Movies Cigars and a Brew

Director: James Gunn Writers: James Gunn, Dan Abnett (and 9 other creators of the characters and the comic series) Stars: Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Michael Rooker, Karen Gillan, Pom Klementieff, Sylvester Stallone, Kurt Russell Rated PG Runtime 136 MIN   In 2014, Guardians of the Galaxy was a surprise hit and a major feather in the cap of Marvel, who somehow knocked it out of the proverbial park with an offbeat space opera starring a talking raccoon and a walking tree. Even as a Marvel fan, I was skeptical of the premise on the big screen back then. Fast forward to 2017, and we are deep into “Phase 3” of the Marvel universe and Guardians of the Galaxy Vol. 2, represents a major tent pole of the expanding franchise. Guardians Vol. 2 delivers on the humor and tone of the first but continues to prove Marvel’s struggle to develop engaging bad guys. All of our heroes are back again for round 2 and, as the story opens, we join them on a mission to keep batteries out of the hands of some bad guys. They keep the cargo safe, but Rocket has sticky fingers and the companions end up the object of some aggressive negative customer feedback, for stealing the items they were just paid for protecting. When our heroes seem to be at the end of the line, a would-be savior appears, Ego (Kurt Russell), who claims to be Star Lord’s father. The humor and tone, that made the first GotG so successful, still shines through in Vol. 2 and Baby Groot sends the cute factor through the roof. The complaint the sophomore effort garners comes from the same place as most of Marvel’s movie efforts, the development of a truly satisfying evil entity. GotG Vol. 2 is well over two hours long, but as I looked at my watch and realized I was an hour and 15 minutes in, the main bad guy was not yet fully revealed. Now it isn’t a leap to figure out that the family picture being painted isn’t perfect, but the lack of antagonist motive development and the missing sense of dread fostered by infamous bad guys represents a missed opportunity for Marvel to flip the script. Despite this, Guardians of the Galaxy Vol. 2 is still a great entry into the growing Marvel canon and one that plays extremely well with family members of all ages. B

Director: Brett Haley Writers: Marc Basch, Brett Haley Stars: Sam Elliott, Laura Prepon, Krysten Ritter, Nick Offerman Rated R 1HR 33MIN US release June 9th, 2017 The Hero boasts a fantastic cast and a striking story that delves into the life of an aging actor, Lee Hayden (Sam Elliott). Lee lives alone and though he lives comfortably, he does so without the active career of his youth. His agent’s only offer is the acceptance of a lifetime achievement award by the Western Appreciation Guild. While visiting his stoner buddy, Jeremy (Nick Offerman), Lee’s future intersects with a young female comic, Charlotte (Laura Prepon). The chemistry between them was both immediate and, perhaps, a little creepy given their age difference. Lee takes Charlotte to the award ceremony and during his substance enhanced speech (compliments of Charlotte), he creates a youtube and social media sensation, relaunching his career. Not all is golden though, as a terminal form of cancer diagnosis and an estranged daughter, Lucy (Krysten Ritter- Jessica Jones), demand focus and resolution. Sam Elliot’s distinctive mustache, southern draw, and deep resonating voice make him an archetype for the western film world. His real life career, unfortunately, has had fewer opportunities as a result, so seeing him as Lee Hayden, a man whose fame was established in a western movie 40 years in the past is not hard to imagine. The themes of this movie are remarkably similar to another aging actor film, Dog Years (starring Burt Reynolds), though the tone is very different. In The Hero, we never see Lee in his youth, nor does he seem so forlorn. The portrayals are much closer to realism (as long as you can accept the stunning Laura Prepon falling for a man more than twice her age). The recurring theme of the ocean appearing in his dreams hints at the relentlessness of time and establishes it as his inescapable enemy. I can’t help but give a nod to two poignant and relevant poems from Edna St. Vincent Millay that are worked into the film in a satisfying way. Director, Brett Haley, was present for the screening at the Montclair Film Festival and he summed it up pretty well before the screening, “If you are a fan of Sam Elliot then you are going to love this movie if not, there is the door.” B+

