Category: Movies (Page 61 of 191)

Blu Tuesday: Southpaw, Pixels and Army of Darkness

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.

“Southpaw”

WHAT: After his wife (Rachel McAdams) is tragically killed and he spirals out of control, undefeated light heavyweight champion Billy “The Great” Hope (Jake Gyllenhaal) lands himself in trouble with the boxing league, losing his house, his possessions, and most importantly, custody of his daughter Leila (Oona Laurence). Desperate to keep her out of the foster care system where he spent his childhood, Billy seeks help from a gruff, veteran trainer (Forest Whitaker) to get back what he lost.

WHY: Throughout the years, boxing movies have been synonymous with tales of redemption, and Antoine Fuqua’s “Southpaw” is no different. But for as clichéd and heavy-handed as the film can be at times, the movie avoids dragging itself too far into melodrama thanks to some excellent performances and a solid screenplay by Kurt Sutter that is as brutal and emotionally charged as you’d expect from the “Sons of Anarchy” creator. Though Sutter originally wrote the lead role for Eminem, Jake Gyllenhaal brings a physicality and intensity to the character that’s beyond the rapper’s abilities. It’s a much more complex role than it appears on the surface, and Gyllenhaal knocks it out of the park. In fact, while “Nightcrawler” features the better performance, “Southpaw” is perhaps his most impressive piece of acting to date, if only because he’s managed to take a fairly standard underdog drama and elevate it on the strength of his shoulders alone. The film isn’t on the same level as the boxing greats, but with Gyllenhaal’s knockout performance front and center, it’s a lot more enjoyable than it probably had any right to be.

EXTRAS: There’s a making-of featurette, a Q&A with the cast, footage of Jake Gyllenhaal’s training regimen for the film and some deleted scenes.

FINAL VERDICT: RENT

“Pixels”

WHAT: In 1982, NASA sent a time capsule into space in the hopes of contacting other life forms, but after an alien race misinterprets the message as a declaration of war, they attack Earth in the form of retro video game characters. When the military proves useless, U.S. President William Cooper (Kevin James) enlists the help of best friend Sam Brenner (Adam Sandler), along with fellow video game prodigies Ludlow Lamonsoff (Josh Gad) and Eddie Plant (Peter Dinklage), to save the planet from certain extinction.

WHY: Though it may seem like critics are being overly hard on “Pixels” simply because Adam Sandler is in the movie, it really is a bad film. The premise itself is cool, and director Chris Columbus taps into some of that potential with fun set pieces that look great and play with the mechanics of classic games like Pac-Man, Centipede and Donkey Kong, but unfortunately, the screenplay is a mess. It’s no better than the typical Sandler comedy (in fact, frequent collaborator Tim Herlihy is one of the co-writers), fueled by lazy and juvenile humor that falls flat more often than not. The casting of Kevin James as the president isn’t just ridiculous, but downright insulting, while the Q*Bert character shows that Hollywood never learned its lesson from Jar-Jar Binks. The rest of the cast doesn’t fare much better – Sandler does his usual man-child shtick and Josh Gad is wasted as his conspiracy theorist friend – but Peter Dinklage’s over-the-top performance as the Billy Mitchell-esque gamer is just silly enough to ensure that “Pixels” isn’t a complete disappointment. Still, an idea this good deserved something better.

EXTRAS: There are four featurettes on filming the movie’s video game-inspired set pieces, a look at Pac-Man creator Toru Iwatani’s cameo and more.

FINAL VERDICT: SKIP

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Movie Review: “Steve Jobs”

Starring
Michael Fassbender, Kate Winslet, Seth Rogen, Jeff Daniels, Katerine Waterston, Michael Stuhlbarg, John Ortiz
Director
Danny Boyle

Most biopics go to great lengths to humanize their subjects, to show that even the great ones are flawed in some way. “Steve Jobs” sets its subject on fire, and then pokes the body with a stick for 122 minutes. They make it clear from word one that Jobs was a sociopath, blinded by ambition and seemingly incapable of empathy or love. He was an insufferable boss and an even worse father, yet the son of a bitch changed the world.

And the thing is, those are all okay elements to include in the film of someone’s life. More often than not, though, those pieces aren’t the whole story. Here, they are, and it’s framed within a narrative that seems designed to make the audience even more uncomfortable. “Steve Jobs” is well written and well-acted, but it is not an easy movie to like, let alone love. It challenges the audience, and that is an admirable thing, as long as they’re willing to suffer the consequence that people may ultimately decide that they don’t like the movie because the supposed protagonist is an unrepentant jerk.

