Tag: Review

WHAT TO EXPECT WHEN YOU’RE EXPECTING – The Review

Well, it looks like somebody’s borrowing from Gary Marshall (  lifting ideas in Hollywood? Shocking! ). A few years ago Mr. Marshall scored a big hit with an ensemble comedy centered around a major holiday in VALENTINE’S DAY. He repeated that basic idea a few months ago with NEW YEAR”S EVE. Well, there’s not too many romantic holidays left, so how can this formula be tweaked? Maybe a birthday? No, a ” birthing day’! It’ll be about several couples trying to have a baby! We’ll get multiple stars and try to mix them up in the months prior to the big day. This way we can re-use the Marshall plan ( history reference! ) and maybe do a CRASH ( the Best Picture Oscar winner ) riff for the final hospital scenes. And as Woody Allen did forty years ago with EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX…, we’ll use the title of a best-selling instructional book. And so these marketing elements are mixed together for the new feature comedy ( maybe dramedy ) WHAT TO EXPECT WHEN YOU’RE EXPECTING.  But does this cinema concoction deliver ( get it? ) big laughs?

OK, let’s get out our programs and meet the  players and ( prospective ) parents. First up is photographer Holly ( Jennifer Lopez ) and her musician mate Alex ( Rodrigo Santoro ). She’s more excited about adopting an infant than him, so she sends Alex to meet with a friend’s hubby who’s part of the ” daddy dudes” ( kind of a “Mr. Mom mob” ) led by Vic ( Chris Rock ). Next up is Wendy ( Elizabeth Banks ) who owns a maternity shop that extolls the beauty of motherhood ( she’s even written a children’s’ book on the joys of breast-feeding ). After much effort she and husband Gary ( Ben Falcone ) conceive. When they break the news to Ben’s hypercompetitive auto racer dad Ramsey ( Dennis Quaid ), he announces that he’s having twins with his much younger trophy wife Skyler ( Brooklyn Decker ). Couple three is TV show fitness trainer Jules ( Cameron Diaz ) and her TV show dancing partner Evan ( Matthew Morrison ). Wow they’ve referenced two reality shows ( because, you know they’re hot and trendy! ). And for the young twenty-somethings we’ve got former flames and competing food truck owners ( because, you know they’re hot and trendy! ) Rosie ( Anna Kendrick ) and Marco ( Chase Crawford ). After some fast flirting they hook up after a gig and…the chiefs have a bun in the oven! We follow the ups and downs of these couples leading up to the mad dash to the hospital in the final frames.

Unfortunately this film may copy the Marhsall formula too well, since the momentum is stopped with each story as the film feels compelled to jump to another one. Still some moments work better than others. Banks is one of our most gifted comic actors ( on the big and small screen as shown on TV’s “30 Rock” ). Her future mom wendy  is a sweaty, bloated, raw nerve who can’t believe that her own pregnancy is the opposite of the lovely experience she’s been promoting at her shop. At said shop, the film makers cut to Rebel Wilson for a Melissa McCarthy-type sight gag or one-liner to get a cheap,quick laugh. Adding to Wendy’s frustration is the fact that young Skyler seems to completely comfortable. Most of the other couples spend too much of their screen time arguing. Jules and Evan fuss constantly about circumcision. Really?!  Dramatic tension is ramped up by Holly losing her big photo gig and keeping it a secret from Alex. A subplot about Gary and Ramsey in constant competition never really works, but Quaid has lots of rugged ” good ole’ boy ” charm ( Burt Reynolds might’ve place this a part a couple of decades ago ). It’s a shame that Ramsey’s stereotypical Southern belle missus is saddled with too many “y’alls” in every line of dialogue. Rock is wasted in the repetitive sequences with other dads in the park. I guess the tales of nearly maiming their infants is endearing, as are scenes of near disaster with a clumsy toddler. Rosie and Marco really get short-changed in their screen time. They’re absent from most of the last half. And of course on the big day we get lots of running down long hospital corridors and urgent instructions to breathe and push. This another one of those movies you can see with an older relative ( surprised it didn’t get released on Mother’s day weekend ). There’s nothing to upset anyone and there’s plenty of sweet infants to coo at. For those of us that enjoy unpredictable comedies with an edge and some wit, at a very full two hours this feels longer than nine months. Hollywood has delivered another safe, ” sit-com”y bundle of blah.

Overall Raing 1 Out of 5 Stars

THE GREY – The Blu Review

The Movie: From the very first moments of THE GREY, there is a stark realization that the stark bleakness of the film’s setting is directly complimentary to the story being told. The cold, harsh, brutal weather of the northernmost wilderness sets the stage for a tragic journey of survival. Co-written and directed by Joe Carnahan (SMOKIN’ ACES, THE A-TEAM) and written by Ian MacKenzie Jeffers, the film is adapted from Jeffers’ short story entitled “Ghost Walker.”

THE GREY, at it’s most primal, is a story of man versus nature, but more specifically man versus beast, as a handful of oil workers who survive a place crash must battle the bitter cold and a relentless and hungry pack of wolves for survival. Led by Ottway, the group of men must comes to terms with each other and their own demons as they witness their own numbers gradually decline by the fangs of their canine counterparts. On this level, THE GREY is a terrifyingly horrific tale of a scenario far too easy to imagine in real life. On the other hand, THE GREY is a curiously uplifting human saga that carries with it a certain amount of triumph and epiphanal

Liam Neeson (TAKEN, UNKNOWN) plays Ottway, a poacher with a guilty conscience working security for an oil company in the great white north, tasked with keeping the savage wild wolves from making the workers their lunch. Ottway is an intelligent, tough and resourceful man. He is a peaceful man by nature, but not a man you’d want to make angry. Neeson gives Ottway a quiet intensity that defines the role, creating a character that an audience admires and cares about, despite his gruff demeanor. Neeson is an actor that can say as much with his face as he can with words and this role is no exception.