Director: Russell Harbaugh Writer: Russell Harbaugh, Eric Mendelsohn Stars: James Adomian, Andie MacDowell, Juliet Rylance, Francesca Faridany, Dree Hemmingway, Gareth Williams This movie had its world premier at the 2017 Tribeca Film Festival with Russell Harbaugh and Andie MacDowell on hand, among others, for a post-screening Q&A. Love after Love is Russell Harbaugh’s directorial début and, in comments before the screening, he notes his intention for the movie to have an emotional effect on you. Overall, he was pretty successful with an unusual style that does a great job of mimicking the relentless passage of time and showing how messy people have to become to heal after loss. Suzanne (Andie MacDowell) and Nicholas (Chris O’ Dowd) open the film quietly while exploring the nature of happiness. This pause at the beginning of the movie sets the scene for the frenetic pace of storytelling that is about to unfold. We soon see the patriarch of the family and writer of some note, Glen (Gareth Williams), at a well-attended family dinner.  His speech seems off and he notes that his throat doesn’t hurt, though it sounds bad. We are quickly whisked to a bedside scene where the same family members attend Glen, who is obviously dying of an unspecified neuro-muscular disorder. Harbaugh makes a brave entry into the world of film direction with a movie that does not rely on classic storytelling or exposition.  A lot of faith is put into the audience to follow the story through various scenes of differing emotional clarity. Sometimes it is just a look from Suzanne that reflects her thoughts on the conduct of her son. At other times, you are thrown headlong into a scene of consequence only hinted at before. The center of the success of this movie depended on MacDowell’s ability to suggest nuance and show a woman who is fumbling to find her existence after the loss of her husband. Nicholas has an equal focus in the movie as we see his poor choices play out in his relationships and work life.  Both carry out the task at hand and Harbaugh deserves a lot of credit for such an ambitious first feature. At the time of this writing, this movie does not have a buyer, though gauging its strength, it should be imminent. B+

Director: Kevin Phillips Writers: Ben Collins, Luke Piotrowski Stars: Owen Campbell, Charlie Tahan, Elizabeth Cappuccino, Sawyer Barth, Max Talisman Rated R Runtime 100 min Super Dark Times played at the 2017 Tribeca Film Festival with the director and most of the cast in attendance at my screening.   It is a dark feature that commits to its premise with considerable zeal. The development of the characters and the situation they face resonates and makes the viewer squirm in his/her seat as the story unfolds. Zach (Owen Campbell) and Josh (Charlie Tahan) are typical suburban high school students and best friends. All the normal rhythms of teen life are well-developed in the opening ten minutes and you genuinely come to like both boys as they discuss their mutual interest in a classmate, Allison (Elizabeth Cappuccino) in a funny scene involving a glue mishap and double entendre. A fringe friend Daryl (Max Talisman), provides early comic relief for this movie.  He along with his friend Charlie (Sawyer Booth) round out a foursome that feels very much like Southpark in its makeup. Daryl is hilarious with his personality and delivery. At the post-screening Q&A, he demonstrated that this trait is a basic part of his character on and off the screen. The fun nature of the movie up to this point shifts after a chance accident involving a sword and a bag of weed leads to the death of one of the kids. The subsequent coverup by the remaining party and its aftermath is the focus from here on out. Though you could say we have seen this before, the way in which the violence is displayed onscreen is haunting in its realistic nature without glorifying the acts themselves. Though the movie has some slow points (the movie centers on a lot of wistfulness of one of the characters while the other is locked away for an extended period), the movie is a satisfying affair. One other thing to note, Kevin’s extensive credits in cinematography are quite clear.  The many long shots of barren trees at night throughout the film, help to maintain the tone and set the slowly building tension in this dark tale. B+

Director/Writer: Adam Rifkin Stars: Burt Reynolds, Ariel Winter, Clark Duke, Ellar Coltrane, Chevy Chase, Nikki Blonsky 1 HR 54 MIN Dog years premiered at the 2017 Tribeca Film Festival. Most of the cast and the director/writer, Adam Rifkin, were in attendance for the début (I actually sat directly behind Chevy Chase and his family). The story centers around an aging actor, Vic Edwards (Burt Reynolds), who was adored in his younger years by throngs of fans but nows lives alone eating Hungry Man tv dinners with his equally senior dog (who in a sad sequence is put to sleep early in the movie). Vic’s Hollywood contemporary and apparently only friend, Sonny (Chevy Chase) encourages Vic to attend the Nashville Film Festival where he is to be honored with the lifetime achievement award because some of the greats received it in the previous years. After some consideration, we see Vic departing LAX back to his home state of Tennesee. Vic doesn’t quite find the reception he was looking for but he gains far more in the end. Though Vic Edwards is a fictional character, the movie brilliantly uses film from Burts early career throughout the film. There are several sequences where Vic is talking to a young Burt Reynolds (Vic himself from the movie’s point of view) in scenes from his long movie career. The passage of time in the juxtaposition is profound. This is what really makes the movie compelling. Though not a biopic about Burt Reynolds, it captures much of what it must feel like to have risen so far and to have it pass mostly into memory. The truth of that can be seen from Reynolds own comments in the post-screening Q&A where he said he was absolutely crying in many parts. The movie itself works pretty straightforward as a two person unlikely friendship story arc between Lil (Ariel Winters) and Vic. Lil doesn’t know Vic’s work and is not happy that she has to schlep Vic around for the weekend as a chauffeur. The rest of the cast has a small role in the overall story and are not developed much beyond stereotypes. Overall the movie is very enjoyable as a nostalgic tribute to Reynolds terrific career. B

