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Podcast: Play in new window | Download
Among the movies that became available Tuesday, June 4 on Blu-ray and DVD at retail stores and rental outlets throughout the Valley are a sequel to a 2009 actioner, a low-budget dramatic thriller and a black comedy about the end of the world.
Randy Orton plays an EMT who finds himself caught in a 12-round game of cat and mouse with a vigilante. With his wife’s life hanging in the balance, the paramedic must figure out why the maniac has chosen him as a pawn in his deadly game. (R – 95 minutes)
“12 Rounds 2: Reloaded” certainly does not earn any points for originality. After all, the plot is pretty much interchangeable with its 2009 predecessor. Only the characters’ names, actors and specific stunts have been changed. However, as the saying goes, “If it ain’t broke, then don’t fix it!” Although the sequences are less slick and the action is so over the top that it makes the FOX television series “24” look like an accurate portrayal of real life, this flick is frantic fun from start to finish and never once slows down long enough for the viewer to catch their breath. (Thumbs Up!)
Glen Gould plays a disgraced boxer and ex-convict who is hired to abduct a runaway (Amanda Crew) from a crack house and return her safely to her family. But nothing goes quite as planned and nothing is quite what it seems. (R – 102 minutes)
It will be interesting to see what writer/director Michael Melski does with an actual budget because his new dramatic thriller “Charlie Zone” is moderately compelling in spite of its meat-and-potatoes approach. That is to say that there really is not much to the new movie which lacks the pristine polish of most motion pictures. However, while Melski may not have had the money to make the film look like your standard Hollywood fare, he certainly has the skills to tell a strong story. So what if the flick is quite crude and a bit rough around the edges? (Thumbs Up!)
Brendan Fraser voices a beefcake space hero who defends his planet against a nefarious villain (James Gandolfini). Additional voice talents include Jessica Alba, Rob Corddry, Craig Robinson, and Sarah Jessica Parker. (PG – 95 minutes)
History has proven that alien-themed animated adventures are almost always failures of out-of-this-world proportions. Be it played for laughs like “Planet 51” or “Space Chimps” or drama akin to “Battle for Terra” or “Delgo,” such movies simply seem destined to implode. Yet, the Weinstein Company chose to ignore the obvious and make “Escape from Planet Earth” anyway. The result is a generic-yet-energetic family flick whose best bits are snippets of social commentary that are momentarily muttered under characters’ breath, barely even audible over the screams of insignificant stupidity that make up most of this monotonously messy motion picture. (Thumbs Down!)
Bruce Willis reprises his role as John McClane who this time travels to Russia to help out his seemingly wayward son (Jai Courtney) only to discover that said son is a CIA operative working to prevent a nuclear-weapons heist, causing the father and son to team up against underworld forces. (R – 97 minutes)
“A Good Day to Die Hard” uses a steamroller to do the job of a rolling pin. In other words, director John Moore’s fifth entry in the film franchise about a NYPD detective named John McClane who is slowly but surely morphing into Superman suffers from action overload, causing the viewer’s eyes to glaze over as people, places and things are obliterated in an orchestra of fiery explosions. Even checking one’s brain at the door to the auditorium cannot save them from acknowledging, with disappointment, that this chaotic catastrophe is a far cry from the series’ suspenseful first installment released 25 years ago. (Thumbs Down!)
Jason Bateman plays a mild-mannered businessman who learns that his identity has been stolen and hits the road in an attempt to foil the thief – a deceptively harmless-looking woman (Melissa McCarthy). (R – 111 minutes)
“Identity Thief” is ferociously funny but it is also fairly frustrating and the film frequently takes its jokes entirely too far. That is to say that director Seth Gordon’s new road trip comedy treats its two stars – Jason Bateman and the magnificent Melissa McCarthy – like cartoon characters, subjecting them to extreme physical duress in order to get a laugh yet, in doing so, overshooting said target. Fortunately, though, there are enough down-to-earth hits to outweigh the many manic misses and make the movie worth watching. Extra points are earned for quirky cameos from “Modern Family’s” Eric Stonestreet and McCarthy’s “Bridesmaids” co-star Ellie Kemper – both of whom deserve their own starring roles. (Thumbs Up!)
A couples brunch takes a sudden, catastrophic turn when the city falls victim to a mysterious attack. Trapped in the house and unsure of their fates, eight seemingly normal people become increasingly unhinged. Stars include David Cross, Julia Stiles, Erinn Hayes and America Ferrera. (R – 88 minutes)
If you have ever been to a party – or even more apropos, hosted one – that you believe could not have been a bigger disaster, writer/director Todd Berger has a surprise in store for you: It could have been much, much worse. Therein lies the conceit of “It’s a Disaster,” a black comedy that is wickedly written, aptly acted and energetically executed. An eccentric ensemble cast of characters coupled with a furiously fast pace in which tension is increasingly tightened within a claustrophobically confined space where window-cracking is not an option makes for one darkly funny fireworks display. (Thumbs Up!)
Henry Thomas plays Williams who, in the days leading up to his untimely death hires a young man (Jesse James) to drive him to West Virginia and Ohio for a pair of comeback performances. Fred Dalton Thompson, Kaley Cuoco, Stephen Tobolowsky and Ray McKinnon also star. (PG-13 – 102 minutes)
“The Last Ride” may feature the depth of country and western singer Hank Williams’ music but it operates with none of the immediacy.As a result, the new biopic from directorHarry Thomason about Williams’ final days is rather boring – much more than you might expect of a motion picture centered on a man who had such an intense influence on the music industry. The problems spur from screenwriters Howard Klausner and Dub Cornett’s determination to impart insights about life in general rather than Williams’ life specifically. (Thumbs Down!)
‘Mental’
Toni Collette plays a charismatic, crazy hothead who transforms a family’s life when she becomes the nanny of five girls whose mother has cracked from her husband’s political ambitions and infidelity. (NR – 116 minutes)
“Mental” begins with plenty of promise, opening with a woman singing and dancing next to a clothesline in a shabby Australian backyard as though she is Julie Andrews in “The Sound of Music.” Unfortunately, save for a sprinkle of such eccentric ingenuity here and there throughout its nearly 2-hour runtime, writer/director P.J. Hogan’s new dramedy never again matches said sequence’s creative flair. Moreover, the movie – which, among other things, tackles the topic of mental illness – ironically suffers from a bipolar disorder in which it asks us to laugh one moment and cry the next with nary enough time in between each tonal u-turn. (Thumbs Down!)
Nicholas Hoult plays a zombie who becomes involved with the girlfriend (Teresa Palmer) of one of his victims (Dave Franco) and discovers that their romance sets in motion a sequence of events that might transform the entire lifeless world. (PG-13 – 97 minutes)
“Warm Bodies” is strangely romantic. And not just in the amorous zombie-boy-meets-human-girl kind of way but also in its overall outlook on the world – which is weird considering this is a post-apocalyptic motion picture, after all. Writer/director Jonathan Levine’s cinematic adaptation of author Isaac Marion’s novel is incredibly idealistic, pin-pointing poetry in an otherwise extremely bleak existence. In addition to being able to jump-start viewers’ hearts, the flick also stimulates their brains and taps on their funny bones with its witty and wry sense of humor. Bella and Edward have got nothing on Julie and R. (Thumbs Up!)
The Boston Bruins have already taken home ice advantage from the Pittsburgh Penguins, with their big 3-0 victory in game one of the Eastern Conference Final. Now the Bruins look to take a commanding 2-0 series lead on Monday night in Pittsburgh before the series shifts to Boston for game three.
The Bruins, who of course were within minutes of being eliminated in round one by the Toronto Maple Leafs, before surging back from a 4-1 third period deficit, have played fantastic hockey since that scare. The club made quick work of the New York Rangers in five games and has carried over their strong play into the Eastern Conference Final. Bruins goaltender Tuukka Rask earned the shutout in game one stopping all 29 shots he faced. Center David Krejci added 2 goals and power forward Nathan Horton added the other Bruins tally. While the Bruins don’t have the star power that the Penguins possess up front, the club can roll out four solid lines. On the backend though, they do have that star power with big Zdeno Chara leading the deep defensive corps.
The Penguins have been the odds on favorite out East for most of the season and especially after their very active trade deadline. The addition of forwards Jarome Iginla, Brenden Morrow and Jussi Jokinen, along with physical defenseman Douglas Murray really added even more to an already powerful Penguins roster. The Penguins have the two best players in the world of course in Sidney Crosby and Evgeni Malkin. They also possess solid depth throughout the lineup, although goaltending is the big question. While starter Marc-Andre Fleury struggled in their opening round series against the New York Islanders, veteran Tomas Vokoun took over and has put up impressive numbers. The question remains though, if Vokoun can keep it up especially now going up against better competition in the Bruins.
Can the Bruins top two centers, Krejci and Patrice Bergeron continue to shut down Crosby and Malkin? It will be near impossible to actually shut those two down completely, but if Krejci and Bergeron continue to display their strong defensive ability, that will be huge. Especially if they can also keep chipping in on the offensive end, like Krejci did in game one with his two goals.
For the Penguins, they of course need their top guys to pull through offensively and to have Vokoun provide above-average goaltending. The Bruins will initiate a lot of contact and are a very physical team, so the Penguins need to stick to their game plan as well as initiate some contact of their own.
MILLION DOLLAR QUARTET:
A Musical Delight with Heart, Soul and “Rock ‘n’ Roll”!
Everyone knows the names Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins. Yet, does everyone know how each of these super stars got started? The Million Dollar Quartet is the behind the scenes story of Sam Phillips, founder of Sun Records and the “Father of Rock ‘n’ Roll,” the man who was responsible for discovering each of these super stars. Yet, this story was much more than a story, it was a musical bonanza of each super star performing some of their greatest hits and how these super stars got together for that one amazing day on December 4, 1956 for a jam session that will go down in history as the greatest musical session of all time.
