Mute


Here’s a scene that could have used Harrison Ford.

(2018) Science Fiction (Netflix) Alexander Skarsgård, Paul Rudd, Justin Theroux, Seyneb Saleh, Robert Sheehan, Daniel Fathers, Robert Kazinsky, Jannis Niewöhner, Dominic Monaghan, Melissa Holroyd, Levi Eisenblätter, Caroline Peters, Nikki Lamborn, Noel Clarke, Gilbert Owuor, Andrzej Blumenfeld, Michael Behrens, Mike Davies, Sam Rockwell, Anja Karmanski. Directed by Duncan Jones

 

Duncan Jones is one of the most inventive and admired genre directors out there. When Netflix picked up this film to display, it was considered a coup. A much-admired director at the top of his game in a fairly large-budget production, Netflix was undoubtedly hoping for a franchise.

That’s not necessarily what they got. They got a sci-fi noir story set in a 2050 Berlin very much based on the look of Blade Runner. Alexander Skarsgård plays Leo, an Amish bartender (!) at a seedy dive in the underground of Berlin who has been mute since a childhood boating accident. His girlfriend Naadirah (Saleh) is a cocktail waitress (and as he later discovers, a part-time prostitute) who disappears after a couple of lowlifes make some untoward advances, causing the angry Amish (!) to beat the holy crap out of them.

No longer burdened with having to be a bartender after getting fired (even seedy dive owners get grumpy about employees beating up customers) Leo turns into gritty Amish detective (!) and searches the dodgy side of town in search of his lover who turns out to have a few secrets of her own, secrets that are connected to a couple of AWOL American military surgeons named Cactus Bill (Rudd) and Duck (Theroux) and perhaps Luba (Sheehan), a bisexual waiter and fellow prostitute who has a big time crush on Naadirah and big time contempt for Leo.

The visuals are nothing less than stunning, although you’ll get a sense that you’ve seen it all before; the nod to the Ridley Scott classic at times crosses the line from homage to rip-off. Skarsgård at least delivers a soulful performance as Leo, mainly having to emote using facial expressions and body language. However the conceit of making him Amish fails spectacularly – should any Amish have a Netflix subscription they no doubt will be scratching their beards and wondering to their mates “Does thee believe what thou are seeing?” The banter between Rudd and Theroux is fun, but it gets a bit creepy (Cactus Bill has a volcanic temper and Duck is a pederast) particularly towards the end of the film.

Critics absolutely hated this thing as you can see by their scores below, but they’re being a little harsh, maybe because Jones set his own bar so high. Yeah, the plot is muddled but if you stick with it for the two hours plus that the movie runs it all does come together. The film is genuinely inventive and I think most critics will agree that it’s like nothing you’ve seen before which I admit isn’t always a good thing. However, I was reasonably entertained and parts of the film have remained with me although parts have not – one of the most important plot points is explained at the end but I can’t for the life of me remember what that explanation is. Don’t let the Rotten Tomatoes and Metacritic scores dissuade you for deciding for yourself; I enjoyed it enough to recommend it although do take that with a note of caution; I’m pretty much alone in the critical community in that regard.

REASONS TO GO: The visuals are breathtaking. Skarsgård delivers a soulful performance.
REASONS TO STAY: The plot is more than a little bit muddled. Sheehan gives far too wooden a performance as Luba.
FAMILY VALUES: There is violence, profanity and sexuality herein.
TRIVIAL PURSUIT: David Hasselhoff appears on the currency.
BEYOND THE THEATERS:  Netflix
CRITICAL MASS: As of 8/20/18: Rotten Tomatoes: 16% positive reviews. Metacritic: 35/100.
COMPARISON SHOPPING: Blade Runner 2049
FINAL RATING: 6/10
NEXT:
Deadpool 2

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New Releases for the Week of June 29, 2018


SICARIO: DAY OF THE SOLDADO

(Columbia) Josh Brolin, Benicio del Toro, Matthew Modine, Isabella Moner, Jeffrey Donovan, Catherine Keener, Shea Whigham. Directed by Stefano Sollima

The drug war on the Mexican border is escalating as the cartels grow more brazen and more violent in fighting American authorities. It is decided to go after the cartels directly – by any means necessary. That is however much easier said than done.

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

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

Rating: R (for strong violence, bloody images, and language)

Sanju

(Fox Star) Ranbir Kapoor, Sonam Kapoor, Paresh Rawal, Vicky Kaushal. This is the story of Sanjay Dutt who overcame a checkered past and personal demons to become one of the biggest stars in Bollywood.