Director: Jordan Ross Stars: Eliza Taylor, Lena Heady, Pablo Schreiber, Grant Harvey, Ben Feldman, Daniel Weber Rated R 1HR 33MIN So I got a chance to view the second showing of the worldwide premier of Thumper at Tribeca 2017. Director, Jordan Ross, was on hand and introduced the film as well as had a Q&A post screening. He noted after the film viewing that his work on documentaries was a principal source of material for the story. With the success of this film, I’d like to see more doc director’s write stories pick up the pen and tell tales based upon their work with real life individuals. It is clear that the best stories are those closest to your experience. In Thumper, Ross captured a lot the humanistic elements that exist in the real life producer and seller drug game. The movie opens with Wyatt (Pablo Escobar) attending two small children until a bedraggled wife takes them off on the day’s journey. Once they leave, Troy (Grant Harvey) shows up with accomplice Beaver(Daniel Weber) and the trio retire to the shed outback. Here we find a meth cooking lab, ala Breaking Bad whose setup is far from Walter White’s capabilities, and maybe even below Jesse’s. We learn that Wolf and several of his friends push Wyatt’s drugs at school. The group’s dealings become much more complicated when the new girl in the school Kat (Eliza Taylor) allows Beaver to copy off a quiz paper and they become friends. What ensues is an engaging tale where lives are upended and consequences are dire. The movie boasts excellent story telling. Wolf, Kat, and Beaver shine in almost every scene. Thumper is a gritty tale, that approaches familiar themes with a fresh look. This is a movie I highly recommend you to go see. A-

Director: Ben Wheatley Stars: Sharlto Copley, Brie Larson, Armie Hammer, Noah Taylor, Cillian Murphy Rated R 1HR 30MIN Wide release April 21 (US) If you have ever wondered what a shootout would look like if BOTH sides had stormtrooper marksmanship, this might be the movie of the millennium for you. This skin deep 1978 Boston warehouse gangster flick, has a lot of humor for the duration of the 90 minutes, even if plot development doesn’t move past the setup. And let’s be honest here, the setup only resembles a plot, in that it leads to the gimmick…but I’ll get to that in a minute. Justine (Larson) is brokering a deal between an IRA faction led by Chris (Murphy) and a gun broker, Ord (Hammer), and his gun dealer friends (Copley et al.). Both sides bring henchmen to facilitate the actual exchange, however, unbeknownst to the parties, these stand-ins have a score to settle with one another from a fight the night before. What ensues is the start of a gunfight that takes up about the next 70 minutes. The relentless onslaught of mostly ineffective weaponry reaches almost comic levels(you are inclined to laugh when someone actually DOES get hit).  Every once in a while someone stands up and moves around..only to be shot in the leg and made to crawl around with liberal doses of one-timers. I should feel bad here because I think I may have spoiled the movie. There really isn’t much more to the main plot. The intent is to keep the action high, the walking limited and the mouth free-flowing. Style and action over substance…check. The cast is mostly wasted.  Larson has been far more interesting, in fact, they all have. This movie does have a positive aspect in its 90 minutes running time in this day and age of wearing even good scripts thin with bloat. Free Fire is mostly fun, even if you care nothing for any of the characters and won’t remember it past the exit. C+  