The Million Dollar Quartet performers brought back to life these legends of Rock ‘n’ Roll in a way that amazed the audience with their real life mannerism, voices, musical talents and overall personality of the real “Legends.” Many shows can entertain, however the Million Dollar Quartet not only entertained the audience, but also brought back some of our greatest and favorite memories of our heroes of “Rock ‘n’ Roll.”
Songs included: “Blue Suede Shoes,” “Fever,” “Walk the Line,” “Sixteen Tons,” “Who Do You Love?,” “Great Balls of Fire,” “Folsom Prison Blues,” “Whole Lotta Shakin’ Goin’ On,” “Hound Dog” and more.
A must see. Now playing at Harrah’s.
Carl Perkins Elvis Presley Harrah's Jerry Lee Lewis Johnny Cash Million Dollar Quartet Sam Phillips Sun RecordsPodcast: Play in new window | Download
Among the new movies that were released Friday, May 31 in theaters throughout the Valley are a science-fiction flick starring Will Smith and his son, a sequel to both “Before Sunrise” and “Before Sunset” and a thriller about a bunch of magicians who rob banks
Will and Jaden Smith play a father and son who crash land on Earth 1,000 years after events forced humanity’s escape. With his father injured, the son must embark on a perilous journey to signal for help. (PG-13 – 100 minutes)
Even if it were not a blatant attempt by Will Smith to shove his son Jaden down our throats and toward superstardom, “After Earth” would still be too silly to be taken even remotely seriously. After all, both stars speak with some strange and unnecessary accent that not only renders their lines unintelligible but also makes them seem inarticulate while the dialogue feels more fit for satire than sincere science-fiction. It is consistently entertaining – albeit on a very child-like level – but writer/director M. Night Shyamalan should be ashamed of producing something so sheepheaded and senseless. (Thumbs Down!)
Ethan Hawke and Julie Delpy reprise their roles of Jesse and Celine who, 9 years after we last saw them, embody the realities of a longterm relationship – the weight of children, work, ambitions and disappointments. (R – 108 minutes)
Like its predecessors “Before Sunrise” and “Before Sunset,” “Before Midnight” is deep, meaningful and realistically romantic. However, that last quality receives somewhat of a melancholy modification this time around. Whereas the first two films were hopeful, this one hits viewers – especially those who feel connected to these two characters with whom they have grown up for the past 18 years – in the gut like a ton of bricks. The insights and revelations about time’s impact on true love are devastating. But because they are reflections of reality rather than some fairy tale, they culminate in this franchise’s most emboldened ending yet. (Breakthrough!)
Mark Ruffalo plays an FBI agent who tracks a team of illusionists (Jesse Eisenberg, Woody Harrelson, Dave Franco and Isla Fisher) that pulls off bank heists during their performances and reward their audiences with the money. (PG-13 – 116 minutes)
“Now You See Me” is fresh, fun and fascinating but too far-fetched. When you think about it, the new crime thriller is actually just one giant magic trick with director Louis Leterrier employing the same slight-of-hand techniques as your average illusionist. The audience is so mesmerized by the movie’s spectacular special effects and flustered by the flick’s fast pace that they almost do not notice – or at least do not care – that old-fashioned Hollywood hocus-pocus has been replaced with garish computer-generated imagery and the puzzle that the pieces make by fitting into place is fairly pointless. (Thumbs Up!)
‘An Oversimplification of Her Beauty’
Terence Nance plays a quixotic artist who hypothesizes about why he feels bad when a mystery girl stands him up. The event prompts him to ask: What is the content of a momentary feeling? Is it the sum of your experiences? And, more importantly, are your experiences the sum of you? (NR – 85 minutes)
If writer/director Terence Nance considers his new experimental motion picture “An Oversimplification of Her Beauty” to indeed be an oversimplification, then I would not want to encounter anything that he considers to be an overcomplication. Nance’s new movie – which is actually an agitated amalgamation of two shorts – is an amazing achievement in stylized philosophizing. However, its constant repetition, linear incohesiveness and instructional-esque narration do not make for a very satisfying slice of entertainment. The opening hooks you with a series of compelling questions but it quickly becomes more exasperating than it is enlightening on a universal level. (Thumbs Down!)
Keith Poulson plays a young man who, along with his best friend (Nick Offerman) and the woman they both adore (Jess Weixler), stumble through 35 years of seemingly mandatory but unfulfilling entanglements. (NR – 76 minutes)
For a flick that barely scrapes past the runtime to be considered feature-length, “Somebody Up There Likes Me” sure feels long. Perhaps that is because the film fast-forwards through periods of 5 years at a time to encompass a total of 35 years while one of its characters fails to age a single day and others merely get glasses or salt-and-pepper hair. And although it plays into the motion picture’s purpose in that we are who we are and no passage of time will ever change that, viewers need more than deadpan humor to make the message poignant and the movie entertaining. (Thumbs Down!)
ABSINTHE:
Funny, Amazing, Entertaining and Delightfully Raunchy!
If you like to laugh, be entertained and sit on the edge of your seat, then go see Absinthe. There are few shows that have it all. Daring stunts, amazing feats, acrobats demonstrating grace, beauty and strength and simply hysterical comedy. That is what you will find when you walk into the intimate tent of Absinthe. The stage is circular and all the seats are excellent.
Some shows try to be funny and end up just amusing. Others are not funny at all. However Absinthe will keep you laughing all night long. Yes, quite raunchy, yet the comedy was delivered with precision skills and the timing was impeccable performed by world class comedians. The two hosts of the show have amazing chemistry as they play off each other in a comedic explosion of adult humor. The main host is the Gallzillionaire and his assistant Penny Pibbetts.
When you weren’t laughing, you were enjoying the amazing acrobatic stunts and incredible feats of super talented individuals. Simply put: Strength, agility, balance, beauty and grace all wrapped up in daring stunts with amazing body control by fearless performers. In addition, there were innovative props, sensuality disguised as an acrobatic delight, high wire acts and a variety show that is unmatched by any other show on the Las Vegas Strip.
Absinthe is a must see while you’re in Vegas!
Now playing at Caesars Palace!
Las VegasWriter/director Terence Nance recently spoke with “Breakthrough Entertainment” about his new experimental motion picture “An Oversimplification of Her Beauty.”
In “An Oversimplification of Her Beauty,” which opens Friday, May 31, Terence Nance plays a quixotic artist who hypothesizes about why he feels bad when a mystery girl stands him up. The event prompts him to ask: What is the content of a momentary feeling? Is it the sum of your experiences? And, more importantly, are your experiences the sum of you?
Q: Would you consider this film fiction or non-fiction?
A: I call it one-sided nonfiction in that it is very directly a story that I am telling about an experience that I had with and about the person I had the experience with. But, of course, the nature of any relationship is that there are two sides to it. My film is limited to just my side of it so it cannot be called fact for that reason. It is not deliberated upon by all parties involved.
Q: A lot of filmmakers use their craft as therapy. Did you do that with this project?
A: I think that there was some sort of function for the film in my emotional life. I think that function was to keep me thinking about her and thinking about our situation in a way that you hold onto something that you love. But I do not think that, in the traditional context of therapy, I came to any closure, got over or released the energy regarding that relationship while making the film. The experiences in the film that we do are what actually made me do that. But in the making of the film, all of that was kind of over and I was just left with the aesthetic concerns and creative decisions that I had to make.
Q: Tell me about the production process for this motion picture. Specifically, how long did it take you to complete it from start to finish?
A: Altogether it took about 6 years. I started it when I was in school at NYU for visual arts. At first, it was a very long short film. I decided to extend it after I graduated. There was about a 2-year gap where I did not work on it. I picked it back up again after that and it took about 4 more years to finish it. And it mainly took that long because of the animation. It took forever to produce animation with no money.
Q: Tell me about the editing process for this motion picture. Was that process at all difficult given the production’s extended time span?
A: It was pretty easy because that was how the script was written. Everything that I was doing was in service of that structure so the actual editing of this film did not take any time at all. It took maybe a few months at most. That process was very defined by the script. There were not too many ways that it could have gone simply because a lot of it was animated. And if we were to animate something, the effort that goes into that kind of dictates the editing decisions so the bigger ones are made before we even start that process.
Q: You raise a lot of questions during this movie. If you could boil it down to one theme, what would that be? And why are you interested in that theme?
A: I am asking the audience if they have been there before. And I am asking them to go back to that place if they have. Each person’s experience is specific and has its own idiosyncrasies. I guess that I am interested in the open-ended experience of the film.
Q: Finally, what is on the horizon for you?
A: I just finished writing my next film, which is called “The Lobbyists.” It is about a con-man and an ex-CIA agent who break into politicians’ houses and blackmail them into voting for progressive legislation.
Q: Is that inspired by a true story as well?
A: No. And if it was I do not think that I would tell anyone.
Among the movies that became available Tuesday, May 28 on Blu-ray and DVD at retail stores and rental outlets throughout the Valley are a science-fiction thriller starring Keri Russell, an action thriller starring John Cusack and a sort-of sequel to the 2007 comedy “Knocked Up.”
Keri Russell and Josh Hamilton play a couple that witnesses an escalating series of disturbing events involving their family, causing their safe and peaceful home to quickly unravel. When it becomes clear that the family is being targeted, they take matters in their own hands to solve the mystery. (PG-13 – 100 minutes)
If you have seen “Signs,” then you have actually already seen “Dark Skies,” too. In fact, if you have seen “Sinister,” “Insidious” or any number of movies in which a family is terrorized by a paranormal presence and seeks out an eccentric expert’s professional opinion, then you have also already seen writer/director Scott Stewart’s new science-fiction thriller. Just alternate ghosts for aliens and you have more or less the same movie. However, although the motion picture probes other properties for plot points, it is still sufficiently spooky, effectively eerie and a potent producer of utterly unnerving nightmares. (Thumbs Up!)
