Category: Todd’s Movie Reviews

Annabelle Movie Review

Annabelle was rushed into production after summer 2013’s The Conjuring turned out to be a huge hit and one of the better genre flicks in recent memory. The title character is a wide-eyed, creepy doll who turned up memorably in a supporting role in the aforementioned production. Here she gets her own feature and it feels exactly like a rushed project meant to tide fans over until the legitimate Conjuring sequel. Annabelle was shot on a smaller budget and looks cheaper.

The picture deems it necessary to open with a title card explaining the history of dolls and then footage of The Conjuring to remind us why we just spent our dough. We flash back to 1969 (one year prior to Conjuring’s haunted happenings) where dull Dr. John (Ward Horton) and pregnant wifey Mia (Annabelle – woah – Wallis) gain the attention of our demonic doll after some cult figures (think Manson) invade their home. Moving doesn’t help. Annabelle has no issues making the journey to Pasadena with our non-descript couple. Alfre Woodard turns up as a bookstore owner who helps Mia understand what’s happening with Tony Amendola in the well worn role as a priest trying to assist.

Annabelle tries to generate its scares though sound effects and lingering shots of our doll staring. We keep waiting for those huge eyes to move. It all worked much better in The Conjuring and especially in Rosemary’s Baby, which director John Leonetti pays occasional tribute to. Most distressingly, the tone is far too somber. It’s about a crazy and vengeful kids doll after all. Chucky might’ve helped. There are a couple of mildly hair rising moments, but not near enough. This was designed to provide leftovers to hungry Conjuring fans but it’s unlikely to satisfy.

** (out of four)

John Wick Movie Review

The title character of John Wick (Keanu Reeves) strikes petrification in the minds of those who hear his name. He’s like Keyser Soze, but everyone knows he’s real. And he’s really pissed off in a picture that comes by way of stunt coordinators David Leitch and Chad Stahelski, making their directorial debuts after working with Neo himself during the Matrix trilogy.

Wick is a former hitman whose achieved legendary status. In our opening, he’s gone straight with a lovely spouse (Bridget Moynahan) who dies within the first couple of minutes. She, unlike every other character here and there’s many, does not die violently. And it is not the circumstances of her passing that zap Wick back into killing mode. Rather it’s the slaying of his late wife’s final gift to him: an adorable dog. This is our first signal that this film is not going to follow all the typical cliches of most revenge fantasies.

The pooch tragedy occurs at the hands of the spoiled son (Alfie Allen) of a Russian gang lord (an effective Michael Nyqvist) who’s worked with Wick in his glory days. The clueless son is just trying to steal Wick’s sweet ride and has no other idea who he’s up against. He shall soon discover.

What follows is a visually impactful symphony of bloody action set pieces that gives Reeves his first quality B movie material in some time. John Wick is a mix of martial arts, anime, and plain old ultra violence that is a loopy treat for most of its length.

The most memorable sequences occur at The Continental, a seriously cool underground hotel that serves as a hangout for criminals where anything goes. This picture has no more interest in realism than The Matrix and the scenes in this hotel allow the directors and screenwriter Derek Kolstad their best opportunities to let their creative juices fly. At this point in the proceedings, the atmosphere and creativity in the blood soaked battles feels fresh and alive.

By the third act, John Wick gets a bit more routine with its violent moments. Yet there’s enough here for genre fans to soak in. We have a comeback role of sorts here for Reeves. No longer looking younger than he is, he brings a rugged and menacing persona as Wick that we haven’t witnessed from him before. It suits him well. Other familiar faces popping up include Willem Dafoe as a fellow hitman and Ian McShane as The Continental’s owner.

There is one animal harmed in John Wick and a whole bunch of humans end up paying for it. The fact that it’s a really cute puppy makes it a tad more understandable. It’s mostly worth it because this film announces two new directors that hold promise. One wonders what they’re capable of when given the chance to really let their imaginations run wild.

*** (out of four)

 

 

Whiplash Movie Review

The road to greatness for Andrew (Miles Teller) is filled with unexpected turns, bloody hands, and plenty of insults in Damien Chazelle’s Whiplash. And I do mean lots and lots of insults. Creative, brutal and often hilarious insults that would make R. Lee Ermey’s Full Metal Jacket drill sergeant very proud.

