The Family

Can you think of an actor more fitting to play an ex-mobster than Robert De Niro? Well that’s exactly who he plays in The Family. After snitching on his people, De Niro’s character and his family are hiding out in France as part of the witness protection program. As the scorned mafia tracks them down, the family can’t help but make some noise by causing trouble in the small French town. De Niro is joined by Michelle Pfeiffer, Dianna Agron and John D’Leo as the titular family. Tommy Lee Jones plays the federal agent in charge of protecting them.

As a comedy, the film uses over the top action and violence to get laughs. It’s mostly successful, but no matter what kind of music they play in the background, a corpse wrapped in plastic in the trunk of a car still isn’t funny. But watching how a mafia family integrates into a quiet community is. So this hook carries the movie through the first act. Then the final confrontation is violent and gritty with all the gun fighting and explosions you would want. This blended genre does well to not over-commit and gives a strong middle of the road movie that has wit and tension.

De Niro provides his standard consistent performance as the calm retired crime boss who is always on the verge of snapping. Jones doesn’t offer too much with his scenes, but Pfeiffer does. Her character has the most depth as she addresses being an outsider and a parent. The performance’s authenticity is palpable when she encounters an angry priest disgusted with her past. Agron and D’Leo also do well rounding out the family. The Family is an adequate mafia movie alternative for those not too keen on seeing such prominent violence. Plus De Niro referencing Goodfellas provides an interesting meta moment in the film.

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.

One Direction: This Is Us

There were signs in the previews that One Direction: This is Us would be a more tolerable production than one would expect from a boy band documentary. Directed by big name filmmaker, Morgan Spurlock, the film follows current “it” band One Direction on their world tour with live concert footage and all the behind the scenes interviews you could possibly want to see. Spurlock does well to present the film with humor in the forefront, which makes it entertaining even for those who aren’t singing along to the songs. But I’m not going to pretend my toe wasn’t tapping along.

Similar to recent theatrical releases about Justin Beiber and Katy Perry, the film doesn’t go deep enough to present too much drama or conflict. Instead the most authentic moments come from the parents of the band members who are all on the verge of tears at the mere mentioning of their sons. It’s tough to feel sympathy for millionaires who found fame in their teens, but the being away from home theme provides an emotional aspect that allows the film to stay grounded.

What isn’t so grounded is the thousands upon thousands of screaming girls that follow the band wherever they go. This phenomenon pops up a bit too often on screen in fact. The screeching is repetitive and grating, but it also explains the cockiness and over-confidence the band members often employ. Beyond the fly on the wall look at the group, the main story arc is a bit muddled. It just goes city to city and there is never really a sense of closure beyond the final song in the concert. Is the tour over? Did the film crew’s all access pass run out? We don’t really know. All in all, One Direction: This is Us is a fun, straightforward documentary. Fans of the group and the target demographic will obviously enjoy it more, but for everyone else, it’s not so bad.

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.

Closed Circuit

In Closed Circuit, the drama builds as the court case the whole movie is based around begins. But as the big moment arrives, I can’t take my eyes off the goofy wigs, the British where in court. How odd and old-fashioned. But that doesn’t mean the film is ineffective. Actually it’s quite the opposite. After a terrorist bombing in a crowded British market, an ex-couple are unexpectedly united on the suspect’s defense council. But the case isn’t nearly as straightforward as it looks. Eric Bana and Rebecca Hall star in the thriller filled with conspiracy and mystery.

The film’s crime hits close to home being released only a few months after the Boston Marathon bombing, but if the story is meant to be related to those events, it is done subtly and in a way that is not preachy. Early on, there is potential that the story might collapse on itself under piles of paperwork and dialogue. But luckily, the plot twists and turns with such frequency the audience can’t wait for the characters to talk and give out more information to explain the maze-like story. Bana and Hall are a great on screen pair, entirely believable and strong enough to be the base for a number of intriguing minor characters. Jim Broadbent and Ciaran Hinds also feature with success. Although neither one was tested very much.

Among the equal parts courtroom drama and action thriller, Closed Circuit has an ending that leaves something to be desired. It’s an outcome that often comes with these conspiracy movies. How can we tie this story up successfully? The resolution kind of wraps everything up into a bow while also providing a cop out of sorts. But there is no denying that the Bana led film is very intriguing. If it teaches us anything, be careful where you pick your nose because the government is always watching.