John Cusack plays a former black ops agent who is assigned to guard a code operator (Malin Akerman) at a top-secret remote CIA numbers station where encrypted messages are sent and received. When an elite team of heavily armed assailants lays siege to the station, the two of them find themselves in a life-or-death struggle against an unknown enemy. (R – 89 minutes)
The unenthusiastic nature of John Cusack’s performance in “The Numbers Station” makes one wonder what prevented the actor from packing up and leaving the project mid-production. He clearly looks about as bored here as anyone who is unfortunate enough to try and sit through this threadbare thriller. The only difference is that most viewers will walk out on the motion picture long before its anticlimactic conclusion. In spite of some early action sequences, the movie quickly loses steam and settles into a single-setting psychological waiting-game of sorts where “suspense” seems to be a completely foreign concept. (Thumbs Down!)
Paul Rudd and Leslie Mann plays a man and wife who, upon turning 40 years old, must figure out how to forgive, forget and enjoy the rest of their lives – before they kill each other. (R – 134 minutes)
Anyone who is nearing a milestone age – whether it be 30, 40 or what have you – will relate to the simple theme of growing older (and all of the things that come with it) in “This is 40.” Writer/directorJudd Apatow deals with that theme in such as way that is both brutally honest and comfortably compassionate, which has become the filmmaker’s forte. However, his new spinoff of “Knocked Up” feels much more closer in tone to “Funny People” than “The 40-Year-Old Virgin,” aiming for drama over comedy. Moreover, the film features too much bickering and not enough narrative. (Thumbs Down!)
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Among the new movies that were released Friday, May 24 in theaters throughout the Valley are an animated adventure about little men who ride hummingbirds, an actioner about big men who drive modified American muscle cars and Japanese tuner cars and a comedy about three crazy men who drive each other even crazier.
Vinessa Shaw and Ebon Moss-Bachrach play a couple that takes a vacation to a remote island only to, soon after their arrival, notice that no adults are present – an observation that quickly presents a nightmarish reality. (R – 105 minutes)
The only thing scarier than a psychopath clubbing someone to death whilst sporting an angry scowl is a cheerful child doing so whilst sporting a sunny smile. Having said that, the writer/director of “Come Out and Play” – who wears a mask and is known only by the name Makinov – has made a horror movie that may successfully prevent you from ever entering a playground ever again. It is an extremely eerie experience that is accompanied by a compelling conceit suggesting that there are some things against which we may be hesitant to defend ourselves. (Thumbs Up!)
Julianne Moore plays a English teacher who convinces her former pupil (Michael Angarano) to produce his play at her high school after he fails to succeed as a playwright in New York while the young man’s overbearing father (Greg Kinnear) pressures him to attend law school instead. (NR – 93 minutes)
Despite some fairly clunky dialogue and an occasional outrageous occurrence that fails to yield logical consequences thereby making it almost impossible to accept this story as taking place in the real world, “The English Teacher” is a delightful dramedy about replacing life’s preordained endings with ones you write yourself. The film never quite reaches its poignancy potential, underplaying themes involving teachers resigning themselves to living their lives vicariously through students and the impact that artists’ creative license have on their family and friends, but it is adequately amusing throughout and concludes in a cleverly eloquent and surprisingly significant way. (Thumbs Up!)
‘Epic’
Amanda Seyfried voices a teenager who finds herself transported to a deep forest setting where a battle between the forces of good and the forces of evil is taking place. She bands together with a rag-tag group characters in order to save their world – and ours. (PG – 102 minutes)
If we are being completely honest, the title of “Epic” may be a bit of a stretch. The new animated adventure based on William Joyce’s children’s book “The Leaf Men and the Brave Good Bugs” is certainly beautiful to look at and tells a story that has both the entertainment value to enchant younger viewers and the strong subtext to teach them a laudable lesson along the way, but it in no way warrants such a bold name. This is because the motion picture caters primarily to kids, trading in the momentous tone of the teaser trailer for disposable excitement and a juvenile sense of humor. (Thumbs Down!)
Dwayne Johnson reprises his role as a DSS federal agent who enlists the aid of Brian (Paul Walker) and Dom (Vin Diesel) to, in exchange for clear records, help bring a rival gang (Luke Evans) to justice. (PG-13 – 130 minutes)
It will be interesting to see how “Fast & Furious 7” – which has been fast-tracked for a release next summer – will up the ante. After all, where do you possibly go after letting a tank run amok on the wrong side of the freeway and showing how a handful of cars can take down the largest aircraft in the world? Needless to say, “Fast & Furious 6’s” two-tiered last lap is insanely intense, satisfying fans who could care less about trivial things like gravity, maximum velocity and impact tolerance. It could have benefitted from a couple of smaller-scale action sequences to break up the mid-portion’s melodrama, though. (Thumbs Up!)
Greta Gerwig plays a woman living in New York (despite not really have an apartment) who apprentices for a dance company (despite not really being a dancer) and throws herself headlong into her dreams (even as their possible reality dwindles). (R – 86 minutes)
“Frances Ha” will appeal greatly to any and all lovers of French new wave cinema. It will also appeal to those who find actress Greta Gerwig to be incredibly charming. However, those who have never understood the unfounded fascination with Gerwig may be more annoyed than amused. And although – as a student of film – I appreciate the style in which writer/director Noah Baumbach has packaged this particular story, Gerwig’s performance is – as it always is – so irritatingly idiosyncratic that the movie’s admirable aspects become mostly moot. Gerwig’s insufferable pretentiousness ruins an otherwise promising motion picture. (Thumbs Down!)
Bradley Cooper, Ed Helms and Zach Galifianakis reprise their roles as friends whose encounter with a gang leads them to Tijuana and then back to Las Vegas. Ken Jeong also reprises his role while John Goodman joins the cast. (R – 100 minutes)
Have you ever wondered what “The Hangover” would have been like if instead of dealing with the aftermath of daffy decisions made under the influence and retracing their steps to shed some light on a wild night, its three characters merely had to track down – and bring down – Ken Jeong’s Chow at the strong request of a gang? Chances are, the answer is, “No,” and the reasoning is, “Because that does not sound very interesting.” The only thing that “The Hangover: Part III” does is validate that. By abandoning his successful formula, writer/director Todd Phillips replaces laughs with yawns. (Thumbs Down!)
Onata Aprile plays a 6-year-old girl who, while struggling for grace in the midst of her parents’ (Julianne Moore and Steve Coogan) bitter custody battle, navigates ever-widening turmoil with innocence, charm and generosity of spirit. (R – 93 minutes)
“What Maisie Knew” is a touching and triumphant exercise in point-of-view filmmaking but it fails to add any new insight to it sadly familiar story. We already knew what Maisie knew – divorces and domestic squabbling do spectacular damage to young hearts that soak up negative emotions like a sponge and are robbed of childhood’s playful impunity. The modern-day cinematic adaptation of Henry James’s 1897 novel shows its 6-year-old star reacting to things we have seen on the screen a thousand times. The tragedy of it all is felt within the first minute. However, for some reason, we are asked to stick around for 92 more. (Thumbs Down!)
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Podcast: Play in new window | Download
Actor John Cho – whose film credits include “A Very Harold and Kumar 3D Christmas,” “Total Recall” and “Identity Thief” – recently spoke with “Breakthrough Entertainment” about his role as Hikaru Sulu in “Star Trek Into Darkness.”
In “Star Trek Into Darkness,” Chris Pine reprises his role of Captain Kirk who, after the crew of the Enterprise finds an unstoppable force of terror from within their own organization, leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction (Benedict Cumberbatch).
Question: Tell me about Sulu’s psychological framework this time around. What defines this outing on the Enterprise for him?
Answer: He was a young man that was thrust into an insane circumstance. I feel like everyone has matured a little bit and has grown closer. They were all strangers at the beginning of the first movie. One of the traits that we discussed from the first one that I felt might be useful accentuating in this one is [Sulu’s] ambition. That is something that I personally thought about for Sulu. I don’t know if it showed on screen or not but it was one of those things that I kept with me because I have always wished that it had shown more in the original television series. And in this film, I think [Sulu] got a taste of something that he can never forget. He wants his own ship. He wants his own situation. Once you have had it, you can never go back.
Q: What, in your opinion, is the overall theme in this film? What lesson is being imparted upon the audience?
A: It is questioning how easily we assume someone or something is good or bad. Being mature is not rushing to those judgments. I think that sets into what the movie is saying. Who do you label enemy and who do you label friend? I find that [theme] interesting to watch. And I find it interesting, as an actor, to watch Benedict [Cumberbatch] parse it out on screen. He was a formidable villain and a formidable actor.
Q: And what was the lesson for you? What was your greatest takeaway from this film?
A: I can’t remember whether it was during filming or during rehearsal but J.J. [Abrams] said something about wanting his son to watch this movie at some point because it is saying something about leadership, growth and maturity that he would want his child to think about. I feel the same way now having seen it. If I had to choose one of my films for [my son] to watch, maybe this would be it when he is old enough because it has something to say about manhood and wisdom that I think would be good for him.
Q: Is it any easier portraying a character the second time around? And, if so, how if the experience different for you as an actor?
A: Maybe it is an illusion that it is easier or maybe it is just an excuse to be lazy but you do feel a little more comfortable going in the second time. I always think of doing a new movie as going to a new school. I switched schools a lot when I was a kid. Half of entering a project is meeting everyone, learning what everyone’s personalities are and trying to find your place in the group dynamic. It takes a minute to do that and it is always nerve-racking. It could be a day, it could be a week, it could be a month just to try to find your place in the new school. And when you go into a project for the second iteration, you don’t waste your time with that. You fit right in and it feels good.
Q: So then what was the overall feeling on the set with your co-stars?
A: It is one thing to gather everyone back together for a film, which I have done before with other franchises. But this was particularly strange because we are all wearing the same clothes again and we are in the same literal place again. So it is really an extreme sense of déjà vu. But we actually continued conversations that we had ended during the first one. It was unbelievable how we sort of got back into the groove of things.
Q: Would you be interested in playing Sulu a third time? And what is the appeal of the “Star Trek” franchise for you as an actor and for audiences in general?
