Rapid Reviews: Legend and The 33

Brian Helgeland cemented his legacy as a writer the moment he won a screenwriting Oscar for his 1997 crime drama, L.A. Confidential, but that never deterred him from trying to become an accomplished director as well. In 2013 Helgeland broke through with the successful critical and financial sports biopic, 42, which paved the way for his latest cinematic effort, Legend.

Set in London during the 1960s, Tom Hardy stars in a dual role as twin brothers, Ronnie and Reggie Kray, who climb from amateur boxers to notorious gangsters who take control of the city. But when Americans try to work with the Kray's to turn London into the Las Vegas of the Europe, the mental instability of Ronnie puts the sibling's growing empire in jeopardy.

No one can argue against the diverse and well-ranged performances from leading man Tom Hardy. The talented actors work has always stood for itself and he clearly continues to shine as the only real reason worth watching Legend. In a bit of a surprise, Helgeland's muddled story is simply a patchwork of disorganized events and under-developed characters. Emily Browning co-stars as Frances, the wife of the more level-headed twin, Reggie. As the narrator of the story you expect so much more from Frances' character, but in the end she reveals herself as merely a shell of a deeper and more interesting personality. With a celebrated writer in the director's chair, it's baffling to see Helgeland deliver a structurally plagued story. And by film's end, Legend can only stand a showcase for Tom Hardy's fine work.


Stars: 2 stars out of 4.

Grade: C+





Arriving in theaters this weekend is Patricia Riggen's The 33, a real life drama based on the trapped Chilean miners who faced enormous odds while trying to survive a deadly collapse. Starring Antonio Banderas, Juliette Binoche and Lou Diamond Phillips, the melodrama is unspeakably high with this latest true story adaptation.

Despite many safety requests to the company's owner, 33 miners find themselves faced with death after a gold and copper mine traps them 2,300 feet underground. Government officials step in to work as swiftly as possible to rescues these brave men, but their strength, courage and sanity start to waver as food and water begin to run out with each passing day.

I've always enjoyed the fine career work of both Antonio Banderas and Juliette Binoche. And in all fairness, each of these performers possess a few shining moments in Patricia Riggen's over-dramatized survival flick. However, the constant recycling of facing an obstacle and overcoming the odds only to face another issue, it becomes a very tiresome ordeal. As a result, The 33 massively overextends itself and its more powerful moments become diluted by stereotypical Hollywood dramatization. The film has unjustly received overwhelmingly harsh reviews and, while it's not an awful viewing experience, I must admit that its flaws clearly outweigh its positives.


Stars: 2 stars out of 4

Grade: C+

DVD Outlook: November 2015

Another month is upon us and that means there's a fresh new slate of movie titles available on DVD, Blu-Ray and multiple other viewing platforms. And although October's offerings marked the release of my favorite film of 2015 (so far), Me and Earl and the Dying Girl, November also unveils a strong collection of noteworthy movies. Here are my top picks for this month:




The Man from U.N.C.L.E. - 3 stars out of 4 - (Read my full review here)

Renowned auteur Guy Ritchie returned earlier this year with the espionage action-comedy, The Man from U.N.C.L.E., and the result was one of his most superior films to date. Set during the Cold War in the early 1960s, CIA agent Solo (Henry Cavill) must reluctantly join forces with a Russian KGB operative (Armie Hammer) in order to bring down a sinister organization hoping to mass produce nuclear weapons. Ritchie finds a winning formula as he successfully blends together swift car chases, immaculate fighting sequences and laugh out loud humor. A stellar, albeit it quasi-unoriginal, story is told through exceptional performances from the film's pair of leading men and co-star, Alicia Vikander, who has had herself quite the year. The Man from U.N.C.L.E. is the most fun I've had watching a movie in a long time, so check it out. (November 17th)




The End of the Tour - 3 stars out of 4 - (Read my full review here)

Every now and again you encounter a movie that strikes a chord with you on a personal level. There's obviously something profound and existential surrounding James Ponsoldt's wonderful drama, The End of the Tour. Adapted from writer David Lipsky's bestselling novel, the film follows Lipsky (Jesse Eisenberg) on his five-day traveling interview with acclaimed author, David Foster Wallace (Jason Segel), during the end of the book tour for Wallace's iconic literary masterpiece, Infinite Jest. To experience The End of the Tour is to take a personal journey of self discovery through the insight of deep-thinker, David Foster Wallace. Mainly a subtle examination of human interaction, the film's dialogue will send your mind into a glorious tailspin that sustains itself long after its conclusion. I'll admit that The End of the Tour isn't a movie experience for everyone, but it's the perfect experience for many. (November 3rd)




Inside Out - Not Yet Rated - (No review available)