Andrew is a freshman at New York’s storied Shaffer Conservatory music school where he’s following his dream of being a drummer. He aspires to be Buddy Rich and his raw talent is undeniable. Another legendary musical icon mentioned often is Charlie Parker and the alleged tale of him achieving greatness when Jo Jones hurled a cymbal at his head to make him try harder. Andrew’s Jo Jones is Fletcher (J.K. Simmons), his teacher and conductor who consistently berates his pupils in the aforementioned imaginative ways. He’s not adverse to throwing whatever is lying around either. Fletcher uses any information at his disposal to hurl his verbal abuse, including the fact that Andrew’s mother abandoned him as a child. There are no off limits for Fletcher, yet he believes his actions are warranted for his kids to reach their full potential.

Perhaps they are. Whiplash does a remarkable job at not making its two main characters anything resembling caricatures. Just when we want to despise everything about Fletcher, he does something to give you pause. Andrew is far from perfect as well and we see that in his half hearted efforts at a relationship with a young Fordham student (Melissa Benoist). He is on a self appointed track to become the next Buddy Rich and any extracurricular activity is not needed in his mind.

Whiplash has gained most of its publicity from the work of J.K. Simmons and there’s reason for it. His performance will stay with you. It’s a triumph of acting that will and should earn this fine character actor a gold statue. That said, the performance of Teller is key and as he’s already proven in The Spectacular Now – his young John Cusack quality fits in well here. Paul Reiser has some good moments as Andrew’s supportive father.

Chazelle’s effort is a master class in editing and sound work. The musical performances (the pic gets its title from one of their pieces) are something to behold. Whiplash follows the storyline of many teacher/pupil relationship movies, but adds a whole lot of original spin. You’ll leave with the music in your head and most of all – Fletcher’s quick tongue. The screenplay is smart enough to leave it to us to decide whether Andrew’s journey to perceived perfection is worth it. For us it’s definitely a journey worth taking.

***1/2 (out of four)

Nightcrawler Movie Review

“What if my problem wasn’t that I don’t understand people, but that I don’t like them?”

So says Lou Bloom (Jake Gyllenhaal), our central character in Dan Gilroy’s Nightcrawler who barely leaves the screen during the film’s running time and probably won’t escape your mind for some time either. When we first meet Lou, he’s a common thief stealing scrap metal who makes what he believes are captivating attempts at obtaining employment. We immediately notice that Lou has no social skills whatsoever. He doesn’t know how to relate to people. All he knows is how to negotiate but he hasn’t found a field in which his negotiations bear fruit.

This changes when Lou happens upon a crime scene and figures out that Los Angeles TV news stations will pay handsomely for gruesome footage. “If it bleeds, it leads” he’s told by another “nightcrawler” played by Bill Paxton . Lou believes he’s found his calling and soon his explicit videos of horrific offenses are airing at 6AM and 11PM by the lowest rated Southern California affiliate. Their news director Nina (Rene Russo) recognizes Lou’s value in increasing ratings. And Lou knows his worth and uses his leverage to bargain with her – not just for gainful employment but for everything he wants from her. This is done in a pitch black comedic restaurant “date” with Nina in which he makes his wishes explicitly clear.

Lou also hires assistant Rick (Riz Ahmed) and he suffers the endless banterings of a boss who is forever conducting a verbal performance review of his employee. Their interaction veers between hilarious (in a very dark way) and chilling (in a very real way). Our central character doesn’t like people in a manner that’s somewhat reminiscent of Daniel Plainview in There Will Be Blood. Everything is negotiable to Lou and as amazingly awkward as he is, his objectives are usually met. This extends to his filming work and if the photos of a slain family member aren’t close enough to the bullet holes lodged in the fridge, there’s a way to fix that.

For the better part of this decade, Gyllenhaal has made one solid choice after another from Source Code to End of Watch to Prisoners. This is the pinnacle so far. With director Gilroy’s screenplay giving him a truly unique and endlessly fascinating character to work with, Gyllenhaal nails his quirky and creepy role. Russo gets her juiciest part in years as the producer who will go to the same lengths as Lou to ensure success. Ahmed is the most sympathetic person here (it’s not saying much) and he sees his demented mentor much like the audience does.