A: I like playing Sulu. He is a cool dude. He is a stud. He is more heroic than myself and he is more capable than myself. I am going to say something that seems obvious but it is fun to fly a spaceship and it is fun to be in that world. It is also an honor to be associated with a storytelling franchise that means something to people and, in my opinion, is very hopeful and optimistic about humanity. There are a lot of projects that have a pessimistic view of humanity. But “Star Trek” has – and maybe part of its enduring quality has been – a very hopeful outlook on our species. It has people of different cultures and backgrounds getting together for a scientific mission in space. I think that is maybe something that people need to hear.
Q: Finally, will we be seeing any more of “Harold & Kumar?” And, if so, what would you like to see those characters get into next?
A: We are doing an animated show right now so watch out for that on Adult Swim. There is no word on another movie but I would love to see Harold and Kumar with kids. I think that would be funny. And awful. The worst thing for them to do would be to have kids but that would be funny to me.
Actor Beau Billingslea – whose film credits include “The American President,” “Rebound” and “Hannah Montana: The Movie” – recently spoke with “Breakthrough Entertainment” about his role as Captain Abbot of the S.S. Bradbury in “Star Trek Into Darkness.”
In “Star Trek Into Darkness,” Chris Pine reprises his role of Captain Kirk who, after the crew of the Enterprise finds an unstoppable force of terror from within their own organization, leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction (Benedict Cumberbatch).
Question: Tell me about the audition process. Given the fact that it is such a high-profile project, what was that like?
Answer: I didn’t know what I was auditioning for. Nowadays in the movie industry, everything is a big secret because they don’t want other people stealing their plotlines and all of that. So I auditioned and never knew the name of the project. About 3 weeks later, my manager called and said, “You know that thing you auditioned for a few weeks ago? It’s this little movie called ‘Star Trek Into Darkness’ and you booked it.” I was about to join an iconic family, so to speak, and had no idea that was happening.
Q: So now that you not only know what the project is but have come out the other end of it, what are you feeling?
A: It is a big thrill. I have been a fan since way back. It is a great joy, to say the least. As soon as I had the chance, I brought my wife onto the set so that she could walk around on the bridge and go through the transporter room and sick bay and all of that. I was moving around Sony’s studios like I was – and I still am – a fan, almost forgetting the fact that I was actually going to be working on the movie.
Q: So then, as a Trekker, what was your take on 2009’s “Star Trek” and the fresh faces that portrayed such iconic roles?
A: In a way, it was kind of eerie. I thought that they did a terrific job in casting. You can make a mistake and lose the essence of what you are trying to do – especially with a part of Americana like this. You are risking a lot even taking on the project obviously. But J.J. Abrams did a fantastic job on the first one and on this one as well. I am signed to secrecy but this one is a bit darker than the first one that J.J. did. It is full of action and just a lot of fun. I was like a little boy sitting in the screening room, watching it and acknowledging in my mind that I am now part of this family.
Q: Forgive me for not knowing this but, before you, was there ever another Captain Abbot of the S.S. Bradbury?
A: Not to my knowledge. I was forging my own path, so to speak.
Q: Finally, what did your experience working on this film teach you about yourself?
A: One of the things that it taught me about myself is that there is still a little boy inside. My excitement of being a part of Hollywood is still here. Sometimes it can get lost over the years but one of the things that it taught me – aside from the way the business goes – is that I am still a young guy at heart who loves Hollywood and is just pleased as pie to be a part of it.
Actor Michael Shannon – whose film credits include “Premium Rush,” “Take Shelter” and this summer’s “Man of Steel” – recently spoke with “Breakthrough Entertainment” about his role as contract killer Richard Kuklinski in “The Iceman.”
In “The Iceman,” Michael Shannon plays a man who, appearing to be living the American dream as a devoted husband and father, is a ruthless killer-for-hire. Other stars include Ray Liotta, Winona Ryder, Chris Evans and David Schwimmer.
Question: Between dirty cop Bobby Monday in “Premium Rush,” a family man on the verge of a mental breakdown in “Take Shelter” and Superman’s arch nemesis General Zod in “Man of Steel,” you always seem to choose very complex characters. What is the quality that you look for in a character when choosing your roles and how did Richard Kuklinski embody that?
Answer: I seem to be drawn to characters who are struggling with something and who seem to have some sort of difficulty making their way in the world and want to try and improve themselves in some way or overcome the obstacles in their past. With Kuklinski, what drew me to him is that he was a man full of rage, darkness and sadistic impulses yet somewhere deep inside of him there was also a shred of caring, tenderness and wanting to have a family, be able to provide for this family and take care of them. I found the duality of that a very interesting challenge to play.
Q: So what kind of research did you do to help prepare you to play this man who admits to having killed no fewer than 100 and perhaps as many as 250 people?
A: I started to read one of the books that had been written about Kuklinski but the director told me that I was reading the wrong one and that I should read the other one so I got frustrated and decided to read neither of them. Instead, I just watched the interview that he did for HBO. I received an unedited version of the interview, which is over 20 hours long. I would watch it repeatedly and whenever I could. It is the same approach that I used when I played Kim Fowley in “The Runwaways” and Sgt. Dave Karnes in “World Trade Center.” These are the three real-life human beings that I have played and I have kind of approach it the same way all three times. It is a very handy thing to have an interview with the person because you can get a sense of their voice and their gestures but you can also get a real insight into how they think and how they react to things.
Q: Was there anything about Richard Kuklinski that you found particularly surprising during your preparation process?
A: I was surprised by his sense of humor. People generally think of him as a very foreboding and frightening individual – and understandably so. What they showed on HBO really tried to highlight what a monster he was because I guess that is what is exciting to watch. But when you watch the full unedited interview, you really get a sense that he was kind of a charming person and someone that you wouldn’t mind having a beer with if you didn’t know what he did for a living. Once you know what he actually does for a living, he becomes a little terrifying. But if that was a secret and you didn’t know any better, you would just think that he was a good companion for an afternoon watching the game or something. And he was a lot more intelligent that he gave himself credit for. He always talked about how stupid he was and that he was a killer because he didn’t know how to do anything else. But I guess you would refer to him as a sociopath and most sociopaths tend to be intelligent, charming people. It is the same thing with that “American Psycho” book.
Q: You seem to have perfected the icy scowl and the explosive burst of anger over the course of your career thus far – both of which came incredibly handy here. Which expression of rage – silent or loud – is more difficult?
A: They are both very challenging. There was never an easy day on the set. Pretty much every day I went to work I was just quietly to myself – terrified because the character is so far away from who I actually am as a person myself. I am not violent. It’s not that I don’t have a temper. Like most people, I do have a temper, but I would never in a million years do most of the things that he did. So it was all quite difficult to be honest and I’m not quite sure how I did it but hopefully people will enjoy watching it for an hour and a half or however long it is.
Q: So then did you find it at all difficult to shed that skin, so to speak, at the end of each day of shooting?
A: Oh, no. The first thing that I would ask every day when we were done shooting is, “Where are we going to eat?” We shot this movie Shreveport, Louisiana and all of the restaurants close ridiculously early there. So we basically had to rip off our costumes and get in the car before the restaurants close. I was usually starving because I don’t eat much when I’m at work. I find it hard to eat and act with food my belly. So by the end of the day I just wanted a steak and a glass of wine and then go to bed.
Q: Finally, what did the opportunity to walk in Richard Kuklinski’s shoes for this project teach you about yourself?
A: I feel like what happened to him in his life in general was very tragic. I don’t think he came up with many answers himself. I guess it’s a pretty good example of why it’s best to try and be who you are all of the time – in every situation – and not like live a double life. Try and find a version of yourself that fits whether you are with your family, at work or whatever environment you are in and whoever you’re with. Be consistent. That’s something that I strive for.
Among the new movies that were released Friday, May 17 in theaters throughout the Valley are a cat-and-mouse/battle-of-wills thriller starring Kate Bosworth, a true-crime thriller in which Michael Shannon portrays contract killer Richard Kuklinski and a sequel to director J.J. Abrams’ 2009 take on a popular science-fiction franchise.
Kate Aselton, Lake Bell and Kate Bosworth play childhood friends who set aside their personal issues and reunite for a girls’ weekend on a remote island off the coast of Maine. However, one wrong move turns their weekend getaway into a deadly fight for survival. (R – 83 minutes)
“Black Rock” is a dynamite thriller that is also a bit deeper than most. Director Katie Aselton, who co-wrote the motion picture’s screenplay with her husband Mark Duplass, draws viewers to the edge of their seats with an emotionally electrifying cat-and-mouse/battle-of-wills setup and simultaneously provokes profound thoughts about gender roles and putting aside differences for the simple sake of survival. Constantly surprising, deeply engaging and incredibly exciting, this movie demonstrates not only the extreme exhilaration that a bare-bones production is capable of achieving but also the complex contemplation that a genre film is capable of stimulating. (Thumbs Up!)
Maribel Verdú plays a young woman who learns the art of her father – a famous bullfighter – but is hated by her evil stepmother (Ángela Molina) so she ran away with a troupe of dwarves and becomes a legend. (PG-13 – 105 minutes)
“Blancanieves” is a celebration of cinema, Spanish culture and the fairy tales that shaped not only our childhood but also the fine art of storytelling in general. Writer/director Pablo Berger’s new silent film recounts the classic Brothers Grimm fable of “Snow White” in a such way that will keep you enthralled, enchanted and entranced. It is bold, it is beautiful and it is a bona fide masterpiece of a motion picture that will take your breath away by demonstrating that all an auteur needs in order to deeply move an audience is a time-honored tale, a fertile imagination and a majestic musical score. (Breakthrough!)
