Author: Jason Zingale (Page 51 of 112)

Blu Tuesday: The Equalizer and The Good Lie

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.

“The Equalizer”

WHAT: When former CIA agent Robert McCall (Denzel Washington) saves a young prostitute (Chloe Grace Moretz) from her abusive, mob-connected pimp, the Russian mafia sends in a specialist (Marton Csokas) to track down the men responsible. But after it’s revealed that the seemingly ordinary McCall acted alone, the Russians plan to make an example out of him, unaware of who they’re dealing with.

WHY: Very loosely based on the 1980s TV series of the same name, “The Equalizer” is probably the closest that Denzel Washington will ever get to playing a superhero – a one-man army who takes down his opponents with such Bourne-like precision that he knows exactly how long it will take before he even throws the first punch. While director Antoine Fuqua obsesses a little too much over McCall’s methodical habits, when he just lets Denzel be Denzel, kicking ass and taking names with the poise and gravitas that he brings to each role, the film is all the better for it. Washington could read the dictionary and it would probably be riveting, so it goes without saying that he elevates the material here as well, even if he doesn’t get much help from the supporting cast. With that said, you don’t go to a movie like “The Equalizer” for the story or the acting, and Fuqua is well aware of this, populating the film with some excellent action sequences and unexpected moments of brutal violence on both sides. It’s hardly groundbreaking stuff compared to Fuqua and Washington’s last collaboration (“Training Day”), but it’s a slick crowd-pleaser that provides the escapist entertainment of any good action flick.

EXTRAS: The Blu-ray release includes an audio commentary/behind-the-scenes featurette with director Antoine Fuqua and star Denzel Washington, as well as additional featurettes on bringing the TV series to the big screen, the fight choreography and stunts, and profiles on Fuqua, Washington and Chloe Grace Moretz.

FINAL VERDICT: RENT

“The Good Lie”

WHAT: A group of Sudanese refugees – orphans of the civil war that ravaged their country in the 1980s – are given the chance at a better life when they’re relocated to the United States, aided by an employment counselor (Reese Witherspoon) that takes a personal interest in them.

WHY: “The Good Lie” isn’t the first movie to be made about African immigrants escaping the horrors of their homeland, and it won’t be the last, which is exactly why you shouldn’t waste your time on such a mediocre film when there are much better options available. Though it boasts an A-list actress in Reese Witherspoon, she’s far from the headlining star that Warner Bros. would lead you to believe, instead focusing on the Sudanese refugees (specifically Arnold Oceng’s Mamere) as they struggle to adapt to life in Missouri. It’s a refreshing departure from the typical “white savior” movie, but that doesn’t prevent it from devolving into a generic fish-out-of-water story that appears to have been made using the Disney Guide to Inspirational Family Dramas. “The Good Lie” isn’t a bad film, but it’s not a particularly memorable one either, so safe and vanilla with its dramatization of real-life events that it lacks any genuine surprise. And in the end, the movie gets so caught up trying to hit all the usual beats of a feel-good drama that it forgets to give you anything to actually feel good about.

EXTRAS: There’s a making-of featurette and some deleted scenes.

FINAL VERDICT: SKIP

Movie Review: “The Gambler”

Starring
Mark Wahlberg, Brie Larson, Michael K. Williams, John Goodman, Jessica Lange
Director
Rupert Wyatt

Rupert Wyatt’s “The Gambler” is a curious beast. It’s based on a film that’s just obscure enough that a remake wouldn’t ruffle too many feathers, yet is well-regarded by those who have seen it. In other words, the 1974 original starring James Caan isn’t exactly holy ground, but there’s not much to improve on either, which makes this Mark Wahlberg vanity project feel every bit as irrelevant as the story it’s trying to tell. There’s nothing wrong with flawed characters – in fact, that’s what makes some of the best movies – but when they’re as irredeemable as the one that Wahlberg plays in “The Gambler,” it makes it very difficult to give a damn what happens to him.

Wahlberg stars as Jim Bennett, a college English professor who gave up on his literary dream after his first novel was met with little fanfare. The grandson of a banking magnate, Jim partly attributes his privileged upbringing to becoming the degenerate, high-stakes gambler that’s led him to his current predicament. After falling into debt with a Korean mobster (Alvin Lee), and then borrowing money from nefarious loan shark Neville Baraka (Michael K. Williams) that he promptly loses on the blackjack table while trying to win back what he owes, Jim is given seven days to pay or else. When his mother (Jessica Lange) eventually caves in and gives him the $260,000 to clear his debt, vowing that it’ll be the last time she bails him out, Jim blows it at the casino instead, putting him in a precarious position when Neville threatens the lives of his two students.

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Movie Review: “Selma”

Starring
David Oyelowo, Tom Wilkinson, Carmen Ejogo, Stephan James, Tim Roth, Giovanni Ribisi, Wendell Pierce
Director
Ava DuVernay

Though it coincides nicely with the upcoming 50th anniversary of the events depicted in the film, Ava DuVernay’s “Selma” has the unenviable distinction of being one of the timeliest dramas of 2014. But while there’s no denying that its message resonates even more in light of the recent events in Ferguson, Missouri and Staten Island, hopefully those parallels won’t end up overshadowing the movie itself, because although it’s not quite as sobering as last year’s Oscar-winning “12 Years a Slave,” “Selma” is a deftly made drama about an important piece of American history that’s guaranteed to be a major awards contender, largely due to the outstanding lead performance from David Oyelowo.