It's very rare that I go out on a limb and recommend a movie I haven't seen yet, however Disney-Pixar's Inside Out circumvents the norm. With a finished product that's been so highly touted that even some Oscar prognosticators give the animated feature a fighting chance at a rare Best Picture nomination, this clearer puts Inside Out immediately on my radar. The movie follows a young girl named Riley who moves from the midwest to San Francisco and her inner emotions (each uniquely personified) struggle adjusting to a new life. With every intention of catching the movie as soon as I can, such overwhelmingly positive reviews should make Inside Out a film you go out of your way to watch. (November 3rd)


Honorable Mention: The highly marketed comedy Vacation (11/3) introduces Ed Helms as the patriarch of the newest faction of the Griswold family. The franchise continuing Terminator Genisys (11/10) is also available this month. Amy Schumer goes from stand-up to the big screen in comedy director Judd Apatow's latest, Trainwreck (11/10). Finally, a pair of standout independent films are released in November as well. Sir Ian McKellan stars as an elderly and retired Sherleck Holmes who returns for one more mystery in Mr. Holmes (11/10), and you can take a look at the controversial true story of The Stanford Prison Experiment (11/17).

Rapid Reviews: Spectre and The Peanuts Movie

*** Guest review courtesy of Reel True's Greg Rouleau

Sam Mendes’ first foray into the Bond franchise, Skyfall, drew comparisons to Christopher Nolan’s The Dark Knight, with its dark and gritty take on a character with a once campy history, eliciting more emotion than laughs, and putting our hero and his allies in precarious scenarios at the hands of a psychopathic villain.  His follow-up to the hugely successful Skyfall removes some of the grim of the previous installment and sees Bond up to his old philandering ways, but making sure not to deprive us of the awe-inspiring action sequences we’ve grown accustomed to with the Daniel Craig series.  It’s worth noting that Craig is once again spectacular as 007, making the criticisms of his casting seem like a distant, foggy memory. 

At the start of Spectre, Bond finds himself in Mexico City celebrating the Day of the Dead as a guise for tracking down a nefarious criminal.  We learn his mission involved him going rogue without the permission of MI:6, but it’s a fruitful venture that leads Bond on the trail to discovering a criminal organization that ties together all of Bond’s previous foes.  At the head of the group known as Spectre, is the always compelling, Christoph Waltz.  After a great introduction to the villainous character Waltz portrays, we’re then left with one major head-scratcher, as he’s never seen again for what feels like an eternity.  In the meantime, an assassin, Mr. Hinx, who feels like Odd Job meets Bane, chases down Bond while he courts the lovely Madeleine Swann, all the while Ralph Fiennes’ M battles to keep the British Intelligence Agency alive.  By the time Waltz reappears the story has lost some major steam.  In the opening credits there’s a large group credited to writing the film, and one can easily assume having too many cooks in the kitchen led to an inconsistent story.  Spectre, in terms of tone, is more akin to the Mission: Impossible franchise, with a more breezy approach to the material, and although it’s an admirable effort by Mendes, it’s ultimately a step below of its predecessor.


Grade: B





As my childhood continues to renew itself with an inordinate amount of remakes and re-brandings, Steve Martino's The Peanuts Movie found its way into theaters this past weekend. Fans of the iconic Charlie Brown universe created by the masterful Charles M. Schulz should know that Martino's newest animated feature comes from the mind of Bryan Schulz, the creator's grandson. Long-lasting discussions occurred between the Schulz family and the film's studio, Twentieth Century Fox Animation, regarding the creative direction of the story prior to attaining the comic strip's rights, and it definitely shows.

The lovable accident-prone Charlie Brown returns to the big screen and we find him swooning over a pretty new redhead girl who moves into the neighborhood. As Charlie Brown makes multiple valiant attempts to capture her attention, as expected, unfortunate circumstances always seem to spoil his efforts. But with the help of his eclectic collection of friends and his loyal dog, Snoopy, perhaps Charlie Brown could actually win her over.

In the latest from the Schulz family, The Peanuts Movie does a fantastic job of staying loyal to its source material. With 2015 marking the 65th anniversary of the comic strip and the 50th of the TV special, A Charlie Brown Christmas, it's clear that authenticity was an essential part of the collaborative team's vision. But despite an enjoyable return to classic characters from my childhood, I was a bit disappointed that they refused to use hand-drawn animation. It should also be noted that, at nearly 90 minutes, the movie runs a little longer than necessary. Perhaps The Peanuts Movie  would have been better served as an hour-long made-for-TV event. However, all in all it was a commendable return for Charlie Brown and all of his friends.


Stars: 2 and a half stars out of 4

Grade: B-

Rapid Reviews: Remember and Kilo Two Bravo

One of the rare gems hidden deep in the lineup of the 2015 Philadelphia Film Festival was Atom Egoyan's chilling drama, Remember. The film features a recent Oscar winner, 2013 Best Supporting Actor Christopher Plummer (Beginners), who delivers another superb and memorable performance.