The group of survivors led by Ottway includes Diaz (Frank Grillo), Hendrick (Dallas Roberts), Flannery (Joe Anderson), Burke (Nonso Anozie), Hernandez (Ben Bray), Lewenden (James Badge Dale), and Talget (Dermot Mulroney). This small group of hardened men, some weak and some strong, clash as often as they unite in their combines struggle. Each of them have something to lose, something they long to return to, except for Ottway who seems resigned to imminent death, willing to let that fate overcome him if not for his ingrained sense of duty to ensuring the survival of the other men.

THE GREY is an extremely well written, well directed and well acted film, but a great injustice would be done if I were not to apply due emphasis on the look and sound of this fantastic film. Cinematographer Masanobu Takayanagi (WARRIOR) captures the Alaskan wild with unflinching realism, setting aside the more serene, peacefully dangerous depiction of films like INTO THE WILD for a barren, unruly landscape brutalized by blistering winds and blinding horizontal snowfall. Much of the most brutal weather depicted in THE GREY was captured on locations without the assistance of fans or special effects, a frightening thought in and of itself. The landscape becomes a character, another antagonist through the lens of a master cinematographer. Composer Marc Steitenfeld, whose work will soon be featured in Ridley Scott’s upcoming PROMETHEUS, indulges the audience with a score so fittingly bleak while also subtly emotional that it’s presence is as equally easy to overlook as it is significant to the film’s success. However, Carnahan understands the appropriate use of this tool when he chose to leave the music out of the mix during what is perhaps the best scene in the entire film.

While there is plenty of wilderness action, suspense and beastly terror, THE GREY shines most vividly in it’s most human moments. One of these moments is during Ottway’s reflection on his relationship with his father and a simple but powerful poem his father wrote for him as a boy. This poem carries a great deal of weight throughout the film. The other is perhaps one of the best, most realistic and thoughtful depictions of death as it occurs I have seen in many years on film. This moment takes place shortly after the plane crash occurs and offers a fascinating insight into Ottway and his perspective on life. Overall, THE GREY is as touching as it is frightening, it is as much a sad film as it is a testament to hope and personal strength. It is a film about the human will.

The Extras: THE GREY blu-ray doesn’t have a ton of special features, but what it does have proves to be worth watching. Hey, it’s better than nothing, which is hos far too many films gets packaged to blu-ray in a rush to capture home viewing sales. Start out your blu-ray experience by watching the film (of course) unless you saw THE GREY in the theater. If so, jump directly to the deleted scenes — six in total — where you’ll get a healthy serving of scenes cut from the finished film. These deleted scenes do not come with an optional commentary, however some of these scenes are actually addressed in the feature-length audio commentary.

The feature-length audio commentary for THE GREY is a good time, recorded with co-writer/director Joe Carnahan and editors Roger Barton and Jason Hellmann. From the very beginning, it’s clear that you’ll have a good time listening to these laid back filmmakers. Joe Carnahan shakes his glass of ice, pointing out that they’re enjoying some Scotch while recording the commentary and what follows is a string of interesting, often humorous, anecdotes and off-the-cuff remarks about the filmmaking process and those involved.

>>>>>>> MINOR SPOILERS BELOW <<<<<<<

One of the most interesting things gleaned from the audio commentary comes from Joe Carnahan, when he explains how after seeing the film, his wife suggests that Ottway (Liam Neeson) is the only survivor of the plane crash and the other survivors are merely facets of his own mind, projections of different aspects of his personality, whereas as not only is Ottway in a struggle against nature — the cold/the wolves — but, that he is also in a struggle with himself. Carnahan goes on to explain how he had never thought of this prior to his wife pointing this out, but that it had a significant affect on how he viewed his own film afterward. I have to agree, as I watched the film again after enjoying the commentary. Viewing the film with this concept in mind changes the experience and gives the film a noticeably different appeal, less focused on the action and suspense and allows the viewer to delve deeper into the philosophical implications of the story.

Finally, THE GREY blu-ray also touts the following “bonus features” as described by Universal:

  • UltraViolet
  • Digital Copy
  • U-Control w/ Picture-in-Picture
  • pocket BLU App
  • BD-Live

THE GREY 2-Disc Blu-Ray/DVD Combo pack hits store shelves on Tuesday, May 15th, 2012.

Overall Rating: 4 out of 5 stars

DARK SHADOWS – The Review

The history of cinema has had many long-running actor/director partnerships. What first springs to my mind is the long collaboration between actor John Wayne and director John Ford, which has inspired several film books and documentaries. More recently we’ve had the Martin Scorsese and Robert DeNiro team-ups ( although Leonardo DiCaprio may just catch up to Mr. D ). And now we have the eighth film that actor Johnny Depp has done with director Tim Burton since they first paired all the way back in 1990 for EDWARD SCISSORHANDS ( Wow! ). After films based on children’s books, a low-budget filmmaker’s life, and a Broadway musical what have the duo decided to tackle now? Why, it’s a classic cult TV show from the late 1960’s : DARK SHADOWS. What’s their take on this supernatural soap opera?.