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

Release Formats: Standard
Genre: Biographical Drama
Now Playing: AMC Universal Cineplex, AMC West Oaks, Touchstar Southchase

Rating: NR

Uncle Drew

(Summit) Kyrie Irving, Lil Rel Howery, Shaquille O’Neal, Tiffany Haddish. Harlem’s famed Rucker Tournament of street basketball teams will never be the same as a group of septuagenarians take the kids to school. This was originally a series of short films commissioned by Pepsi.

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

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

Rating: PG-13 (for suggestive material, language and brief nudity)

Woman Walks Ahead

(A24) Jessica Chastain, Sam Rockwell, Michael Greyeyes, Ciarán Hinds. A widowed artist sets out from New York to North Dakota in the 1880s to paint a portrait of Sitting Bill. Unexpectedly, the two become good friends and she becomes a fierce ally in the Native American battle for land rights. This is based on a true story.

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

Release Formats: Standard
Genre: Western
Now Playing: AMC Universal Cineplex

Rating: R (for brief violence and language)

ALSO OPENING IN ORLANDO/DAYTONA:

A Kid Like Jake
Abrahaminte Santhathikal
Ee Nagaraniki Emaindi

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

Abrahaminte Santhathikal
Always at the Carlyle
Animal World
Damsel
The Domestics
Ee Nagaraniki Emaindi
El Inca

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Ee Nagaraniki Emaindi
Godard Mon Amour

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Abrahaminte Santhathikal
Ee Nagaraniki Emaindi

SCHEDULED FOR REVIEW:

Sicario: Day of the Soldado
Uncle Drew

Three Billboards Outside Ebbing, Missouri


Frances McDormand demands answers in this Oscar-nominated film.

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

 

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

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

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

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

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

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

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

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

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

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

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

New Releases for the Week of November 24, 2017


COCO

(Disney*Pixar) Starring the voices of Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, Alanna Ubach, Gabriel Iglesias, Edward James Olmos. Directed by Adrian Molina and Lee Unkrich

A young Mexican boy is obsessed with music but had the bad luck to be born into a family that didn’t care much for song and frivolity. A devotee of a recently deceased troubadour, he is accidentally sent to the Land of the Dead and must work out the mystery of why his family hates music so much before he can return to the Land of the Living.

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

Release Formats: Standard, 3D, 4DX
Genre: Animated Feature
Now Playing: Wide Release

Rating: PG (for thematic elements)

Last Flag Flying

(Amazon/Lionsgate) Bryan Cranston, Laurence Fishburne, Steve Carell, J. Quinton Johnson. Three ex-Marines who served together in Vietnam come together for one last mission; to bury the son of one of them who was killed in Iraq. This is the latest from director Richard Linklater.

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

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

Rating: R (for strong language throughout including some sexual references)

The Man Who Invented Christmas

(Bleecker Street) Dan Stevens, Christopher Plummer, Jonathan Pryce, Simon Callow. One of the great traditions of Christmas is the beloved novel A Christmas Carol by Charles Dickens. He wrote it at a time in his life where he was surrounded by tribulations but where did these ideas – a Christmas ghost story, after all – come from? Look for the review for this tomorrow.

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

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

Rating: PG (for thematic elements and some mild language)

Novitiate

(Sony Classics) Margaret Qualley, Melissa Leo, Julianne Nicholson, Dianna Agron. A young woman in the early 1960s gets swept up by the idea of becoming a nun and so enters a convent just at a time when sweeping changes were overtaking the Catholic Church. You can check out my review for the film here.

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

Release Formats: Standard
Genre: Drama
Now Playing: AMC Universal Cineplex, Regal Winter Park Village, Rialto Spanish Springs

Rating: R (for language, some sexuality and nudity)

Roman J. Israel, Esq.

(Columbia) Denzel Washington, Colin Farrell, Carmen Ejogo, Tony Plana. A former activist turned lawyer finds himself confronted with a crisis of conscience. Passed by and struggling to survive, a series of events leads him to consider extreme action.

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

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

Rating: PG-13 (for language and some violence)

Three Billboards Outside Ebbing, Missouri

(Fox Searchlight) Frances McDormand, Woody Harrelson, Sam Rockwell, Caleb Landry Jones. When the police fail to discover the identity of the killer of a young woman, the victim’s mother frustrated by the lack of progress puts up three billboards near her home castigating the authorities for their inability to solve the crime. Her actions sharply divide the community in this latest darkly comic drama from Irish director Martin McDonagh.

