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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Category Archives: 9-9.5/10

Birdman (2014)

Val Kilmer, here’s your future, bud.

At one point in his career, Riggan Thomson (Michael Keaton) was on top of the movie-world. Not only was he selling movie tickets out the wahzoo by playing a superhero character by the name of “Birdman”, but his popularity was at its highest-peak where it wasn’t that fans knew exactly who he was and loved him, but because he was respected amongst his peers as well. However, that role for Riggan was quite some time ago and now, in the present-day, things aren’t going so fine for poor old Riggan. For starters, he’s washed-up and senses his popularity is waning so quickly that he could be considered practically nonexistent. He plans on changing this, though, by producing, directing and even starring in a stage-adaptation of Raymond Carver’s short story What We Talk About When We Talk About Love. He’s got the cast in line and while there’s the occasional hiccup here and there, Riggan is feeling confident enough that this show will not only be a smash hit, but bring him back to the world wide hemisphere of pop-culture where everybody will know and adore him, just like they did before. Problem is, aside from the fact that the show runs into quite a few problems, is that Riggan has a voice inside of his head that not only pushes him to do certain things, but even bends the differences between fiction and reality.

Consider Birdman (or The Unexpected Virtue Of Ignorance, which is its full-title), the perfect Alejandro González Iñárritu film, for people who aren’t fans of Alejandro González Iñárritu’s work. Because see, while the impression is with all of Iñárritu’s films so far is that they are dark, depressing, and downright ugly in its depiction of human being’s lives, there’s something fairly different about Birdman. I mean, yeah, sure, it’s a meta-comedy that sometimes jumps right over that hoop into satire, making it a huge leap in terms of versatility for Iñárritu, but there’s still that sad feeling we get here with our main character, and the situation he’s thrown himself into here.

However, rather than making us ache from his pain and suffering, Iñárritu focuses most of his attention on just letting the movie itself run loose, without ever trying to hit us over the head with some random melodrama; he just lets his movie glide right along, at a perfect-pace. And considering that this movie is shot in a way to make it like one, long tracking-shot (courtesy of cinematography genius Emmanuel Lubezki), it’s a wonderful combo, albeit a very surprising one.

Batman vs. the Hulk? Fuck yeah!

Batman vs. the Hulk? My money’s definitely not on the character once played by Eric Bana.

Because yes, if anybody out there has ever seen either Amores Perros, 21 Grams, Babel, Biutiful, or all of them (like yours truly), then they’ll know Iñárritu is all about showing us that there’s no light at the end of the tunnel and that, well, life can pretty much suck for everybody. But though I like most of his movies, I myself am even glad to see this change-of-pace for Iñárritu; not because it shows that he can do more than just make me want to leap off of a bridge, but because the guy’s got a perfect tendency here to just let his movie go on its own tangents, seeming as if it could practically fall apart at any moment.

Which, for a movie that’s about a Broadway play being produced and the people involved with it, seems perfectly fitting. It not only puts you on-edge practically the whole time, but gets you up, moving around, and constantly paying attention to what is happening, what is being said, and what a certain character is doing, and to whom. Which, yeah, I know, sounds incredibly obvious, but there’s something fun and vibrant about this movie that just keeps you awake here, even when it seems to go off into these strange places that I don’t even know if Iñárritu himself could fully describe in perfect, full-on detail.

You sort of just have to go with it and see where it takes you – which is a perfect summation of the whole experience I had while watching Birdman.

But even while Birdman is an exciting and rather fun movie, there’s also a couple of moments splashed throughout here where the hip b-bop score is turned off, the camera settles down (although, to be fair, it is constantly moving no matter what is going on), and Iñárritu allows us to focus in on these characters, their relationships to one another, and exactly what they should mean to us. Cause, trust me, this goes a long way for a movie as brutal and as a painstakingly honest as this.

Yes, earlier I alluded to the fact that Iñárritu has made Birdman as a comedy of sorts, but sometimes, it’s so harsh and on-point about who it’s poking its finger at, it’s almost like a horror movie. Everything and everyone from the actors to directors, assistants to lawyers, Hollywood to the stage, the Baby Boomer Generation to the current Generation Y, and hell, even from the fans to the critics – no one here is safe from the sharp-edge knife that Birdman is waving around. Which is, of course, hard to stomach at times, but incredibly hilarious that it feels like maybe Iñárritu has almost too much knowledge on the subject matters at hand and really has a grind to ax. But nonetheless, it’s a constantly hilarious that has more to say then just, “Yeah, people who act are usually pretentious dicks”. Instead, it’s more like “Yeah, people who act are usually pretentious dicks, but hey, they’re people, too.”

So yeah, it’s not all that mean.

Regardless though, where Birdman the movie really excels at, like I was getting to talk about early before is whenever Iñárritu just lets his cast do the talking for him. Sure, Iñárritu employs a directorial-style that’s, literally, all-over-the-place and constantly moving, but when he settles everything down to a low-volume and allows for his story to really tell itself, then it makes the whole experience of watching this movie all the more enjoyable, if incredibly emotional as well.

But still, if you look at the cast, there’s still some hilarity to be had; most especially with the character of Riggan Thomson. The reason being is because, well, think about this: Riggan Thomson is an aging, washed-up actor who hasn’t had a role to keep him relevant since the days of him playing a superhero-ish character back in the good old days. So yeah, it would seem pretty perfect to cast somebody like Michael Keaton in the role because, well, that’s practically his story. Which is to say that, yes, this is total stunt-casting at its most painfully obvious. But it’s stunt-casting that actually works.

This is mostly due to the fact that the role of Riggan Thomson is a rich one that finds Keaton (a favorite of mine ever since the early days of my childhood), showing all of the shades in his acting-ability; the guy can be funny, mean, nice, determined, sad, and most of all, angry as hell. It’s the kind of comeback role that so many older actors wish they had come their way, which makes it all the more of a joy to see Keaton relish in it and actually make us care for this Riggan Thomson guy, even if he is sort of distasteful dick at times. Because yeah, he treats his ex-wife and daughter like shit sometimes, but at the end of the day, you feel bad for him because he’s put so much work into making this play work that you sort of want him to succeed, while also learning a major life-lesson to hopefully turn things around for himself, as well as those who actually care about him.

I sincerely do hope that Keaton gets a nomination for his work here. Not just because it will put his name back on the map like it deserves to be, but because it’s a role that literally goes in all sorts of different directions, yet, never rings a false note.

How I imagine Emma Stone greets the day every morning. Except probably with that damn Brit next to her.

How I imagine Emma Stone greets the day every morning. Except probably with that damn Brit next to her.

And trust me, this could have been a big problem for everybody in the movie, had nobody been able to adapt well to Iñárritu’s style; because it’s all filmed in one shot (or at least, edited in a way to make it appear so), the camera is constantly on them, watching their every move, whether it be a physical one or a mental one. That’s to say that everybody here feels perfect for their roles and makes it seem like they actually are having real-life conversations with one another, giving us more of the impression that we are right there with them, along for the ride that is this play being made.

Another actor who gets away with stealing this movie a bit for his bit of stunt-casting too, is Edward Norton as the pretentious, Marlon Brando-ish thespian, Mike Shiner. Anybody who has ever worked with Norton, the person, will tell you that the guy’s a handful, which is why I found it incredibly fitting that he’d play the same kind of person that’s like that both on, and off the stage. Shiner’s a smug a-hole and is definitely all about himself, which allows for Norton to really just take the piss out of his image and play all of this up. But, like with Keaton’s Riggan Thomson, whenever there’s time for us to see more in Shiner than what’s originally presented to us, the movie makes sure to do this in an understandable way, with Norton’s dramatic-abilities coming into full play.

Most of these scenes come from when he’s around Emma Stone’s character, Sam, the ex-junkie daughter of Riggan. Stone’s charming here, as usual, but she’s got more of an edge to her here that makes it seem like she’s more than just about being sassy, she’s downright pissed-off and willing to let everybody know it. This side to her is exciting and it makes me wish she’d just step away from making movies with Spidey, and testing out her obviously capable abilities as one of today’s best-working actresses. And trust me, there’s plenty more where she came from – Zach Galifianakis is hilarious as Riggan’s co-producer that’s all about making sure the show does in fact go on, while also fearing that he may be out of job if this all goes South; Naomi Watts gets a rare chance to be funny playing an actress who wants to make it big with her first appearance on Broadway; Amy Ryan has a few sweet scenes as Riggan’s ex-wife; Andrea Riseborough deliciously plays Riggan’s co-star who he may, or may not be, having a child with; and Lindsay Duncan plays the New York Times critic that Riggan despises the hell out of, yet, wants nothing more than to impress the shorts off of, if only so that she can give him a good review and not have to worry about people dismissing his play.

Don’t have to worry about that here, Riggan. You’ve got me sold, man.

Consensus: Loose, wild, perfectly-acted, and altogether, fun, Birdman is a hilarious satire that takes a bite out of everybody involved with the entertainment-business, while also not forgetting about those said people and remembering that they all have feelings, too.

9 / 10 = Full Price!!

Fly away, Mikey. There's a better career ahead of ya. I promise.

Fly away, Mikey. There’s a better career ahead of ya. I promise.

Photo’s Credit to: IMDB, AceShowbiz

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Gone Girl (2014)

Anybody down to get married?

On the wee early hours of July 4th, Nick Dunne (Ben Affleck) comes home to a bit of a shocker: His wife, Amy (Rosamund Pike), has mysteriously disappeared. Seeing as how this could possibly be a kidnapping, Nick decides to call the local authorities, in which two detectives (Kim Gordon and Patrick Fugit) get called onto the scene to investigate. While they do initially believe that Nick doesn’t have the faintest clue of what happened to his wife, the way everything is laid out just points towards him. However, they continue on with their investigation and keep themselves as subjective as possible. Problem is, the same couldn’t be said for the media who, upon hearing of this mysterious case, jump on it right away and focus most of their attention on Nick, his efforts to help find Amy, and just whether or not he actually has anything to do with it in the first place. This leads Nick to hire an attorney (Tyler Perry) that will not only help with his public persona, but also may help skewer the investigation away from him. But the truth is out there, just waiting to be exposed, and it’s up to everybody to discover what really happened to Amy.

Alright. Alright. Alright. No, I am not channeling my inner-McConaughey. Nope, instead I’m trying to prep myself for this review here because this baby won’t be easy to talk about. Not because I have so much love and praise for it that putting them all into cohesive, understandable sentences and phrases would be a challenge in and of itself, but because this movie is chock full of surprises.

Which also means something else….SPOILERS!!

Picking up girls in a library. So Affleck.

Picking up girls in a library. So Affleck.

Yes, everybody. It’s that dreaded “s-word” that just about every person on the face of the planet hates to hear, but such is the case with movies like these: The more mysterious they are, the more easier it is for bloggers/writers/critics to spoil the fun for everybody and anybody else out there who may actually be looking forward to seeing this. Because honestly, most of the fun in Gone Girl is from not knowing what to expect next, how, why, where, and from whom. In that sense, it’s your typical David Fincher flick, however, there’s something more fun about this piece in particular.

See, while I have never read the novel of which this movie is adapted from, therefore, I don’t have much knowledge of how it is actually written, seeing this was a total treat for me. I had no idea what to expect, except a possible kidnapping, an investigation into this kidnapping, and a whole lot of mystery. And this, my friends, is what I always look forward to when I see Fincher’s flicks; I expect to be thrown about, tussled around, and taken in all these different directions, until I can’t handle it anymore and want to give up, yet, the ride itself is so much fun, that I just can’t help but keep on with the ride.