Time for a bit of disclosure here. During its original run on ABC television, I was mad for this weird little show! My grade school was almost in my back yard, so I literally ran out those exit doors when the last bell rang in order to plant myself in front of the bulky console TV and get creeped out Monday through Friday. ” Dark Shadows ” was the brainchild of the late Dan Curtis, who went on to produce the original TV movies, ” The Night Stalker ” starring Darren McGavin as reporter Carl Kolchak and ” Trilogy of Terror ” with Karen Black fighting those vicious little dolls, in addition to the acclaimed mini-series ” The Winds of War ‘ and its sequel ” War and Remembrance “, and he also directed two feature films based on ” Shadows ‘ along with BURNT OFFERINGS. This daytime drama with elements of gothic romance was about to be cancelled when Curtis had a desperate, brilliant idea :  Let’s put a vampire into the show ! Unknown ( to US TV audiences ) actor Jonathan Frid was a sensation as the lovesick bloodsucker Barnabas Collins. The program became must-see viewing for young people everywhere ( it’s odd to recall that the fortysomething Frid was cover featured on teen fan magazines alongside the Monkees and Bobby Sherman ). And that canny Curtis helped unleash an avalanche of merchandising. Barnabas was the star of a daily newspaper comic strip, monthly Gold Key comic books, board games, model kits, record albums, and a long-running series of original paperback novels. And I had as many of them that I could lay my grubby little hands on! But these bright star burned briefly. Dark Shadows ended it’s five-year run in 1971, but like Mr. Collins it’s not been completely dead. Curtis spearheaded an NBC prime time remake in the early 1990’s and a TV movie in 2005. The original series has played om cable, been released on home video, and inspired fan conventions ( though not as many as ” Star Trek” ). Talk of a new big screen version has been kicking around for years. I was intrigued by Depp and Burton’s involvement and, like many fans of the original, were taken aback by the comedic tone of the trailer. But I must keep an open mind. This is intended for modern movie audiences who have probably never heard of the series. Ya’ know, this may work!

And then I finally viewed the new film. The plot tries to incorporate several storylines from the show’s early season. Prior to the opening titles, we are introduced to Barnabas as a young boy in Liverpool as he and his parents are about to begin their voyage to America. Also headed across the pond is young Angelique Bouchard and her mother , who will work as a servant to the Collins family. The young lass is already smitten with the dark-haired boy. Upon their arrival in Maine, the prosperous family begins a successful fishing business, establishes the city of Collinsport, and starts construction on the opulent Collinwood estate. Years later Barnabas ( Johnny Depp ) gives his heart to the lovely Josette ( Bella Heathcote ) and spurns the affections of Angelique ( Eva Green ). You know what they say about a woman scorned. Ms. A turns to witchcraft to end their romance and turn Barnabas into a vampire. Later she leads a group of torch wielding villagers to trap him in his coffin, bind it with heavy chains, and bury him in the deep woods. The film then jumps to hip, happenin’ 1972. Victoria Winters arrives in the town in answer to a  child care help wanted ad. She finds Collinwood a dark, gloomy shell of its former glories. Victoria first encounters Willie ( Jackie Earle Haley ) who is the estate’s main caretaker along with the doting, elderly Mrs. Johnson. Seems only four Collins family members occupy the great mansion:  matriarch Elizabeth Collins Stoddard ( Michelle Pfieffer ), her rebellious teenage daughter Carolyn ( Chloe Grace Moretz ), Elizabeth’s brother Roger Collins ( Jonny Lee Miller ) and his pre-teen son David ( Gulliver McGrath ). Also living there in order to treat David’s emotional issues ( he sees his deceased mother ) is the hard-drinking Dr. Julia Hoffman ( Helena Bonham Carter ). Later that evening a construction crew working in the woods outside Collinwood unearths a coffin wrapped in chains. To their regret, they sever the bonds and release a famished Barnabas. After a culture shock stroll through town, he returns to his ancestral home. He makes Willie his hypnotized servant, strikes a deal with Elizabeth, and vows to restore both the estate and the family fishing business. Only one thing stands in his way ( besides that nasty thirst ) – a rival seafood cannery run by the still youthful and gorgeous Angelique, who has convinced the town that she’s just the latest in a long line of family moguls. Oh, and it turns out that Victoria is the spitting image of the vamp’s long-lost love Josette. Can Barnabas Collins turns things around for the family while romancing a new/old flame and staying a step ahead of his spell casting nemesis?

I may have made this flick sound more exciting than it really is. At two full hours, you’ll feel as though you’ve been chained inside a buried casket. Perhaps it needed a merciless editor, or, more likely, a couple more passes at this unwieldy script. Much is made of the Barnabas/Victoria romantic subplot, but she seems to vanish for a good half hour while more time is devoted to the tiresome antics of Angelique. There’s not one, but two big confrontation scenes in her company boardroom. This affords the filmmakers a chance to indulge in some juvenile sex jokes, as seen in the trailer when the two enemies give in to passion ( with a nod to the Catwoman lick from Burton’s BATMAN RETURNS ). There’s even more coarse sex gag ( literally ! ) with the doctor. Really guys? Seems the ladies find the bloodsucker irresistible even with pounds of clown white covering his mug ( in the TV show Frid looks like an average Joe till he bared his fangs ), and a dark airbrushed streak down his cheekbones. The seventies era is reconstructed well, although items like lava lamps and troll dolls appear in order to garner easy laughs. As does a TV performance by the Carpenters on an old-fashioned color TV. Speaking of music, I was let down by the usually reliable Danny Elfman. He uses a few music cues from Robert Colbert’s classic TV score, but the show’s main theme is never heard. Instead we get lots of FM-style classic rock ( ” Nights in White Satin ” over the main titles? Okaaay ). However I did enjoy seeing the real Alice Cooper recreating his early performances.

