Lane, Kyle MacLachlan, Paula Poundstone, Bobby Moynihan, Paula Pell, Dave Goelz, Frank Oz, John Ratzenberger, Josh Cooley, Flea, Carlos Alazraqui, Laraine Newman, Rashida Jones. Directed by Pete Docter and Ronaldo del Carmen

Growing up can be a dangerous thing. There are no manuals on how to deal with our emotions; we just have to do the best we can, which is generally not good enough. All we can do is learn from our mistakes and realize that it is okay not to be happy and cheerful every minute of every day.

11-year-old Riley (Dias) and her Mom (Lane) and Dad (MacLachlan) have moved to San Francisco from Minnesota and the usually cheerful Riley is not happy about it. She misses her friends, she misses playing hockey – a sport she loves and excels at – and she misses the shall we say less urban environment of her old home.

Up in her head, Riley’s emotions are working double time. In charge (more or less) is Joy (Poehler), a sprite-like being who wants all of Riley’s memories to be happy. Working alongside her are Sadness (Smith), Anger (Black), Disgust (Kaling) and Fear (Hader). Sadness is a squishy blue teardrop, Anger a red brick who sometimes blows flames out of his head, while Disgust is broccoli-green and Fear is a twitchy pipe cleaner with a bow tie.

The emotions work in Headquarters, the part of her brain where the emotions exert control and memories are made and separated into storage – long term, short term and core. “Islands” are formed by her core memories, helping to establish Riley’s personality – love of hockey, honesty, love of family, imagination and so on. A variety of workers keep the memories stored and occasionally, dump them to disappear (Phone numbers? Doesn’t need them. She keeps them in her phone) and make room for new ones. The memories manifest as little globes like pearls, colored by whatever emotion is associated with that memory although Sadness has discovered that when she touches a memory, the emotional hue can change.

Not long after that, a series of accidents strands Joy and Sadness together in the long term memory area of Riley’s head. Worse yet, the core memories have accidentally been sent there, which will slowly lead to her personality islands crumbling away. Joy and Sadness will have to work together to get those core memories back to Headquarters. They’ll be aided by Bing Bong (Kind), Riley’s imaginary playmate whom she hasn’t thought of in years. But they’ll have to hurry; Anger, Disgust and Fear have been left in charge and their decision-making process is, to say the least, untrustworthy.

This is one of the most imaginative animated features in years. Say what you want about the execution of the movie (which is, by the way, pretty dang nifty) but the concepts here are much different than any animated movie – or movie of any other kind – you’re likely to encounter.

The vocal performances are solid, albeit unspectacular although the casting of Black as Anger was inspired if you ask me. He steals the show whenever his rage button is pushed, which is frequently. Poehler gets the bulk of the dialogue as Joy but Kaling, Smith and Hader also get their moments and all of them encapsulate their emotional counterparts nicely.

True to its subject matter, the movie moves from whimsical (as when Bing Bong, Joy and Sadness move through the subconscious and change forms to two-dimensional and into Depression era animated figures) to downright moving (Bing Bong’s plaintive expression of his desire to make Riley happy, despite the fact that she’s forgotten him). While the emotional resonance of Wall-E and Toy Story 3 aren’t quite there, it still packs quite a powerful emotional punch in places. Softies, beware and bring plenty of tissue.

The only real quibble I have with the movie is that from time to time the story is not as straightforward as it is with other Pixar films and it might be a tad difficult to follow for younger kids, who will nonetheless be quite happy with the colors and shapes of the new characters that are likely to dominate the toy merchandise this summer (at least, until the new Minions movie comes out). It also has a tendency to set us up with what appear to be rules to follow only to do something a bit different. I’m not a stickler for such things – this is an animated feature, not a documentary – but some people who are anal about it might have issues.

The lesson to be learned here for kids is that it’s okay to be sad, or angry, disgusted or even afraid. It isn’t a requirement to be happy all the time – nobody is. We all must, sooner or later, deal with all of our emotions, even the not so nice ones. All of them are there for a reason.

Despite the minor flaw and given all of the movie’s strengths I found this movie to be beautifully rendered with a wonderfully imaginative setting and characters I could get behind. The storyline isn’t earth-shattering – essentially it’s about a disgruntled 11-year-old girl who wants to go back to the home she’s used to and acts out because of it – but all of us can relate to dealing with emotions, either because we know an eleven year old or at least been an eleven year old. Pixar has been on a bit of a cold streak as of late but this movie reminds us of how great this studio is and how much they have contributed to the animated feature genre. This is a gem, destined to be another in a long line of Pixar classics.