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

Release Formats: Standard
Genre: Dramedy
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Barnstorm Theater, Cinemark Artegon Marketplace, Regal Pointe Orlando, Regal Waterford Lakes, Regal Winter Park Village

Rating: R (for violence, language throughout, and some sexual references)

ALSO OPENING IN ORLANDO/DAYTONA:

Balakrishnudu
Mental Madhilo

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

Abracadabra
The King’s Choice
Mental Madhilo

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Mental Madhilo

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Balakrishnudu
Faces Places
Hey, Pillagada
Mental Madhilo

SCHEDULED FOR REVIEW:

Coco
The Man Who Invented Christmas
Novitiate
Roman Israel, Esq.
Three Billboards Outside Ebbing, Missouri

Digging For Fire


A bunch of bros hanging out.

A bunch of bros hanging out.

(2015) Drama (The Orchard) Jake Johnson, Rosemarie DeWitt, Orlando Bloom, Sam Rockwell, Anna Kendrick, Brie Larson, Mike Birbiglia, Sam Elliott, Judith Light, Jane Adams, Tom Bower, Chris Messina, Melanie Lynskey, Jenny Slate, Ron Livingston, Jeff Baena, Timothy Simons, Padraic Cassidy, Steve Berg, David Siskind, Jude Swanberg. Directed by Joe Swanberg

Relationships are impossible. I mean, making them work is – first of all, you have to find someone with whom you can co-exist. Someone whose idiosyncrasies won’t drive you bonkers. Second, you have to find someone whose ideals, goals and philosophy is compatible with yours. Finally, you have to find someone with all that with whom you will grow in the same direction. What’s the secret to making all that happen?

Tim (Johnson) and Lee (DeWitt) are housesitting for some Hollywood types out shooting on location. They’re treating it like a bit of a vacation since the home they’re watching is up in the Hills and has all the amenities you could possibly imagine. However, as of late, the two have been having problems. Tim has been feeling emasculated and when Lee’s mom (Light) and dad (Elliott) want to foot the bill to send their son Jude (Swanberg) to an exclusive pre-school that they can’t afford, that sensation only gets worse. Of course, if Sam Elliott were my father-in-law, I’d feel emasculated too.

For Lee’s part she’s tired of putting up with Tim’s childish behavior and his lack of inertia. He seems to be stuck in a rut and she’s frustrated – in more ways than one. To put it bluntly, she has been reading a book called The Passionate Marriage and it isn’t about fruit. When one of Lee’s friends (Lynskey) organizes a girl’s night out for her, Lee jumps at the chance, and agrees to take Jude to visit her parents, giving Tim some time to do the taxes which he has been putting off for too long. Tim found a bone and a rusted gun buried in the yard and he’s been obsessing over that.

Of course, Tim decides to chuck the taxes aside and brings a battery of bros over, including the somewhat over-the-top Ray (Rockwell) as well as Billy T. (Messina), Phil (Birbiglia) and Paul (Berg). Much alcohol and recreational substances are ingested, and Ray brings over a couple of girls including Max (Larson), with whom Tim begins to flirt.

When Lee’s friend is forced to cancel, Lee decides to just have a night out on her own. When a drunk obnoxious guy tries to hit on her, she is rescued by bar owner Ben (Bloom) who gets hurt when the drunk gets belligerent. Lee accompanies him home on the back of his motorcycle so she can give him some first aid; it becomes apparent that the two are attracted to one another. Can the two stay true to one another or are things that far gone?

Swanberg, one of the originators of the mumblecore movement, has retained some of the elements of those films here, although I would hesitate to classify it as true mumblecore. Swanberg tends to allow his actors to improvise their dialogue so the conversations sound real. He also has a tendency to examine relationships from a distance, a means I think of giving the audience some perspective which takes a little bit more work than making them feel invested or part of the relationship onscreen. Rather than rooting for Lee and Tim, we’re more observers of Lee and Tim. We’re not invested as to whether they stay together or not and so regardless of which way it goes, we don’t feel like it’s a monumental situation. As in life, there are reasons for them to stay together and reasons for them to drift apart and there really is no way to know which one would be best for them and just like in life, the decision has resonance in both directions.

The cast is extraordinary for a Swanberg film, and there really isn’t a false note in any of the performances. The humor here is bone dry (no pun intended) which is typical for Swanberg and it shows up in unexpected but appropriate places. Swanberg has a deft touch as a director and it really shows here to nice effect.