Speaking of performances, the actors make a valiant effort with the meager source material. Depp seems to be enjoying his role immensely, although at times he seems to be doing mix of his James Barrie and Sweeney Todd while strutting about in his odd costume choices ( at least he kept the wolf’s head cane ). Pfeiffer has little to do until the messy finale. It’s hard to accept her in this matronly part.Moretz is one of our most promising young actors, but here she’s trapped as a sullen, surly teenager. Miller and Carter are there to model funny 70’s fashions and be funny, sleazy types while mugging at the camera. Heathcote is a lovely ingenue, but sets off no real sparks with Depp. Neither does the usually engaging Green whose witch character becomes a campy, cartoon villainess who’s more tedious than menacing. When it comes to screen menace, few actors are greater than 60’s and 70’s vampire movie icon Christopher Lee, who graces the screen in an all too brief cameo. But the best cameo may be that of cast members from the original TV series : Kathryn Leigh Scott ( Victoria ), David Selby ( Quentin ), Lara Parker ( Angelique ) and Barnabas himself, the late great Jonathan Frid who passed away just weeks ago. Kudos for including this brief nod.

Tim Burton has always been stronger with visuals than narrative, so it should come as no surprise that the big finale is so disjointed. One big reveal of a family member’s secret pounces in from left field. The film’s opening scenes seem to have the proper dramatic tone, but once Mr. B returns home, everything is jokes- the 70’s decade kitsch , sex patter, and whoosing cartoon sound effects. That’s not to say that the original TV show wasn’t funny. Rewatching the series on DVD, you’re struck by the cheesy effects, flimsy sets, often hammy acting, and overwrought dialogue ( the show was shot live on tape, so many flubs are preserved ), but the producers were striving for more than cheap laughs. Sometimes a dramatic TV show can be transformed into an enjoyable big screen comedy, like 1987’s DRAGNET and the recent 21 JUMP STREET. Here everything seems forced. A friend recently asked, ” Fans of the original won’t appreciate the comic tone, young moviegoers don’t know of the old show, so who did Johnny and Tim make this for? “. I believe they really made it for themselves and only their most hardcore fans may join them. For the rest of us…well, uh, at least Barnabas isn’t sparkly!

Overall Rating: 1.5 Out of 5 Stars

 

Tribeca 2012 Review: DEADFALL

DEADFALL is bound to get comparisons to FARGO. With a few minor script tweaks and slightly different accents, this could have been passed off as a direct to DVD sequel. It is not that there are any similar characters or storylines but more so in the look and feel of the film. Had this been FARGO 2, I’d call it a worthy successor although I’m sure others will want my head on a platter (or my body in a woodchipper) for saying that. Prior to seeing the film, I heard some strongly negative feedback and was even told to avoid it completely by someone who attended an earlier press screening. Since then I’ve noticed a slew of negative reviews calling it an absolute mess and much worse. Honestly, I don’t know why everyone is ranking on this film so much because I loved the hell out of it.

DEADFALL opens with a car crash. Addison (Eric Bana) and his sister Liza (Olivia Wilde) make it out alive but their driver is not so lucky. Addison kills the first cop on the scene while Liza stuffs a bag full of the scattered money they just stole from a casino. They decide to split up as they each attempt to make it across the border. Addison ends up killing his way through the woods and Liza uses her looks to secure a ride with Jay (Charlie Hunnum) to his family’s cabin near the border. It is Thanksgiving and he is going to see his mom (Sissy Spacek) and dad (Kris Kristofferson) despite their strained relationship. Problem is Jay just got out of prison and may have accidentally killed a former business partner who refused to give him the money he owes. Addison faces some obstacle himself with the police after him investigating the murder of the trooper he killed. Despite the wishes of her father / police chief  (Treat Williams), among the search party is the very capable Hanna (Kate Mara) who just so happens to be old friends with Jay and his family.

Believe it or not, there are even more side stories and important characters that I’ve chosen to excise for time. Yes, the film is convoluted. Yes, it has moments of needless complications and mass coincidence. Yes, it can be a bit campy and has heavy-handed moments that feel a bit forced. Yes, the fairly incestuous relationship between Addison and Liza is a bit weird. Yes, the insanely sexist attitudes within Hana’s police department feel horribly outdated. Yes, I’m starting to see why some people didn’t like this film after typing all that.

But none of that really matters because DEADFALL is damn fun. And the single biggest aspect that will suck you in and keep you watching no matter how ridiculous things get is Eric Bana. If this film came out before KNOCKED UP, this would be the movie they were all toasting to in the nightclub. Eric Bana’s performance is brilliantly twisted and wildly unhinged without ever going too far over the top. Addison is a badass who does some truly awful things with a wink and a smile. The film has plenty of other great things going for it like some wonderful visuals, thrilling action set pieces, the beautiful Kate Mara, and unnecessary Olivia Wilde nudity. But the only real reason you need is ERIC F***ING BANA!

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

THE BEST EXOTIC MARIGOLD HOTEL – The Review

Well, just a week after THE AVENGERS broke box office records here’s another big team-up movie. Instead of super-heroes teaming up, this film showcases a great group of British actors of, uh….a certain age. When these vets get a great script the results can be just as engaging as any CGI-enhanced mayhem. Actually I was reminded a bit of the original COCOON. Of course there’s no glowing E.T.s, but these mature folks do encounter people of a somewhat alien culture, and their lives are changed radically ( no magic breakdancing, though ). Let’s take a cinematic getaway with some familiar film friends and check into THE BEST EXOTIC MARIGOLD HOTEL ( for the elderly and beautiful ).