‘Erased’
Aaron Eckhart plays an ex-CIA agent who discovers that he and his daughter have been marked for termination as part of a wide-reaching international conspiracy. A dangerous game of cat-and-mouse ensues as he tries to outsmart his hunters and uncover the truth. (R – 104 minutes)
After a first act that delivers all of the excitement, intrigue and unabashed fun of “Taken” and “Unknown,” the new thriller “Erased” eventually tries to imitate entertainment that is more intellectually stimulating. In the process of doing so, the motion picture becomes convoluted, confusing and lackluster while never really feeling very genuine in its efforts to motivate the mental muscle. Star Aaron Eckhart has a decent turn at being an action star and a few exchanges are exhilarating enough to amuse you while watching the movie but as soon as the end credits roll the experience will have been erased from your memory. (Thumbs Down!)
Michael Shannon plays a man who, appearing to be living the American dream as a devoted husband and father, is a ruthless killer-for-hire. Other stars include Ray Liotta, Winona Ryder, Chris Evans and David Schwimmer. (R – 106 minutes)
“The Iceman” solidifies star Michael Shannon as a true powerhouse of a performer. His role as contract killer Richard Kuklinski in the new true-crime thriller is his most climactic accomplishment to date as he paints a portrait of a very complex character who was chillingly dangerous yet curiously charismatic. And although the conclusion is a little confusing as the story wraps up without any warning whatsoever, the movie is quite compelling thanks to a dynamic cast – including Chris Evans and David Schwimmer in unrecognizable roles – and a production design that yields an authentic 1960s-1980s atmosphere. (Thumbs Up!)
Trine Dyrholm plays a hairdresser who , having lost her hair to cancer and discovering that her husband is having an affair, travels to Italy for her daughter’s wedding and meets a widower (Pierce Brosnan) who still blames the world for the loss of his wife. (R – 116 minutes)
“Love is All You Need” owes an awful lot to its two leads. Trine Dyrholm and Pierce Brosnan’s natural charisma with one another save what is otherwise an overly-simplistic and almost sitcomish romantic comedy. Dyrholm and Brosnan add authenticity to a somewhat silly and considerably cliche affair in which supporting characters are little more than barren bookmarks between moments of emotional honesty and poetic poignancy about love, especially as one grows older. In the end, one forgives writer/director Susanne Bier for her film’s shortcomings and surrenders to the enchanting story of two people who overcome the odds – in more ways that one. (Thumbs Up!)
Clement Metayer plays a graduating high school student in Paris who finds himself pulled into ever more dangerous political protests by the people around him – especially his radicalized girlfriend (Lola Créton). (NR – 122 minutes)
“Something in the Air” starts out with a very clear and concise goal, transporting viewers to a time and place of great turmoil so that they can essentially experience the incitement that is felt by its characters. The atmosphere that writer/director Olivier Assayas crafts during the first few scenes of this French import is incredibly authentic, siring an overall sense of extreme urgency. However, the story suddenly comes to a screeching halt shortly thereafter as the film loses its focus and Assayas swaps out dramatic intensity for a host of characters who lack depth or direction. (Thumbs Down!)
Filmmakers Maria Demopoulos and Jodi Wille examine a family whose members were the darlings of the Sunset Strip until their communal living, outsider ideals and spiritual leader’s 13 wives became an issue with local authorities. (NR – 98 minutes)
Cult psychology is apparently all the rage this year. With two television series on the subject debuting this past season – one of which was quickly canceled and the other of which recently received a second season renewal despite being a bore – and a couple of recently released fictional feature films having broached the topic as well, “The Source Family” taps into something that has as much popularity as it does promise. However, filmmakers Maria Demopoulos and Jodi Wille water down what could have been a fascinating, unsettling and even eye-opening exploration into a prosaic parade of tedious talking heads. (Thumbs Down!)
Chris Pine reprises his role of Captain Kirk who, after the crew of the Enterprise finds an unstoppable force of terror from within their own organization, leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction (Benedict Cumberbatch). (PG-13 – 132 minutes)
“Star Trek Into Darkness” is Star Trek-tacular. Granted, that groan-worthy play on words has undoubtedly been used before but I – having never before been a fan of the franchise – use it now to emphasize the fact that the new sequel to director J.J. Abrams’s reboot of Gene Roddenberry’s science-fiction property is the most universally appealing “Star Trek” to date. Thanks to the easily accessible yet engagingly elaborate exploration of the classic “the enemy of my enemy is my friend” theme and an emotionally heightened performance from Benedict Cumberbatch, this film is a lot of fun for Trekkers and non-Trekkers alike. (Thumbs Up!)
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Podcast: Play in new window | Download
Podcast: Play in new window | Download
Among the new movies that were released Friday, May 10 in theaters throughout the Valley are cinematic adaptations of a 1925 F. Scott Fitzgerald novel, a 1981 Salman Rushdie book and a 2007 work written by Mohsin Hamid.
Eli Roth plays a hapless American tourist who, in the middle of a night of wild partying with his friends, is suddenly plunged into a living hell when a powerful earthquake rips through the coastal town of Valparaíso, Chile. Playing exclusively at Harkins Shea 14. (R – 90 minutes)
Those expecting “Aftershock” to essentially show what would happen if an earthquake had hit smack dab in the middle of “Hostel” will be sorely disappointed. Although it is true that Eli Roth has both writing and producing credits on the new thriller in which he also stars and director Nicolás López does place some pretty painful looking ways to die on display, none of it is particularly creative and therefore it all feels somewhat generic. Cementing that quality is a third act that is less about the disquieting consequences of natural disaster than about bad people doing barbaric things. (Thumbs Down)
Pedro De los Santos plays a man who, having returned home to a small mountain village in Mexico after years of working in the US, struggles to rebuild his family and follow his dream of starting a band. Playing exclusively at The FilmBar. (NR – 110 minutes)
“Aquí y Allá” tells a deeply affecting story in an extremely authentic way. At times, writer/director Antonio Méndez Esparza’s drama feels so realistic that you almost forget that you are watching a fictional narrative and instead take it all in as an incredibly intimate documentary. However, while the shooting style and straightforward performances make for a meaningful movie, slow pacing and a redundant second half prevent it from being a very entertaining one – or at least one that is capable of retaining the average viewer’s interest from beginning to end. It is still a commendable effort, though. (Thumbs Down)
Tobey Maguire plays a would-be writer who moves from the Midwest to New York where he is drawn into the captivating world of the super rich, their illusions, loves and deceits. Leonardo DiCaprio, Carey Mulligan and Joel Edgerton also star. (PG-13 – 142 minutes)
“The Great Gatsby” is extraordinarily flashy but emotionally flat. Granted, all of the words are there as writer/director Baz Luhrmann goes through the motions of adapting the classic piece of literature for the silver screen with visual pomp and circumstance that was impossible to portray prior to today’s technology. However, the heart and soul of F. Scott Fitzgerald’s story seems to have been sucked right out of it – or at least swallowed up in all of the style. It may encourage you to contemplate the corruption of the American Dream, but there is a difference between thinking about it and truly feeling it. (Thumbs Down)
A teenager insinuates himself into the house of one of his classmates and writes about it in essays prompting his teacher to rediscover his enthusiasm for his work. However, the boy’s intrusion unleashes a series of uncontrollable events. Playing exclusively at Harkins Camelview 5. (R – 105 minutes)
“In the House” starts with a setup that slowly but surely shows plenty of promise. That is to say that writer/director François Ozon’s new thriller, based on Juan Mayorga’s play, winds up rather well. However, just when the tension is so tight that the viewer has absolutely no idea where this tale will go, Ozon demonstrates that he may have been just as clueless about how to make the most of this story – which gets rather messy and meanderitive. As a result, the audience gets lost in the unraveling and Ozon’s well-constructed house-of-cards comes down without any finesse or fascination whatsoever. (Thumbs Down)
Satya Bhabha and Siddharth play a pair of children who, born within moments of India gaining independence from Britain, grow up in the country that is nothing like their parent’s generation. Playing exclusively at Harkins Shea 14. (NR – 140 minutes)
The key to adapting a novel for the big screen is to retain the integrity of the original work without relaying each and every minute detail from the text. Unfortunately, Deepa Mehta ignored that very important rule when writing and directing “Midnight’s Children” – a new drama based on the book of the same title authored by Salman Rushdie, who was also involved in co-writing the film’s screenplay. The result is lovely to look at but that beauty only occasionally manifests itself from a place of more depth due to the movie’s insistence upon cramming 446 pages in 140 minutes. (Thumbs Down)
Derek Magyar plays the leader of a ruthless criminal gang that takes a young couple hostage and goes to ground in an abandoned house. However, when the captive girl is killed, the tables are unexpectedly turned and the gang’s members find themselves outsmarted by an urbane and seasoned killer. Playing exclusively at AMC Westgate 20 and Harkins Arizona Mills 25. (R – 86 minutes)
About 20 minutes into “No One Lives,” director Ryûhei Kitamura and screenwriter David Cohen employ an exciting twist that has the potential to put the new horror movie on the map. Within that moment, they turn what would otherwise appear to be a conventional story on its ear. Unfortunately, save for a scene shortly thereafter during which a character makes a brilliantly bloody albeit absurd entrance, the rest of the movie returns to familiar territory – a bunch of bad guys getting bested by an even worse guy. And when no one is likeable, does anyone care if no one lives? (Thumbs Down)
‘The Reluctant Fundamentalist’
Riz Ahmed plays a young Pakistani man who, while chasing corporate success on Wall Street, finds himself embroiled in a conflict between his American Dream, a hostage crisis and the enduring call of his family’s homeland. Playing exclusively at Harkins Shea 14. (R – 128 minutes)
“The Reluctant Fundamentalist” tells a timely and relatively tense tale about American patriotism that is rarely told or even pondered. However, director Mira Nair’s heavy-handed approach makes the message just a tad bit too hard to swallow. As she did in 2006’s “The Namesake,” Nair hammers the story’s significance into the viewer rather than tapping it in just enough to then allow author Mohsin Hamid’s narrative an opportunity to sink in on its own merits. Having said that, Declan Quinn’s cinematography speaks volumes as does star Riz Ahmed’s performance. Co-star Kate Hudson seems to be somewhat of a black sheep here, though. (Thumbs Down)
Actor Riz Ahmed, whose film credits include “Four Lions” and “Trishna,” recently spoke with “Breakthrough Entertainment” about his role in director Mira Nair’s new thriller “The Reluctant Fundamentalist.”