Nightcrawler effortlessly manages charcoal colored comedy with a heightened sense of tension. A major accomplishment indeed. The screenplay has plenty to hint at regarding the public’s insatiable need for the most violent news stories while we are eating breakfast or ready to turn in for the night. Lou Bloom realizes it and knows how to profit from it. He figures a way to achieve his sick dreams. Our brilliantly realized title character with a career best performance from Gyllenhaal gets it right with that opening quote. He doesn’t really like people. And while the characters he speaks with in Nightcrawler thinks he doesn’t understand them, maybe he does all too well.

**** (out of four)

Get On Up Movie Review

Get On Up never fully finds a way to break out of the typical biopic conventions that we’ve come to anticipate from the genre. The same holds true for some of the prevalent flaws we find in these types of pictures. The rough edges of the central subject are mostly glossed over. Family dynamics including mother abandonment issues, no matter how true, are too familiar.

What director Tate Taylor has going in his favor are two big things: James Brown is one hell of a subject and Chadwick Boseman was born to play him. Told in a non linear structure, Get On Up explores sixty years of history for the Godfather of Soul, from childhood to the early 90s. We witness his troubled and poor upbringing, his rise to stardom, his business abilities that earned him more money than any other African American musician at the time, and so forth. There’s also his well known history with women that includes domestic violence and infidelity yet that subject is not a primary focus.

Taylor enlists some of his cast from his blockbuster The Help with Viola Davis as his mother who left him and Octavia Spencer as the aunt who raised him. Dan Aykroyd appears as Brown’s longtime business manager. The real Brown, by the way, had a cameo in Aykroyd’s The Blues Brothers in 1980. The second best performance belongs to Nelsan Eddie as best friend and JB hype man Bobby Byrd.

Just as Mr. Brown (his preferred method of what to be called) owned every stage he was on, the man playing him owns this picture and makes it worthwhile. Boseman embodies Brown and is quite remarkable during the musical numbers. Those sequences are the best thing about Get On Up. One of them includes mingling Boseman with the real Brown and it’s thrilling. Let’s face it: by now we have witnessd a lot of biopics that include the Civil Rights movement, the Vietnam War, musicians with inflated egos, addictions, and Mommy and Daddy issues. The music isn’t usually as impossibly funky though with an actor expertly channeling a complicated legend.

*** (out of four)

Last Vegas Movie Review

Redfoo comes away the best in Last Vegas. Who’s Redfoo you ask? He’s one half of the hip hop party group LMFAO and he has a scene as a DJ for a bikini contest in the film. Redfoo will, for the rest of his life, be able to say he shared a scene with Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Kline. That bikini judging sequence is one of many obvious and comedically flat sequences in the picture. Yet for Redfoo, I suppose it’s pretty cool for him. The same cannot be said for the rest of the performers listed.

The film has been referred to as The Hangover for old guys and that’s a fairly accurate description. Douglas is a lifelong single man who finally decides to tie the knot with a woman less than half his age. His friends of 60 years are enlisted for a Vegas bachelor party. They are De Niro, who is a recent widower and whose late wife was involved in a love triangle long ago with Douglas’s character. There’s Freeman, whose family coddles him after he suffered a mild stroke. There’s Kline, whose sole character trait is that his wife gives him a weekend pass to sow his oats.

Once in Sin City, we experience every tired cliche one would expect to find in this type of material. The geezers are given the awesome suite due to Freeman’s gambling abilities. There’s amazement on their part about the price tags of bottle services in the club. Mary Steenburgen becomes the object of Douglas and De Niro’s affection as a lounge singer who they both manage to fall for in about 30 seconds. There isn’t a moment in Last Vegas that feels original or inspired. I didn’t expect this to reach much past the level of tolerable mediocrity, but it doesn’t even reach that unimpressive category.

50 Cent has a cameo as himself. He was supposed to stay in the Big Daddy suite and gets bumped for our grumpy old bachelor party. Even 50 gets the short shrift though as he doesn’t get to share air time with these legendary actors who are seriously slumming it. That honor, once again, belongs to Redfoo. He gets a good story out of Last Vegas’s existence. The audience? Not so much.