And with this ride in particular, it’s satisfying. Not because Fincher keeps us guessing every scene, of every second, with every character, but because, for once and awhile at least, Fincher really seems to be relishing in the material that he’s working with. Don’t get me wrong, when I watch films like Fight Club, the Game, and, to an even lesser extent, Panic Room, I continuously get the idea that not only is Fincher having a great time messing with our minds and our expectations of what to expect next, but that he’s having an even bigger blast just setting up all of these set-pieces and plot-threads. That’s not to say his other, more serious movies aren’t considered “fun”, it’s just that there’s a very dark and morbid tone to them, that where it seems like there’d be a time and place for some fun to be had, there’s nothing but sadness. Which, like I will say again, isn’t a bad thing at all, but watching something like this reminds me what it’s like to go to a David Fincher movie and just witness a master at work with his craft and having a ball with it all.

So, with that said, it goes without saying that yes, Gone Girl is a fun ride, from start to finish. And although I am quite compelled to say more about this movie and its story, I’ll stay away because the real marvel of this film is realizing just what the hell is actually happening in this story, as it is brought to our attention. There’s several twists, turns, and alley-ways this movie goes down throughout its near two-and-a-half-hours, and they’re all unexpected (that’s if you haven’t already read the book).

It should also be noted that while this film definitely takes some aim at the mass-media and, most importantly, biased news broadcasts, Gone Girl isn’t particularly a deep movie. There’s no real sense that what Fincher is creating here, is supposed to be any bit of ground-breaking, thought-provoking, or even revolutionary; instead, it’s just a simple mystery that goes through all sorts of hoops and constantly takes you for a whirl. Is it a bit disappointing? Sort of, yes, but only because we know Fincher is capable of much more than just keeping his stories as simple as they present themselves on the page.

But that said, I’d much rather have an exciting thrill-ride from Fincher, rather than a bold, ambitious piece that seems to miss its mark. Not saying that there are many of those kinds of movies out there, but those expecting this to get a whole bunch of Oscar nominations, may be in for a surprise. A pleasant surprise, but a surprise nonetheless.

Anyway, even though this is clearly Fincher’s show for the taking, from the beginning, to the end, he still doesn’t make the fatal mistake of getting in the way of his cast. Which was a smart move on his part, because he’s assembled a pretty talented bunch here. And seeming to be leading the pack is Ben Affleck as Nick Dunne, the husband of the missing who everybody, with good reason, calls into question as soon as the story comes to fruition. A lot of people were pretty heated up about Affleck’s casting in the role and although I have not read the book, and therefore cannot attest to this, I will say that Affleck seems tailor-made for the part. Not only does Affleck just light the screen up with that boyish-charm of his, but he also makes us continuously wonder just whether or not he is actually as apart of his wife’s disappearance as the rest of these characters are leading us to believe. While we see that Nick Dunne is a nice guy at heart, albeit, a very troubled-one to say the least, we still know that there’s a human deep down inside of there and although it would be as easy as pie for us to write him off as “the baddie”, the movie makes it quite clear that we shouldn’t and instead, see his side of the story and make up our own conclusions. And most of this is thanks to Affleck for having us constantly question who to believe, and who exactly to root for.

"Uhm.....what's in the box?"

“Uhm…..what’s in the box?”

But although Affleck’s amazing in this role, the one who totally steals the show is Rosamund Pike as his wife, “Amazing Amy”. But see, here’s the double-edged sword of describing Pike in this role without spoiling any of the film’s real surprises: You really can’t. Much of this film is dedicated to her back-story and exactly what happened to her, and to give any of that away would be a total disservice to all parties involved here. So I’ll stay away from really getting into her character, but I will say this: Pike is downright amazing and don’t be surprised if she ends up getting a nomination come Oscar season. Maybe even possibly a win….

You never know, people.

And of course, the rest of this cast is great, if also, quite interesting concerning who Fincher casts in some of these roles. For instance, the casting-decisions of Tyler Perry as the PR-representative of Nick Dunne and Neil Patrick Harris as a slightly off-kilter ex-boyfriend of Amy’s were definitely bold choices; choices which, mind you, were willing to fail at any second. However, they both pay-off and believe it or not, give me more hope in Tyler Perry as an actor, much rather than Tyler Perry as a director (although this still has me scratching my head).

But there’s plenty more where these two came from and they’re all pretty phenomenal to watch, especially since each and everyone brings their own little flavor to this overall meal. Kim Gordon and Patrick Fugit play the two detectives that seem to be just as confused as the audience is in knowing whether or not Nick Dunne did anything to his wife and because of this, it’s interesting to see their conversations with him; Carrie Coon (a favorite of mine from the Leftovers) is great as Nick’s twin-sister and seems like she herself may be up to no good as well, although it’s clear that all she really wants to do is make sure her bro doesn’t get jailed; and Missi Pyle plays a television news-analyst by the name of Eileen Atkins who, get this, has a Southern-accent, likes to bad-mouth certain people in ongoing investigation, and does it all for “the ratings”. Now, tell me, who does that sound exactly like?

Oh, that David Fincher, man! He’s a pure-jokester!

Consensus: Maybe not as deep as Fincher’s previous-flicks, Gone Girl still serves as an exciting, enjoyable, and delightfully twisted tale of a marriage gone wrong, and even worse mystery that may, or may not be, exactly what you think it is.

9 / 10 = Full Price!!

Stop mugging it up for the cameras, Affleck!

Quit mugging it up for the cameras, Affleck!

Photo’s Credit to: Goggle Images

Fight Club (1999)

Next time you want to buy those hip, new jeans from JC Penney, punch yourself.

In a country as wide as America, it’s hard not to get swept up in all of it. An normal guy who sometimes go by the names of either “Cornelius”, or “Jack” (Edward Norton) knows this, but he can’t help but still fall for the tricks that mainstream society has set up for him to get caught in. Because of this, he becomes an insomniac that binges all day and night on crappy sitcoms, expensive furniture and belongings, and occasionally goes to a job where he has to file reports on faulty cars’ systems. However, he eventually finds a cure for his insomnia in random support groups that occur all around him. Though he can’t really connect with any of the other members in these support-groups, he still finds some solace in the fact that he can go to these private places and just let all of his emotions out. That all changes, though, when a fellow “phony” named Marla Singer (Helena Bonham Carter) starts showing up to the same meetings and ruining our protagonists’ peaceful vibes. This is when the insomnia continues, but this time, he finds another form of escape – however, this time, it’s not with a group, but instead, with a person.

The person’s name, Tyler Durden (Brad Pitt); the person’s occupation, making and selling soap; and lastly, the person’s beliefs, well, that we should all just start letting our oppressed anger out and start taking it out on our follow man.

This is a hard movie to talk about, but not for the reasons that some of you may think. See, with a film as culturally significant and iconic as Fight Club, it’s hard to write a review/post, fifteen years later after the movie has been released and consumed, and bring up certain points that haven’t already been stated.

Well, technically, I could. Like for instance, I could talk about how incredibly sleek, grimy, and gritty David Fincher makes this movie look; or how the twist is a total shocker to any first-time viewer, yet, totally works when you see it countless other times; or even how mostly all of what Chuck Palahniuk was trying to get across about the state of our nation’s culture, our society, and the way in how our citizens were constantly being shaped into becoming what the rest of the world wanted them to be. Of course I could talk about all of this and while I’ll definitely dive into some of that here, simply restating these points would be lazy.

The perfect romance.......

The perfect romance…….

However, I’m going to probably do them anyway. Sorry, people. I’ll try and stay away as far and as long as I can, but such is the dilemma with Fight Club: There’s clearly a lot to discuss and argue about, but so much has already been said. Then again, on the flip side, the beauty behind Fight Club is that so many people can think about it differently. Because even though Fincher himself has sort of thrown little hints here and there about what the real meaning surrounding Fight Club is, he’s sort of left it all up to us, the viewer, and it’s not only a smart move on his part, but for us to actually follow through with it, as well.

I honestly can’t tell you how many times I’ve had a simple, relatively peaceful conversation about this movie and its meaning, that’s all of a sudden turned to something resembling a brawl. I’m totally exaggerating (maybe), but this is probably what Fincher and Palahniuk intended in the first place: They wanted their material to be dissected, interpreted, and talked about for days on end. Does it deserve to be? Absolutely, but there is something to be said for a movie that continues to still keep on popping up in pop-culture, and just real life in general.

Does that mean this movie is overrated? Not at all. But is it perfect? No, it is not. Fincher has definitely made some better movies in his storied-career and while this movie definitely comes close to being one of them, it just isn’t. However, that’s not really a complaint, as much as it’s just a statement from yours truly; Fight Club, for what it is, is a movie that deserves to be seen. If not a few times, just once then, because while it’s a movie that asks you to think outside of imaginary box you don’t know you have around your life, it’s also the rare studio-movie that poses some morally and ethnically questionable ideas about how a society is ran, and how those members in society feel when they aren’t allowed to express themselves for so very long.

For instance, take our unnamed protagonist, he’s your typical everyman – boring, easily influenced by conformity, and never true to himself or the beliefs he has lying underneath that clean shirt and tie. However, once he realizes that there’s more to the way the world can be ran, his especially, he can’t help but join in this free frenzy of anger, violence, and hate that stems from the inner-most core of man: The right to express themselves freely. And even though you could argue that he only does this because he’s so taken away with Tyler Durden and the way he carries himself through everyday, bizarre-o life, you could also look at the fact that this rage has been brewing inside of him for quite some time. It’s just until now that he finally gets a chance to let it all out, with a numerous amount of fellow men who feel the same as he does.

And since I already mentioned his name, I guess it’s right to mention the character of Tyler Durden himself: A wacky, wild and sometimes, border-line insane caricature of what every guy, no matter how hard they try to deny it, want to be. And honestly, what better actor to play this ideal-perception of a man, according to fellow men, than Brad Pitt himself. Not only is this pure casting-magic at its finest, but it’s also one of the sheer signs of genius that Pitt was beginning to show us; not just as an actor, but as a star who had the right to choose whatever project he wanted, without having to worry about how the rest of the world viewed him. Because yes, even though Pitt still gets to look hunky and jacked-out as humanly possible here, he’s still something of a grotesque character that you’re never too sure of. You know that he’s someone you can’t pin-point down if you saw him in a crowded room and met him for the first time, but then again, he’s the first guy you’d notice in that same crowded room.

....or is this?

….or is this?

This is to say that Pitt is wonderful in this role and absolutely crackles and pops with every second he gets to play as Tyler Durden. But that isn’t to say that Edward Norton doesn’t get to do anything effective here either as our main protagonist, because he totally does. It’s just less of a showier-role, which is totally saying something because Norton gets a chance to do everything we love seeing him do in just about any movie he decides to do: Get your attention right away, sometimes be funny, and make you wonder just what his character is going to do next.

The same could be said about the movie as well, because while Fight Club can’t necessarily be classified as something of a “thriller”, it’s still the kind of movie that will have you on edge. Not just with where it’s story goes, or the plot-mechanics of how, but why. Fincher does, much like what the novel also was capable of doing, bring up viewpoints on various forms of everyday society: Music, movies, television, fashion, commercials, etc. And while you could definitely say this a movie with an agenda, good luck trying to figure out what that agenda is.

Personally, I think it’s all about how we as a society are inherently already built to conform and give into mass-media. Or better yet, that fitting in and following along with the rest of the current is the right, relatively safe thing to do. Though I know this movie is speaking this mostly through/from the male viewpoint, I think this is a point that could be made for all members of society; stop doing what everybody else is doing, or what others say you should do. Stand up, scream, shout and do whatever you can to make yourself happy and express yourself. Although that doesn’t necessarily mean you should go around, starting clubs where people beat the shit out Jared Leto, that doesn’t mean you should sit back, watch from the back-row, and sheep around with the rest of the flock.