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 World's End

When Shaun of the Dead came out, it was a pleasant surprise. Hot Fuzz followed with a complex and very funny plot. So the third film in the “Three Flavours Cornetto Trilogy,” The World’s End, had some hype to live up to. The trilogy has three separate stories that share common actors and themes. The World’s End stars Simon Pegg as a man who has never quite moved on from high school. In an attempt to recreate the greatest night of his life, he gets his friends back together to retrace their hometown’s epic pub crawl. But things don’t go as planned when they discover that the town has been taken over by aliens.

Since Shaun of the Dead was released in 2004, the stocks for stars Simon Pegg, Nick Frost and director Edgar Wright have risen significantly. But throughout the first two thirds of the film, the same oddball humor is present. Pegg carries the story easily with a performance that suits his annoying character without subsequently alienating the audience. The supporting players led by Frost are a fun group to watch too. They are all given their fair share of screen time and the actors make it count.

But with all the positives, there are issues in the film’s last act. Subtle sci-fi elements are replaced with full blown digital effects that leave something to be desired. I would even say that the resolution is disappointing given how strongly the film begins. Fans of the trilogy will enjoy connecting the dots between the films with so many acting connections between them. But the main draw is definitely the brand of humor that is rare in American comedies. Having the British film released in the busy summer season shows the potential draw the studio saw in the film. The World’s End definitely delivers.

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 Mortal Instruments: City of Bones

As a movie based on a book that appears in the “teen paranormal romance” section at Barnes and Noble, my expectations were limited when heading into The Mortal Instruments: City of Bones. The film follows Clary, played by Lily Collins, whose normal teenage life goes crazy when she learns that she is a shadow hunter, a long hidden group that fights demons. To follow the Twilight trend, Clary becomes the subject of a love triangle with her friend Simon (Robert Sheehan) and shadow hunter, Jace (Jamie Campbell Bowyer). Fighting with demons and vampires and such ensues.

More action oriented than your usual young adult adaptation, City of Bones is presented as a logical bridge between Twilight and The Hunger Games. But it falls flat with the character interactions and dialogue. The overall concept is interesting, but with almost the entire movie playing out as exposition, elements of character development get lost in the shuffle. First we have to explain that this world exists, then Clary’s involvement, the cup’s involvement, the bad guy’s deal and so on. It’s just too much. Simplify it. I also have to say that calling non-magical people “mundanes” is a lazy knock off of Harry Potter’s muggles. The nerve of them.

The film is not entirely unenjoyable however. The concept is interesting and the rune tattoos have potential. For the most part they just look like bad frat boy tattoos though. As the mysterious villain, Jonathon Rhys Meyers provides a spark when the movie desperately needs one. He only has a handful of scenes, which may mean he’s only being established in this chapter. But with a sequel pick-up questionable, the film would do better presenting the strong actor in the forefront. Since his henchmen have about double the screen time he does, it wouldn’t be that hard to work Meyers in there more. I guess we should file City of Bones away with the other young adult adaptations that didn’t quite hit the mark.

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.

Kick Ass 2

Since Jim Carrey came out against the movie he was starring in, Kick Ass 2 has found itself as part of the violence in movies debate. Does Kick Ass 2 glorify violence? No, actually. It makes it look like it hurts really, really bad. The film has Kick Ass, the costumed crime fighter with no superpowers joining a team of like-minded individuals to clean up the city streets. But things get complicated when a new mysterious villain starts causing chaos. Hint, hint, it’s someone from Kick Ass’ past. Carrey plays the leader of the team Justice Forever, Colonel Stars and Stripes.

Since the previous film, Aaron Taylor-Johnson, who plays Kick Ass and his alter ego Dave, has become a more refined actor with turns in art house movies like “Anna Karenina.” So I had my doubts that he could come back to the action blockbuster business. But he does extremely well. His strong acting abilities shine through while balancing emotionally heavy moments and the awkwardness of a teenage boy in heat. Carrey is great as Colonel Stars and Stripes acting as an indirect replacement to Nicholas Cage’s character that died in the first film. The actor’s transformation is great. It’s a shame he isn’t proud of the role. Talking about acting, Chloe Moretz also has to be mentioned. Hit Girl has become an iconic role for her and the two best performances of her young career.

With an attempt to up the stakes in the sequel, the playful approach that made the first “Kick Ass” a cult hit goes missing for a large portion of number two. Christopher Mintz Plasse’s villain, The M-F-er (I abbreviated) is funny until he starts committing really gruesome crimes that are difficult to watch. With such a strong lead ensemble, it’s almost disappointing that the script deals with the new supporting heroes so much. When the comedy is mixed in with the over-the-top action, the film achieves the entertainment value fans of the comic book would expect. But it doesn’t occur as often as necessary to be a full on success.

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.