Director:  Rupert Sanders Stars: Scarlett Johansson, Pilou Asbaek, Takeshi Kitano, Michael Carmen Pitt Rated PG-13 Runtime: 105min Okay, before I begin this review, I need to confess…I knew nothing about Ghost in the Shell in its anime incarnation prior to this movie (the original manga written by Masamune Shirow with the anime showing up in 1995). My review, therefore, can only assess the movie at face value. And since we are talking about faces, let’s start with the lovely Scarlett Johansson who plays the lead “Major”. Her casting created a whitewashing uproar since the source material calls for an Asian lead, and it does seem odd that she is one of the only caucasian people in an obviously far east setting. Late in the movie, we find a flimsy reason for this, but I’ll leave it there for you to discover. The opening of the movie has an android building experiment sequence taking place. In it, Major’s (Johansson) human brain is fused with an entirely fabricated body. The result looks like a barbie doll body with Scarlett’s face. Every time she goes to fight mode this is also the way she looks. It is about as close as you can get to having her fight in the nude without committing fully. Apparently, Major’s brain was saved when her parents and family were killed as refugees by terrorists. With her enhanced body and human mind, she is an ideal agent for a counter terrorist group, Section 9, led by Amaraki (Takeshi Kitano). In a stylistic onslaught, Major thwarts an attack on Hanka Robotics (her creators) business conference by robotic geishas. She attempts to hack into one of the geishas to discover the origins of the attack and is nearly hacked into herself.  You can clearly see by this early narrative, a lot of cyber witchcraft takes place. Unfortunately, this asset is never fully explored. The world, though highly infused with generically Asian esthetic, fails to capitalize on the concept and possibilities of a world where artificial enhancements are commonplace. That being said, the movie kept me interested. I know that the source material is supposed to explore more profound concepts. However this is a fun romp with retread concepts of evil corporations and the abhorrent nature of technology.  Oh did I mention, Scarlett Johansson epitomizes loveliness? B-

Director: Marc Webb Star: Chris Evans, Mckenna Grace, Lindsay Duncan, Jenny Slate, Roberta Taylor Rated PG-13 101 minutes This is Marc Webb’s most recent effort since his big screen Amazing Spiderman days. And like those two movies, I am left with conflicted feelings over what was brought to screen. Don’t get me wrong,  the casting and portrayals are excellent, but, I have some questions about the message and the framing of the dialogue in question. Chris Evans has become the on-screen personification of the ultimate Boy Scout through his work with Marvel as Captain America. This can be a somewhat limiting career predicament. In his most recent roles, whether in the horrific future dystopian world in Snow Piercer or a nice guy that chooses the high road in Before You Go… Evans characters have stood for justice and “doing the right thing”.  In Gifted, Evans plays Frank Adler, a single man living in rural Florida, raising his niece, Mary (Mckenna Grace). The movie makes it a point to establish Frank as an every man. His house is small and his niece sleeps on a bed that’s in a common area. Frank’s white shirt is dirty because he works on boats to make a living. At the beginning of the movie, Mary is preparing for her fist day of school.  She has been homeschooled up until now and she does not want to go. Frank sees her off to the school bus and receives an admonishment that he should not be sending her to school by his neighbor and friend, Roberta (Octavia Spencer). Mary has a rough first day but she attracts the interest of her teacher, Bonnie (Jenny Slate) because she is a math genius. Before long she is offered a scholarship to a new school that would challenge her math prowess. Frank turns down the offer which then gets the attention of Mary’s grandmother (Frank’s mother) and sets up the legal procedural that dominates the second act. The movie is well acted and has a story that will keep you engaged. Mckenna Grace’s presence on screen hints at a potentially bright future, even if it is not in Mathematics like her on-screen character. The issue I have with Gifted relates to the message delivered. The movie insinuates that having access to better school conditions is a negative thing. Of course, the movie frames the story in such an extreme way, you would tend to agree with the premise. The resolution of the story is less high-minded than it is derivative. The early frustration Mary shows in class is a real outcome of being in an environment that is less than challenging. Kids also do not automatically associate with the smart kids, being smart is generally not the thing that makes you the cool kid. Decent movie, even if I don’t agree with the framing of the message. B