Or, you know, at least that’s what I think it’s about.

Consensus: Audacious, bold, original, thought-provoking, and somewhat of a crowd-pleaser, Fight Club is the perfect blend of art and commerce, while also serving as a metaphor for the world in which we live in, and the chaos that’s always linger from within it.

9.5 / 10 = Full Price!!

Aww, who am I kidding!?!? Just show me shirtless dudes, beating the shit out of one another! Fuck yeah! Rebellion rules!

Aww, who am I kidding!?!? Just show me shirtless dudes, beating the shit out of one another! Fuck yeah! Masculinity rules!

Photo’s Credit to: Goggle Images, Collider

United 93 (2006)

Staying right here on the ground and not moving.

On September 11, 2001, four planes were hijacked by terrorists with bombs strapped to their chests. Three of them reached their targets. This is the story of the fourth that didn’t and the people that made that possible.

It’s been just a bit over a decade since that fateful day where more civilians were killed than any other day in history, ever. It’s something that we Americans are still hurting from but is also something that has made us stronger as a country. I know that I don’t usually get all this patriotic and loving like I am right here, but I’ll be damned if this film didn’t make me feel a little bit sentimental towards the country I live in!

U.S.A.! U.S.A.! U.S.A.!

Anyway, enough of that, because while I do realize that this movie is definitely centered towards those who can remember that day, where they were at, and exactly how they were affected, I have to make a note that it is still a move nonetheless. Meaning, it can be viewed by many, regardless of what country they lie in. I bring this fact up because it’s so strange to see a director like Paul Greengrass (somebody who resides from England) tackle such a controversial subject/event such as this. And don’t forget people, this movie came out nearly five years after the attacks and if anybody who lived during the year 2006 will tell you: We as a country still weren’t willing to get over it. Add that to the fact that Greengrass’ track-record up to that point was good, but mind you, this was when people already got a helping of what he could do with the Bourne Supremacy, where people already knew he loved to shake that camera all over the place.

Hey, look! It's that dude who sings on Broadway!

Hey, look! It’s that dude who sings on Broadway!

So yeah, you could say that it was a pretty daring move on everybody’s parts involved to not only make this movie when they did, but to make it in general, with the lad behind it all.

Somehow though, I couldn’t imagine anyone else directing this. There’s something about Greengrass’ down-to-Earth direction that really gives you the impression that not only is this happening in real time, but that it’s literally happening right in front of your own very eyes. It feels, looks, and sounds exactly like a documentary, and because of that, it just looks, feels, and sounds real. Which is basically saying that it’s a terrifying experience to watch, because even though you know what’s going to happen in the end, you can’t help but get swept up in it all and root for the passengers, yet, at the same time, still can’t lose that sense of dread that sooner or later, it’s all going to end and these passengers are going to perish.

As morbid as it may sound to write or read, it’s the truth and that’s why this movie hit me so hard. Because rather than trying to go for some sort of political-agenda and say who was in the right, the wrong, or indifferent when it came to this situation, on this very day, Greengrass just stands behind the camera and films how it probably would have happened. He’s not offering any “rah-rah” patriotism about how these passengers all acted on the plane when they found out what was really happening, but rather, showing us what can happen when a band of practically strangers get together, figure out what predicament they’re in, and how they can get out of it. Which yes, sounds totally different when you think in the grand scheme of things, what was going on outside of this one aircraft, but when you’re watching this movie, you’re not really thinking about everything else that’s going on in the Big Apple and how the rest of the world is reacting to it – you’re simply thinking about how these passengers are going to get off of this plane and survive, if that’s at all possible.

Which, yet again, is a strange feeling to have, especially when you consider that you know how it ends. If you don’t, then I suggest you read more.

And that’s why, despite him having some bad-press surrounding his name and his “crack-cam”, Greengrass truly was the perfect choice to direct a movie such as this. He not only knows how to ramp-up the tension so well, that you practically forget about the actual, real-life ending itself, but he also reminds us that even the smallest gesture of humanity and bravery can matter. Like I said before, he’s not necessarily commending everybody involved and their actions, but he’s just shining a camera-light on what may, or may not, have happened and how certain people reacted to this specific situation they were tragically thrown into.

That’s what brings me to my next point and how this daring this film truly was. See, it’s one thing to portray an event in the history of the world that happened to, and was felt by numerous people from all over the globe. However, it’s another thing to portray an event in history that has a few specific amount of people involved, and to portray them, their stories leading up to, and during this event, is definitely a ballsy move. Not just because you have to worry about who you offend, or who you don’t, but because this movie right here is their legacy; if you’re bad-mouthing them and people know about it, then you, my sir, may have something of a lawsuit on your hands, not to mention many, many years of angry fan-mail pouring in by the thousands.

Guess the fact they were sweating buckets didn't set anybody off.

Guess the fact they were sweating buckets didn’t set anybody off.

But once again, Greengrass proved me wrong and showed that he can take any drastic steps he wants, he always comes out on top. In the case of the characters here in this movie, nobody’s really all that famous or well-known to the point of where one could say, “Oh, that guy was in that episode of Seinfeld!” And even if you could, it probably wouldn’t get in the way of being able to accept this “character” for who they are and what they resemble. Greengrass clearly did the bit of casting in which he got a whole slew of unfamiliar faces and names, just so that it would be so much easier for us, the audience, to not get distracted by seeing a famous person, play a character; especially not a character who is supposed to be based on someone who actually existed.

Nobody here is really outstanding in terms of acting and to be honest, even after all of these years, nobody’s really all that recognizable either (with the exception of Cheyenne Jackson and a blank-a-few-times-and-you’ll-miss-her appearance from Olivia Thirlby), which is good. In fact, it totally works in the movie’s favor. It makes you see each and everyone of these “characters” as who they’re supposed to be: Real-life, actual people that, sadly, were thrown into such a tragic situation as this. It makes you wonder about what they had to go through and how, even when it all ended, their families were affected. But no matter what, the movie reminds us that it’s because of these people and their bravery, that some lives were changed. For both better and for worse. But most of all, they changed history and had us remember that regular, everyday human beings, just like you or I, can change history by just getting up and not taking something we don’t believe in. Even if the end game doesn’t look so pretty.

But hey, that’s just what being humans all about: Making decisions, regardless of if they end well or not. You just want to help and save others, if that’s at all possible.

Consensus: Though it had everything to lose by simply just being made in the first place, United 93 turns out to be not just an effective piece of film-making, but a compelling and emotional look inside the lives of those who were on this one specific airplane, on this one fateful day.

9 / 10 = Full Price!!

Never forget, people. No matter where you are in this world, just never forget.

Never forget, people. No matter where you are in this world, just never forget.

Photo’s Credit to: Goggle Images

Waltz with Bashir (2008)

Take that Wall-E! This is real animation!

Writer/director/producer Ari Folman was 19 when he served in the Lebanon War in the 80’s. He did his job, his duty, and did it all for his country. However, after all of these years, Folman seems to have forgotten all that has happened, with the exception of a dream that he and two buddies of his have had where they emerge from the water, naked. Seems rather strange, but again, he doesn’t know if that’s real or just a dream. That’s where his former-soldiers help him out to tell him what happened, what they did, and what exactly went on in the Lebanon War. The results not only shock us while we sit and listen, but even them as well.

This is one of those hard flicks to categorize because not only is it a documentary, but it’s also an animated movie. When I first started watching this, I was terribly confused as to what the hell I was seeing. I knew I was seeing a bunch of cartoon-figures chat about the war and whatnot, but I didn’t know if the voices were going through the motions or if they were actual interviews. As you could probably tell, I wasn’t used to seeing my documentaries changedup like this but thankfully, I got used to it after awhile and that’s when things really started to set in.

First of all, let me just go right out by saying that the idea of shooting this movie in an animated-form was sure brilliance on Folman’s behalf. Not only does it allow these stories to hit the imagination that most of them are told in, but it allows you to sink into the material even more. These are real people, talking about real happenings that they either witnessed, or heard of during their time in the Lebanon War, and after awhile you just forget that it’s all told to you in an animated-form. Not only does this allow Folman to film stuff that would have been a bit too costly for him, had it been shot in a live-action way, but you just feel as if you are right there.

When in doubt, just dream of fully-naked women. That will get you by when it comes to war-time.

When in doubt, just dream of fully-naked women. That will get you by when it comes to war time.

On top of that, the animation is pretty damn good as well! Some characters look goofy, some animation seems cheap compared to others, and not everything works, but there is still always something to gaze at with this flick and with this animation. It’s also great to see a flick that uses it’s animation as a tool for telling a more compelling story, rather than to just get away with being dirty and grotesque. Some moments here are downright disturbing and seem like they would have been slapped with the NC-17 had it been done with real actors and real film, but nonetheless, it all feels suitable to the harrowing and disturbing tales these guys are all talking about. Seriously, some of this stuff here will mess you up.

This is one of those movies that totally took me by surprise because within the first ten minutes; I was already bored. I didn’t get what this movie was trying to talk about, the style of filming it was using, and whether or not everything I was hearing was real, or just stories that this dude wrote. But as time went on and I started to gain more and more knowledge of my surroundings here, then it all started to make sense. What’s so unique about my slow, but moving-knowledge of what was going down in the grander scheme of things, was sort of like what our main protagonist was going through as well.

Not only do we not have any clue what the hell happened or what we are about to hear, but neither does Folman. That’s why it’s so intriguing to see a flick not only put us in the same spot as the lead character (or whatever you’d call him), but have us grip on to reality just as he does. The whole idea behind this movie is that after the war, some men come to terms with the harsh-realities of what they just witnessed, or they just throw it to the back, forget about it all, and have it placed as dreams. That’s exactly what this movie touches on, in a way that I never expected to not only affect me, but show so strongly in animation.

And even with the animation, nothing of what you see here is going to be watered-down. You’re going to see some pretty disturbing stuff that will not only have you shadow your eyes away, but may also piss you off, as it did to me. Just knowing that these types of travesties actually occurred and, in some ways, still is to this day, really upset me to the high heavens because it made me feel as if there was no need for any of this violence or war. Now, some peeps may disagree with me and say it’s all about religious conflicts and that they need to settle their differences as soon as possible, but is this really the answer? Killing un-armed people in the streets? Destroying farms and live-stocks so people starve? Using a gun and a rank as a power-method;  getting rid of religions in hopes that they will one day, fade away into obscurity? Really?

Are these really the answers we all search for when we need to settle any conflict?

"Hey, how's the ki...AAAAHHH!!"

“Hey, how are the ki…AAAAHHH!!”

For me and my thoughts, this is just wrong. But to see it displayed in a way like this, really hit me even harder. Hell, I could probably type in some war-footage and find tons and tons of actual deaths and murders caught on-camera, but somehow this hurts me on the inside more. Something just didn’t sit well with me and had me feel as if this world, not only has it’s beauty, but it’s ugliness as well. It made me angry, it made me upset, but most of all, it made me happy to live ithe life I live, where I live it. Not saying America’s better or anything like that (because clearly, that isn’t the whole truth), but it does make me realize that the life I’ve been granted is one that I should be thankful for, each and everyday I wake up.

Sorry if this is beginning to sound like I just smoke a bowl, but that’s what happens to me when I see a movie that really has an effect on me; it has me thinking, talking and hoping that other people feel the same way as I do. And if not, then oh well. Still see this though.

