Lone Survivor

It is pretty obvious that movies have desensitized us to violence in a lot of ways. Action movies are filled with explosions and guns that average 1,000 shots before they actually hit a target. But Lone Survivor proves that the ferocity of warfare still has an impact. The film tells the brutal true story of four Navy SEALS attempting to survive a fire fight with the Taliban after they are discovered by a group of goat herders in Afghanistan. As the film’s title suggests, the viewer knows the mission isn’t a success and that most of the characters don’t make it out. But that does little to soften the blow.

Director Peter Berg has a strict eye for realism in the film. The real life survivor of the events shown in the film, Marcus Lutrell, played a big part consulting on the project. He also wrote the book that was the inspiration for the film. Mark Wahlberg plays Lutrell, who gives a strong performance. He is even able to infuse some comedy into the tough as nails plot in a way that only Wahlberg could. Taylor Kitsch, Emile Hirsch and Ben Foster play the other leads in equally as impressive fashion.

Wahlberg is featured prominently in the advertising as the most famous of the bunch and title character, but for the first two-thirds of the film, the cast are equal in their screen time. It seems petty to talk about the script and pacing when the message of the film is so intense, and ultimately heartbreaking, but both are strong. It’s easy to forget that countless servicemen and women have risked so much like the individuals in Lone Survivor did. And that’s why the film is so important. It should be remembered as one of the best military films of all time. Its story comes first. The film is shot beautifully, but that won’t be remembered in the face of the true story.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Her

Well people asked for a sci-fi movie to be respected in the Oscars discussion and now they have one. But with no lightsabers or Avengers in sight, I don’t think Her is really what people meant. The movie follows Joaquin Phoenix, who plays a lonely, newly separated man as he buys a new computer operating system. As the “OS,” voiced by Scarlett Johansson, and Phoneix’s character get to know each other, they develop a relationship. Written and directed by Spike Jonze, Her is an odd film, but odd in a way that is totally believable.

Throughout the majority of the movie, Phoenix is the only actor on screen. But with a strong performance, it’s very easy to forget that. Johansson also deserves significant credit for her performance as Samantha, the OS. We can talk about the commentary on modern love that the film represents, but it needs to be said that there are moments where the film is just plain weird. Iconic images like Phoenix dancing in the cabin actually come off better out of context than in the movie. It’s not really the fact that the character is dating a computer; it’s the world Jonze has created.

But as many of the award shows have agreed, the screenplay is well written. Jonze establishes the characters and their relationship in a short amount of time as we see a couple take a natural course in a standard length motion picture. Her is paced well and will be remembered for Phoenix and Johansson’s chemistry. So this isn’t the type of sci-fi movie you were looking for at the Oscars. But it’s likely the only type of sci-fi story the stodgy Oscar voters would get behind.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Secret Life of Walter Mitty

I often like to do a bit of research before I go and see a new movie. In the case of The Secret Life of Walter Mitty I watched the 1947 version of the film. Well it is quite different from the 2013 release and both vary a lot from the 1939 short story. All three incarnations are centered on a mild-mannered guy who escapes reality with elaborate daydreams. The new release has Ben Stiller, who also directed the film, starring as Mitty. When he misplaces an important photo, he turns his daydreams into reality as he crosses the globe looking for the photographer, played by Sean Penn. Kristen Wiig also stars as Mitty’s love interest.

Stiller, the occasional director, presents one of the most visually impressive films of the year capturing the vast locales presented on the character’s journey. In addition, the daydreams are complimented well with visual effects that bring to mind epic sci-fi projects. Stiller’s directorial style in the film fits the character he plays as each scene takes its time to establish relevance. In the vast majority of cases, those scenes deliver. In terms of his acting, Stiller gives a rewarding performance that has subtle humor alluding to his over the top legacy as a comedic a-lister while staying true to the quiet Mitty.