After the recent passing of his wife, elderly dementia patient Zev Gutman (Plummer) is reminded by his friend and follow resident at the retirement home, Max Rosenbaum (Martin Landau), about a pact they made. Therefore, with the aid of Max, Zev escapes the facility and embarks on a vengeful mission of locating and murdering the former Nazi soldier who killed their families in Auschwitz during World War II.

Leading man Christopher Plummer gives a spellbinding performance as a befuddled dementia patient dead pressed on carrying out his plan of revenge. Although Zev's journey to identifying the Nazi soldier comes with its ups and downs, all in all Remember culminates with a gripping and tense finale that sticks with the audience long after the credits roll.


Stars: 3 stars out of 4

Grade: B





Another fine selection from this year's festival was the U.K. action-thriller, Kilo Two Bravo. The debut feature from Paul Katis marks an impressive showing from the budding filmmaker. He uses his modest resources wonderfully in this unforgettable heart-pounding war movie.

Set around the Kajaki Dam in Afghanistan during 2006, a trio of U.K. soldiers set off to engage Taliban forces and find themselves trapped in a mine field. After an explosion alerts them of their surroundings and takes the limbs from one of the soldiers, they rely on the assistance of their unit to help rescue them from this unstable environment where the slightest misstep could cost them their lives.

Easily matching the intensity of Kathryn Bigelow's Best Picture winner, The Hurt Locker, Katis' Kilo Two Bravo is a suspenseful edge of your seat thrill ride that never wavers. Relentless in its discomfort for the audience, this harrowing true story is both a tale of unfortunate sadness and remarkable bravery. Supported by a phenomenal turn from Game of Thrones' Mark Stanley, Kilo Two Bravo is an overlooked festival darling that warrants nationwide distribution.


Stars: 3 stars out of 4

Grade: B

The Best of the Philadelphia Film Festival 2015

Now that I've had some time to sit back and digest all of the 21 films I encountered during the 24th annual Philadelphia Film Festival, it's time for me to acknowledge the best of what the festival had to offer (here's a look back at 2014's festival). With some huge late additions into the festival lineup including two films expected to make an awards season splash, Spotlight and Suffragette, there were plenty of reasons for optimism. So here's a look at the movies, directors and performances that caught my eye during another successful year.

Note: I wasn't able to catch Suffragette, The 33 or Michael Moore's latest documentary, Where to Invade Next.

Best Supporting Actress

Honorable Mention: Cynthia Nixon (James White) and Rachel Weisz (Youth)

#3. Julie Walters (Brooklyn)

#2. Rooney Mara (Carol)

And the winner is ...

Joan Allen (Room)

It was an absolute winning performance in one of the year's finest films. Joan Allen gives an emotional turn that helps sustain the second half of Room. Although Rooney Mara is better positioned for an awards season run, I'll take Allen's performance any day.

Best Supporting Actor

Honorable Mention: Emory Cohen (Brooklyn), Harvey Keitel (Youth) and Stanley Tucci (Spotlight)

#3. Jacob Tremblay (Room)

#2. Michael Keaton (Spotlight)

And the winner is ...

Mark Ruffalo (Spotlight)

It's to be expected, but this year's Best Supporting Actor race is loaded with noteworthy performances and there are still two months left for films to qualify for the Oscars. After last year's close loss to Eddie Redmayne, it almost feels like the voters will give one to Michael Keaton for his brilliant turn in Spotlight. Keaton was clearly fantastic, but his co-star Mark Ruffalo shined even brighter. With every new performance Ruffalo continues to climb my list of respected actors.

Best Actress

Honorable Mention: Sarah Bolger (Emelie), Sandra Bullock (Our Brand is Crisis) and Charlotte Rampling (45 Years)

#3. Saoirse Ronan (Brooklyn)

#2. Cate Blanchett (Carol)

And the winner is ...

Brie Larson (Room)

I've been touting Brie Larson ever since her Oscar snub for 2013's indie drama, Short Term 12. Larson elevates her game even higher with a sure-fire performance that could land her a statue at the Academy Awards. Room is absolutely compelling and we have its superb leading star, Brie Larson, to thank for that.

Best Actor

Honorable Mention: Christopher Abbott (James White), Tom Courtenay (45 Years) and Ben Foster (The Program)

#3. Tom Hardy (Legend)

#2. Mark Stanley (Kilo Two Bravo)

And the winner is ...

Christopher Plummer (Remember)

Although there were many films I had the pleasure of enjoying during this year's festival, one of the most memorable was the impactful drama, Remember. Christopher Plummer provides an unforgettable turn as a dementia patient who ventures from the hospital to seek vengeance on the former Nazi soldier who killed his family during World War II. With an unusually short list of worthy Best Actor performances this year, I'm surprised more hasn't been about Plummer's work here.