Consensus: Depending on what your view of the Lebanon War is, Waltz with Bashir may, or it may not, connect with you, but if you have a heart, and a thirst for human-righteousness, it should still hit you hard and where it hurts the most inside.

9 / 10 = Full Price!!

Can't say that it's not an AIRport.

Technically, it’s still an airport.

Photo’s Credit to: Thecia.Com.Au

Guardians of the Galaxy (2014)

Yeah, those “other” Marvel heroes are just a bunch of pricks anyway.

After he sees his own, cancer-riddled mother die in front of his own very eyes, Peter Quill (Chris Pratt) is mysteriously captured by a spaceship. 26 years later, an older Quill, now sporting the name “Star-Lord” and dancing around to vintage pop-tunes on his Walkman, discovers a strange crystal ball that is apparently very dangerous and serious, considering it triggers off a group of evil people to come after him. So much so, that when he eventually gets into town and sell the thing for whatever money he can get, he ends up getting in a brawl with a woman by the name of Gamora (Zoe Saldana), as well as a giant tree named Groot (voiced by Vin Diesel), and a talking raccoon they call Rocket (Bradley Cooper). The stunt eventually lands the foursome in prison, where they meet all sorts of trouble and unlikely pals, especially in the form of Drax (Dave Bautista); but what they end up finding out is that the artifact they were all fighting over, is being sought out after by a very powerful, very evil Kree radical named Ronan (Lee Pace) and his noble band of trustees. Together, the five decide to put away their differences for the time being and do all that they can to save the galaxy, one David Bowie track at a time.

Going into this flick, I wasn’t expecting much. Honestly, that moreso has to do with the fact that every Marvel movie since the Avengers, has either been ranging from “mediocre”, to “hey, it’s fine and it’s fun, so what’s the harm, yo?”, and also the fact that it seems like, especially after this whole Ant-Man debacle, that Marvel is becoming more of a lackey-boy for the ultra, super, duper, powerful kingpins that are Disney and their ways of making people do what they want, when they want, and how they want.

“Don’t offend the kiddies!”, Disney may say. Or, something that seems to be more common, “Please do make sure that it ties-in with the AGENTS of S.H.I.E.L.D.! And by ‘please’, we really mean, ‘do it, or else we’re going to fire your ass and find somebody else who is willing to take orders and be happy with it!'”. And though some of this may seem overly-dramatized by yours truly, there’s something in me that feels like Marvel is just starting to become more and more like what others want them to be, rather than what they want to be, which, at first with Iron Man, seemed to be: A kick-ass, fun-as-hell, hilarious and exciting superhero movie that you could take the whole family too; as well as grand-mom and grand-pop if you got stuck with them over the holidays.

That's the thingy they need to find. That's all you need to know.

That’s the thingy they need to find. That’s all you need to know.

But that’s where James Gunn comes in and absolutely gives a big, old, flying “FUCKA YOU!” to Disney and Friends, and shows them that if it’s his movie, it’s going to be his rules and his ways of having fun. Which, for the most part, means we get a whole bunch of strange, slightly off-kilter gags and pop-culture references including Kevin Bacon; metaphors that aren’t metaphors; Jackson Pollack; the art of dancing; and, best of all, calling a raccoon, everything else that isn’t a raccoon. If that sounds very strange to you, then yes, you are at least somewhat sane. And if that sounds especially strange to you being that it’s all packed into a Marvel movie, then yes, you are even more sane and, would you like a cookie?

What I’m trying to get across here is that Gunn’s humor is a weird one and although some of it’s a bit tamer now so that the PG-13 can sit and stay with the movie, it’s still hilarious and nearly perfect for this world that he’s created. That this other “realm” (for lack of a better word without saying “galaxy”), is a wide, never ending and seemingly bizarre matter of space that seems to have a bucket of surprises waiting at every corner, shows Gunn is able to not only build on his characters and the action-sequences, but also this world that he’s created. Which, yes, for a Marvel movie, is very strange, yet, totally works.

Most of that has to do with the fact that each and every character we get here is likable, fun, vibrant and exciting in their own measly, little ways, but most of that also has to do with the fact that Gunn is the kind of writer and director that has a sense of humor that can work for practically anyone. Okay, maybe if you check out his first two movies (Slither and Super, which I definitely recommend), don’t necessarily back me up on that statement, but taking away all of those and just leaving this here movie as his one and only true example, then I’d have to say it’s a pretty impressive one.

Gunn’s funny, he knows he’s funny and he’s going to let us know about it every step of the way. However, whereas most of the other Marvel movies wink their eyebrows so much so that it seems like they’re going to have to be surgically put back into place by the end of its two-hour run-time, GOTG (short for the title, if you’re nitwit) is a different beast: It’s a funny movie, yet, doesn’t try to make you laugh in a charming way. It’s just weird and since it soaks up the sun and basks in its own weirdness, it’s hilarious to watch and listen to, as well as have an awfully fun time with.

Because, yeah, guess what??!?! Guardians of the Galaxy is a damn fun movie!

See, because while I’ve been going on and on so aimlessly about this movie’s humor and how effective it actually is, there’s an element to this movie that works, and can probably be shared among the rest of the Marvel crowd: It’s a fine action movie, if you want to look at it like that. There are hand-to-hand fights; spaceships flying throughout the sky and shooting each other; sword-duels; girls beating the crap out of each other; girls beating the crap out of the opposite-sex; raccoons shooting big-ass guns; walking, talking trees causing havoc; and etc. The only thing that’s missing was the only known wrestler in this movie giving somebody a Batista Bomb, but that’s for another movie, I guess.

And since I just mentioned a certain character in this movie, I think it’s best to now use that as a segue into my next part of the review which, unsurprisingly, also happens to be about the best element to making this movie work as well as it does: The characters and the actors that portray them. Because Gunn’s movie/script is a rather odd one, not only does he need a cast that has a comedic-bone anywhere located in their body – he needs a cast is absolutely able and willing to go that extra mile into trusting that his every move, is not only a benefit to them, but a benefit to how this whole movie plays out. “Well obviously, Dan. You no-sense-piece-of-shit”, you might retort back to me, but I have a reasoning for saying this.

Take the idea of a-list stars such as Bradley Cooper and Vin Diesel doing voice-work here – not only are they big names that people flock out to the movie theaters to see – but you’d expect them to do more than what they’re given. In the case of Cooper, he voices Rocket as Brooklyn gangster, where it’s sometimes too hard to even recognize he’s doing the voice-work in the first place; as in the case of Diesel, all the dude has to do is say “I Am Groot” over and over again, and, occasionally, yell, scream and holler with that low-pitched bass we know he can do so well. Sounds crazy enough? Well, yeah, but that’s sort of the point. Also not to mention that Cooper and Diesel, with what they have to do, do it so amazingly well that I wonder just how the heck Gunn thought of them two in the first place. And even if he didn’t, then kudos to the casting-department on this decision!

Oh, and that he's the villain, too!

Oh, and that he’s the villain, too!

But an even bigger kudos should be given to them for giving Chris Pratt the star-making role the dude deserves, this time, as one Peter Quill. Or, as some of you may, or may not know him as, “Star-Lord” (and yes, that’s it’s own, whole joke, too). Pratt’s been a lovable presence on the screen for quite some time; rather it be the large one, or the small one, the dude’s shown us time and time again, he has the chops to not only give us a cool-as-hell character, that has a winning-personality. Here, Pratt’s able to utilize the warm, lovely charm he oozes so well on Parks and Rec., but is also able to use some leading-man prowess we have yet to see him do, yet still shows he’s capable of actually having it in the first place.

But he’s not a pansy of a character. He’s a bad-ass dude that knows how to get himself out of situations, even while he doesn’t always think them perfectly through. Same goes for Zoe Saldana as Gamora; not only does she get to be an ass-kicking lady with a mouth on her, she doesn’t let that be her only trait and has a personality that goes almost hand-in-hand with Quills’. And though people were initially rioting over the casting-decision of having Dave Bautista play Drax, needless to say, the dude’s great in it as he shows everybody he can definitely act, be funny and best of all, remind everybody why he was in the profession that he initially chose in the first place.

Altogether though, this movie mostly works because these characters, in their own, little, unique worlds, wouldn’t ever seem like they do fine together. That’s sort of the point, however, Gunn allows them to work off of one another and it’s probably the most fun-part of this whole movie. Sure, you can give me as many mind-numingly loud and outrageous scenes of stuff exploding, while other stuff is exploding elsewhere, and I’ll crack a grin or two. But if you can give me characters that I want to get know better, spend more time with, and just never leave the presence of, then you can count me in, take my money, sleep in my bed, bang my wife, whatever. As long as you can give me that, then I’m all fine and dandy.

And to have that spliced together with the best Marvel movie since the Avengers is, well, exactly all I could ever ask for and ever want.

More Batista Bombs next time, though. Please.

Consensus: Hilarious, exciting, and well-written, Guardians of the Galaxy is a downright good time that features some top-tier performances from a cast you’d be surprised works so incredibly well in the first place, yet, in the world of James Gunn, anything seems possible.

9 / 10 = Full Price!!

The best line-up in a "line-up" scene since the Usual Suspects, and it's not even in the actual movie!

The best line-up in a “line-up scene” since the Usual Suspects, and it’s not even in the actual movie!

Photo’s Credit to: IMDB, AceShowbiz

In Bruges (2008)

Who knew Bruges was such a happenin’ place! Full of fun, murder and all!

After a job goes terribly wrong, hitmen Ken (Brendan Gleeson) and Ray (Colin Farrell) are sent away to Bruges to let the heat die down. This also allows for their boss (Ralph Fiennes) to think of their next move, so that while they’re in Bruges, not only can they enjoy the various sights, but they can wait on his call for further instructions of what to do next. In the meantime, the two hitmen go sight-seeing, although against most of Ray’s wishes; instead, he would much rather like to drink, do drugs, find some pretty ladies and have as much fun as one possibly could while vacationing in a place like Bruges. Luckily for Ray, there’s a local film crew around town filming something with a dwarf and a pretty gal (Clémence Poésy) that he automatically takes a liking to. However, the aftermath of his one job still continues to mess with his mind and threatens to ruin any possibility of being sane he may have. To make matters even worse, when the two guys eventually do get their call from the boss, it isn’t a pleasing one and may actually pit the two seemingly good friends up against one another.

But hey, that’s business, mate.

It’s a very rare occasion in which a movie that I have seen more than a handful of times, can not only just make me laugh nearly as much as I did the first time around, but can also keep me on edge as to where the story is going next. And with In Bruges, it’s an even rarer-occasion, because, generally, the film leans on its constant plot twists that take over the last-act of this movie; plot twists that I have seen many times before. So for a movie to excite me all over again, as if I was just watching it for the first time in my life, truly is a work of magic.

I think we all know she's in for a wild night ahead of her.

I think we all know she’s in for a wild night ahead of her.

Because, the fact remains, In Bruges is one of the better dark-comedies of the past decade, and not too many people know about it. Even if they should, they don’t. But while that may seem like a meaningless “idea that I think is actually a fact”, there’s something endearing about that aspect that works wonders for this movie.

For instance, the movie prides itself in being contained to this one, rather small part of Bruges; a place you didn’t think was a perfect setting for a film, but somehow, totally is. It’s a place that the movie mocks on more than one occasion, but also shows that there’s some beauty in the land these guys are vacationing at. I don’t mean in just the numerous museums or churches these two guys see, I mean in the people they meet and the things that happen to them, both good and bad. What I’m basically trying to say is that Bruges itself, becomes something of a character in a movie that’s named after it and it creates a small vortex of a world that, as they say in the movie, “Seems like you’re in a dream.”