In the first scenes of John ( SHAKESPEARE IN LOVE ) Madden’s new work we met the Brits who’ll be sharing a long journey and become the residents of the mentioned hotel. Evelyn ( Judi Dench ) is a recent widow whose late husband hid their true financial worth from her. Graham ( Tom Wilkinson ) is a judge who’s tired of the legal world, ready to retire and return to the site of his happier youth. Muriel ( Maggie Smith ) is a cranky, xenophobic former housekeeper who must travel abroad for a needed surgery. Douglas ( Bill Nighy )is a recent government retiree who must find a cheaper place to settle after a poor investment, much to the chagrin of his frustrated wife Jean ( Penelope Wilton ). Two of the travelers are on the prowl for new partners : the randy Norman ( Ronald Pickup ) and the upwardly mobile Madge ( Celia Imrie ). After viewing the hotel’s website and gorgeous brochures, this group make the long trek to India. At the end of the arduous trip, they arrive at a ramshackle structure that does not resemble the lush photos. The enthusiastic young owner Sonny ( Dev Patel ) assures them that everything will be finished soon. He’s inherited the place from his late father and is determined to restore it to its former glory ( and then be able to marry his beautiful girlfriend ). Over the next few weeks, while settling in, the residents explore the city and attempt to start a new life in their exotic surroundings.

Madden does a terrific job of moving the story along and showing us this colorful land, but it’s the cast that makes this trip come alive. The always delightful Dench glows as a woman who, after being taken care of most of her adult life, blossoms when she takes a chance in the bustling city. Wilkinson delivers another strong, engaging performance as a man regaining his joy for life while revisiting the locale where he was most happy as a youth. Fans of TV’s ” Downtown Abbey ” will relish seeing Smith as the surly, cynical wheelchair-bound woman who finally allows a bit of sunlight to break though her tough, hard shell. Nighy’s terrific as a man determined to find adventure and fun despite his wife’s pessimistic attitude. His zest for this new place is contagious. Imrie and Pickup both generate big laughs while they’re looking for love ( or a nice romp in the boudoir ) in this unfamiliar place. Patel brings a lot of energy to the young manager’s role ( sometimes too much energy ) and is often exhausting, but his character finally mellows out. This film shows that life and adventure is not over once you reach those golden years, that retirement may be more of a beginning. This message and this cast helps make THE BEST EXOTIC MARIGOLD HOTEL, a most pleasurable film vacation destination.

Overall rating: 4 Out of 5 Stars

 

Tribeca 2012 Review: ANY DAY NOW

ANY DAY NOW may have a story that seems fitting for a Movie of the Week but that doesn’t change the fact that it is a incredibly well crafted film full of surprisingly powerful performances. Paul (Garret Dillahunt) is a closeted District Attorney and Rudy (Alan Cumming) is an aspiring singer currently working as lead in a drag performance at a gay bar. When Rudy’s negligent junkie neighbor ends up in jail, he looks after her son Marco (Isaac Leyva), a teenager with Down syndrome. Family Services places Marco in a foster home but Rudy soon finds him wandering the streets and takes him in once again. With temporary custody approved by Marco’s mother, Rudy and Paul begin raising him as their own. But when it is discovered Rudy and Paul are not cousins but a gay couple, they face a harsh legal battle to keep Marco in the safe and loving family environment they created for him.

Garret Dillahunt is probably best known for continuing the long-standing tradition of hilarious TV dads on Fox’s RAISING HOPE. I do not watch the show nearly as often as I’d like but he is consistently funny whenever I do. I haven’t noticed him in much else so it was a very pleasant surprise to see that just like Bryan Cranston (another former scene-stealing TV dad), Dillahunt is just as gifted a dramatic actor as he is comedic. He has a strong presence in the film and some truly great chemistry with the equally talented Alan Cumming. This may be Cumming’s best performance to date or at least his most powerful. Newcomer Isaac Leyva is truly captivating as Marco, almost immediately forming a deep connection with the viewer.

Travis Fine also deserves much praise for his expert handling of this story. Not only does he prove himself a very capable director but his writing is sharp and full of emotion. Credit for the script also belongs to George Arthur Bloom who originally wrote it over 40 years ago, which was the basis for Fine’s rewrite. It can be extremely difficult to find the right balance of humor for a film like this but the light touches throughout feel completely natural and welcomed. The only time I was a little caught off guard was the introduction of Don Franklin as a quite comical lawyer who shows up in the third act. At first he seemed to walk in from a different movie but he actually adds a lot of necessary levity that eases us into the finale.

The film takes place in the 70s but its underlying themes are just as relevant today. Full of fantastic performances, this is certainly a film that will have some buzz around it come Awards season. As someone who tends to avoid movies that require a box of Kleenex with ticket purchase, I cannot recommend this movie enough. Go see it, even if you are a cold heartless bastard.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: YOUR SISTER’S SISTER

With a title like YOUR SISTER’S SISTER, I was expecting to see something more along the lines of a Nicholas Sparks or Danielle Steel adaptation rather than the truly hilarious and heartfelt sort-of romantic-dramedy it turned out to be. Jack (Mark Duplass) has had a rough time dealing with the death of his brother, which happened exactly one year ago. Jack’s best friend / late brother’s ex, Iris (Emily Blunt), gives him the keys to her father’s remote cabin for a little alone time to relax and reflect on his life. Once there, he discovers Iris’ sister Hanna (Rosemarie DeWitt) is already staying at the cabin after ending a 7-year relationship with her girlfriend. After a drunken night of confession, Jack and Hanna sleep together only to be woken up the next morning by the arrival of Iris, who decided Jack shouldn’t be entirely alone after all. You may think you know where this is going but the film will still surprise you.