*1/2 (out of four)

Lucy Movie Review

Your capacity to enjoy Lucy may deal with your willingness on what to do with your brain capacity while viewing it. It’s a ludicrous concoction of science fiction and action that nonetheless provides yet another showcase for Scarlett Johannson’s talents. And another for Luc Besson, known more lately for his involvement in the Taken franchise than his earlier work. That previous work included 1997’s The Fifth Element which I count among my favorite guilty pleasure flicks of the last two decades. Thankfully Lucy contains a similar spirit. It isn’t every picture that manages to weave familiar shoot em ups with Asian gangsters and a scene with a dinosaur. If that doesn’t sound like your cup of tea, leave this alone. If you appreciated that bizarre giant blue alien creature singing opera mixed with techno in the aforementioned Fifth Element, Lucy has that kinda vibe from time to time.

The title character is played with gusto by Johannson. When we first are introduced to her, she’s a college student in Taiwan who’s tricked into making a drug delivery to a dastardly man known as Mr. Jang (Choi Min-Sik). Turns out it’s not your regular narcotics drop when she’s knocked out and a mysterious substance makes its way into her stomach. The synthetic drug know as CPH4 soon gives her capabilities not thought humanly possible and she begins accessing portions of her brain in a…. shall we say limitless fashion? 10%. 50%. 99%. We know because flash cards show us where we are at in Lucy’s cerebral uptick clock while the bad guys try to chase her down.

Oh… And there’s Morgan Freeman as a professor who kinda knows about this stuff. Clearly he’s cast because what student wouldn’t wanna listen to him drone on about scientific gobbledygook all day? My theory is Lucy could have picked lots of people to partner with, but her extreme intelligence led her to the best voice.

Interestingly, Besson’s take is that the more smart you become – the less empathetic you are. When her brain function is just beginning to increase, she cares enough to make what she believes to be her last call to her parents and provide medical assistance to her unhealthy roommate. Soon though, her actions lead to massive car pileups and rows of innocent dead people that she couldn’t seem to give a flip about. I suppose if it weren’t that way, we wouldn’t get the violent scenes we need every few minutes.

Lucy clips along at a quick runtime of an hour and a half. Nothing about the gunplay (which has an occasional Matrix-y vibe) brings much new to the table. What causes this to be worthwhile in my eyes is the vibrant central performance and Besson’s devil may care, throw in the kitchen sink and dinosaur sighting attitude that I missed. He knows this premise is as silly as The Fifth Element before it. Somehow he’s able to make it fun.

*** (out of four)

Philomena Movie Review

Martin Sixsmith (Steve Coogan) is a former journalist turned British government official who’s recently lost his job in disgrace. His preference would be to concentrate on writing a book about Russian history to fill his time, but a human interest story comes his way. He disdains the idea of that type of journalism but even his cynical nature is trumped by a realization. As human interest stories go, this is a fascinating one. Plus no one seems to be clamoring for his ruminations about Lenin and Brezhnev.

Philomena Lee (Judi Dench) is still haunted by the events surrounding her separation from her son fifty years ago. After becoming pregnant at age 18 and giving birth to Anthony, she is sent to an Irish convent. She is forced to work long hours in the laundromat with access to her offspring for one hour per day. Anthony is soon put up for adoption without Philomena’s consent. On what is Anthony’s 50th birthday, his long lost mother takes further steps to find him by enlisting Martin.

This eventually leads to what becomes a road trip drama with heavy comedic undertones. The mix of slightly snooty Martin with Philomena provides humorous results. She seems often incapable of understanding sarcasm which Martin excels in. They are also polar opposites on the faith scale with the title character having never lost it. The same cannot be said for her traveling companion.

Washington D.C. becomes their landing spot where surprising revelations (surprising to some) about Anthony come out. The lighthearted nature of the proceedings continue with heavy drama interrupting it. Philomena is torn between a visit to the Lincoln Memorial and watching the Martin Lawrence pic Big Momma’s House on the hotel movie service. And there’s amazement on her part about free breakfasts and drinks on airplanes.

While we are dealing with a true story here, writers Coogan and Jeff Pope (adapting Martin’s book) could’ve spent a bit less time exploring Philomena’s personality quirks. It’s good for some laughs, but it’s also highly familiar stuff. What works best is when Philomena, both the character and the film, stay in the dramatic lane. By the time all is revealed about the backstory on why she never could find her son, the pic delivers serious emotional material that is effective. It’s just an uneven process getting there.

Judi Dench and Steve Coogan make a solid team. We’ve come to expect greatness from Dame Judi and she is terrific here. Yet Coogan is impressive as well as he veers away from his usual type of material. They alone are reason enough to recommend Philomena and its manageability to get at our heartstrings after awhile is another.