All that philosophical shite aside (working on my Irish over here), this movie is still entertaining-as-hell no matter how many times it’s watched. You so rarely get that with any movie, but when you see as many movies as I do on a regular basis (more than any normal human being should ever have to), certain movies just fade in your mind and you lose the ability to love them all over again. However, with In Bruges, that ability isn’t anywhere to be found; in fact, I think I may love the movie even more now, then I did way back when I saw it in the early days of ’09.

Certain jokes I can catch up on quicker now, the story makes a whole lot more sense, and the performances from the trio of lead veers quite closely into being “perfect”; especially from Colin Farrell, the actor I’ve always had faith in, and here is exactly the reason why.

As Ray, Farrell is a ticking time bomb just waiting to explode and destroy everything around him. You get the sense that he’s a young, brash asshole that doesn’t know when to keep his mouth shut, nor knows how to act like an adult, but that’s sort of the point of the character and makes Farrell act even better than before. He’s a bit of a punk that does and says bad things throughout the majority of this movie (as hilarious as they sometimes may be), but knows that they are bad, wrong, they should not be done, and at least wants to move on from those mistakes and see if he can turn his life around.

In other words, he’s a bastard with a conscience, and every single second of watching Farrell play him is a total pleasure.

Even more of a pleasure to watch is Brendan Gleeson as the older, much more experience hitman that’s something of a father-figure to Ray, although the movie doesn’t hit us over the head with that idea. Instead, it just allows us to see Ray and Ken as two guys, who have the same job, and are mates, yet, they are in a bit of a sticky situation that can go either way. They don’t know, and they don’t necessarily care. They just want to take each day as they come and both characters express that feeling in two very different ways. For Ray, spending his day is all about getting drunk, having a shag or two with a lady, and just overall, having a grand old time. Whereas for Ken, he’s much more simpler in that he likes to read a book or two, explore the land around him a bit, and at the end of the day, go to bed while watching the tube.

They’re both opposites, yet, they are very good friends that understand each other and at least try to make sense of where the other one comes from. Watching them speak to each other about such stuff like either Belgium art, guys who sell lollipops, kung-fu, is constantly fun and entertaining, while very interesting because we see certain shades of their characters come out that we didn’t expect to ever see, all throughout their conversations. It also helps that Gleeson and Farrell have a lovely chemistry that never feels false. Not even for a single second.

Look out, Oskar!

Look out, Oskar!

And to make matters even better, we have Ralph Fiennes here as the foul-mouthed, constantly pissed-off boss of theirs that isn’t around a lot, but when he does show up, is around to only take care of business his way. We hardly ever see Fiennes do a performance as nasty or as eccentric as this, which is what exactly makes it such a pleasant, if totally unexpected surprise. But what Fiennes is able to find in this character is some ounce of humanity that makes him more than just a dirty, cold-blooded killer; the dude has a code/conscience, and all he’s doing is following through with it. He’s a mean old son-of-a-bitch, but he’s at least a human one, and the fact that we get to see that aspect of the character is truly a testament to the kind of actor that Fiennes is.

But honestly, I’m going on and on about the cast, without mentioning the one who is really responsible for this whole thing coming together so perfectly: Writer/director Martin McDonagh. Sure, McDonagh’s style of blending dark comedy with humane-drama, and bloody violence, has all been done numerous times before, but there’s something oh so refreshing about McDonagh here that makes me wonder not only why he doesn’t do more movies, but also why many more writers and directors haven’t followed suit? Because what McDonagh does so amazingly well here, is that he finds out what makes us laugh, what makes us cry, and what keeps us on the edge of our seats when watching movies, and combine them all together to make a movie accessible enough for anyone to see.

I mean, I’m not saying that In Bruges is the perfect pint of Guinness for either mom, dad, or your younger sibling, but what I am saying is that if you and your pals are hanging around late one night, need something to watch that will not only interest you, but have you downright laughing and enjoying yourselves, then you could do worse. Far, far worse.

Moral to the story: Watch this movie and thank me later.

Now go!

Consensus: Hilarious, fun, superbly-acted, exciting, surprising, and sweet in spots you don’t expect it to be, In Bruges is a near-perfect dark-comedy/thriller more people need to see in order to realize just how much crap is truly out there in the world that everybody knows, and why little gems like this go so unnoticed, for so very long.

9.5 / 10 = Full Price!!

Something in that image doesn't fit with the rest of it....

Something in that image doesn’t fit with the rest of it….

Photo’s Credit to: Goggle Images

Stand by Me (1986)

If there’s a dead body just lying around, why wouldn’t you want to find it right away?

A group of twelve-year-olds who are bored and tired with their home lives do what any twelve-year-old would do to have some fun and an adventure: Go see a dead body. Though they’re a little bit different in terms of their personalities and what each of their home lives are like, they are all pretty good friends with one another and enjoy each other’s company, which is exactly why they don’t hesitate to leave for a day or so and check out what all this dead body-business is about. While on the road, they run into the usual problems such as finding food, getting chased by dogs, getting yelled at by old heads, running from a train on the train-tracks, fighting with one another, etc. But they’re biggest problem may in fact be the local bully (Kiefer Sutherland) who already doesn’t like them and especially doesn’t want to see them at this infamous dead body. Leaving this adventure to be a race of sorts, although, to be honest, it isn’t quite fair when you have a bunch of kids walking and running on foot, against a pack of wild, angry and crazed teenagers that can actually drive. But that’s besides the point. There’s a dead body, after all.

I think I stand for just about every guy when I say that as soon as I saw this movie, my life was changed a small bit. Some others can probably say it impacted them a whole lot more than myself, but there’s something to be said about a movie that has an effect on you in general, regardless of how little or large that impact was. For me, this movie made me realize that not only are the friends around me now, the ones I should pay attention to the most, but that my friends in the future will never be as important as the ones I have in the present time. And since I was at least 13 or so when I first saw this, the emotions didn’t fully hit me until I made my way into high school.

It's like my parents always say, "Don't play around with guns. But if you do, make sure it's back behind a diner."

It’s like my parents always say, “Don’t play around with guns. But if you do, make sure it’s back behind a diner.”

Things were different there – my friends, the overall atmosphere, girls, etc. Everything changed for me as soon as I got to high school, and it mostly had to do with the fact that I myself was getting older and realizing what mattered in my life, and what didn’t. And to me, what mattered was my friends. Now, of course most of my friends from grade school had all but vanished from my life come high school, but the ones that were that important to me in the first place, I stayed with and have been in touch with on a regular basis to this day, but that’s not the point I’m trying to make here. Better yet, that’s not the point this movie is trying to make.

The point here is that while we all grow up, age, mature and do all of that lame, boring stuff that adults do, there’s still a special place in our hearts for the friends that were with us in our early years, when life and everything that came with it was a hell of a lot simpler then. That’s where I feel like Stand By Me gets being young so damn right: You don’t really think much, or at all when you’re a little kid and you’re with your friends, you’re just living, day by day, with whomever wants to spend it with you.

And honestly, we couldn’t have asked for a better group of kids than Gordie, Chris, Teddy and Vern.

Although each of these characters have their own different personalities and eccentrics that make them who they are, they’re still so easy to relate to. Heck, you may even be able identify yourself with one of them (for me, it was always Vern because, sadly, I was “the fat kid”, although lovingly so), and that’s what this movie is all about. They’re kids and the way they interact with one another and just act in general, are exactly how you would have acted when you were their age, regardless of where you lived or what decade you were born into. All that matters is that you were a kid once, because if you were ever that, then this movie will hit home for you on more than a few occasions.

But who really deserves a bunch of kudos from me is director Rob Reiner himself who took the hard task of adapting Stephen King’s material, and not sugar-coating it a single bit. Because what works so well for this movie, as well as for these kids, is that they don’t really hold anything back: They cuss, spit, smoke, talk about boobs, give each other “two for flinching”. You know, the usual stuff that all kids do, but you hardly ever see in movies because too many people in Hollywood are afraid of offending anyone that wants to think differently about what the kids out there are doing nowadays, or have ever been like. And although I know that most of the respect for this movie should also be given to the screen-writers here who were responsible for adapting this material in the first place (Raynold Gideon and Bruce A. Evans), I still have to tip my hat to Reiner for realizing that he was working with some troubling material and didn’t back down from showing in its most realistic, gritty-form possible.

And because that’s the idea that Reiner is sort of going for, the kids themselves hardly ever feel sensationalized as kids that are as cute as buttons. Sure, the actors playing them may have been on the shiny and nice sides, but they never feel like they were picked up out of a casting-call either and just thrown in front of us regardless of if they have any acting ability or not. Nope, these four kids can act and although some of their later-careers may not be able to prove this fact, let it be known that during the filming of this, most of these kids were actually the ages they were playing.

Sort of makes you think what you were doing with your life when you were 12 years old. For me, it was staying up all night, hopped-up on Mountain Dew and playing PS2 until I couldn’t see straight. But hey, that was just me. Some people have had more eventful childhoods, but for me, I liked it simple: Just give me a game console and plenty of soda, and I’m good to go, mom and dad. Now leave!

Anyway, like I was saying about these kid actors, they’re all pretty great and map-out each character very well. Wil Wheaton is great as our main-focus, Gordie, and seems more like a reserved, quiet kid that isn’t afraid to get a bit wild every so often, rather than just a total dweeb who needs to be outside more; Corey Feldman plays Teddy the way you’d expect a younger Corey Feldman to play a loose cannon of sorts, absolutely bonkers but fun all the same; Jerry O’Connell reminds us that, yes, at one time, before he started having all sorts of lovely and attractive sex with one Rebecca Romijn, he was a chubby little kid, and a pretty lovable one at that; and then of course, we have River Phoenix as the bad boy of the group, Chris Chambers.

I wouldn't do it, but that's just because I was born in the 90's. We had a thing called "Nickelodeon".

I wouldn’t do it, but that’s just because I was born in the 90’s. We had a thing called “Nickelodeon”.

Every time I watch this movie, an undying sense of sadness just overcomes me. Not because I miss being 12 years old again and going out on weekend camping-trips with my buddies, but because it’s a true snapshot of the wonderful and amazing things River Phoenix was primed and ready for in his career. Sure, as he got older, the performances only got better, but seeing as he was so young here, and how natural he comes off most of the time, it makes you wonder what else could have came of him and his career. Just a shame indeed, but at least we’ll always have his body of work to go by and show the future generations to come just what kind of legend of the big screen he could have been.

And the very same could be said for this movie in general, one that will most likely live on forever. Although it does limit its scope in being a story a coming-of-ager that takes place in the late-50’s, it doesn’t really matter. This is a film for all people out there who have ever had a childhood and knew exactly what it was like to just take the days as they come, and never, not once, have to worry about what the future held out for them. Because after all, you’re just a kid, so why worry? Just have fun and be with your friends. Because one day, sometimes when you least expect it, they may not be around ever again.

So it’s up to you, to cherish the moments you have with them and never let them out of your mind, or your heart.

Consensus: Funny, nostalgic, heartfelt, and full of all sorts of life lessons without ever being preachy, Stand By Me is the rare film that only gets better with age and can be passed on from generation, to generation.

9.5 / 10 = Full Price!!

Amen.

Amen.

Photo’s Credit to: Goggle Images

Boyhood (2014)

Officially feel ancient right now.

