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Month: March 2014 (Page 7 of 10)
Jason Bateman, Rohan Chand, Kathryn Hahn, Allison Janney, Philip Baker Hall
Jason Bateman
If the trailer for “Bad Words” reminds you a lot of the 2003 comedy “Bad Santa,” only set in the world of spelling bees instead of shopping mall Santa Clauses, you’re not alone. But while the comparisons are inevitable – and to a certain extent, completely warranted – “Bad Words” isn’t nearly as crude or edgy as the holiday cult classic. That’s not to say that Jason Bateman’s directorial debut doesn’t have a mean streak, because it relishes every opportunity it gets to be naughty, but the film also feels like it’s playing it safe at times so as to not completely alienate its protagonist. That results in a much less memorable movie, although one that’s still fairly entertaining thanks to Bateman’s involvement on both sides of the camera.
The actor stars as Guy Trilby, a middle-aged loser who discovers a loophole in the spelling bee bylaws permitting anyone who hasn’t graduated past the eighth grade to participate. After winning his regional tournament, Guy is begrudgingly invited to the prestigious Golden Quill national spelling bee, much to the dismay of its buttoned-up administrators (Allison Janney and Philip Baker Hall), who feel that their sacred competition has been tainted. Sponsored by an ambitious journalist (Kathryn Hahn) who’s been promised the exclusive rights to tell his story and the reason why he’s risking infamy to win, Guy refuses to be bullied into quitting or distracted in any way. So when precocious 10-year-old contestant Chaitanya Chopra (Rohan Chand) tries to befriend him, Guy swats him away like an annoying gnat, eventually giving in to the incredibly persistent loner when he learns that his father has left him (and his hotel minibar) alone for the weekend.
There are certain vehicles that you know are special from the first time you see it, and that’s exactly how we felt regarding the 2014 Lexus RX 350. There’s no question that Lexus created the blueprint for the luxury crossover utility vehicle 15 years ago with the original RX models. The 2014 RX 350 maintains its segment leadership by evolving that original and admired formula.
EXTERIOR
From the bold, brand-signature spindle grille, to the classy 19-inch alloy wheel with all-season tires, the 2014 Lexus RX 350 arrives in style. The distinctive skin of this SUV makes an impression with sharp LED daytime running lamps, Xenon HID headlamps, rain sensing wipers, power folding electrochromic heated outside mirrors with blind spot monitor and roof rails. The silky smooth skin is highlighted with a rear taillights and hatch that blend in so discreet that they look like one piece of sheet metal. The styling has evolved from the early days of the RX 350, but the overall shape hasn’t drifted too far from the original, and that’s what you call staying power in the marketplace!
INTERIOR
The upscale ambience in the Lexus RX 350 cabin is just the beginning of a customized experience every time you set foot in the fabulous interior. Lexus interiors have set new standards in design, materials, standard features and details, and the RX 350 shows why. The 10-way power front seats, ebony or espresso bird’s eye maple and dual-zone automatic climate control system set the tone for the luxury found throughout the cabin. The RX 350 upholds another Lexus tradition: the inclusion of true premium audio as standard equipment. The nine-speaker Lexus Premium Audio System offers a multitude of music source choices, including a CD player, SiriusXM Satellite Radio capability with a 90-day trial subscription included, Bluetooth audio streaming and USB/iPod control. The seats are truly made for each individual driver and passenger, enhancing the driving experience for all.
The Display Audio/Rear Backup Camera Package upgrades the audio system to 12 speakers. For the ultimate in mobile sound, Lexus exclusively offers Mark Levinson audio systems, a brand revered by audiophiles. The RX 350’s as-tested 15-speaker Mark Levinson Surround Sound system will delight discerning ears, no matter the music choice. The system delivers 330 total watts of power through a 15-speaker array with an incredibly low 0.1 percent total harmonic distortion (THD). Clearly one of the finest audio systems we experienced in a review vehicle.
Ralph Fiennes, Tony Revolori, Adrien Brody, Willem Dafoe, Saoirse Ronan, Edward Norton, Jeff Goldblum
Wes Anderson
At this point in Wes Anderson’s career, you either like his movies or you don’t, which is good news for fans of the eccentric director, because “The Grand Budapest Hotel” is very much a case of more of the same. You know what to expect when watching one of Anderson’s films, and his latest doesn’t disappoint, overflowing with colorful characters, zany plot twists and sublime production design. It’s also considerably darker than some of his past work, though Anderson’s trademark whimsy still bleeds through, resulting in a movie that, while hardly among his greatest achievements, proves yet again why he’s one of the best and most original directors around.