As a story that has a tumultuous history filled with failed attempts of getting made, Stiller makes the concept look easy. The daydreams carry the story in the first half, but the focus is always on Mitty and that internal struggle of comfort versus adventure. It’s such a relatable premise that the audience establishes a quick likening with the character. Even though the marketing pushes the daydreaming elements heavily, the story is more about realizing those dreams in actuality. That is a theme shared with the 1947 effort. So at the end of the day, the two movies aren’t that different after all.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

47 Ronin

When you hear about the budgetary and production problems like the ones 47 Ronin has had, it’s tough for it to turn a profit and be considered successful. But being promoted to look like a samurai version of 300 is a good way to appeal to the masses. Keanu Reeves stars in the film about a group of Ronin, samurai without a master, attempting to avenge the death of their master. The premise is based on the true story that is well known in Japanese culture. But the shape-shifting witch lady from the film who can turn into a dragon seems to be missing from the historical accounts.

Keanu Reeves actually fits well into the movie as a former slave. He gives a mysterious performance with convincing sword skills. His dialogue isn’t the best, but when his mouth is closed, Kenau carries the film well. Japanese actor Hiroyuki Sanada, who plays samurai as often as Robert De Niro plays mobsters, gives depth to the plot in a way Reeves isn’t asked to do. As a respected samurai, the character’s plight throughout the movie is used to represent the emotions of the whole group.

Even with all the sci-fi elements, there are a number of dull moments in the middle of the film. The action and fight choreography delivers though as the epic samurai sword fights frame the conflict well. The movie is a decent action film that would have benefitted from a different release date. The large number of films that shared the Christmas opening cancelled each other out in many cases. Plus there are far too many heads being cut off by swords for families to enjoy this on Christmas Day. But Keanu and company have success in the film that capitalizes on the intriguing elements of samurai culture.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

American Hustle

In 2010, The Fighter starred Christian Bale and Amy Adams. 2012’s Silver Linings Playbook had Bradley Cooper and Jennifer Lawrence. Now, the culmination of director David O. Russell’s cast cycle, American Hustle stars all four of them together. The film, loosely based on a true story, has Bale playing a con-man. But when he and his partner (Adams) get caught by a FBI agent, (Cooper) they are forced to help in an operation. Lawrence plays Bale’s character’s caddy wife. Jeremy Renner also stars as the mayor of Camden, New Jersey, who plays a prominent part in the sting.

Bale’s intense immersion into his roles has been well documented, so the gained weight and comb over are accepted almost instantly as another layer of the Oscar winner’s legacy. Harder to accept is America’s sweetheart, Jennifer Lawrence’s turn as the annoying, meddling housewife. She does well with the role as it doesn’t take the audience long to turn on the character, which is the desired effect. Similarly, it’s not often we see Cooper as the shady confusing guy he plays here, but I would argue this performance is even better than the Oscar nominated one from Silver Linings. It’s more layered and complicated.

The story has the effect that it’s tough to know if you should be laughing or not. The plot development is perfectly paced and without any hiccups as the large number of central figures are each developed. But like the main character, the movie is complicated and not overly concerned with genre. American Hustle is a strong movie through and through. It’s witty and filled with twists, but not in the way an average moviegoer would appreciate. The characters are the focus, and with a cast list that looks like an Oscar ballot, it’s easy to see why the film is so successful.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Wolf of Wall Street

Everyone is talking about how much swearing there is in The Wolf of Wall Street. Well beyond that there is a lot of nudity, drug use and illegal activity. But this is a Martin Scorsese movie. There is always something to annoy the censors. The film, like most of those in the Oscar conversation, is based on a true story. Leonardo DiCaprio plays Jordan Belfort, a powerful stockbroker, who navigates Wall Street with sex, drugs and corruption. Eventually it all catches up to him.

DiCaprio gives a strong performance that is on par with the year’s best. The character is so intense and full of negative traits, it’s a testament to DiCaprio that the audience still cares about him. Jonah Hill, who co-stars as DiCaprio’s right-hand man, shows his acting prowess as he builds his résumé outside of more standard comedy. But it must be said that the drug-fueled fight scene between DiCaprio and Hill is the most ridiculous (in a good way) scene either have been a part of. And remember, this is the guy from Superbad and 21 Jump Street we’re talking about. Margot Robbie, who plays DiCaprio’s wife, is the other standout in the film.