Starting from his early days as a trouble-making six-year-old, to when he’s a rebellious, deep-thinking 18-year-old, we see Mason (Ellar Coltrane) go through a lot of changes. However, we also see a lot of changes happen to those around him. His sister, Samantha (Lorelei Linklater), does constantly pick on him and get him in trouble for stuff that he doesn’t ever seem to do, yet, at the end of the day, is the one that sticks up for him the most. His mother, Olivia (Patricia Arquette), is something of a dysfunctional woman just barely getting by – with her kids, her house, her job, her relationships, her divorce, basically everything. And last, but surely not least, we have his father, Mason Sr. (Ethan Hawke), who isn’t around as much, but definitely makes sure that when it is his turn to spend time with the kids, he never lets them down, nor does he ever take their precious time together for granted. For he knows that, sooner or later, they’re going to have to grow up, take responsibility for themselves and most importantly, make smart decisions. That’s what Mason plans on doing, although, like most humans do, he struggles to always get everything right.

So yeah, I stretched that plot-synopsis out a lot longer than it needed to be. Because, if I was just being honest, simple and easy (which I hardly am ever), I would have just said: Kid grows up for 14 years, most of which, we see occur in front of our own very eyes.

Basically, that’s Boyhood for you all in a nutshell. It’s the movie that Richard Linklater and movie-enthusiasts have been talking about for years because while it seems like an interesting concept, one has to wonder how it would all play out. Would it be a gimmick that just uses the fact everybody on screen is growing older and older, right in front of our very own eyes as a way to show something neat and cool to us? Or, would it give us a meaningful, heartfelt story about what it means to live life, grow up, learn, and just simply be human in every which way?

Aw, look at him. Just a cute, little kid reading a book with his mommy and little sister.

Aw, look at him. Just a cute little kid reading a book with his mommy and sister.

Well, thankfully, mostly due to Linklater being at the helm, it’s definitely the later.

For most of you who may not know, I love most of Linklater’s movies. His experimental pieces irk me only slightly, but when it comes right down to it, and Linklater feels like playing everything simple, he’s an absolute joy to watch. Not because he makes good, riveting pieces of work that compel you to your final hour, but because the movies he creates feel exactly like real life. And I know that sounds hokey and all, but in Linklater’s case, it isn’t at all; it’s mostly what he gets by on as a director and though he takes a step or two here and there into some strange territory, he always finds a way to bounce back and give us an heartfelt, naturalistic story that feels like real life, happening right in front of you.

And that’s exactly what Boyhood is. All two-hours-and-45-minutes of it, too.

And yes, while I do realize that that’s a lot for some of you more testy viewers out there who are probably still getting over the near-three hour desolation that was Transformers 4, I assure you, it’s not that much of a big deal. It goes by so quickly and easily, you’ll not only wonder where the hell all that time went in the first place, but also feel sad that it is actually all over. Because, for the most part, this is the type of film that, from the very beginning, feels like something more than just a simple story about a kid growing up, learning lessons, and eventually being a man that he sets out to be. Nope, this story’s about something more, something bigger than just this one kid.

Linklater knows that life is precious, life is something to behold, take care of and experience to the best of one’s ability, and through this Mason’s kid’s story, we see exactly how meaningful life can be. Mason’s story doesn’t really consist of many things happening, except that he wakes up everyday, goes to school, eats, does what he has to do, goes to sleep and the next day, continues the same cycle. It may sound boring, but it’s totally not because Linklater finds this rather fascinating.

In a way, it’s almost like Linklater himself wants to allow Mason’s story be anybody’s story. It doesn’t matter if your parents were ever divorced, or if your mom went from one dangerous drunk, to another, like clockwork, but what does matter is that you’ve lived a life up to this point. It doesn’t have to be an eventful one, nor does it have to be one chock full of unlimited fun and surprises; all it has to be is a life that you’ve wanted to be living, all up until this point. If you can do that, then Boyhood is the perfect movie to see because of how familiar most of what you will see is. While that may sound generic and all, there’s something rather endearing about watching somebody go through most of the same events that you yourself may have had to go through at one point. It not only has you feel closer to the story, but also understand that most people’s lives play out exactly like this: Sometimes, things happen; sometimes, they don’t. It’s not like how they do in the movies.

Pretty ironic, eh?

But anyway, back to what I was saying before about the gimmick: Yes, it’s pretty interesting. Not just in the way that it’s hardly ever been done before, but because it’s happened in such a high-profile way that’s deliberate and ended up working out. And by “working out”, I don’t mean that they were actually able to cobble up all this film together from all of these different years without their being many complications added into the mix, but by how the movie itself never seems to fall back on that reality. Sure, we see the kid grow up oh so suddenly, but it’s never made to have us drop our jaws and go, “Oh mah god! But look at all that facial hair!”. Instead, it’s just how you’d see someone in real life age: Day by day, parts of their body start to change and one day, poof, they’re looking like a wizard.

And this all brings me to our guinea pig of sorts for the whole two-and-a-half hours: Ellar Coltrane. Though I don’t feel comfortable with necessarily calling him a “newcomer”, I will say that I see a bright future ahead of him and it’s all because he seems like a natural screen-presence – sometimes for all the right reasons, as well as the bad. When Coltrane is a little kid, he seems to be living it up in his youth, asking questions, interested about the world that surrounds him and just wanting to cause any sorts of havoc that he can. He’s a typical kid and it only continues until he grows up, graduates grade school and becomes what most of us all know as a TEENAGER. Oh dear lord no! Say it ain’t so!

Well, I will say it because once Coltrane becomes a teenager, things get a bit shaky; shaky in the way that Mason starts to become more awkward around those around him and more angsty as a result as well, but shaky in the way that this kid runs a pretty close line to being considered “annoying”. He’s constantly going on about some big conspiracy theory he had in his head; doesn’t know how to talk to most of those around him (especially girls); and just seems like he’s pissing his life away on taking photographs, but never doing anything to take them to the next level or step. Generally, we could see him as “unlikable”, but the fact that Coltrane himself is mostly the same age as the kid the portraying, there’s a feeling you get where you want this kid to just do fine and chive on. He may not always make the right decisions, but when he does, it’s like an easy victory you get in the pit of your stomach when somebody you know or like does something you want them to do.

Oh, okay. Guess he's going through that "emo-phase" now, but hey, he's still a bit precious, right?

Wow. Okay. Guess he’s going through that “emo-phase” now, but hey, he’s still a bit precious……..right?

What I’m trying to say is that Mason becomes our buddy of sorts, and for others, maybe even another child. So when he wins, we win. And when he loses, we lose even worse. It’s a push-and-pull roller-coaster of emotions that will definitely pull you in from the very start and it only helps that Linklater himself hardly ever pulls any punches in delivering this story to us. Sometimes, we see important changes in his life occur; other times, we don’t. We get glimpses and peaks into his life at whatever present time and it’s always interesting, because it always feels real. Nothing life-changing, or sudden, or dramatic; just realistic and natural. The only way Linklater knows how to make most of his movies.

Like I was saying about Coltrane though, the kid’s great and definitely shows that he’s able to hold his own with those around him. I’m interested in seeing what he’s got next, as I think this role doesn’t perfectly summon-up who he is as an actor, but will definitely be a stepping-stone of sorts for a bright future.

Also helping Coltrane out as Mason’s older sister is Linklater’s daughter, Lorelei, who feels just as natural as being a child, to being a teenager, as he is. Both create a wonderful chemistry that feels like the quintessential sister-brother dynamic: She looks out for him, but knows that he can make her seem “lame”, even if that isn’t his original intention. But the one’s who really help this movie out to move and move and move as much as it possibly can without moving too fast, is Patricia Arquette and Ethan Hawke as their parents.

I haven’t seen Arquette in a role as meaty as this in awhile, and it’s great to see her back in action, because she is such a lovely presence to watch on screen. It doesn’t matter if she’s being mean, funny, upset, ridiculous, or crazy; she feels like a real mommy that loves her kids, would do anything for them and wouldn’t stop at anything to ensure their safety/happiness. Ethan Hawke’s daddy character is the same way, albeit more charming and full of fun. Which, I guess, is sort of the point: He’s the divorced-daddy that sees the kids every so often, and always wants to make sure their time with him is the greatest they could ever have. He’s not the best guy in the world, but he continues to try each and everyday he sees them and that’s more than enough. Not just for them, but for us as well.

Because, essentially, their adventure, is our adventure. Even if we haven’t lived it before, we are now and there’s an inherent beauty in that.

Consensus: In essence, not much happens in Boyhood, but that’s also another reason why it’s wonderful in taking everyday life, and making it into an emotional, compelling and always interesting epic that not only stretches the form of current-day movie-making, but changes our perspective on our own lives as well.

9 / 10 = Full Price!!

What the hell?!?! How did this happen?!?! Where did time go!??! Waah! I want my mommy!

What the hell?!?! How did this happen?!?! Where did time go!??! Waah! I want my mommy!

Photo’s Credit to: IMDBAceShowbiz

Like Father, Like Son (2014)

Those silly Japanese hospitals! Always mixing up kids with the wrong families! You know, just for shits and gigs! Ahaha!

Ryota (Masaharu Fukuyama) is a wealthy businessman that’s fueled mostly by success and the idea that whatever he has coming up next in the pipe-line, will feature even more success and pleasures than the last project he worked on. Even if that does keep him further and further away from his wife, Midori (Machiko Ono), his son, Keita (Keita Ninomiya), and basically anyone else he ever meets. But, for the most part, Ryota is happy with life; most importantly, with his six-year-old son that he feels could be as successful as him, just as long as he dedicates himself long and hard to it. So when Ryota and his wife get a call from the hospital that helped deliver Keita to them, they’re a bit confused as to what this means; turns out, the child they’ve been raising for the past six years, isn’t really theirs. Instead, their biological child is with another family, whereas that family’s child is actually Keita. How this happened in the first place is a total jam and up to the lawyers to decide, but in the meantime, Ryota and Midori feel as if it’s best to test out their options and see whether they should switch Keita and be with their biological child, or, keep Keita with them because the bond is already there.

Basically, if you’re going to have a child, make sure it’s not in Japan.

But no, in all seriousness, that plot-synopsis reads out a bit like a comedy. You could easily see a light-hearted romp centered around the fact that a family who, for the last six years, has raised a child as their own, finds out that it’s not only theirs, but that they’re own child is actually with another family, that just so happens to be a bit lower on the totem-pole than they are. I already see the gold to be made in something like that, with plenty of poop, fart and pee jokes to be added somewhere in the script whenever I see fit.

"Now remember son, don't ever eat with a fork. That shit's for weaklings!"

“Now remember son, don’t ever eat with a fork. That shit’s for weaklings!”

However, that’s not how this movie plays out as; instead, it’s drop dead serious and dramatic. And it’s an amazingly smart decision because it not only makes us understand the seriousness of this situation, but realize that there are actual stakes involved with this controversy. Better yet though, it also gives us a key-hole’s view into these character’s lives, how they live, how they appreciate their family and what it is exactly that they want to pass on for future generations to come. Which, yes, does ultimately mean that the whole “nature vs. nurture” debate comes into play pretty heavily during this movie, but it isn’t done on purpose; mostly, it’s where the human-mind jumps to first.

Instead, what writer/director Hirokazu Koreeda decides to do is keep our attention focused solely on these family-dynamics, and how they are affected by each and every single decision one person makes.

For instance, to make it even clearer, it becomes apparent early on that Ryota has himself a bit of daddy issues. Not only does he distaste his dad for some odd reason, but that he’s trying his damn near hardest not to turn out exactly like, nor have his own kids do the same. He’s trying to be that ultra-serious, strict, do-your-homework-now-or-no-video-games kind of dad, and at first, you think he means well, but ultimately, just ends up being a dick for the way he treats everyone around him. Not just his son, but his wife, as well as people that he just meets and sees as “lower” than him.