*** (out of four)

 

American Sniper Movie Review

Silence and noise. Both are used in tremendously effective and emotional ways in Clint Eastwood’s American Sniper. The noise of war which we’ve heard again and again in movies. Yet the silence of it too. The quiet thoughts and solemnity of its central character with his finger on the trigger having to make snap judgments most of us couldn’t fathom. The noise of everyday life and your children playing and wife speaking to you. Yet those noises are silenced by other noises. The sound of war whose echoes never fully leave the mind of Chris Kyle.

American Sniper is the true life tale of the Navy Seal credited with having the most kills in our 21st century Middle East conflict. Bradley Cooper is Chris, who was raised with a sense of duty with an emphasis on protecting others. When the United States comes under attack, Chris’s protective instincts find their calling. He eventually does four tours overseas and becomes a near mythic figure for his abilities behind a rifle.

His incredible talents in his military life trump his capacity to manage a family life. In between tours, he has trouble adjusting to normal life with his wife Taya (Sienna Miller) and his kids. Chris is distant. His mind is with his fellow soldiers. Even after saving so many of them, Chris doesn’t think in those terms. When he’s back in Texas, there is the fact that Chris can’t save them. Going home to him does not hold the same meaning it would to many. Home is on top of a roof in Iraq watching over his men.

The picture has an understated tone that we’ve come to anticipate from director Eastwood. One looking for deep political overtones won’t find them. While we may know Clint’s politics, they’re not on display here. This is a character study and its matter of factness extends to the war scenes. The decisions Chris must face include whether to kill women and children. There are times here when it’s almost too intense to watch, but it’s a necessity to understand Chris’s psyche.

Bradley Cooper is a revelation here. First known as a comedic actor, this and Silver Linings Playbook especially have shown him to be one of the most powerful dramatic actors on screen. His physical transformation and southern accent are remarkable, but it wouldn’t mean much without his emotional wallop of an acting job. There are subtleties in his take on Chris and his responses to those praising his legendary prowess on the battlefield that are moving and sometimes devastating. As is his realization that his time in foreign countries should end.

Military service and dedication to his comrades doesn’t end with active duty for Chris. His final act in this world involves helping another soldier. It ends in a horrifically tragic way. Chris wouldn’t have had it any other way. Helping other soldiers is what he does and is his duty.

**** (out of four)

 

Grudge Match Movie Review

It’s got LL Cool J in a supporting role, so instead of the obvious choice of Grumpy Old Boxers, let’s call Grudge Match “Grandpa Said Knock You Out” shall we? The premise is essentially one big gimmick: take two actors known for classic boxing movies and have them duke it out in a geriatric brawl. That’s about all there is to it, save for a funny post credits sequence that has more biting humor (both literally and figuratively) than anything that transpired in the previous 110 minutes. Said sequence also has nothing to do with the plot before it.

Sylvester Stallone spent a total of 30 years with his Rocky franchise in which the 1976 original won Best Picture. Robert De Niro won a Best Actor statue for his work in Scorsese’s Raging Bull in 1980. Here they are The Kid (De Niro) and Razor (Stallone). They fought two matches years and years ago which resulted in wins for each. The hotly awaited Grudge Match never materialized primarily due to a dispute over a woman (Kim Basinger).

When a promoter played by Kevin Hart begrudgingly enlists the two for a rematch, we got lots of old people jokes. Stallone, in particular, doesn’t even own a TV and WHAT ARE THESE IPADS AND THIS THING CALLED CALL WAITING?!?!?! There’s Alan Arkin as Razor’s trainer basically playing a version of his Oscar winning role in Little Miss Sunshine. Jon Bernthal becomes The Kid’s instructor and he is the son from Basinger that he never meets until present day. Bernthal has a precocious 8 year old son who teaches The Kid to be a grandpa. Also, Bernthal’s character is named B.J. and the writers get some comedic mileage out of it. This is the level of humor we are playing in, folks!

Grudge Match is chock full of cliches and a healthy portion of flat and obvious jokes. The best moments come from the amusing interplay between Hart and Arkin. We’ve already seen Stallone go to this well once before with 2006’s Rocky Balboa. Bringing De Niro along for a mostly stale second installment is about as unnecessary as it sounds.

** (out of four)