Some of the movie is a bit disjointed and some of the scenes feel like they were either added on as an afterthought, or were stranded when other scenes were left on the cutting room floor. I would have liked a little bit more flow. The movie’s denouement is on the quiet side and some may find that the payoff isn’t what they wanted.

I must say that I’ve been liking Swanberg’s work more and more with each passing film. He is certainly a rising talent with a lengthy filmography already to his credit (Swanberg regularly churns out two to four movies a year). While it isn’t out of the realm of possibility that he might be behind the camera for a big budget franchise movie someday, I kind of hope he doesn’t. He seems to excel at movies that take a moment in time or a slice of life and let us examine it thoroughly. Through that lens, we end up examining our own lives, particularly who we are, where we are, what we want to be and what we want out of life and love. Heady questions to be sure.

To answer the question, there is no secret to making a relationship work. It takes dedication, focus, hard work and willpower. In other words, it takes the same things to make any sort of worthwhile pursuit work. Which makes sense, when you think about it.

REASONS TO GO: Nifty cast. Dry sense of humor. Nicely captures inner workings of couples.
REASONS TO STAY: A little disjointed in places. Payoff might not be enough for some.
FAMILY VALUES: There are plenty of sexual references, some foul language and brief graphic nudity.
TRIVIAL PURSUIT: Rockwell, Adams and DeWitt all co-starred in this summer’s remake of Poltergeist while Larson and Birbiglia also starred in Amy Schumer’s hit comedy Trainwreck this summer.
CRITICAL MASS: As of 9/1/15: Rotten Tomatoes 65% positive reviews. Metacritic: 69/100.
COMPARISON SHOPPING: :The Big Chill
FINAL RATING: 7/10
NEXT: Air

Poltergeist (2015)


A show of hands.

A show of hands.

(2015) Supernatural Horror (20th Century Fox/MGM) Sam Rockwell, Rosemarie DeWitt, Kennedi Clements, Kyle Catlett, Saxon Sharbino, Jared Harris, Jane Adams, Susan Heyward, Nicholas Braun, Karen Ivany, Patrick Garrow, Doug MacLeod, Eve Crawford, L.A. Lopes, Soma Bhatia, John Stoneham Jr., Kathryn Greenwood, Molly Kidder. Directed by Gil Kenan

Remaking a movie is a tricky thing, especially when it comes to horror movies. The trick is to stay true to the original material while making it fresh and original enough that fans of the original feel like they’re seeing something new as opposed to a shot-by-shot rip-off. Add to the mix that it is an iconic film like the 1982 haunted house classic Poltergeist, which was originally directed by Tobe (Texas Chainsaw Massacre) Hooper and produced and co-written by Steven Spielberg and you’ve got yourself a tall order.

Taller still because most of your target audience will have seen the original except for maybe a few disdainful Millennials who don’t watch “old” movies, and yet it is that crowd who may enjoy this movie the most as they will see it without the baggage that the rest of us take into the multiplex with us. It is hard not to compare the movie to its source material, and yet it is at the same time somewhat unfair until you remember that the filmmakers knew what they were getting themselves into.

Many of the original elements remain; a modern family in a modern suburban home (in this case, in Illinois) that has a bit of a history, beset by paranormal activity of increasing malevolence. A little girl disappears and can be heard from the television set. Paranormal researchers who are blown away by the level of phenomena they witness. A psychic who may well be the only hope to get the little girl back.

Gil Kenan was a pretty odd choice to direct this; he has mostly directed family-oriented fare like the Oscar-nominated Monster House and the kid-centric fantasy City of Ember. The original Poltergeist had kids in it of course, but the focus was on the parents, Craig T. Nelson and JoBeth Williams. Kenan chooses to make the middle child, Griffin (Catlett) the focus and to enhance his character with all sorts of neuroses and anxieties. The kid needs some Valium, or at least some therapy which his mother actually vocalizes at one point. Having a kid who jumps at every bump in the night in a house that is haunted by angry spirits seems a little cruel.

Rockwell and DeWitt, who play the parents, are underwritten compared to their two youngest, Catlett and Clements (the Heather O’Rourke of this movie). There are tantalizing bits of business; DeWitt’s character is a writer working on a book, but we never see her even attempting to write. Rockwell’s character has been laid off from John Deere and at one point there’s an indication that he has a drinking problem, but that’s never explored. They seem to be good parents and decent people but we don’t really get to know them very much.