YOUR SISTER’S SISTER is done in the same loose and largely improvised style of Lynn Shelton’s previous films; however, it feels much more refined here. This is partly due to an upgrade in equipment but it also seems like Shelton has grown as a filmmaker both in terms of storytelling and visuals. True, there is not much story to work with but the three main characters are fully realized and a joy to watch, which is great considering they are the only ones on screen for the majority of the running time. Mark Duplass, Emily Blunt and Rosemarie DeWitt are all fantastic, bringing their roles to life with a naturalistic but never ordinary approach. Most of the comedy stems from their rapid-fire dialogue, which is equally witty and earnest.

The film is not without flaws but they are so minimal in comparison to all that it gets right. While the editing is fairly tight for this kind of style, there are a few moments that tend to linger on just a little too long, especially during a montage towards the end. Speaking of the end, I personally felt it concluded perfectly but those who prefer everything to be wrapped up may be upset when the credits begin scrolling. The story may not be the most original, nor are some of the situations, but the manner in which they are presented in makes it all feel fresh and authentic.

Despite being a fan of Shelton’s HUMPDAY and this film’s solid cast, I was just not really looking forward to seeing this. I really think the title played a large part in that but the less than riveting description found in the Tribeca guide probably didn’t help either. On the advice of several people at the festival, I gave the film a chance and I’m so glad I did. Not only was it one of the best films there but also one of the finest I’ve seen this year. IFC Films will be releasing the film next month and I highly recommend you make an effort to seek it out.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: JACKPOT

Oscar Svendsen (Kyrre Hellum) wakes up in a seedy strip club, underneath the body of a dead oversized stripper, and surrounded by cops. What follows is the story of how he got there told mostly through flashbacks while being investigated by a very thorough and incredibly compelling detective (Henrik Mestad). This is a tale of lottery, greed, corruption and fake recycled Christmas trees.

JACKPOT is bloody good fun, pure and simple. It is a pitch black Norwegian comedy that tosses around clever dialogue and dead bodies with glee. The structure is similar to films like THE USUAL SUSPECTS and there are familiar elements throughout, although it all still feels fresh and fun. Jo Nesbo’s writing is sharp and each character is a good mix of quirky and dangerous. Director Magnus Martens handles the material quite well and strikes a good balance of comedy, blood splatter and intrigue. There are some really great visual gags including some set up early that lead to fine payoffs later on. I’d rather not spoil any of them but my favorite is on display at the very end of the trailer below if you are curious. Personally, I suggest only watching the trailer up to the title card if even that far.

If this sounds at all like a film you want to see, I highly recommend seeking it out rather than wait for the (most likely) inferior American remake, which is always a strong possibility with films like this.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

MARVEL’S THE AVENGERS – The Review

” I’d like to speak with you about the Avengers Initiative “. Can it really be four years ago that SHIELD director Nicholas Fury ( Samuel L Jackson ) spoke those fateful words to a surprised Tony Stark ( Robert Downey, Jr. ) at the end ( the very tail end, after the final credits ) of IRON MAN ? Marvel fans around the globe were ecstatic. The fabled comic book company was now in the film business ( other characters were licensed to other studios )  and Jon Favreau’s rollicking action hit was the first in their partnership with Paramount. With this bit of dialogue, were they announcing their intentions to team up some of their greatest heroes in one massive movie event? Fans were teased again later that Summer when Stark strode into the bar where General ” Thunderbolt ” Ross was drowning his sorrows at the end of THE INCREDIBLE HULK. Expectations rose two years later with IRON MAN 2 which ended with SHIELD agents in the desert surrounding a huge hammer protruding from the earth. The next Summer saw more Marvel superstars headline their own feature films: THOR and two months later, CAPTAIN AMERICA : THE FIRST AVENGER. The principals are all introduced, and now, finally, it’s time for Earth’s mightiest heroes to gather with a hearty ” Avengers assemble! ” Hold on to your popcorn!

Before we settled into our cushy theatre seats let’s take a look back at the comic book roots of this team. Legend has it that, in the early 1960’s,  Atlas ( Marvel’s precursor ) publisher Martin Goodman was on the golf green with the head of his publishing competitor National Periodicals ( now DC Comics ). Martin supposedly overheard the man bragging about the big sales on his new book ” The Justice League of America”, about the adventures of a team of their biggest heroes including The Flash and Green Lantern. He made a mental note and instructed his comics editor Stan Lee to come up with a group of super-heroes. Ah, but it was not the start of the Avengers yet! Stan came up with the Fantastic Four along with artist extraordinaire Jack Kirby and so began Marvel Comics. Over the next few years several more characters were added to Marvel’s roster and Stan was finally ready to do his take on the Justice League. In the first issue of the Avengers back in 1963, Iron Man, the Hulk, Thor, Ant Man, and the Wasp joined forces to stop a plot by Thor’s treacherous sibling Loki. Gathering at Tony Stark’s NYC mansion, the group announced their ‘tentative” partnership ( that Hulk was a wild card! ). Sure enough, two issues later, ole’ Greenskin has joined forces with Prince Namor, the Sub-Mariner to take on his former team mates. Traveling back home via submarine after the battle, the heroes spot a frozen figure of a man floating at sea in the landmark fourth issue adventure ”  Captain America Joins the Avengers “. Cap became an important Avenger and with issue 16 he was the group’s leader. In ” The Old Order Changeth”, Stan had decided to replace the other members because it was too difficult to co-ordinate their solo stories with the group’s exploits ( Cap’s solo stories in Tales of Suspense were set in World War II ). Bucking tradition, the new Avengers were former villains : Quicksilver and the Scarlet Witch from the X-Men stories along with Iron Man nemesis Hawkeye. Since then heroes have joined and taken leave as the book continues to be one of Marvel’s best sellers. So much so, that when the company decided to create the Ultimate line with younger versions of their established titles, The Avengers were revamped for this alternative universe. Here the team was formed by the head of the secret hi-tech spy agency SHIELD, Nick Fury to battle an alien invasion.