In fact, if I had to really nit-pick for a problem that I had with this movie, it was that this character was so one-note after awhile, I wondered what it was exactly that made him such a likable, lovable guy to be with and want to have kids with in the first place? Maybe it was the money? Or maybe it was that he was in a cool, rockin’ band back in the days before he decided to get settled-down and take on some responsibilities? Who knows. All I do know is that this guy was pissing me off dearly and not a single second went by where I didn’t want to knock him square in the nose and ruin that pretty, lush-face of his.

But then, out of nowhere, something happened. Not only did I start to see some good inside this Ryota character, but I also realized that I’m even beginning to sympathize with him and hope that he, as well as his family, all get what they want in the end. Surely I don’t want to spoil why this realization comes so late in the flick, but I will say that, for one thing, Koreeda does not shy away from throwing in whatever naturalistic plot-twist he can find. But it’s not all done in a way that makes it seem calculated and obvious from the start as to what’s going to happen, but more or less that since life hands you surprises every so often, then so does this movie. That part worked for me and it kept me wondering just how this family was going to resolve their little situation, and whether or not certain relationships were going to be crushed or not.

"It says here that 'we're fucked'. What do you think that could possibly mean, honey?"

“It says here that ‘we’re fucked’. What do you think that could possibly mean, honey?”

Most of that comes from the fact that Koreeda gives each and every character a beating heart, a living soul and a thinking brain, but because he allows us to see the situation from each and everyone of these viewpoints, regardless of whether we like them or not. Some people think differently than others and while it makes sense why one person would want to take their own kid as their own, the movie brings up the idea that maybe, just maybe, being blood-related is what makes you a father, a brother, a mother, a sister, or any relative, of any sort. What makes you a relative is acting like one – caring, loving and making sure that everything is all fine and dandy with that certain someone, whether they be a blood-relative, or just a person you are related to through marriage or sheer chance.

Koreeda brings this idea up on numerous occasions and by the end, it’s presented in such an honest, bare-bones way, that I was practically swimming in a pool of my own tears. And no, not because this movie features little kids getting their poor little hearts broken on countless occasions, but because it shows the bond one can have with another, as long as it depends on a mutual love and respect for the other. That’s more beautiful than just being a family; that’s just an aspect of life that makes me happy to live, each and everyday I can.

But having my family around me is cool, too. Just tell them to stay out of my room.

Consensus: Though it presents an odd situation worthy and ripe with laughter, Like Father, Like Son‘s ability to play everything as dramatic and as emotional as it can possibly stomach, makes it one of the better movies of the year, leaving you to ponder about your own family and those that you’ve either treated wonderfully as if they were a relative, or like a crap, as if they were a total and complete stranger to begin with.

9 / 10 = Full Price!!

Okay, everybody! Now smile and say "Weirdest family portrait ever"!

Okay, everybody! Now smile and say “weirdest family portrait ever assembled”!

Photo’s Credit to: Goggle Images

Obvious Child (2014)

Oh pregnancy, you just love sneaking up on people and ruining their lives at the most inopportune moments.

Donna Stern (Jenny Slate) has come to a stopping-point in her life. The place she usually works at is closing down soon; her stand-up comedy-gig is doing fine, but not nearly as great as she wants it to be; and now, to make matters worse, her boyfriend decides that now is the time to leave her for the chick he’s been banging all of this time. Obviously this leaves Donna a total wreck, in which she’s constantly at home, crying, getting drunk and leaving him angry voice-mails in the middle of the night, and it begins to affect her stand-up material. However, one night, it seems like she’s met a really good guy in the form of Max (Jake Lacy) because they flirt a lot, drink together, pee outside at the same time and even go home and have some fun, wild, drunken sex. And even though he’s not really her type, Donna was at least happy she got that out of the way; that is, until she finds out that she’s pregnant. Automatically, her mind goes right towards abortion, but she doesn’t know whether or not she wants to tell Max and freak him the hell out, or just do it by herself and hope that he never finds out. But that’s all pretty hard when he keeps on showing up everywhere she turns, wanting to go out on a date and just be with her – something Donna is too unsure about.

This may be a surprise to some, but Obvious Child is a perfect example as to why I love watching movies. Sure, I love them, for one, because I’m able to be transported into this whole new world, different from my own, where I don’t have to worry about certain problems that may be rolling around in my actual, real life during the present time. That’s one reason why I love movies so much, but there’s another reason too that I don’t talk too much about, and that’s the element of surprise.

How I think every guy likes to think of their ex right as soon as the relationship is over.

How I think every guy likes to think of their ex right as soon as the relationship is over.

And by “the element of surprise”, I don’t mean a movie that constantly throws a huge barrage of twists and turns at me until my mind eventually fries and turns into mush (as fun as that may sound). No, it’s more that when a movie surprises me with something it does, it says, or makes me feel, then I’m absolutely ecstatic and loving everything about life. It doesn’t matter if I’m two months back on my child-support; living in a cardboard box; have yet to move out of my parent’s basement since ’05; or it doesn’t even matter if I’m having a mid-life crisis of sorts. Fact of the matter is, when a movie surprises me, I’m happy and more than willing to roll with it, just as long as the movie stays reasonable.

And well, for the most part, Obvious Child is a nice little surprise that stays reasonable pretty much throughout the whole hour-and-a-half its on screen for. While that may seem like a short time for a movie that’s not only chock full of surprises, but laughter, smiles, heart, drama, poop jokes, abortion-talk, and stand up comedy, it’s nearly perfect.

Because see, with this movie here, it’s a very simple premise: Sad-sack girl gets dumped, sad-sack girl has one night stand, sad-sack girl gets pregnant, sad-sack decides whether or not to have baby, or get rid of it. It’s all so very straight-forward, but there’s something inherently beautiful about that, if not incredibly realistic, especially in today’s modern society where abortion itself may be a touchy subject, but is still a procedure performed more than a couple of times on a daily basis. Women have it and will continue to have it as long as dudes keep on forgetting to wrap their willies, and there’s no two ways of getting past it.

That’s the exact approach this movie takes to an abortion and doesn’t make any apologies for it whatsoever. It realizes that many people look down upon it as some sort of “practice from Satan”, but the truth is: Not all women want babies. Sometimes, women just want to live their lives without any prior obligations/responsibilities as is; heck, sometimes most of these women can barely take care of themselves, let alone a baby that they have to nurture, care for, change, wash, and breast-feed on a day-to-day basis. And for a movie like Obvious Child to not only approach this idea on more than a few occasions this way, but to actually go so far as to get everybody’s different, opposing viewpoints on the subject, really makes this movie a refresher of what is really going through most people’s minds.

But don’t be worried, because this movie isn’t just all about abortion (although advertisers would definitely like to continue to show it off as that way) – in fact, it’s more about the sad-sack girl I was talking about earlier, Donna Stern, and her problems in life and how it may have just gotten a whole lot worse.

It should also be noted that the movie makes it a big point to show Donna as a troubled, immature, and idiot-like girl that doesn’t always do, or say the right things, yet, still has enough about her to like that makes this whole small journey worth watching. Worth watching because it’s interesting to see this woman and how she lives her life, but also because it’s a slice-of-life from a person’s life we don’t too often see portrayed in the movies, unless they’re gritty, muggy and zero-budget indies (aka, Obvious Child).

But like I was saying before, Donna does some dumb stuff – most especially when she finds out that she’s pregnant and decides to keep it away from the guy who actually did impregnate her – but there’s something about the way she carries herself through her everyday adventures that makes her worth rooting for and hoping that, at the end of the day, she’s happy and satisfied with the way her life has turned out to be. She’s not that great of a comedian, but at least she tells jokes that gets enough people laughing to where she can do the same ones on her friends, make them smile, make them laugh, and as a result, do the same.

Also worth mentioning too, we’re introduced to her in the first ten minutes of this movie, we see her on stage, telling jokes about her personal life with her boyfriend (with her boyfriend in the crowd when this is happening), gets dumped, gets completely bombed, starts drunk-dialing him, and waking up the next morning feeling like shit. Usually, for any movie with any other different character, this would be too much for one audience to handle in the first ten minutes; but for some reason, it feels like a reasonable introduction to a character who may not be complex in every which way, but feels like a real person just like you or I. She likes to laugh, have fun, live life, and just be herself. For that, she’s totally worth loving for, even despite the selfish, thick-minded decisions she makes throughout our time spent with her.

Life is good when your whinin' and dyinin' with David Cross, who for some reason, isn't playing David Cross. Just some comedian who looks, acts, and sounds like David Cross.

Life is good when your whinin’ and dyinin’ with David Cross, who for some reason, isn’t playing David Cross. Just some comedian who looks, acts, and sounds like David Cross.

With all that being said too, I think it’s no surprise whatsoever that Jenny Slate is absolutely terrific as Donna Stern, and not for the reasons one may think. If you’ve ever seen Slate on programs like on Parks and Rec, or more infamously on SNL, you know that this gal can be quite funny when she’s playing “weird”. However, what Slate does so well here is that she just plays it normal; she’s not constantly mugging for the camera when she knows she’s being funny, nor does she over-do when she’s trying to show off her serious, melodramatic acting-chops. Like Donna herself, she’s just doing her, and I was so glad that she made that decision, cause I wouldn’t have wanted her playing anybody else.

Though the rest of the cast isn’t big, or better yet, filled with any sorts of big names that will have everybody running to the nearest theater, everybody’s fine with what they’re given to do and help shape Donna into more of a person, purely by judging how she interacts with every one of them. Most important to mention though, is Jake Lacy who plays the possible father-to-be of Donna’s unborn child, and is every bit of sweet, and nice, and charming, and dorky. So much so that it’s incredibly endearing that you want to see him and Donna get together, even if they are total and complete opposites that would never work as a couple, let alone as parents. Yet, this movie makes a good argument as to why they could be together and it would work out; maybe not as parents at first, but definitely as a couple who goes out on dates, makes jokes, goes to the bathroom outside in public, and just has a good time in general.

In a way, they’re the perfect couple. But not really.

And that’s just how life is: It’s not always perfect, in fact, it’s pretty damn messy. But it all depends on how you get through the muggy parts, and venture on to doing what’s best for you and what makes you yourself happy. If you can do that, then there’s no problems whatsoever.

So just keep on living. And next time, practice safe-sex. But if you don’t, do what you what you think is best.

Consensus: By approaching the topic of abortion with a realistic, understanding view-point, Obvious Child not only doesn’t judge anybody, or anything in particular, but is also just your average, simple tale about an average, simple woman. Yet, it’s always entertaining, insightful, interesting and most of all, heartfelt.

9 / 10 = Full Price!!

Wrongly-matched and nervous. Ladies and gentlemen, feast your eyes upon the perfect 21st century couple.

Wrongly-matched and nervous. Ladies and gentlemen, feast your eyes upon the perfect 21st century couple.

Photo’s Credit to: IMDBAceShowbiz

Spider-Man 2 (2004)

Just when you thought saving the world from evil, maniacal villains was enough.

Last time we left Peter Parker, he was trying to save the world from the havoc of a super-duper evil villain; win the heart of his lovely neighbor, M.J. (Kirsten Dunst); ace his college courses; still have a roof over his head; and be able to sleep soundly at night, knowing that he’s saved the day. And well, not much of that has changed a bit. Well, maybe instead of having the Green Goblin as a villain, he now has the incredibly smart Dr. Otto Octavius (Alfred Molina), and the four metal arms that control his every action and thought, leading him to want to destroy the world that’s been so crummy to him as is. Or, you know, something like that. Also going on, Peter has a problem with telling his Aunt May (Rosemary Harris) the truth about what happened to their dear old Uncle Ben, on that one, fateful night. And then of course, there’s Harry Osborne (James Franco) who is rich and powerful now, after inheriting the family business from his deceased-father and still having a bit of a problem with Pete and the fact that he takes the man who killed his father’s pictures all of the time.