Best Director

Honorable Mention: Lenny Abrahamson (Room), Atom Egoyan (Remember) and Charlie Kaufman (Anomalisa)

#3. Paul Katis (Kilo Two Bravo)

#2. John Crowley (Brooklyn)

And the winner is ...

Tom McCarthy (Spotlight)

As an outspoken fan of McCarthy's 2011 drama, Win Win, there aren't many people as happy as I am that the writer/director is receiving all this acclaim for his latest effort, Spotlight. As the current Oscar frontrunner, although it's awfully earlier to get excited, McCarthy and his cast are every bit as good as advertised. 

Best Picture

Honorable Mention: 45 Years, Anomalisa, Emelie, Our Brand Is Crisis and The Program

#5. Kilo Two Bravo

#4. Remember

#3. Brooklyn

#2. Spotlight

And the winner is ...

Room

This year's Philadelphia Film Festival delivered plenty of notable features, but none stood out as much as Lenny Abrahamson's adapted drama, Room. Brie Larson gives an unmatched performance as a prisoner held captive as a sex slave who eventually gives birth to her captor's son. Forced to raise him  exclusively in a tiny 10 x 10 foot shed, the boy has never experienced anything outside the walls of "room". The film lures in the audience with a constantly progressing story that allows each of its acting talents to build depth to their characters. Room is an absolute must-see and one of the year's best pictures.

*** Stay tuned for a complete recap of every film I encountered at this year's Philadelphia Film Festival

Spotlight

Film: Spotlight

Starring: Michael Keaton (Birdman), Mark Ruffalo (Foxcatcher) and Rachel McAdams (Southpaw)

Director: Tom McCathy (Win Win)

U.S. Release: November 6th, 2015 (Rated R)

Genre: Drama

Runtime: 128 minutes


I've always revered the overlooked work of screenwriter and director Tom McCarthy. More respected for his earnest screenplays filled with wonderful character development and light-hearted comedy, McCarthy quickly hops into the directors chair once again following a critical bashing of his previous well-documented dud, The Cobbler. But despite McCarthy's recent poor showing, he bounces back in notable form - as you would expect from any artist and visionary with his talents - delivering one of 2015's hottest titles, Spotlight.

When Marty Baron (Liev Schreiber) is hired as the new editor of The Boston Globe in 2001, he assigns the paper's finest team of investigators (known as Spotlight) to look into a surprisingly disregarded case of sexual abuse allegations against a local Catholic priest. And as Spotlight digs deeper into the facts, they begin to uncover a massive conspiracy by the church to cover-up decades of known misconduct. But with the powerful institution pulling strings throughout the entire city of Boston, unveiling this shocking true story proves to be mighty difficult task.

Tom McCarthy's Spotlight unravels as one of the most compelling investigative dramas in decades. Tied to a national story that strikes a nerve in all of us, this entertaining fact-based tale commands the audience's attention with elite acting from its entire cast. Michael Keaton follows up his Oscar Nominated turn in last year's Birdman with another upper echelon performance that should return him to the big dance. Keaton not only finds stiff competition in the Supporting Actor race from Bridge of Spies' Mark Rylance, co-star Mark Ruffalo could quite possibly give Spotlight the first pair of actors nominated in the same category since Bugsy's Harvey Keitel and Ben Kingsley accomplished the rare feat in 1991. And while critics and insiders have touted Keaton's performance, there are moments throughout the film when the excellence of Mark Ruffalo dwarfs his co-star by comparison. In addition, Stanley Tucci continues to impress as one of the best character actors in the business. Spotlight's perfect blend of a hard-hitting story and an unmatched ensemble leave the film as a primed Best Picture contender.

Despite all of the feature's shining attributes, Spotlight is weighed down by a few glaring blemishes. The film does an adequate job of keeping the audience's attention throughout its more than two-hour running time, yet there are a few noticeable lulls the viewer is forced to push through. Generally, these poorly paced moments occur as a result of McCarthy and co-writer Josh Singer's quest for Hollywood dramatization. A collection of these scenes feel inauthentic and unnecessary to the progression of the film, which ultimately leave Spotlight as a flawed, albeit successful, title.

Considering the minuscule number of elite films in 2015, Spotlight positions itself nicely as one of the top tier entries. McCarthy relies on numerous fine performances to transition his gripping factual script to the big screen. If history is any indicator, for more than the last decade every Best Picture winner has debuted to audiences in some form prior to November. Therefore, there's a strong chance Spotlight could be a major player during this year's run to the Oscars, and it's definitely one you won't want to miss.


Stars: 3 and a half stars out of 4

Grade: B+