In “The Reluctant Fundamentalist,” which opened Friday, May 10 exclusively at Harkins Shea 14, Riz Ahmed plays a young Pakistani man who, while chasing corporate success on Wall Street, finds himself embroiled in a conflict between his American Dream, a hostage crisis and the enduring call of his family’s homeland.
Question: Describe your character in terms of his journey. In other words, what is he experiencing over the course of this story?
Answer: I think that his condition is a very modern one, which is about trying to make sense of who you are when who you are is very complex and multilayered. I think that my generation have multiple different selves. We have many different influences from a very young age and have these sides of ourselves that are almost contradictions. I think that when you are younger and you are kind of coming of age and trying to figure out who you are, that can be really confusing and kind of disorienting. But I think that you get to a point later on in life when you can embrace that and realize that it is enriching. So I think that this character’s journey is one about not fitting neatly into any of the old boxes in this newly globalized world. His views are complicated. His allegiances are complicated. His feelings are complicated. So it is about him trying to embrace that messiness and make peace with it.
Q: Did you at all identify with your character? What are your similarities and differences?
A: I feel that at least on paper he and I have some similarities. We both grew up between cultures and classes. But that was actually a mistake on my part because what this whole film is about is about not reducing people to the sum of their labels. And when I thought about it, I realized that he is completely different than me. I am very much a Londoner – born and raised – while this character if from Lahore. I have never even been to Lahore. So I had a lot of homework to do – especially about trying to learn how to be a management consultant and private equities analyst. I am someone who is kind of scared of math and economics.
Q: Tell me more about that homework with respect. What did you discover during the research part of this project?
A: I interviewed a lot young Pakistani men who are working on Wall Street. It was very interesting getting to grips with the allure and the potency of the American dream. To this day, people have faith in its transformative power. I also had to get a grip on a different way of seeing the world. Management consultants and financial analysts see the world in terms of profit and loss. They view every situation – even very human situations – as technical Rubik’s Cubes that need to be solved. So that was interesting.
Q: And what did walking in this character’s shoes teach you about yourself when all was said and done?
A: To try and be at peace with my own messiness and to cultivate my contradictions. I am more embracing of my own creative confusion rather than trying to make sense of who I am. It is other people’s job to try and make sense of who you are. And they always like to draw a neat outline around you. It is up to us to not buy into that. Sometimes you can internalize the limitations that other people place on you. I think that the lesson for me is to not allow that to happen.
Q: Finally, tell me about the production. And what was it like working with director Mira Nair?
A: It was very intense. We had a lot to do but not a lot of time or much money. So everyone was on constantly. We would very often do 16- or 18-hour days. But Mira is so energized and impassioned, she kind of makes you feel like you can get through it and it will all be OK. She is committed. She is giving 200 percent so the least that you can give is 110 percent.
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Podcast: Play in new window | Download
Before I get into any other subjects, I feel it’s important to start out by being as clear as possible about what I’m going to mean when I talk about autism. In its simplest description, autism is a developmental disorder typified by impaired social interactions and, frequently, certain types of restricted or repetitive behavior.
Many people have different pictures of autism. We’ve seen characters described as autistic in film, literature, and television and we have little way to know which aspects of those characters come from autism, which aspects are from other problems that simply frequently occur alongside autism, and which aspects just represent and odd or quirky personality aspects.
Research on autism is still advancing, and we’re beginning to have a deeper understanding of the physical aspects of the condition, as well as indications of genetic risks relating to it. Many people have portrayed autism, especially milder forms, as simply aspects of a person’s personality or as tendencies in a child that can be weeded out with stricter parenting. While external influences can alter behavior, autism is a physical condition, not simply a way of thinking, and it’s important to remember this as we talk about it here.
Autism is often thought of as a childhood disorder, something seen in a young child and severely impairing their ability to interact with their parents and those around them. The truth is that autism affects people of all ages. Because we currently catch it through the observation of symptoms without any blood test or other absolute measurement, many people with autism but without many of the co-occurring symptoms may miss diagnosis until later years. With current diagnosis rates considered to be as high as 1 in 87, or even higher, odds are good you know someone who may be living with autism, whether they know it or not.
Autism most significantly affects social and emotional interactions. People on the autism spectrum tend to find it difficult to gauge and interact with the emotional state of others, and to understand the emotional reactions of others to the world around them. Many things that someone may take as “intuitive” or “instinctive” are things that those on the autism spectrum may not understand or experience at all. This can result in mild cases as someone on the spectrum seeming simply detached or a little odd, or in extreme cases as the child or person unable to meaningfully interact with people around them at all.
Lower functioning individuals often need specialized education to help them develop basic skills for day to day life. Unfortunately it can be easy to lose sight of the fact that the lack of the skills isn’t autism, but rather just a symptom. Any comprehensive treatment must include an awareness of the fact that autism itself isn’t the lack of skills, but the mental condition that led to those skills not developing in the typical manner. Higher functioning individuals are often those who’ve been able to develop those skills, but still suffer from what are often the more subtle effects of autism. These individuals often live day to day with extreme anxiety or depression as they attempt to operate normally in a world that often frightens or confuses them.
Over the course of my posts here, I will talk about the condition of autism itself, attempting where I can to help built not just a better awareness of autism but a better understanding of how it impacts the lives of those who have it. As well, I’ll talk about research I hear about that may be of interest to those living with autism, or living with someone who has autism. I will talk about news and issues, and offer my opinions as someone living with autism on how the world seems to be approaching something I struggle with on a daily basis.
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Podcast: Play in new window | Download
Podcast: Play in new window | Download
Podcast: Play in new window | Download
Among the new movies that were released Friday, April 26 in theaters throughout the Valley are a drama starring Matthew McConaughey, true crime story starring Dwayne Johnson and the latest installment of the “Scary Movie” franchise.
Paul Brannigan plays a new dad who, narrowly avoiding jail, vows to turn over a new leaf. A visit to a whiskey distillery inspires him and his mates to seek a way out of their hopeless lives. Playing exclusively at Harkins Shea 14. (NR – 96 minutes)
Although it really refers to the 2 percent of alcohol that disappears into thin air each year during the Scotch whisky maturation process, it is almost ironic that “The Angels’ Share” title suggests something spiritual. Director Ken Loach’s new Scottish dramedy, which was written by his “The Wind that Shakes the Barley” collaborator Paul Laverty, has a social conscience that is kind of confusing. What starts out as a charming and almost fairytale-like story about unfair working class contraventions takes a tonal turn in the third act and suggests that two wrongs may actually make a right after all. (Flee It!)
Caleb Jones plays an employee at a clinic that sells injections of live viruses harvested from sick celebrities to obsessed fans. When he becomes infected with the disease that kills the most revered celebrity of all, he becomes a target for collectors and rabid fans. Playing exclusively at The FilmBar. (NR – 106 minutes)
It is not necessarily a bad thing that writer/director Brandon Cronenberg’s style seems so inspired by that of his father David. After all, he has picked up many useful skills – including an eye for visual poetry and a knack for infusing an interesting idea with significant social subtext. However, some stories – such as the one in “Antiviral” – ought to be told with at least some sense of humanity. Brandon borrows too much from David for this particular premise, using a parasite in place of an actual character and adopting a pace that will put most audiences to sleep. (Flee It!)
‘Mud’
Tye Sheridan and Jacob Lofland play two teenage boys who encounter a fugitive (Matthew McConaughey) and form a pact to help him evade the bounty hunter (Paul Sparks) on his trail and to reunite him with his true love (Reese Witherspoon). (PG-13 – 130 minutes)
At times, “Mud” moves slower than molasses – a quality that is underscored by its longer-than-average runtime. But there is not a moment of writer/director Jeff Nichols’ new drama that is anything less than completely captivating. It is especially gifted in its ability to scrupulously shed each of its layers – of which there are many – over the course of its classic-yet-uniquely-told coming-of-age story in the same way that a snake sheds its skin. Underneath it all is an extremely raw and and even more real heart as well as a very visceral performance from star Matthew McConaughey. (See It!)
John Cusack plays a former black ops agent who is assigned to guard a code operator (Malin Akerman) at a top-secret remote CIA numbers station where encrypted messages are sent and received. When an elite team of heavily armed assailants lays siege to the station, the two of them find themselves in a life-or-death struggle against an unknown enemy. Playing exclusively at AMC Ahwatukee 24. (R – 89 minutes)
The unenthusiastic nature of John Cusack’s performance in “The Numbers Station” makes one wonder what prevented the actor from packing up and leaving the project mid-production. He clearly looks about as bored here as anyone who is unfortunate enough to try and sit through this threadbare thriller. The only difference is that most viewers will walk out on the motion picture long before its anticlimactic conclusion. In spite of some early action sequences, the movie quickly loses steam and settles into a single-setting psychological waiting-game of sorts where “suspense” seems to be a completely foreign concept. (Flee It!)
Mark Wahlberg, Dwayne Johnson and Anthony Mackie play personal trainers who, in pursuit of the American Dream, get caught up in a criminal enterprise that goes horribly wrong. Tony Shalhoub, Ed Harris, Rob Corddry, Rebel Wilson and Ken Jeong also star. (R – 120 minutes)
“Pain & Gain” is a ripped riot – so long as you are not the kind of person who gets offended by seeing a man flip severed hands on a barbeque as if they are burgers. Oh, and as a well-timed on-screen note reminds us, this is a true story. So if that inhibits your ability to find amusement in this too-bonkers-to-believe story, you may wish to steer clear. Otherwise, you are certain to see this movie as entertainment on steroids thanks to director Michael Bay’s all-business/action-packed approach, incredibly clever narration and characters who have an abundance of brawn but no brains whatsoever. (See It!)