REASONS TO GO: Imaginative and different. Moving in places. Teaches kids that it’s okay to have negative emotions as well.
REASONS TO STAY: Can be confusing.
FAMILY VALUES: Some of the thematic elements may be a bit much for the very small; there is also some animated action and a few images that might be frightening for the less mature child.
TRIVIAL PURSUIT: Mindy Kaling was reportedly so moved by the script that she burst into tears during the initial meetings with director Pete Docter.
CRITICAL MASS: As of 7/5/15: Rotten Tomatoes: 98% positive reviews. Metacritic: 93/100.
COMPARISON SHOPPING: Up
FINAL RATING: 8,5/10
NEXT: Ted 2

The Big Year


The Big Year

Making movies is for the birds

(2011) Comedy (20th Century Fox) Steve Martin, Jack Black, Owen Wilson, Brian Dennehy, Rashida Jones, Rosamund Pike, Dianne Wiest, John Cleese (voice), Kevin Pollak, Joel McHale, JoBeth Williams, Paul Campbell, Cindy Busby, Anjelica Huston, Jim Parsons, Anthony Anderson, Barry Shabaka Henley, Al Roker, Steven Weber, Corbin Bernsen. Directed by David Frankel

 

All of us want to leave a mark in some form or another; not necessarily as celebrities but in our own small way we want to accomplish something special, something we can be proud of. Something that says “I was here. I did this. I meant something.” It’s not always an easy thing and often we have to overcome obstacles we never could have anticipated.

In the world of bird watching, birders have a kind of Heisman Trophy that they go after – it’s called, informally, a Big Year and it means essentially spotting as many birds as possible in a calendar year. It requires an insane amount of dedication and not a little expense. The all-time champion is Kenny Bostick (Wilson) who holds the mark at 723 separate species of birds.

He has become bored and restless resting on his laurels. He’s made the decision to tackle another big year, much to the chagrin of his long-suffering wife (Pike) who is much more eager to start a family. Still, she recognizes he needs one last adventure and gives it to him, but not without consequence.

Brad Harris (Black) is a computer programmer who is divorced and feeling less sure of who he is. He knows he loves birding and is pretty good at it but has to save for quite a while to mount up the resources in order to tackle something like a Big Year. His parents (Wiest, Dennehy) are less than enthusiastic but mom manages to mount up some supportiveness while his cardiac patient dad is less tolerant.

Stu Preissler (Martin) is a workaholic CEO on the verge of retiring and he knows what he wants to do with the first year of his retirement – a Big Year. His wife (Williams) is a little less sanguine about it with a grandchild on the way but Stu insists that he can do both. However, his company is a bit jittery about his departure and a new merger that is going to save the day is dangling by a thread and Stu’s touch is needed.

The three run into each other in the field and none wants to tip their hand that they are going after a Big Year but soon it becomes obvious that they all are after the same thing. While Kenny will do anything and everything to safeguard his record – and allow himself to shatter it – Stu and Brad quickly realize that the only defense against Kenny is to team up. But who will be the winner at the end of the year?

I hadn’t expected much from the film, having understood that it was a critical and box office failure but I was pleasantly surprised. The three leads are all individually engaging and all of them restrain their normal onscreen personas so that none of them is overwhelming (Black particularly who can be overbearing in some of his roles). Here they all are charismatic but sweet-natured – even Wilson’s character, who can be a bastard, isn’t all bad.

Black gets to have a nice field romance with a fellow birder (Jones) which helps add a romantic element to the movie; all of the leads are at different places in their relationships with Stu’s being more centered, Kenny’s being on the edge of disaster and Brad’s just beginning. It illustrates the role of our partners in our lives quite nicely too.

The cinematography is quite nice, with enough bird shots to do a nature film proud (not all of the footage here was authentic – some was spliced in from other movies in order to bring enough different species of birds on screen). Sure, there are some bits that stretch the believability quotient a bit but none to the breaking point.

The leads aren’t the only reason to see the film. As you can see in the cast list there is a pretty impressive collection of talent, some on for only a scene or two (like Huston as a crusty boat captain) but it isn’t stunt casting so much. We aren’t playing “spot the celebrity” although it makes a nice counterpoint to the bird spotting (and a fun game to play for those watching the second time – see how many birds YOU can spot).