Director:  Zach Braff Stars: Joey King, Ann-Margret, Michael Cain, Alan Arkin, Christopher Lloyd, Matt Dillon Rated PG-13 Runtime 96 min Though we often think of Zach Braff for his role in Scrubs, one of his most notable roles was a writer, director, and star of 2004’s Garden State. This time he helms the action comedy, Going in Style, written by Theodore Melfi (Hidden Figures), a re-imagining of Martin Brest’s 1979 film of the same name. The 1979 version was a darker version, starring  George Burns, Art Carney, and Lee Strasberg. Ordinarily, I would say trying to remake a movie with the cast name of the former movie, would be a steep hill to climb. Fortunately, for this rendition, the services of three modern legends of the older persuasion were employed. Joe (Michael Cain) plays an elderly gentleman, whose daughter and grandchild live with him in his home after a divorce. He, Willie (Morgan Freeman), and Albert (Allan Arkin) worked for years at a plant who moves to Vietnam and cuts off their pensions. While conducting unsatisfactory business at his local bank, Joe witnesses a robbery where three masked individuals waltz in and steal 1.6M dollars.  This puts the idea of a heist in Joe’s head. After some convincing, the other two friends agree to take part. All of them are penniless and with the loss of their pensions, life looks grim. Together they set out to fool everyone with the help of a shady coach. There is a lot of physical comedy and jokes related to growing old throughout. You can’t help but root for these guys to overcome the odds. Going in Style is pretty straightforward. There are not a lot of concepts we haven’t seen done before, including the jokes. One of the funniest small parts in the movie is played by Christopher Lloyd. He appears to be a leader in their local social club, but he exhibits a high dose of craziness and adds strength to the comedy relief. With these men close or above 80 years of age, we may not have many more opportunities to see them on the big screen.  This isn’t a bad one to check out, if for just that alone. B-

Director: Niko Caro Stars: Jessica Chastain, John Heldenbergh, Daniel Bruhl US Release 3-31-17 Rated PG-13 124 min Endless tales of heroic deeds can be told about World War II and the atrocities associated with the holocaust. The Zookeeper’s Wife tells the courageous story of Antonina Zabinski, adapted from a novel (written by Diane Ackerman) based on Antonina’s diaries. The movie, however, is disappointing in several aspects, despite a wealth of riveting material to draw from. Antonina (Chastain) helps her husband, Jan Zabinski (Heldenbergh), manage the Warsaw Zoo leading up to and through WWII. Time is taken to establish her special connection to the animals with images of her riding a motorbike around the zoo with a young camel running after her and her helping to deliver a baby elephant that was in trouble during birth. The early scenes of beauty and harmony serve as a sharp contrast to the images of exploding bombs, death and invasion forces that soon transpire. Soon after the occupation of Poland, Lutz Heck (Bruhl) arrives to assume the role of chief zoologist for the Reich. He convinces the Zabinskis to let him take best breeding stock left alive after the bombing back to the zoo to Berlin, he subsequently kills all of the remaining animals, saying there is no food to feed them. It is here that we see the Zabinskis begin to work for the resistance.  They offer to set up a pig farm in the zoo to feed the occupying German troops and Lutz Heck decides to use the zoo for experiments to bring an extinct German species of livestock back to life. Meanwhile, Jan uses his need to get slop for the pigs from the ghetto of Warsaw (enforced Jewish encampment near the zoo) to smuggle Jews away from imprisonment, hiding them in the many tunnels beneath the zoo grounds. There are obvious tension points with Lutz daily presence at the zoo and the hidden escapees. Antonina plays different tunes on the piano to indicate when the jews should hide and when they can come out. However, the movie glosses over these things. There is no development in any of the struggle for those that are hiding. There is no development in the reason for the resistance. My biggest dislike, however, was the Hollywood inclusion of a fabricated love triangle. Through it, Jan is seen as a jealous husband concerned about his wife paying attention to Lutz advances on her that were carnal in nature. Jan, himself, was a fascinating man, who in real life, was a firm atheist but still had a humanistic need to right the wrongs of those persecuted for their religion, by others of differing faith. In the end, this is a movie that could have been so much more. Chastain was amazing as always, but the tale told lacked. C+

Directed by: Charlie McDowell Stars: Rooney Mara, Robert Redford, Jason Segel, Riley Keough, Ron Canada, Jesse Plemons A Netflix Original Available to stream March 31st Charlie McDowell directs his second feature film with a stellar cast and poses an answer to the ultimate question of life…what comes next? The potency of the question possesses a riveting character that offers a myriad of potential treatments. McDowell and cowriter Justin Lader choose to sidestep the trappings of a theological discussion, focusing on the scientific conundrum inherent and ground level science resulting in realistic consequences. Another direct to Netflix original, The Discovery, opens with a melancholy and deserted ferry porting Will (Segel) and Isla (Mara) to a rainy and equally lonely dock. A blaring TV serves as the backdrop to a chance encounter, with news coverage recounting the number of suicides in the year and a half that has transpired since it was proven that there is an afterlife. Awkwardly, and with that innate spark that indicates a future attachment, Will engages Isla with discussions of suicide and the state of the world. After an apparent permanent parting on the dock, Will is picked up by his brother, Toby (Plemons), and taken to a secluded estate that looks a lot like a cult compound.  We learn that Will’s father, Thomas (Redford) is the man responsible for proving that there is an afterlife. We also learn that Will had a large hand in this discovery and that due to an incident involving his mother, Will left to live a life as a neurosurgeon. The movie possesses a multilayered narrative, with several parallel and disparate mysteries that resolve together with the reveal of the story. Jason Segel and Rooney Mara have terrific chemistry, reminiscent of the leads in Eternal Sunshine of a Spotless Mind. Robert Redford plays a man haunted by his past and his impact on the world, seeking an element of redemption in light of the consequences of his scientific breakthroughs. This movie will leave you with a lot to think on. I found it to be wholly engaging and worth the time spent. A-    