‘Renoir’
Vincent Rottiers plays a young man – the son of Impressionist painter Pierre-Auguste Renoir (Michel Bouquet) – who returns home to convalesce after being wounded in World War I. At his side is a young woman (Christa Theret) who rejuvenates, enchants and inspires both father and son. Playing exclusively at Harkins Camelview 5. (R – 111 minutes)
It is strange that such a cinematically picturesque movie about a renowned painter of all people would be as shamelessly shallow as “Renoir.” If that is not irony, then nothing is, as writer/director Gilles Bourdos’s new French-language drama goes absolutely nowhere and does so at such a tranquil pace that you may very well become hypnotized by its gorgeous cinematography and fall fast asleep. Fortunately, if you do, you will not have missed much as its beauty is only skin-deep. Bourdos fails to make any insightful observations while the film itself is as emotionally flat as canvas. (Flee It!)
Ashley Tisdale and Simon Rex play a couple that begins to experience some unusual activity after bringing their newborn son home from the hospital. With the help of home-surveillance cameras and a team of experts, they learn that they are being stalked by a nefarious demon. (PG-13 – 86 minutes)
After having suffered through “Scary Movie V,” it is almost impossible to believe that this half-baked comedy that lacks even a single, solitary laugh is a direct descendant of the movie that, in 2000, was clever and quite hilarious. Granted, the franchise’s fall from grace did not happen overnight as its quality has been consistently decaying over the course of four sequels. And while this latest (and hopefully last) installment is slightly less insignificant than “A Haunted House” released earlier this year, anyone who saw that putrid pile of refuse knows that such a statement is hardly a compliment. (Flee It!)
Olga Kurylenko and Ben Affleck play a couple who, after visiting Mont Saint-Michel, come to Oklahoma where problems arise. The woman meets a priest and fellow exile (Javier Bardem) who is struggling with his vocation while the man renews his ties with a childhood friend (Rachel McAdams). Playing exclusively at Harkins Shea 14. (R – 112 minutes)
Writer/director Terrence Malick’s characters in “To the Wonder” love to spin around in circles. At first, everything looks so absolutely gorgeous – with dialogue that makes this romantic drama feel less like a motion picture than a piece of poetry that has come to life – that you embrace the experience and spin around with them. However, as time goes on and things get increasingly abstract, you lose your grasp on the story and are sent flying into a state of discombobulation by the centrifugal force. Eventually, you are merely looking at the movie as opposed to actually absorbing it. (Flee It!)
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Among the new movies that were released Friday, April 19 in theaters throughout the Valley are a cautionary drama about alienation and the Internet, a comedy about a couples brunch that goes horribly wrong and a science-fiction flick starring Tom Cruise.
‘42’
Chadwick Boseman plays Jackie Robinson who makes history in 1946 when he signs with the Brooklyn Dodgers under the guidance of team executive Branch Rickey (Harrison Ford). (PG-13 – 100 minutes)
Since Jackie Robinson is one of the greatest baseball players of all time, it is only fitting that “42” – a new drama about his world-altering first minor league season – is one of the greatest films about baseball released in recent memory. In a time when movies like “Moneyball” forget to appeal to all audiences and instead cater solely to sports junkies, writer/director Brian Helgeland’s flick is far-reaching. Anchored by an extraordinary performance by a nearly unrecognizable Harrison Ford, this motion pictures possesses the emotional depth necessary to vitalize viewers regardless of their grasp on the game. (Breakthrough!)
‘The Company You Keep’
Robert Redford plays a wanted man and former member of the revolutionary militant group the Weather Underground who goes on the run after a journalist (Shia LaBeouf) outs him. Playing exclusively at Harkins Camelview 5. (R – 125 minutes)
Seeing Robert Redford, Julie Christie, Susan Sarandon, Nick Nolte, Chris Cooper, Richard Jenkins, Brendan Gleeson and Sam Elliott – or what is essentially a parade of cinematic legends – walk across the silver screen in “The Company You Keep” is a bewildering blast from the past but at some point it all just seems superficial. The sensation is only amplified by the thriller’s spineless story, which lacks any suspense whatsoever and is quite confusing thanks to the unnecessarily high number of players involved. It does not help matters much that none of these characters are particular worth rooting for. (Thoroughly Broken!)
‘Disconnect’
Alexander Skarsgard, Paula Patton, Michael Nyqvust, Jonah Bobo, Hope Davis and Jason Bateman play people who are searching for connections in today’s wired world and, in doing so, discover the destructive potential of the Internet. Playing exclusively at Harkins Camelview 5. (R – 115 minutes)
“Disconnect” is deeply disturbing. In fact, it packs a punch that is so powerful that even those viewers who are young enough to have never known a time without the Internet may be unnerved enough to essentially do exactly what the title insinuates. Director Henry Alex Rubin’s new drama takes three separate but simultaneously occurring stories involving the Internet and says something strikingly significant about alienation in a way that will leave you incredibly captivated and extremely engaged from beginning to end. This movie is not only an excellent piece of entertainment; it is also a cautionary tale that is categorically crucial in this day and age. (Breakthrough!)
‘Home Run’
Scott Elrod plays a professional baseball player with a substance abuse problem who is forced into rehab in his hometown thereby finding new hope when he gets honest about his checkered past and takes on coaching duties for a misfit Little League team. (PG-13 – 113 minutes)
“Home Run” is the kind of faith-based film that is not only what we want but also what we need. Although the new sports drama does not skimp on its message about how sincerely surrendering to God’s unconditional love is the only unfailing footpath to freedom from pain, it communicates said message through an exceptionally entertaining – not to mention moving – story thereby reaching those audience who require recovery the most. Even more significantly, though, the movie reminds us that recovery is less about the substance than it is about the suffering, broadening the definition of things that enslave us. (Breakthrough!)
‘It’s a Disaster’
A couples brunch takes a sudden, catastrophic turn when the city falls victim to a mysterious attack. Trapped in the house and unsure of their fates, eight seemingly normal people become increasingly unhinged. Stars include David Cross, Julia Stiles, Erinn Hayes and America Ferrera. Playing exclusively at Harkins Camelview 5. (R – 88 minutes)
If you have ever been to a party – or even more apropos, hosted one – that you believe could not have been a bigger disaster, writer/director Todd Berger has a surprise in store for you: It could have been much, much worse. Therein lies the conceit of “It’s a Disaster,” a black comedy that is wickedly written, aptly acted and energetically executed. An eccentric ensemble cast of characters coupled with a furiously fast pace in which tension is increasingly tightened within a claustrophobically confined space where window-cracking is not an option makes for one darkly funny fireworks display. (Breakthrough!)
‘Oblivion’
Tom Cruise plays a veteran soldier who is sent by a court martial to a distant planet, where he is to destroy the remains of an alien race. The arrival of an unexpected traveler causes him to question what he knows about the planet, his mission and himself. (PG-13 – 125 minutes)
“Oblivion” borrows from just about every science-fiction flick imaginable. Writer/director Joseph Kosinski’s new movie does not have so much as a single original bone in its entire body. Although this essentially does not bode well for its chances at longevity, it ensures fans of the genre a great time in the here and now. And while the visuals are quite spectacular, the motion picture is particularly effective in its use of sound. Its score is the best that I have heard since Kosinski’s “Tron: Legacy” and the reverberation of its attacking drones makes this feel less like film than a theme park ride. (Breakthrough!)
‘Trance’
James McAvoy plays a fine art auctioneer who, having teamed up with criminal gang to steal a painting worth millions of dollars, suffers a blow to the head and awakens with no memory of where he has hid it prompting the gang’s leader (Vincent Cassel) to hire a hypnotherapist (Rosario Dawson). (R – 101 minutes)
So long as you surrender with complete abandon to “Trance,” it will be a surreal cinematic experience unlike any other you have ever had or probably ever will. However, if you hesitate or resist in even the slightest way, the dream will quickly become a nightmare. One’s enjoyment of writer/director Danny Boyle’s new thriller is dependant on the level of faith they have that the psychotic safari will, before all is said and done, make some sort of sense. Fortunately, it does – and in a spectacularly surprising way no less. This movie is intriguing, intense, innovative and especially insane. (Breakthrough!)
‘Welcome to the Punch’
Mark Strong plays an ex-criminal who is forced to return to London when his son is involved in a heist gone wrong. This gives his nemesis – a detective (James McAvoy) – one last chance to catch the man he’s always been after. Playing exclusively at Harkins Shea 14. (NR – 99 minutes)
“Welcome to the Punch” is a classic case of style over substance. On the one hand, writer/director Eran Creevy’s new crime thriller certainly looks slick – especially during its action sequences (at least when you can see them as it is a fairly low-lit flick). On the other hand, it has a cookie-cutter-like conventionality that seems to be relying on cliches rather than breaking free from them. It is an extremely empty experience whose sole takeaway is the banausic blast of bullets that results from one generic gunfight after another. Even the usually talented cast appears to be bored. (Thoroughly Broken!)
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Of the eight new movies that I reviewed during the April 11, 2013 edition of “Breakthrough Thinking: The Magazine,” “The Place Beyond the Pines” – a drama starring Ryan Gosling and Bradley Cooper – is well worth not only the price of admission but also the nearly 2-and-half hours of your time. However, the same cannot be said about “Room 237” – a documentary exploring the numerous theories about the hidden meanings within Stanley Kubrick’s film “The Shining.”