This was a movie that came out with a bit of fanfare, considering the star power in the leads and then exited theaters quickly. For whatever reason it didn’t connect with audiences who probably thought a movie about bird watching would be boring. The point is however that this isn’t strictly about bird watching. It’s about getting out of your comfort zone and living. Getting off the couch and into something, anything, that sparks our passion. You can’t really complain about a movie that advocates that.

WHY RENT THIS: Amazing heart. Some interesting bird-watching facts. Nice performances from the leads.

WHY RENT SOMETHING ELSE: A bit too obsessive.

FAMILY VALUES:  There are more than a few bad words and a little bit of sexuality.

TRIVIAL PURSUIT: All the bird sightings from the winner of the competition are shown over the closing credits and yes, every one of them is a different species of bird, although they weren’t all spotted by the same person in this case.

NOTABLE HOME VIDEO EXTRAS: Nothing on the DVD but the Blu-Ray has a gag reel.

BOX OFFICE PERFORMANCE: $7.5M on a $41M production budget; there is no way to call this other than an unmitigated flop.

COMPARISON SHOPPING: Butter

FINAL RATING: 8/10

NEXT: Cloud Atlas

New Releases for the Week of August 31, 2012


LAWLESS

(Weinstein) Shia LaBeouf, Tom Hardy, Jessica Chastain, Guy Pearce, Gary Oldman, Jason Clarke, Mia Wasikowska, Dane DeHaan, Lew Temple. Directed by John Hillcoat

During Prohibition, a group of brothers in the Virginia hill country go from small town bootleggers to local legends to wanted men. They are the Bondurant brothers and they will take on the law while remaining true to each other and their own particular code of wrong and right. (Opened on Wednesday)

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Gangster

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

Celeste and Jesse Forever

(Sony Classics) Rashida Jones, Andy Samberg, Elijah Wood, Emma Roberts. They were high school sweethearts who married young. Now Celeste and Jesse are in their 30s and she wants more from her relationship than he is giving her, so they divorce. They want to remain best friends but as they begin to see other people and Celeste begins to re-evaluate her decision, this proves to be not as easy as it sounds – and it doesn’t sound easy at all.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Comedy

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

Joker

(UTV) Akshay Kumar, Sonakshi Sinha, Chitrangda Singh, Sanjay Mishra. A small village is misplaced when the boundaries between India and Pakistan are drawn up, ending up in neither country. Isolated and forgotten, it is overrun by the inmates at the region’s largest insane asylum who take over. It is here a NASA scientist comes to build his device that is meant to communicate with alien cultures but there can be no culture as alien as the one in this village!

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

The Oogieloves in the Big Balloon Adventure

(Kenn Viselman Presents) Toni Braxton, Cloris Leachman, Christopher Lloyd, Cary Elwes. A movie in which kids are encouraged to stand up, dance, sing along and act out. Bad idea. (Opened on Wednesday)

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Family

Rating: G

The Possession

(Lionsgate) Jeffrey Dean Morgan, Kyra Sedgwick, Madison Davenport, Natasha Calis. A young girl becomes obsessed with a wooden box that she found at a yard sale. As her behavior becomes erratic and sinister her parents grow to realize that it wasn’t just any box that she had found – it had contained a dybbuk, a Jewish demon that consumes its victims from the inside. Can they stop it before their darling daughter is devoured?

See the trailer, a clip, a promo and a short film here.

For more on the movie this is the website.

Release formats: Standard

Genre: Supernatural Horror

Rating: PG-13 (for mature thematic material involving violence and disturbing sequences)

Friends With Benefits


Friends With Benefits

Just a couple of couch potatoes.

(2011) Romantic Comedy (Screen Gems) Justin Timberlake, Mila Kunis, Patricia Clarkson, Jenna Elfman, Richard Jenkins, Bryan Greenberg, Woody Harrelson, Andy Samberg, Shaun White, Nolan Gould, Emma Stone, Masi Oka, Rashida Jones, Jason Segel. Directed by Will Gluck

 

Humans crave intimacy on several levels, beginning with the base physical and into the higher realms of friendship and love. We need it as surely as we need food to eat and air to breathe; without it our lives are empty and meaningless.

Jamie Rellis (Kunis) is a corporate headhunter with a history of relationship issues. Her assignment is to find an art director for GQ Magazine in New York and she thinks she’s found one. Dylan Harper (Timberlake) works as an art director for a small internet company and mainly takes the interview for the free trip to New York, especially after he breaks up with his girlfriend.