The film covers three product launches, peppered with a few informative, non-linear flashbacks, over the course of 14 years. The first one takes place in 1984, where Jobs is about to launch the Macintosh. Ridley Scott’s “1984” ad during the Super Bowl had everyone talking, and now it is up to Jobs to deliver. The only problem is, the Mac isn’t ready, and yet he still tells the press that he anticipates record-shattering sales. Before he makes his presentation, though, he has to deal with Chrisann Brennan (Katherine Waterston), mother of Jobs’ daughter Lisa, though he refuses to acknowledge Lisa as his daughter. Next up is Steve Wozniak (Seth Rogen), the man with whom he invented the first Apple computer in a garage, and the two are still quibbling over what turned out to be game-changing innovations that Jobs rejected out of hand.

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Blu Tuesday: Jurassic World and More

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.

“Jurassic World”

WHAT: Twenty-two years after the disastrous events of the original Jurassic Park, Isla Nubar is now home to a fully functioning dinosaur theme park called Jurassic World. In an attempt to raise public interest, the park has genetically engineered a brand new dinosaur called Indominus Rex, but when it gets loose and goes on a killing spree, operations manager Claire (Bryce Dallas Howard) enlists the help of raptor wrangler Owen (Chris Pratt) to hunt it down before it wreaks havoc on the park’s attendees.

WHY: Though it doesn’t hold a candle to Steven Spielberg’s 1993 original, “Jurassic World” is the sequel that fans have wanted (and deserved) for decades – a big, summer spectacle that understands the DNA of the franchise and doesn’t take itself too seriously. The first act is admittedly a bit messy as director Colin Trevorrow gets all of his pieces on the board, but the story really picks up once the Indominus Rex breaks free from confinement, turning into a full-fledged adventure film with no shortage of dinosaur-caused destruction. Chris Pratt and Bryce Dallas Howard are both solid in their respective roles, while Vincent D’Onofrio, Irrfan Khan and Jake Johnson round out the excellent cast. Even the two kid actors (Nick Robinson and Ty Simpkins) are pretty likable, and that’s saying something. Granted, the movie isn’t without its flaws (particularly when it comes to basic common sense and logic, like in the climactic dino battle at the end), but it’s an entertaining piece of fan service that makes up for having to suffer through the last two sequels. And if the film’s box office domination is any indication, “Jurassic World” is just the beginning, although it’s difficult to imagine how John Hammond’s dream could possibly live on after yet another public catastrophe.

EXTRAS: The Blu-ray release includes a pair of featurettes on making the film, a behind-the-scenes look at the visual effects, a tour of the park’s Innovation Center, a discussion between director Colin Trevorrow and star Chris Pratt, deleted scenes and more.

FINAL VERDICT: RENT

“Z for Zachariah”

WHAT: After a nuclear war wipes out most of humanity, a young woman named Ann (Margot Robbie) endures on her own, miraculously isolated from the fallout. But when two men – scientist Dr. John Loomis (Chiwetel Ejifor) and mysterious stranger Caleb (Chris Pine) – arrive on her family’s farm, the three survivors form a precarious bond that threatens to unravel when jealousy sets in.

WHY: Director Craig Zobel’s latest drama may be a marked improvement upon the vile and moronic “Compliance,” but it actually shares many of the same themes, including morality, trust and the weight of one’s actions. All three actors deliver solid performances – especially Margot Robbie and Chiwetel Ejiofor, who are given more time to develop their characters – but unfortunately, not a lot happens over the course of the film’s 98-minute runtime that’s particularly compelling. There are some really good moments littered throughout, like Ann’s introduction to Dr. Loomis, or the tense face-off between Loomis and Caleb in the movie’s closing minutes, but they’re surrounded by long periods of nothingness that test your patience. The arrival of Chris Pine’s character adds some much-needed conflict to the proceedings, although it takes the story into more predictable territory, while the religious undertones (from the Eden-like valley, to Caleb’s snake-like instigator) are laid on a bit thick. Though “Z for Zachariah” isn’t quite as boring as it could have been thanks to its outstanding cast, the film never rises above mediocrity, ultimately squandering its promising, post-apocalyptic premise.

EXTRAS: There’s a making-of featurette, deleted scenes, and interviews with director Craig Zobel, writer Nissar Modi and actors Margot Robbie and Chiwetel Ejiofor.

FINAL VERDICT: RENT

“Dragon Ball Z: Resurrection ‘F'”

WHAT: Two surviving members of the Frieza Force travel to Earth in search of the Dragon Balls so that they can resurrect their leader. When their wish is granted and the galactic tyrant returns more powerful than before, Frieza sets out to exact his revenge on Goku, who is training off-world with Whis after his fight with Beerus the Destroyer.