The movie is certainly a long one, running just under three hours. But that doesn’t mean it is slow moving. In fact, The Wolf of Wall Street has a pretty quick pace, even if there are a number of scenes that could be cut without sacrificing any plot development. At this point, it’s hard to pinpoint what works Martin Scorsese will be best remembered for. It probably won’t be this, but it is a well done film and one of the best collaborations between Scorsese and DiCaprio. Following up the child filled ode to film, Hugo with the drug-filled orgy that is The Wolf of Wall Street may seem like a strange choice. But one look through Scorsese’s filmography and it’s one that makes perfect sense.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

12 Years a Slave

With many of the less mainstream actors deservedly earning the recognition, it’s easy to forget the big names that round out the great cast in 12 Years a Slave. But this isn’t a movie about star power. The film tells the true story of a free black man (Chiwetel Ejiofor) from New York in the mid-1800s who is abducted and sold into slavery in the south. As an educated man who has known freedom, the film gives a different perspective than usually seen in movies addressing slavery. Plus, director Steve McQueen does a tremendous job elevating an already emotional script.

Ejiofor, who is no stranger to strong performances, handles the weight of the film well. With the attention it is getting, this is the role of a lifetime and he never struggles adapting the frequent emotional changes his character goes through from scene to scene. Relative newcomer Luptia Nyong’o provides the most intense performance as an abused slave. Beyond those two, the cast is a parade of familiar names that don’t always fit as well as you’d think. Paul Giamatti sells the main character to Benedict Cumberbatch, who plays a “nice” slave owner; Michael Fassbender plays a mean one. Paul Dano works for Cumberbatch’s character and then Brad Pitt shows up at Fassbender’s to build a gazebo. The list is just huge. Of that group, Fassbender is the most memorable as a God-fearing, abusive southerner, who is essentially the stereotype for what a slave owner was. He isn’t predictable however and does well to make the character unique.

The film is paced with emotional turmoil and small victories that keep the audience from going through the story in a full depression. The character is a strong protagonist grappling with the morality of lying low while injustice is done to him. The supporting characters all partake in that injustice under the laws of the time. Slavery is a tough period to cover in a film since there is an innate want to paint the antebellum south as a population of brutal monsters. 12 Years a Slave doesn’t do that. Instead a well-crafted, look at injustice during that time is presented.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Anchorman 2: The Legend Continues

Do you remember all those years where the idea of an Anchorman sequel really excited everyone. Well we asked for it and now Ron Burgundy (or Will Ferrell dressed up) has starred in a ton of car commercials, appeared on every possible talk show (TV and radio) and completely overhyped Anchorman 2: The Legend Continues. But we saw it anyway. The sequel has Ferrell and his team getting back together to work on the first 24 hour news network. The plot features everything from Forrest Gump-like historical explanations to bizarre science fiction. After all, John C. Reilly plays the ghost of Stonewall Jackson.

The cast of the original returns with their collective and individual celebrity status much larger than last time. The film recognizes that as their parts have been expanded. Steve Carell’s dim-witted Brick gets a love interested, played by Kristen Wiig. Brian Fontana, played by Paul Rudd, has become a famous cat photographer and has a visible increase in screen time. There are too many actors in the film to acknowledge them all, but the cameo list is quite epic. Mirroring the battle between rival news stations in the last film, there is a similar scene filled with Hollywood A-listers, comedians and some other random celebrities. This is definitely the film’s most memorable moment.

While I know many view the first Anchorman as comedic perfection, I don’t necessarily see it that way. Both the original and sequel have laugh worthy moments spread out through a lot of forgettable build-up. Crediting Burgundy for the rise of sensationalist news coverage is a fun plot device, but the film is too long and gives itself too much credit. We wanted an Anchorman 2, but that doesn’t give the writers (Adam McKay and Will Ferrell) a free pass to jam in every Anchorman related idea they have had since the last one came out in 2004. I definitely laughed my share while watching, but it’s not the legendary effort it was hyped as.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Hobbit: The Desolation of Smaug

I bought into the release of The Hobbit: The Desolation of Smaug. I rewatched all four of Peter Jackson’s previous Middle Earth efforts to help me better gauge the context of the film. This revealed some of Smaug’s weaknesses and strengths. This middle chapter of the trilogy based on JRR Tolkien’s book, has Bilbo Baggins (Martin Freeman) and the company of Dwarves closing in on the Lonely Mountain where Smaug the dragon occupies their former kingdom. In the meantime they encounter elves, a skin changer, orcs and other things you would expect to come about in such a story.