It turns out that Dylan and GQ are a match made in heaven, but Dylan is reluctant to take the job offer – he likes it in LA and isn’t particularly disposed to leaving his family and friends behind.  However, a night on the town with Jamie convinces him that New York is the place for him to be so he accepts.

Jamie helps him get settled and soon the two become friends – mainly because Dylan doesn’t know anybody else. One night when he is hanging out in her apartment watching movies with her, the two begin to talk about relationships and sex. Both are single and as it turns out, both are missing sex.

After some discussion, they both come to the agreement that sex shouldn’t need emotional connections – it should just be a completely physical act separate from love. They then agree to have sex without commitment or emotional attachment.

At first it’s a novelty and a whole lot of fun. As time goes on Jamie begins to feel less and less satisfied and realizes this isn’t what she wants at all so she decides to start dating again and lets Dylan know that the sex is coming to an end. She does date again, a man named Parker (Greenberg) and at first he seems to be what she’s looking for but after going to bed with him after the fifth date he calls it off. Furious, she tells him off, then cries about it to Dylan. He invites her to California for the Independence Day weekend and although reluctant at first, she flies west with him.

She meets his family – his father (Jenkins) who’s in the beginning stages of Alzheimer’s and his sister Annie (Elfman) who has been caring for him. Dylan and Jamie share an evening where it appears there’s a deeper connection between them – until Dylan runs his mouth to his sister afterwards, overheard by Jamie, claiming that this is just purely sex for him. Afterwards, she lets him know in no uncertain terms that she wants nothing to do with him.

The two however both realize that they have deep feelings for one another but neither knows how to navigate their way back. Is it possible to salvage anything, and make a relationship out of a purely sexual friendship?

I look at this in a lot of ways as a kind of 21st century version of When Harry Met Sally. The question about sex and friendship between men and women is one that still rages in debate. Gluck, who co-wrote the script, definitely has his ideas on the subject, although he approaches it in a different way than the previous film which asked “Can men and women who are sexually attracted to one another be friends” while this movie asks instead “Can men and women who are friends have sex without ruining their friendship” which is an entirely different ball of wax.

The movie hinges on the leads, and Timberlake and Kunis are very attractive and have some chemistry between them – the relationship doesn’t feel as contrived as it does in other romantic comedies. The problem here is that it just isn’t sure whether it’s a romantic comedy or a raunchy sex comedy – and at times that schizophrenia torpedoes the otherwise good intentions of the film.

Kunis is becoming one of my favorite actresses with stellar performances in Black Swan and Forgetting Sarah Marshall to her credit. She is sexy and sweet, able to do drama and comedy equally as adeptly. She’s come a long way since “That 70s Show” and may against the odds wind up becoming the biggest star to emerge from that show.

Timberlake is developing nicely as an actor and although this doesn’t really build up his career up acting-wise, the box office success continues to cement his reputation as a bankable leading man and to be truthful the performance doesn’t set his reputation back either. He’s still a little stiff in some ways, but he’s definitely getting better at it – he is certainly a star in the making.

I like the dialogue here. The relationship between Dylan and Jamie is acerbic at times, with the two trading snappy one-liners in the style of a screwball comedy in a good way. Maybe the movie really isn’t a raunchy sex comedy or a sweet rom-com – maybe what it really is could be termed a modern screwball comedy. The jury’s still out on it but the results are the movie doesn’t work as smoothly as I might have liked it to and maybe that led me to be harsher in my rating than it deserved because it does do a lot of things right, particularly in the case of Kunis and Timberlake. It just doesn’t add up to a cohesive whole.

WHY RENT THIS: Some decent chemistry between the leads. Snappy dialogue.

WHY RENT SOMETHING ELSE: Can’t decide whether it wants to be a raunchy sex comedy or a sweet rom-com.

FAMILY VALUES:  As you might guess, there’s a whole lot of sexual content and a fair amount of bad language, some of it sexual in nature.

TRIVIAL PURSUIT: In director Will Gluck’s last movie (Easy A) Clarkson also played the mother of the lead character (Emma Stone, who cameos here early on as Dylan’s girlfriend).  

NOTABLE DVD EXTRAS: There are about seven minutes of outtakes, mostly having to do with flubbed lines and pranks. The Blu-Ray also has a featurette on the choreography of the flash mob scene.

COMPARISON SHOPPING: No Strings Attached

BOX OFFICE PERFORMANCE: $149.5M on a $35M production budget; the movie was a big box office hit.

FINAL RATING: 4.5/10

NEXT: Marvel’s The Avengers!