For the new film, elements of both versions of the team are combined. Several theatres are holding Marvel marathons prior to the premiere in order to get fans up to speed. Without revealing too much I’ll try to do the same without 12 hours straight at the multiplex. as the epic begins, Thor’s evil half-brother Loki ( Tom Hiddleston ), who survived the collapse of the Rainbow Bridge at the conclusion of THOR, is conspiring with the inhabitants of a dark, desolate planet ( and, as the film makers have strongly stated previously, these are not the Kree and Skrull races from the Marvel Comics universe ). Loki believes he’s found a way to transport to Earth and open a portal for the aliens’ invading army. Back on planet Earth, Nicholas Fury, aided by Agents Maria Hill ( Cobie Smulders ) ,vet of three Marvel movies Phil Coulson ( Clark Gregg ), and Clint Barton AKA Hawkeye ( Jeremy Renner, who had a brief cameo in THOR ), is overseeing research headed by Professor Selvig ( Stellan Skarsgard, also from THOR ) on the mysterious white-glowering cube called the Tesseract ( a powerful Asgardian power source retrieved from the ocean’s floor by Tony Stark’s father in CAPTAIN AMERICA : THE FIRST AVENGER ). Chaos erupts at the SHIELD facility as the cube opens a window that unleashes Loki. As the demigod escapes with the cube, the professor, and several entranced agents, Fury decides to enact the Avengers Initiative. Assembling the team is not an easy task. Coulson calls on Tony Stark as he’s setting up house with Pepper Potts ( Gwyneth Paltrow ) at the brand spanking new NYC headquarters of Stark Industries. Natasha Romanoff AKA the Black Widow ( Scarlett Johannson ) is pulled off her current mission in order to track down and retrieve Dr. Bruce Banner ( Mark Ruffalo ). Seems the Tesseract gives off a Gamma radiation signature and , uh…SHIELD may have need for Banner’s furious green alter-ego. Fury himself reaches out to Steve Rogers AKA Captain America, who’s not been eager to enter the modern world after nearly 70 years in icy suspended animation. Together the heroes, soon joined by the mighty Thor ( Chris Hemsworth ), have to overcome their differences ( and strong personalities ) and work as a team in order to track down the cube and prevent Loki and his alien forces from enslaving humanity. No time for a group orientation reception with these super-folks!

For a film so stock full of big characters ( and some who’ve starred in solo flicks ), it’s astounding that the actors still get individual moments to shine. The biggest gun ( with two features under his metal belt ) is Downey who’s still full of surprises as Stark. Of course we get the snarky attitude and tossed-off one-liners ( he’s got great nick names for his team mates ), but we get some more of his romantic side that we saw in the first Iron Man flick. He’s got a terrific rapport with Paltrow ( almost like a Tracy and Hepburn or Loy and Powell from the Thin Man movie series). Their playful banter is always a welcome bonus in this action extravaganzas; We also see Stark’s bravery and determination when they suffer a personal loss. Hemsworth acts the role of the thunder-god with great energy and bravado. He’s happy to get to know these Earth dwellers once more. Evans as Cap is not the morose warrior still battling WWII that the comics portrayed in many of those early stories. Cap embraces these new wonders and quickly takes command on the battlefield just as he did int he 1940’s. He even gets to crack a few jokes! New to the role of Bruce Banner after Eric Bana in Ang Leee’s HULK ( not officially part of the Marvel movie-verse ) and Ed Norton in THE INCREDIBLE HULK , Ruffalo combines elements of the two actors along with Bill Bixby’s David Banner from the TV series. He’s strong, quiet, sensitive, and intelligent while keeping a tight lid on his emotions. I like that the Hulk is a separate person in his mind ( ” the other guy ‘ ). As for that guy, the effects people have done a terrific job on him. He’s a good cross of the Bana ” Shrek on steroids ” and the ” vein-y”, tiny- torsoed Norton Hulk. When ole’ ” Jade-Jaws ” finally enters the film at midway point, he almost steals every scene.  Back at HQ, the team’s guided by Jackson’s Fury. He’s a strong fighter with a lot of weight on his shoulders. Not only must he unite the team and kept track of Loki, he must answer to his mysterious bosses ( the real powers behind SHIELD ). The wiley Fury’s not above massaging the truth in order to placate his superiors and inspire his forces. As for his main agents, Gregg is once again a delight as the efficient Coulson. In a very funny bit of business, he’s almost sidetracked by his ” man-crush ” on Rogers ( he’s got a mint set of Captain America trading cards! ). Renner’s Hawkeye is more of an enigma. He’s SHIELD’s expert sniper and exhibits that loner mentality as he observes the cube experiments from a distance, hidden in the shadows. Until he joins the Avengers, the only other agent he connects with is the Black Widow. Johansson was first introduced in the role in IRON MAN 2 and this is her best screen work in quite a while. Thanks to the film’s talented screenwriter/ director we get some insight as to how she got her deadly code name. She’s no damsel in distress, but an expert interrogator along with her considerable fighting skills. Skills needed in bringing down Loki. Hiddleston expands on the deceitful, cunning villain from THOR. He relishes the idea of being worshipped by conquered earth people and will not hesitate snuffing out dessenters. Loki’s unabashedly, gleefully evil. As far as comic book movie bad guys he doesn’t reach the stellar heights of Heath Ledger’s amazing Joker, but he’s a more than worthy adversary for this movie ” dream team “.