WHY: 2013’s “Battle of the Gods” may have been the first “Dragon Ball Z” movie produced in almost 20 years, but while that film served as a sufficient appetizer for fans of the series, “Resurrection F” is the main course, higlighted by the long-awaited rematch between Goku and Frieza. Though Goku has faced off against much tougher adversaries, there’s a reason why Frieza is still the most iconic villain in the franchise, and his fight with Goku doesn’t disappoint. In fact, it more than makes up for the anti-climactic battle in the last movie. “Resurrection F” also improves upon its predecessor by giving the supporting characters more to do. Piccolo, Gohan, Krillin, Tien and even Master Roshi get in on the action, fighting off the first wave of Frieza’s attack as they await Goku’s return, and although Vegeta is once again relegated to the sidelines, at least he gets to land a punch this time around. “Resurrection F” follows the typical “Dragon Ball Z” formula to a tee, so there aren’t any major surprises, but it boasts great animation, some killer action beats and plenty of fan service for longtime viewers of the anime.

EXTRAS: There’s a behind-the-scenes look at recording the voices for the U.S. release and some interviews with the cast.

FINAL VERDICT: RENT

Movie Review: “Bridge of Spies”

Starring
Tom Hanks, Mark Rylance, Amy Ryan, Alan Alda, Austin Stowell
Director
Steven Spielberg

Certain things go together. Peanut butter and chocolate. Jack and ginger (yes, ginger, not Coke. Try it). “Bridge of Spies,” on the other hand, is proof positive that Steven Spielberg (the film’s director), and Joel and Ethan Coen (the film’s co-screenwriters), absolutely do not go together. In fact, this would have been a much better movie had the Coens directed it themselves. There are these subtle, effective and surprisingly funny moments that are clearly the Coens’ work, and then Spielberg steps in and drowns everything else in syrup. That it remains a watchable movie is in spite of Spielberg’s efforts, not because of them.

It is the late ‘50s, and Cold War paranoia is at an all-time high. The FBI captures Brooklyn resident, and Russian spy, Rudolph Abel (Mark Rylance), and the government assigns a local law firm to represent him. The case is assigned to James Donovan (Tom Hanks), even though he is primarily an insurance lawyer. James quickly realizes that no one is interested in giving Rudolph a fair trial, which only leads James to fight even harder to get him one, regardless of the hardships that may mean for him and his family. He loses, but successfully lobbies to pardon Rudolph from getting the death penalty, arguing that the U.S. would be wise to keep him around as a bargaining chip.

Sure enough, James proves to be right, as American pilot Gary Powers (Austin Stowell) is captured after his U-2 spy plane is bombed out of the sky by the Russians, and he is sentenced to hard labor in a Russian prison. The U.S. government asks James if he can negotiate an unofficial trade with the Russians to swap Rudolph for Powers. James is game, but he wants to sweeten the deal by also getting the Russians to convince the German Democratic Republic – who are building the wall between East Berlin and West Berlin as these events are taking place – to also release Frederic Pryor (Will Rogers), an economics student that the GDR has falsely accused of espionage in the hopes that they will get invited to the political big boy table.

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Movie Review: “Crimson Peak”

Starring
Mia Wasikowska, Tom Hiddleston, Jessica Chastain, Charlie Hunnam
Director
Guillermo del Toro

It’s no secret that Guillermo del Toro has a slightly deranged imagination, as witnessed by the twisted fantasy worlds and creatures from “Pan’s Labyrinth” and the “Hellboy” films, but there’s a beauty to his madness that flows through all of the director’s movies, perhaps none more so than his latest project. A gothic romance that’s equal parts Edgar Allen Poe and Emily Brontë, “Crimson Peak” feels like a nostalgic throwback to the kind of films that Hammer made in its prime. Though the movie’s supernatural elements aren’t as prominent as the marketing campaign would lead you to believe, “Crimson Peak” is a sumptuously designed genre flick that delivers a different kind of horror from the typical ghosts-and-ghouls haunted house story.

Set during the turn of the 20th century, the film stars Mia Wasikowska as young American heiress Edith Cushing, an aspiring author who has no interest in romance, whether in real life or her stories, despite the fact that childhood friend-turned-physician Alan McMichael (Charlie Hunnam) clearly fancies her. When English baronet Thomas Sharpe (Tom Hiddleston) arrives in town seeking financing for a clay-mining machine that will help return his family’s business to its former glory, he’s turned away by Edith’s father (Jim Beaver), a self-made industrialist who sees right through Thomas’ façade. That doesn’t stop Edith from falling in love with the penniless aristocrat, however, and after her father is tragically murdered (although it’s covered up to look like an accident), Thomas whisks her away to England to live with him and his ice-cold sister, Lady Lucille Sharpe (Jessica Chastain), in their ancestral home of Allerdale Hall, a crumbling mansion that’s literally sinking into the ground due to the red clay mines below it. But when Edith begins to encounter tortured apparitions that haunt her new home, she uncovers terrible secrets about the Sharpe family history that threaten Thomas and Lucille’s ulterior motives.

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