The expansion from Tolkien’s relatively straightforward novel provides space for Jackson to introduce new characters (Tauriel, played by Evangeline Lilly), bring back some fan favorites that aren’t in the book but very well could be (Orlando Bloom’s Legolas), and even turn this into a true prequel to The Lord of the Rings trilogy. The segments that have Gandalf coming face to face with Sauron and investigating the Nazgul tombs are captivating to fans of the other stories. Ultimately, this second chapter cements the fact that Jackson is using The Hobbit films to tell other Middle Earth stories he has wanted to tell. Since these very well may be our last chances to visit these locations on film, I’m not complaining.

While the Desolation of Smaug ramps up the story with big action, some other elements are left on the back burner. Freeman’s performance, which was very strong in An Unexpected Journey, is much less prominent this time. There are many occasions where it is easy to forget that he is the title character and not just another player in the massive cast. This realization comes after the fact since the film keeps the audience’s attention with scenes like Legolas balancing on dwarf heads while shooting orcs with arrows and a dragon swimming in gold, very much like Scrooge McDuck. At this point, we know what to expect in Peter Jackson’s Middle Earth. The slightly less dire circumstances in The Hobbit provide more opportunities for fun than LOTRand they deliver in that regard. Plus the cliff-hanger ending in this one leaves a real intrigue for the final chapter next year.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Out of the Furnace

Out of the Furnace, has Christian Bale playing a man attempting to track down his brother, played by Casey Affleck, after he disappears under mysterious circumstances. The film takes place in suburban Pittsburgh and features such prominent imagery of working class struggles that the town is the most important character throughout the movie. Then there is Christian Bale, Oscar winner, Batman and one of the best actors around. This performance emphasizes his strengths as he balances subtle intensity next to his usual brand of reserved acting. With that being said, Out of the Furnace is not the Taken derivative it has been billed as.

Supporting players Zoe Saldana, Woody Harrelson and Willem Dafoe do well, but Bale understandably dominates the screen time. Harrelson’s turn as the sadistic villain gives an instant reminder of the actor’s range before he became a tween celebrity in The Hunger Games. Saldana, who has had her share of big roles recently, (Star Trek) isn’t given much of a part to work with as Bale’s girlfriend. The same goes for Forest Whitaker, who plays the police chief looking for Affleck’s character and a romantic rival to Bale.

Out of the Furnace masterfully sets a tone from the dreary setting to a Pearl Jam heavy soundtrack and some gritty visuals. After showing restraint for the majority of the film, the climax leaves something to be desired with its brutality. It just seems that there is a rough reality to how most of the plot unfolds and everything is tied up too neatly in the final third. Christian Bale deserves a look for this performance from the award show voting masses, but it was probably disregarded in favor of his flashier turn in American Hustle. But American Hustle had a distinct lack of Pearl Jam. Doesn’t that count for anything these days?

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Frozen

I must admit I was not fully prepared for Frozen before I saw it. First of all, it is not a Pixar movie. That would explain why it is so much fun. Secondly, it is a musical. Walt Disney Animation has been doing musicals for a very long time, so this makes sense, but we have all grown so accustomed to Pixar that we have forgotten about the catchy singing princesses who tragically lose their parent(s) before discovering something important about themselves. Well that’s the plot of Frozen actually. Anna (Kristen Bell) teams up with a misfit crew to track down her sister who has trapped the kingdom in eternal winter.

The film isn’t a predictable princess story though. The sister, Elsa (Idina Menzel) is kind of the bad guy, but she isn’t bad. Instead there are sister princesses who are both likable. Josh Gad plays Olaf, a talking snowman and is quite funny. The character will likely become a fan favorite. In terms of the plot, the lines between good and evil are blurred to the point where it’s not entirely clear who the bad guy is through the majority of the movie. This is a fresh approach since the wicked Queen and other heartless villain stereotypes have been exhausted by the studio in the past.

So take the inevitable popularity of a Disney animated movie, combine it with the fact that the movie is actually a fresh story and successful effort and you have a huge box office success. Also, it probably doesn’t hurt that the movie is about the winter and released in a holiday season completely void of new Christmas films. But after another Disney movie where the parents die, the writers must be doing this on purpose. I mean, people do become independent while their parents are still alive. Someone go tell that to Disney Animation.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.