Director: Craig Johnson Stars: Woody Harrelson, Laura Dern, Cheryl Hines, Isabella Amara This graphic novel adaption, directed by Craig Johnson, will not supplant the volleyball of the same name (from the movie Castaway) with household recognition of the name Wilson. The considerable potential of this movie lies in the source material and most notably the inclusion of Woody Harrelson as the lead. Unfortunately, the limitations of dialogue and script diminish the result. Wilson can be described with one adjective…weird. He seems to relish in uncomfortable situations and encroachment of personal space. In any public situation, he seeks to sit right next to a person when a myriad of less invasive options are available.  He hates technology and wants to converse with people regardless of their wish to do so. Wilson’s father dies early in the film and after being distraught over his passing, he seeks out his ex-wife Pippi (Laura Dern).  He finds her and interacts with her in typical Wilson fashion…ie. dysfunctional. Somehow he manages to kindle a relationship with Pippi, who is a recovering addict that left Wilson 17 years prior. We learn that Pippi did not have an abortion when she parted from Wilson but gave the child up for adoption.  Wilson convinces the struggling Pippi to seek out and contact their daughter to great comedic effect. Overall, the movie has its moments of effective comedy delivered by veteran and capable actors.  However, the movie attempts to tie together a middle-aged aversion to technology and a complete inability to have appropriate interactions in life. It leads one to believe the latter is a natural progression for the former and its cure, a weak premise at best. The characters appear to be play acting, without relevant and real responses to the situations at hand.  Harrelson lifts an otherwise dismal script. C+

Directed By: Jeffrey Blitz Starring: Anna Kendrick, Lisa Kudrow, Craig Robinson, Stephen Merchant, Wyatt Russell, Tony Revolori, June Squibb Rated PG-13 Opens March 3rd (USA) Table 19 is a movie that collectively adds up to less than the sum of its parts. Jeffrey Blitz’s penchant for the uncomfortable (most notably demonstrated in his The Office direction) is apparent in this post-Oscar, pre-summer blockbuster no-mans land of film releases. Eloise (Kendrick), opens the movie struggling to make a decision on whether or not to go to a wedding. We soon realize Eloise was recently the girlfriend of the best man and the maid of honor, but because she was dumped through a text message, she stepped down from her role in the wedding. As a result, she is relegated to table 19, the land of misfits. At this table, we also find; the Kepp’s, an unloving couple that are friends of the father of the bride through a restaurant connection(Kudrow and Robinson); Jo, a long forgotten nanny of the bride who was invited because the groom’s nanny was invited (June Squibb); Walter, a distant cousin that is hiding the fact that he is currently on prison leave (Stephen Merchant); and Renzo, a virginal teenager who is at the wedding by the direction of his mother (Tony Revolori). We can all relate to the concept of the movie. I think we have all been invited to a wedding where we were sitting at Table 19, the Table of misfit toys. Each character has revelations to share with his/her companions in this unlikely “Breakfast Club-esque”  attempt at building a story arc. The movie tries to walk the line between comedy and drama with a wedding reception as the backdrop. Anna Kendrick and most of her counterparts, individually give top-notch performances. The story itself never feels genuine with a reliance on too many clichés. Go see this movie, only if you love Kendrick.  There is better stuff in the theater right now.   C+