Rockwell in many ways carries the movie; he’s a rock-solid actor who can be as likable as anyone in Hollywood, although he tends to portray characters with a collection of tics and quirks that are largely absent here. In the one scene that he and DeWitt get to show some intimacy (before kiddus interruptus, something every parent is familiar with) they display genuine chemistry together but for the most part they are reduced to reacting to one scare or another. DeWitt is likewise a terrific actress who is in my opinion somewhat underrated. Once again, she doesn’t really get to show what she can do in a role that is more cliche than character.

Harris and Adams play the psychic and the paranormal researcher respectively and unlike the original they have a past. Harris in particularly with his Irish accent is entertaining, which considering he has to fill the late Zelda Rubenstein’s shoes is a considerable achievement. Mostly, though, they – like the parents – are second bananas to the kids and the CGI.

There are some decent enough scares here, a few of them telegraphed by the trailer but they don’t come close to living up to the original. See, I’m doing it too – and everyone involved had to know that there was no way in figurative and literal Hell that this was going to live up to the original, right? Which begs the question; why remake this at all?

I’m not saying that there isn’t a way that a remake of Poltergeist couldn’t be a terrific film on its own merits or even live up to the original, but this one flatly doesn’t. The pacing is weak, the scares aren’t as scary and it simply isn’t a thrill ride like the first one was. There are certainly some things that are worthwhile about the film; they modernize it nicely although I suspect that will date the movie somewhat in years to come. Some of the CGI effects are nifty. The adult cast is solid; I sympathize with Rockwell, Harris, Adams and DeWitt who give it a good college try, but making a family friendly film out of a horror classic which seems to be what the studio and the filmmakers were shooting for is a half-baked idea at best. This is one movie that should have been one of those Cedar Point roller coasters that turn you upside down and backwards and dropped us down insane hills and into dark tunnels; instead, we got a kiddie coaster.

REASONS TO GO: Sam Rockwell is solid. Some good scares.
REASONS TO STAY: Haunted by the original. Relies too much on Clements and Catlett.
FAMILY VALUES: A bunch of frightening images and scary moments, some foul language and a sexually suggestive scene.
TRIVIAL PURSUIT: Harris and Adams previously starred together in the 1998 indie film Happiness.
CRITICAL MASS: As of 6/6/15: Rotten Tomatoes: 32% positive reviews. Metacritic: 47/100.
COMPARISON SHOPPING: Insidious
FINAL RATING; 6/10
NEXT: Lawless

New Releases for the Week of May 22, 2015


TomorrowlandTOMORROWLAND

(Disney) George Clooney, Hugh Laurie, Britt Robertson, Raffey Cassidy, Tim McGraw, Keegan-Michael Key, Pierre Gagnon, Judy Greer, Michael Giacchino. Directed by Brad Bird

There is a place where the future is being created. It’s a special place that is shaping how we will live years from now. Amazing technology is being developed. However, there are some who want those incredible discoveries for themselves and will stop at nothing to get them. Caught in the middle is a disillusioned former boy genius and a bright-eyed, optimistic teen with a passion for science who form a reluctant partnership to try and save a bright tomorrow from becoming something terrible.

See the trailer, clips, interviews, featurettes and B-roll video here.
For more on the movie this is the website .
Release Formats: Standard (opens Thursday)
Genre: Science Fiction
Now Playing: Wide Release
Rating: PG (for sequences of sci-fi action violence and peril, thematic elements and language)

Iris

(Magnolia) Iris Apfel, Carl Apfel. A beloved figure on the New York fashion scene is Iris Apfel. With her oversize glasses, her white hair and her impeccable fashion sense, she is a fixture at gallery openings, society parties and in the New York Times style section, she is known for her jewelry and accessories collection which is vast. Legendary documentary Albert Maysles profiles the New York icon in what would be his last film (he passed away this March).

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Documentary
Now Playing: Regal Winter Park Village
Rating: PG-13 (for some strong language)

Poltergeist

(MGM/20th Century Fox) Sam Rockwell, Jared Harris, Rosemarie DeWitt, Jane Adams. Maybe the ultimate haunted house movie of all time is Tobe Hooper and Steven Spielberg’s Poltergeist from back in 1982. Now 33 years later it is being turned into a modern CGI-filled roller coaster ride. The basic story is that a family has moved into a home where strange phenomena are occurring. After their daughter disappears, they discover that their home was built on a graveyard whose residents are none too happy at the incursion.

See the trailer, clips, interviews and a featurette here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Horror
Now Playing: Wide Release
Rating: PG-13 (for intense frightening sequences, brief suggestive material and some language)