When talking earlier about the Black Widow I alluded to the film’s talented co-screenwriter/ director. The greatest triumph of the film may be the emergence of a new, film power player: Joss Whedon. Of course we fans of the Whedonverse ( referring to his TV shows ” Buffy the Vampire Slayer “, its spinoff ” Angel “, ” Dollhouse”, ” Firefly” and the feature film sequel SERENITY, the internet sensation ” Dr. Horrible’s Sing-a-Long Blog “, many comic books and a co-writing credit on the recent CABIN IN THE WOODS ) have been singing his praises for years, since he was a major ” script doctor ” on films like TWISTER and an Oscar nominee for co-writer on the original TOY STORY. He’s done an amazing job juggling all these characters and never letting the big action set pieces overwhelm the actors. So, of course, Buffy’s Dad would help us really get inside the Widow’s head. As for those set pieces…they’re pretty fantastic. Unlike many big action-fests, you can always understand what’s going on.  The editing flows. This really helps when Cap’s taking on the alien army on ground level. Whedon also upholds a a great tradition from the comic source material that really spotlights the contrast between Marvel and DC comics. When two DC heroes meet it’s, ” What brings you to Central City, Green Lantern? ” ” Why, I’m trying to track down Sinestro, Flash! ” followed by a hearty handshake. Over at Marvel, it’s immediately throw-down time! With Whedon involved, it goes without saying that there’s lots of laughs  packed in with the mayhem.

The movie is being presented in 3D, but I don’t think it’s essential to view it in that format. It’s a good upconvert ( like the Cap solo movie ), but aside from some big gun barrels, Loki’s power staff ( get yer’ minds outta’ the gutter! ), and hovering spacecraft the extra D doesn’t add much to the big battles. The movie slows a bit when the principals bicker in a meeting room ( what is this? Super-reality TV ? ), but it soon picks up speed and never lets up till the end credits roll ( that’s a fast 140 minutes! ). Speaking of end credits, the Marvel movies have a tradition of taking on a final bonus scene after the final credit. This time they’ve placed it at the midway point ( as did last Summer’s THE GREEN LANTERN ). Your enjoyment of it may depend on how big a Marvel comics fan you are. But you should stay and see all the folks that worked on it! They did a spectacular job ( Kudos again on the Hulk. It’s the green giant we fans have been wanting to see in the movies )! The meeting of the Marvel movie universe and the Whedonverse has produced a superior screen entertainment that is a high water mark for future comics based films. Hey Nolan-Batman and rebooted Spidey! You’ve got a very tough act to follow! Avengers ( and movie-lovers ) assemble!!

UPDATE : I’ve gotten reports that there is a bonus scene after the final end credit ( in additon to the mid-credit scene I mentioned above ) !

Overall Rating : Five Star-spangled Shields, Five Uru Hammers, Five.. aww, Face Front, True Believers! 5 Out of 5 Stars

 

Tribeca 2012 Review: EDDIE – THE SLEEPWALKING CANNIBAL

EDDIE – THE SLEEPWALKING CANNIBAL is a fun little dark comedy that will surely find a nice audience although it might not rise to a level of cult phenomenon that one might think based on the deliriously twisted plot. Lars Olafssen is a former well-known artist who lost his muse 10 years ago. Finally content with not painting anymore, he takes a small teaching gig in Koda Lake, Canada where he ends up also having to care for Eddie, a seemingly harmless handicapped adult played perfectly by Dylan Smith. Eddie was traumatized as a child by the death of his parents so he no longer speaks. He also has a tendency to wake up in the middle of the night, shed his clothing down to his tighty-whities and eat people while still asleep. This would be horrible if not for the fact that seeing Eddie’s carnage somehow triggers a creative response in Lars, leading him to start painting again.

One of the things I absolutely hate about movies set in the art world is that often people are depicted as creating their so called masterpiece and when you see the artwork, it is nothing special. A large part of EDDIE is Olaf’s paintings yet they are given the golden briefcase treatment, meaning we never actually see them. This is one of the many things the film gets right. It knows exactly what to show, as evidenced by the very brisk pacing and perfectly short running time. While the film may not always be nonstop hilarity or thrills, it is certainly never dull. I do agree with some other people’s sentiments that the film gets better the bloodier it becomes but I think the restraint from showing much gore at first works thematically as both Eddie and Olaf strive towards their magnum opus. There are a lot of other little details in the film that work equally well, such as the running joke of the radio DJ commenting on how each of the classical music pieces played throughout the film directly correlate to tragedy and scenes of death.

Rather than spoil any more surprises, let me just recommend checking out EDDIE when it finds some sort of a release. This is a damn fun film and despite the outlandish concept, it is easy to relate to especially for creative types. There’s no telling how far some artists will go to get their muse back…

Jerry Cavallaro – @GetStuck – JerryCavallaro.com