Every year I intend to give the rundown of my top movies of the year. This year, I am finally bringing this to fruition. Below you will find my top movies of 2016. So Without further ado… #12 The Accountant I know it seems self-serving that I put a movie about an accountant on my list of top movies for the year. The truth is, I went in expecting not to like this one. I adore Anna Kendrick, but, I haven’t loved her in everything I have seen, and the premise of this one seemed bad out of the gate. However, Ben Affleck delivers a controlled performance, his best style, and this movie delivers on the concept….could there be an Accountant 2? Numbers will get you in the end folks. This one is #12 #11 Jackie Natalie Portman is an amazing actress. This role rightfully garners a best actress nomination for her, and though this movie is a bit slow overall, there is a depth reached into the psyche of an iconic figure that few movies can achieve. #10 Florence Foster Jenkins Meryl Streep gets her 20th Oscar nomination. This is another movie that I assumed that I would not like out of the gate. However, it is virtually impossible to dislike Streep’s genuine portrayal of a woman out of touch with her inability to sing. Liberties were taken with the history of the true Florence Foster Jenkins, but the earnestness of the intention and a terrific supporting effort by Simon Helberg lands FFJ a spot at #10. #9 20th Century Women Annette Bening, Greta Gerwig, and Elle Fanning comprise the trio that gives definition to the 20th Century Women of this piece. The movie is more about the coming of age of the women depicted than the object of their attention. Bening has seldom been better in her role as a mother that struggles to express what is in her heart and who finds herself lost in her ability to relate to her teenage son. #8 Arrival Arrival is a thought provoking slow burn. This is an alien first contact movie that centers on a basic concept seldom covered, communication. Louise (Adams) is a linguist assigned the monumental task of understanding an alien race that doesn’t even think as we do. You will be left with more questions than answers after this deftly worked piece. See the full review/podcast here. #7 Star Wars: Rogue OneThis movie proves that Disney has the chops and cajones to give one to the fans. Darkly written in a key moment in time, Rogue One blurs the line between good and evil. The rebels are shown to have an underbelly to achieve goals that might come across as distasteful to a purist. I like the gritty nature of the effort. Heroes are muted and questions are asked, “Does the end defines the means?”  Oh, and did I mention that Darth Vader appears in his grimmest display depicted to date? See the full review/podcast HERE. #6 Nocturnal Animals Amy Adams makes it into my top 12 list of the year, not once, but twice. A dark concoction with a stellar cast, this story within a story is riveting and provokes thought through symbolism. As a dude, I applaud the “Lifetime movie” reversal that unfolds. Michael Shannon may have played his best part to date.  I relish in my personal identification with the tale. See the full review/podcast HERE. #5 Kubo and the Two Strings This is one of the best animated stories I have seen for some time and it cracks my top 5 for 2016.  It tells an original tale of an imagined Japanese mythic fantasy, with somber almost horror-like elements intermixed with a plucky youth in the protagonist. Kubo has already won Best Animated Feature at the BAFTA awards. See the full review/podcast HERE. #4 Sing Street This was a very surprising movie in 2016. A movie could not better capture the feeling of what it meant to be alive in the 80’s better than this movie.  If you are in your 40’s, like me, and spent most of the 80’s growing up in a cold war world with the Russians being “them”, while rejecting the bell bottoms of the 70’s and embracing big hair and dudes wearing lipstick, then,

Director: Chad Stahelski Stars: Keanu Reeves, Riccardo Scamarcio, Ian McShane, Ruby Rose, Lance Reddick, Laurence Fishburn, John Leguizamo, Bridget Moynahan Genre: Action, Crime, Thriller Runtime 2HR 2MIN Rated R Chad Stahelski helms the telling of the second chapter of John Wick’s unlikely rise to prominence in the action anti-hero world. This should come as no real surprise given Chad’s history in film, which is mostly made up of stunt coordination in notable films like 300, The Matrix, V for Vendetta, and Constantine. A one-time martial arts instructor with a kickboxing background, he has a long career of orchestrating slick fight sequences. The movie rolls into action right out of the gate, reestablishing the unique action style of the first film. Once again, John is trying to get his car back, and a massive number of bad guys go down, despite hitting John with moving cars multiple times. I truly wondered why he was mowing through guys, damaging his treasured mustang in the process. When he finally returns home, however, we see that he had a card in the glovebox from his deceased wife with a picture of them together that was what he was really after. The world expands in John Wick: Chapter 2. John’s actions to avenge his murdered dog, have put him back in the game. He has a debt to repay the person that helped him retire in the first place. This debt is owed to Santino D’Antonio (Riccardo Scamarcio), who wants John to kill his connected sister so he can take over the crime world in NYC. This sets the stage for a massive barrage of intricately choreographed fight sequences and point-blank head shots. On the plus side, this movie delivers on the same gun-fu fighting display that made the first movie such a surprise hit.  At the same time, this movie falls into the trap of a second movie, in that it lacks the originality of the former. At 2 hours and 2 minutes, JW: Chapter 2 grows a bit tiresome. Truly, the first film worked as a revenge flick. In it, John lost the one connection to his dying wife who represented his salvation and redemption for a better life. In JW: chapter 2, he plays a guy that is reluctantly doing a nasty deed for a nasty purpose and you are less vested in the outcome. As a fighting-action flick, John Wick: Chapter 2 is top notch. Taken as a follow-up to the first movie, the expansion of the story, length, and lack of heart leaves you wishing for the nostalgia of the first. B-