The movie is a bit like a Russian nesting doll in that it’s designed as a story within a story within a story, opening on a young girl reading a book about the titular hotel that was written by an unnamed author, portrayed at various ages by Tom Wilkinson in a brief 1985 flashback and Jude Law in 1968. It’s during the latter period that the author resided at the once-majestic Grand Budapest Hotel and learned of how its enigmatic owner, Zero Moustafa (F. Murray Abraham), came into its possession. And this is where the story truly begins, as Moustafa then recounts his early days working as a lobby boy (played by Tony Revolori) at the hotel under the guidance of charismatic concierge Gustave H. (Ralph Fiennes), a man whose expert hospitality extends to sexual favors for the old and wealthy female clientele. When one such guest (an aged-up Tilda Swinton) dies and leaves Gustave a priceless painting in exchange for years of companionship, the woman’s eldest son (Adrien Brody) frames him for her murder, forcing Gustave and Zero to go on the run until they can prove his innocence.
Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.
“Inside Llewyn Davis”
WHAT: A week in the life of struggling folk musician Llewyn Davis (Oscar Isaac), who’s trying to make it as a solo artist after his former partner commits suicide. With no steady income or plans for the future, Llewyn spends his days wandering the city in search of his next gig and his nights crashing on friends’ couches.
WHY: There aren’t many directors that can boast a track record as impressive as the one that Joel and Ethan Coen have enjoyed throughout their 30-year careers, and “Inside Llewyn Davis” is just another notch on that cinematic belt. Markedly different from a lot of their films in that it’s a much more intimate, character-driven piece, “Inside Llewyn Davis” most closely resembles “A Serious Man” in both tone and execution. Structured more like a loose series of vignettes than anything resembling a plot, much of the movie rests on Oscar Isaac’s shoulders, with the actor delivering a superb performance that manages to make the titular freeloader somewhat likeable. For as good as Isaac is in the role, however, it wouldn’t be nearly as effective without T-Bone Burnett’s excellent soundtrack, especially when such a large chunk of the film is dedicated to the musical performances. It’s not often that a soundtrack plays such a pivotal role in my enjoyment of a movie, but it’s certainly fitting considering just how much the Coens rely on music to provide the backdrop of this bittersweet portrait of personal failure.
EXTRAS: The Blu-ray release includes a 40-minute making-of featurette that focuses primarily on the planning, rehearsing and recording of the soundtrack.
FINAL VERDICT: RENT
“Homefront”
WHAT: Eager to provide his 10-year-old daughter (Izabela Vidovic) with a normal life, ex-DEA agent Phil Broker retires to a small, idyllic town in Louisiana. But when local drug lord Gator Bodine (James Franco) uncovers Broker’s past as a law enforcement officer, he teams up with a vengeful biker gang to take him down.
WHY: After working together on the “Expendables” films, it’s only natural that Jason Statham and Sylvester Stallone would team up again. But what makes their latest collaboration so unique is that Stallone’s involvement is a strictly behind-the-scenes affair, serving as both screenwriter and producer. Though this neo-Western may sound like every other Statham vehicle on the surface, “Homefront” plays more like a gritty thriller than one of the actor’s typical action movies. That’s not to say that there still isn’t a fair share of action, because it’s one of the film’s highlights, but director Gary Fleder seems more interested in exploring the relationships between his characters than the fight scenes that bridge those moments. The story itself isn’t much better than your average ‘90s action movie, but the cast (which includes Winona Ryder as Gator’s biker-chick girlfriend and Kate Bosworth as his meth-head sister) elevates the material, especially James Franco playing the de facto leader of the criminal swamp gang. This isn’t the first time that the actor has gone against the grain in recent years, but it’s refreshing to see someone of his quality take on a role that’s seemingly beneath him, because it’s the difference between an enjoyable film and another direct-to-video dud.
EXTRAS: There’s a small collection of deleted scenes and an EPK-styled fluff piece with interviews from the cast and crew.
FINAL VERDICT: RENT
“George Washington”
WHAT: Over the course of one hot summer, a group of children from a decaying, rural Southern town are forced to make some difficult choices in order to cover up a tragic accident.
WHY: It’s amazing that the same man behind such stoner comedies as “Pineapple Express” and “Your Highness” was responsible for a movie like “George Washington,” because they couldn’t be any more different. David Gordon Green’s directorial debut falls more along the lines of a Terrence Malick film in both style and execution – an irritatingly slow and pretentious cinematic poem that desperately tries to find a deeper meaning in its lyrical imagery. But while the movie’s gorgeous visuals do a great job of portraying the distressed state of the town and its characters, Green fails to deliver a compelling story, instead opting for a non-linear narrative that lacks focus or coherency. The whole thing is terribly dull, and it doesn’t help that the acting (with the exception of Paul Schneider) is every bit as amateur as its cast. “George Washington” is the kind of movie where a bunch of kids (and seemingly uneducated ones at that) wax poetic about philosophy and life like they’re graduate students, and it’s in this attempt to project a false maturity onto his characters where Green fails the hardest.
EXTRAS: There’s a veritable treasure trove of material here, highlighted by an audio commentary with director David Gordon Green, cinematographer Tim Orr and actor Paul Schneider. The Blu-ray also includes two student shorts by Green (“Pleasant Grove” and “Physical Pinball”), a 2001 Charlie Rose interview, Clu Gluager’s 1969 short film “A Day with the Boys” and more.
FINAL VERDICT: SKIP
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