The film opens with Martin Luther King, Jr. (Oyelowo) – having already delivered his iconic “I Have a Dream” speech the year prior – receiving the 1964 Nobel Peace Prize for his part in helping to abolish segregation. But King knows that his work is far from done, and he turns his attention to voting rights in the South, where, although it’s technically legal for black citizens to vote, they’re made to jump through ridiculous hoops (like naming all 67 Alabama County judges) in order to register. When King and his group, the Southern Christian Leadership Council, are invited to Selma, Alabama to stage their latest fight, they organize a series of non-violent protests in the hopes that it will force President Johnson (Tom Wilkinson) to pass legislation that specifically prohibits the discrimination of black voter registration. Though Johnson refuses to budge on the subject, instead intent on pursuing his War on Poverty, King continues to test his resolve with a planned 50-mile march from Selma to Montgomery, fully aware that the racist state troopers and local cops will respond violently, thus generating the news coverage necessary to pressure Johnson to stop dragging his feet on the issue.

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Movie Review: “Big Eyes”

Starring
Amy Adams, Christoph Waltz, Danny Huston, Krysten Ritter, Delaney Raye
Director
Tim Burton

If you were to show somebody a painting of a Campbell’s soup can, chances are that they could identify it as the work of Andy Warhol. But show them a piece from Margaret Keane’s equally popular Big Eyes series, however, and although they’d admit their familiarity with the kitschy paintings, they’d be less likely to name the artist, let alone know the strange-but-true story behind them. That’s the subject of Tim Burton’s latest movie, his first live-action feature to not star Johnny Depp in over a decade. But while it’s a bit of a departure for the oddball director, “Big Eyes” is his best film in years, even if that comes off like a backhanded compliment considering some of the garbage (“Alice in Wonderland,” “Dark Shadows”) he’s released.

The year is 1958, a time when it was still fairly unheard of for a woman to leave her husband, but Margaret Ulbrich (Amy Adams) has done just that, escaping the boredom of suburbia with her daughter Jane (Delaney Raye) for a fresh start in San Francisco. It’s there that she meets smooth-talking artist Walter Keane (Christoph Waltz) at a local art fair, and after hitting it off, the two don’t waste any time getting married. Though Walter hasn’t found much success with his uninspired paintings of Parisian street scenes, he notices something special in Margaret’s wide-eyed waifs and rents some space in a nightclub to show off their artwork. When a couple patrons mistakenly credit Walter with painting one of Margaret’s Big Eyes (after all, they both sign their art “Keane”), he doesn’t bother to correct them in order to close the sale. Margaret gets furious when she finds out that Walter has been passing off her work as his own, but he insists that they’re a team, and before she knows it, the lie has grown so big that she’s unable to stop it in fear that the whole Keane empire, and her life’s work, will be tarnished in the process.

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Movie Review: “Inherent Vice”

Starring
Joaquin Phoenix, Josh Brolin, Katherine Waterson, Owen Wilson, Eric Roberts, Reese Witherspoon, Benicio Del Toro
Director
Paul Thomas Anderson

After years of toying with my patience (first with “There Will Be Blood,” and more recently with “The Master,” both of which feature such great acting that it papered over their respective cracks), Paul Thomas Anderson has finally made a movie that’s almost impossible to defend. Fans of the director will make excuses for the film’s myriad problems anyway, but the fact that they find it necessary at all only confirms what a giant mess “Inherent Vice” really is. Based on the 2009 novel by Thomas Pynchon, the so-called inherent vice (or hidden defect) of Anderson’s slacker noir is the narrative itself. It’s as if the film, like many of its characters, is in a constant state of a drug-addled high, unable to remain focused or make sense of anything that’s going on. And while that may be the big joke of “Inherent Vice,” it’s not a very funny one.

Set in the seedy underworld of 1970s Los Angeles, Joaquin Phoenix stars as Larry “Doc” Sportello, a pothead private investigator who receives a visit one night from his free-spirited ex-girlfriend, Shasta Fay Hepworth (Katherine Waterson), requesting help with a personal matter. She needs Doc to track down her new boyfriend, hotshot real estate mogul Mickey Wolfmann (Eric Roberts), after learning that his duplicitous wife plans to have him committed and steal his fortune, only for Shasta to go missing herself. While investigating the pair’s disappearance, Doc takes on some additional cases – including a presumed-dead musician (Owen Wilson), the murder of one of Mickey’s bodyguards, and a mysterious Indo-Chinese drug syndicate called the Golden Fang – that are curiously all connected in some way. Doc doesn’t exactly know why or how, but one thing seems certain: he’s not going to get any assistance from hippie-hating LAPD detective Christian “Bigfoot” Bjornsen (Josh Brolin), with whom he has a strange love-hate relationship.

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