Director: Chris McKay Stars: Will Arnett, Michael Cera, Rosario Dawson, Ralph Fiennes, Zach Galifianakis, Jenny Slate Runtime: 1 HR 44MIN Rated PG Warner Brothers throw everything but the kitchen sink at you in this frenetic tongue in cheek take on Batman set in the Lego universe. Batman is arguably the most successful superhero franchise of all time, having inspired generations from its comic book franchise to early TV and movie incarnation with Adam West, to its turn in the late 80’s and 90’s that was the precursor for the coming age of superheroes and big budget movies,  which unfortunately, crumbled under poor scripts and bat nipples (why, dear god why?).  Ten years later, Bats took on a much darker form in the Dark Knight trilogy based on a much darker series of comics which earned Heath Ledger a Best Supporting Actor Oscar posthumously for his iconic portrayal of The Joker. Most recently, Batman put on a metal suit and armed with kryptonite, fought Superman in epic fashion.  Clearly, we have gotten pretty serious with our Batman stories. I haven’t even touched upon his many animated portrayals, one of which is at the heart of this review. In 2014, Batman made a cameo in the much lauded The Lego Movie, and his light take on the grim character was a standout. It was no surprise he got his own turn in Legoland. Fortunately, this is not an origins movie. We meet Bruce Wayne in full force as the Dark Knight. The movie also wastes no time introducing the villain, Joker. As Batman thwarts his immediate plans to destroy the city, he hurts the Joker’s feelings by telling him he does not need him. This sets up the tension point for the entire film and Batman’s underlying story arc. By day, our over confident jerk persona Batman fights baddies, makes appearances at orphanages to shoot at kids with merch cannons, and then goes home to microwave lobster and watch Jerry Maguire. He doesn’t even seem to want to remove his mask unless prompted. This Batman’s dark brooding manifests itself in narcissistic self-promotion and a lack of self-awareness. Will Arnett reprises his role as the voice of Batman with adequate depth. In general, the voicing choices stayed on the light side.  I found Michael Cera’s Joker to be a disappointment. Interestingly enough, the animated version has most notably been portrayed by Mark Hamill in other renditions. The Lego Batman is loaded with color sounds and a plethora of references to Batman history.  Tailor-made for the selling of kids toys, this movie lacks the connection to the real world that worked so well in the first movie. Tieing the imagination portrayed on the screen to the world constructing kid behind the magic was sorely lacking. For this reason alone, and despite the geekdom latent in the overloaded references, it fell short for me. (It’s still a great movie for the kiddos, oh, and it was probably meant for them so I will shut up) B-

Director: Stephen Gaghan Starring: Matthew McConaughey, Edgar Ramirez, Bryce Dallas Howard, Stacey Keach Genre: Drama, Adventure, Thriller Rated: R Wide Release USA 1-27-2017 Runtime: 2Hr 1Min Insert punny line indicating the ironic title in relation to the less than “gold” result of the film. Or maybe, use it as an opposite to Matthew McConaughey’s appearance. more »

Directed and Written by Damien Chazelle Stars: Emma Stone, Ryan Gosling, JK Simmons, Rosemarie DeWitt Genre: Musical, Comedy, Drama Rated: PG Runtime: 2 hr 8 min La La Land  is Damien Chazelle’s third directorial effort and comes only a year after he wrote and directed my top movie of 2015, Whiplash. Again, we are treated to more »

Director:  Travis Knight Stars: Charlize Theron, Art Parkinson, Ralph Fiennes, George Takei, Rooney Mara, Matthew McConaughey Kubo and the Two Strings is the second movie by stop-motion animation heavy-hitter Laika, the first being Coraline 2009. This movie is another win for the young animation studio. It tells an original tale of an imagined Japanese mythic more »