‘Evil Dead’
Five friends become holed up in a remote cabin. When they discover a Book of the Dead, they unwittingly summon up dormant demons living in the nearby woods, which possess the youngsters in succession until only one is left intact to fight for survival. (R – 90 minutes)
It is never a good idea to make a promise as audacious as “the most terrifying movie you will ever experience” on your motion picture’s poster. In doing so, TriStar Pictures has robbed “Evil Dead” – writer/director Fede Alvarez’s update of Sam Raimi’s horror classic – of the opportunity to have praise over its spectacular special effects (all of which are practical as opposed to computer-generated, by the way) sit in the spotlight. Instead, criticism over its distinct lack of scares as a result of its razor-thin story and star Jane Levy’s habitually heinous performance take center stage. (Grade: C)
‘Ginger & Rosa’
Elle Fanning and Alice Englert play inseparable friends who, while growing up in 1960s London, finds their relationship redefined as the Cuban Missile Crisis looms. Playing exclusively at Harkins Shea 14. (PG-13 – 89 minutes)
Nearly every actor who appears in writer/director Sally Potter’s new drama “Ginger & Rosa” deserves a standing ovation. However, the only standing that anyone is likely to do for the film itself is the kind that is required when walking out. Although it is always nice when a movie transports viewers to another time and place, this particular motion picture’s purpose in doing so gets somewhat lost along the way. However, if watching characters wander around aimlessly while spouting philosophies that were placed between their lips lacking any finesse from the filmmaker whatsoever sounds like fun to you, then – by all means – have at it. (Grade: D)
‘The Host’
Saoirse Ronan plays a girl who, when an unseen enemy threatens mankind by taking over their bodies and erasing their memories, will risk everything to protect the people she cares most about – proving that love can conquer all in a dangerous new world. (PG-13 – 125 minutes)
“The Host” is really, really robotic – which, as it turns out, is a double-edged sword. On the one hand, writer/director Andrew Niccol’s new cinematic adaptation of “Twilight” author Stephenie Meyer’s novel makes for an engrossingly ethereal experience. On the other hand, the sci-fi romance conducts itself without any of the passion that makes for good melodrama – except for a few small scenes that, in aiming to appeal to the same audiences who consider themselves members of either Team Edward or Team Jacob, seem so out of place that they come across as incredibly corny. (Grade: C)
‘Not Today’
Cody Longo plays a young man who, haunted by the images of a starving man and his daughter he refused to help while traveling through India with his friends, attempts to right his wrong only to discover that the man has been forced to sell the little girl. (PG-13 – 118 minutes)
“Not Today” operates with a substantial sense of urgency, instantly breaking your heart and moving you to take a stand and do something to stop the slavery that sadly still exists in developing countries. And although writer/director Jon Van Dyke uses over-stylization to gloss over plot points that are more complicated and could have provided more dramatic depth had he faced them head-on, his proposal to truly take action as opposed to merely praying about problems is a refreshing real-world approach for faith-based feature films. Creative subtitle delivery and star Cody Longo’s passionate performance elevate an already efficacious entertainment experience. (Grade: B)
‘The Place Beyond the Pines’
Ryan Gosling plays a motorcycle stunt rider who turns to robbing banks as a way to provide for his lover (Eva Mendes) and their newborn child – a decision that puts him on a collision course with an ambitious rookie cop (Bradley Cooper) navigating a department ruled by a corrupt detective (Ray Liotta). Playing exclusively at Harkins Camelview 5. (R – 140 minutes)
“The Place Beyond the Pines” is clandestinely epic. That is to say that writer/director Derek Cianfrance’s new drama is every bit as monumentally entertaining as not only one summer blockbuster but an entire trilogy – except instead of big-budget special effects to astound audiences it utilizes gigantic and genuine emotions. In fact, its story is so intensely arresting that you will not be able to take your eyes off of the screen for the entire duration of its 140-minute runtime while the powerful journey and its compelling consequences will remain with you long after the end credits have rolled. (Grade: A)
‘Room 237’
Filmmaker Rodney Ascher explores the numerous theories about the hidden meanings within Stanley Kubrick’s film “The Shining.” Five very different points of view are illuminated through voice over, film clips, animation and dramatic reenactments. Playing exclusively at Harkins Shea 14. (NR – 102 minutes)
It is difficult to determine what filmmaker Rodney Ascher’s intent was with his new documentary “Room 237,” in which he explores numerous theories about the hidden meanings within Stanley Kubrick’s film “The Shining.” Those theories are so outrageously off the wall that they simply cannot be taken seriously in even the slightest and it instead comes across as comedic albeit accidentally. The experience may be amusing to some – specifically fans of “Mystery Science Theater 3000” – but others will likely be left bewildered. It is similar to becoming stuck in a conversation with a crackpot with no expedient escape. (Grade: D)
‘The Sapphires’
Miranda Tapsell, Deborah Mailman, Jessica Mauboy and Shari Sebbens play Australian Aboriginal girls who learn about love, friendship and war when they are discovered by a talent scout (Chris O’Dowd) and their all-girl group entertains the U.S. troops in 1968 Vietnam. Playing exclusively at Harkins Camelview 5. (PG-13 – 99 minutes)
Much like the four female characters whose story it tells, “The Sapphires” is – against seemingly all odds – sensational. The new historical musical dramedy is emotionally manipulative as it travels along a relatively conventional narrative path but it is so exorbitantly lively and gosh-darn likeable that you cannot help but overlook those somewhat sour notes and just enjoy the ride. And even though it is particularly less polished than most motion pictures and comes with accents that are occasionally difficult to decipher, the always charismatic Chris O’Dowd and a stellar soundtrack help to make this low-budget Australian import much easier to swallow. (Grade: B)
‘Starbuck’
Patrick Huard plays a perpetual screw up who, having been a habitual sperm donor in his youth, discovers that he is the biological father of 533 children – 142 of whom are trying to force the fertility clinic to reveal the true identity of the prolific donor code-named Starbuck. Playing exclusively at Harkins Camelview 5. (R – 109 minutes)
Maybe it is just the “My Name is Earl” withdrawals talking, but “Starbuck” would have been a much better television sitcom than a feature-length film. The small screen format would not only make better use of the serial nature of early scenes in writer/director Ken Scott’s new comedy but would also be more forgiving of some of its absurd aspects. After all, it all seems somewhat silly – not to mention outlandish. Still, in spite of that and a premise that comes across as contrived, one cannot help but surrender to the story’s good-intentioned sweetness and sentimentality. (Grade: C)
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The 13th Annual Phoenix Film Festival will take place Thursday, April 4-Thursday, April 11 at Harkins Scottsdale 101. I had the honor of being one of the judges for this year’s feature-length film competition and among the 10 selections, four stand out as the absolute best and brightest.
‘Favor’
Blayne Weaver plays a man whose perfect life is put in jeopardy when the waitress with whom he has been having a casual fling is accidentally killed in their motel room. He asks his childhood friend (Patrick Day) to dispose of the body but the favor begins the unraveling of their relationship. (Screening 7:45 p.m. Friday, April 5; 9:15 a.m. Saturday, April 6; and 2 p.m. Sunday, April 7.)
“Favor” may not be the most polished motion picture that you have ever seen but it sure sends you on a riveting roller-coaster ride that you will not soon forget. Writer/director Paul Osborne’s thriller takes a simple metaphorical saying and runs with it as if it was based in literal legend. The result is a terrifically tense tale in which Osborne essentially uses his inordinate imagination to nonchalantly nudge a small snowball off the cliff of a humungous hill. The fact that it is so unrefined and rough around the edges only adds to the authenticity of its anxiety.
‘Lonely Boy’
Alev Aydin plays a man who suffers from schizophrenia and decides to liberate himself from his medication.When he finds a genuine connection with a young woman (Natalie Distler), he inadvertently sets out on a path toward self-actualization which may in fact cloud his reality even further. (Screening 4:40 p.m. Friday, April 5; 9 a.m. Saturday, April 6; and 11:45 a.m. Sunday, April 7.)
With “Lonely Boy,” Alev Aydin proves himself to be a true triple threat. Not only did he produce the sharp-looking motion picture and pen its poignant screenplay that blends both laughs and tears into what essentially feels like a single emotion, but he also plays its protagonist and, in doing so, gives an exceptionally genuine performance that is guaranteed to break your heart. Granted, director Dale Fabrigar’s film develops conscientiously – meaning the story unfolds somewhat slowly and its secrets are seemingly reluctant to reveal themselves – but it all culminates with an emotional epiphany that lingers long after the last shot.
‘Putzel’
Jack Carpenter plays a young man whose aspiration of taking over his uncle’s smoked fish emporium are disrupted by the arrival of a young woman (Melanie Lynskey) with whom said uncle (John Pankow) has an extramarital affair. After years of being undermined by his family and friends, he finally starts to realize his true potential simply by finding his circumscribed life thrown off kilter. (Screening 1:20 p.m. Friday, April 5; 5:40 p.m. Saturday, April 6; and 2:05 p.m. Sunday, April 7.)
“Putzel” has all of the makings of a modern-day, real-life fairy tale. After all, where else can you find a sweet story in which a charming protagonist navigates a wacky world occupied by quirky characters and conquers his Achilles heel to ultimately take the first step toward true happiness? Director Jason Chaet and screenwriter Rick Moore have made an endearingly eccentric motion picture that will simultaneously move you and make you laugh. Accentuated by an infectious theme song, relatable-albeit-exaggerated situations and a likeable cast, this offbeat flick will forever change how you look at whitefish and lox.
‘The Story of Luke’
Lou Taylor Pucci plays a young man with autism who, having been sheltered by his grandparents, is thrust into a world that doesn’t expect anything from him as he embarks on a quest for a job and true love. And he isn’t taking no for an answer. Seth Green, Cary Elwes and Kristin Bauer van Straten also star. (Screening 5:40 p.m. Friday, April 5; 1:20 p.m. Saturday, April 6; and 2:25 p.m. Sunday, April 7.)
You do not have to have autism or even know somebody with the disorder to identify with the character Lou Taylor Pucci so brilliantly plays in “The Story of Luke.” All you have to be is abnormal – which, like it or not, we all are as writer/director Alonso Mayo’s dramedy teaches us that the concept of “normal” is nothing more than an illusion. Featuring a sweet story that will stretch a smile across your face and an abundance of astute anecdotes that will animate your appreciation of life itself, this magnificently moving motion picture is something spectacularly special.
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