I’ve seen this movie many quite a couple of times and it hardly ever ceases to amaze me. Of course when I was a lot younger, this was considered “the best movie ever made, by far”, but now that I’m older, and hopefully wiser, it’s stooped-down to being “just as good, if not better than the first”. That’s just what happens with age, though, people. You get older, you learn a lot more and you know what you like, and dislike.

Here though, I like pretty much everything, even if I have seen this movie about ten or more times. That’s not an understatement either; I was brought-up on the Tobey Maguire – Sam Raimi Spider-Man movies, which is why I have such a hard time loving these new ones, as well as being able to hate on the magic these two made in the first place. Sure, they’re definitely a lot goofier and lighter on their feet than what most of us are used to with superhero movies (thanks for that, Chris Nolan), but there’s something about their fun spirit and excitement that’s too hard to hate or ignore. Even when it comes close to running into “campy territory”, there’s still an essence that everybody involved is having a great time making this and for that, my soul just cannot hate any of them.

"Dammit M.J.! I mean, I love you and all, but you got to stop getting captured!"

“Dammit M.J.! I mean, I love you and all, but you got to stop getting captured without wearing a damn bra!”

Even the third one. But that’s a different review, for a different time (aka, tomorrow).

But anyway, like I was saying before, what Sam Raimi does so well here is that he does keep the same frothy, sometimes goofy and joy-free mood and tone of the first one, but ups the intensity of this by adding both bigger, bigger stipulations, but also giving us characters we can care and love a lot more than we did with the first one. It’s not like we didn’t get any character-development in the first Spider-Man movie, but it definitely didn’t go any further than “good guy”, or “bad guy”. Here though, we get characters, in a comic-book movie no less, that also happen to have dimensions and qualities that most human beings contain.

Sounds crazy, right? Well, that’s because it totally is! However, Raimi has just about each and every moment here that’s dedicated to building and making these characters who they are, feel somewhat genuine. He also does something strange for a mainstream, superhero blockbuster in that he lets a lot of scenes where two characters may be having a heart-to-heart or talking about something rather emotional, play-out in total silence, as if he isn’t telling us when the sad moments are coming. We’re just supposed to know what to feel, and cry, shake, tremble, or smile on our demand.

We so rarely see that with superhero movies, but Raimi took a big time risk here, and it paid-off especially well.

Another risk he took was in actually showing us the shitty side of being a superhero. Most of the time, we always see the person in the suit, messing shit up, being a boss, saving the world and getting the girl, the glitz, and the glamour by the end of the day, but what most of us really don’t see is what goes on when that said person gets out of that said costume and becomes what most of us are: Actual humans. Here, with Peter Parker, we get an idea that not only does it suck being depended on just about every second of every day, at every location in the heart of New York City, but that it’s even more of a drag having to deal with all of your other problems when you’re not out saving the world, one criminal at a time.

For Peter Parker, life kind of blows – the girl of his dreams is with some total meat-head, his best-friend doesn’t trust him, he’s not paying his rent, he hasn’t told his Aunt the dreaded secret that may ruin their relationship forever, and he can’t seem to hold down a steady job, or wage. But when he puts that suit on, life is suddenly better, if only by a bit. Still though, it’s apparent that being a superhero, no matter how many people look up to you as a result, it’s still a hard life to live. That’s why when Pete decides that it’s time to take a sabbatical of sorts, we want him to get all of the rest and chillaxing he can get; but also, not to wait too long either. Because, let’s face it, he’s Spider-Man and he’s a pretty awesome superhero when he’s kicking all sorts of butt.

And kicking all sorts of butt is what Sam Raimi allows for Spidey to do, more times than he did in the original. Though there is plenty of dramatic moments here where it’s just a couple of characters or two just sitting around and talking, Raimi still never forgets about the action, which features some of the most memorable brawls of recent-memory. That bank-robbery that turns into a fight on top of a skyscraper? Damn! The train-battle? Gosh! The moment Octavius becomes “Doc Ock”? Well, yeah, it’s pretty disturbing, even for a PG-13 superhero movie, but man, it was awesome!

In other words, Raimi gives us all the goods an average, everyday moviegoer could want, especially if they were coming to see a Spider-Man movie.

And of course, the cast is great too, with a few even putting in their best work of the whole franchise. Tobey Maguire may get a lot of crap for being the good-looking nerd everyone aspires to be (myself included), but it’s totally undeserved because the kid can act and handles his own as Spider-Man, and most importantly as Peter Parker. In fact, if Maguire wasn’t putting in great work here, this movie probably would have failed considering mostly all of it is focused in on Peter Parker, the person, rather than Spider-Man, the superhero the person becomes. Maguire may get a bit too earnest for his own good at times, but it’s easily forgivable since he’s just so likable and easy-to-root-for, because you know that while he wants to be at his girl’s play more than anything else in the world, he’s got a world to save and maintain peace within. If that doesn’t sound like a total dream-boat, I have no clue what does.

Ladies, we know the sex with him would be awesome. Let's just keep our heads out of the gutter for the meantime.

Ladies, we know the sex with him would be awesome. Let’s just keep our heads out of the gutter for the meantime.

Speaking of “his girl”, Kirsten Dunst is another who seems to get a lot of crap from those who think she can’t act, and I think that’s terribly wrong. For starters, she totally can and as she’s gotten older, she’s only been able to prove that moreso, time and time again. However, back in those good old days of the early-21st Century, I could see why some people got on her case as M.J. definitely isn’t the best-developed or most believable character out of the whole bunch, but at least Dunst seems like she knows what she’s doing when she’s delivering some of the cheesy-lines to be heard here. Same goes for James Franco as Harry Osborne, another one not many knew what to make of back in the day, but clearly has made a huge name for himself by just being him.

God, how time has changed.

With the absence of Willem Dafoe as the main baddie, we get Alfred Molina as Dr. Otto Octavius and the guy’s very good, as many could probably predict seeing as how Molina’s been a stand-out actor, putting in great work, time and time again. With Octavius though, Molina not only gets to show a human-side to a person who could be seen as a total monster, but even makes us see those small spots of humanity, even while his mind is practically being taken over by the evil chip in his brain. Though he’s clearly not as hammy as Dafoe was (therefore, eliminating some of the fun), Molina still feels like a real person who has been utterly driven to do bad things, for bad reasons and under extreme circumstances. Sort of like how Sam Raimi must have felt doing the third movie.

But like I said: Different review, for a different day, folks. Just you all wait.

Consensus: With a perfect mixture of heart, humor, action, excitement, and fun, Spider-Man 2 will go down in the books as one of the best superhero sequels of all-time because it never forgets what makes its story kick as well as it does, while also not forgetting to give the audience the high-flying, ass-kicking action they come to expect with a product like this.

9 / 10 = Full Price!!

How could you hate that heart-throb? I mean, heck, it's a freakin' subway he's holding back!

How could you hate that heart-throb? I mean, heck, it’s a freakin’ subway he’s holding back!

Photo’s Credit to: IMDBColliderJobloComingSoon.net

The Raid 2 (2014)

Man, I need to work-out more.

Taking place nearly right after the first one started, Rama (Iko Uwais) finds out that not only is his brother dead, but that he has no other choice but to be apart of this small, covert group of secret-agents that specialize in finding the crooked-cops and expose them for what they are. However, it all comes for a price, in which Rama has to now go undercover to work his way up-the-ladder where he’ll assist a head mobster’s son while he is in jail (Arifin Putra), in hopes that it will not only get Rama’s face and name known, but also give him a closer chance at finding his brother’s killer, who may almost be connected to the guys that Rama is trying to get in with. All sorts of twists and turns occur, which leaves Rama away from his family for more than two years, beaten-up, battered, and bruised, but with a new job where he is going to be the main enforcer of this heavy-duty gang, where he’ll still be undercover, taping and reporting everything that happens. Although, it does get hard for Rama to be able to differentiate how he feels, from what is the tru…aw, who am I kidding! They fight! A LOT. End. Of. Story.

The first Raid had a lot going for itself in the way that it was sort of this little movie that came completely out of nowhere and stunned just about every person who had seen it. there. It also helped too, that those said people who did see it and were blown away, couldn’t stop telling everyone around them about it; therefore, making the movie more and more famous by the whisper in hip, happenin’ coffee shops and dinner-parties. And while it took me quite some time to actually get a chance to see it, I had nothing else to do or say, except to just agree with everybody. I’m usually not one for conformity, but when it came to my feelings for that movie, I couldn’t help but join the crowd and move along.

"Hadouken!"

“Hadouken!”

Now, the problem here is this: Now that the cat is out of the bag with this movie, how will the sequels fair-off? Will they continue to keep to the same pattern in which there is barely any story at all, but plenty of kicking, punching, ripping and all sorts of fun, bloody violence like in the first movie? Or, will it go the familiar-route of most sequels and just be bigger, longer, wider, more bloated and just too much havoc and chaos going on to really give a crap about whatsoever?

Well, here’s the good thing about the Raid 2 – while it may follow the later-route in which it is bigger, longer, and more bloated, the action is never, ever too much for one person to handle. Actually, that’s a lie; it totally is. However, I mean that in a good sense because it’s exactly what you could expect from the creators behind this having more money to toy around with, but with so much more creativity and excitement thrown into the mix. Because even with the running-time being every bit of the two-and-a-half-hours that it is, for more than an hour of that, people get ripped-up, broken-down, destroyed, injured, killed, decapitated, and all sorts of messed-up, but it’s never, ever boring to watch.

In fact, that’s the key to making this movie work – always surprising the hell out of its audience. Hell, you’d think that by the year 2014, us moviegoers had seen it all with the Michael Bay’s and the Tarantino’s of the world, but once a gal walks through a subway car with two claw-hammers in her hands, then you know you haven’t. The first one had a bit of a problem with that, in the way most of the action-sequences did seem to repeat themselves just a tad bit, but here, there’s no problem with that whatsoever. It keeps on, keeping on and for that, it’s a fun time that you have to be apart of. I don’t care how squeamish you may or can be when it comes to the sight of somebody’s throat getting sliced-open, because this is the action-movie you need to see.

Not any of that Need for Speed or Sabotage crap. Or even whatever the hell it is that Michael Bay does, but as we all know, I don’t have much room to stand-in when it comes to the argument of whether or not his movies are in fact “good”.

So yeah, I’ll just let that one slide.

But like I was saying about this movie, it’s pretty awesome despite it’s nearly over two-and-a-half-hour run-time, which made me wonder why it had to be as such. It’s not to say that the story is bad by anything, in fact, it’s a pretty detailed one that kept me guessing for quite some time, even while the action wasn’t around and pumping up my blood-stream. There’s plenty of back-stabs, turns, twists and people committing acts of vengeance that made it seem like an old-school, Japanese-gangster movie, in which you never have any perfect idea as to who is on whose side, and for what reasons, until they’ve just shot somebody who you thought was their most trusted-confidante, in the back of the head, in total cold blood.

Now, could the story have been cut-down to size to ensure that this film wouldn’t feel long? Aw, hell yeah! In fact, if this movie was possibly a lean and mean two-hours, I feel like this would have been even better for me as is. However, the problem is that it does drag and once that final showdown comes around, there still was a small feeling that this movie had more than over-stayed its welcome. Once again, it was still fun and exciting to watch, but after about two-hours, I did begin to feel the five-hour energy-drink run its course.

In case you couldn't tell, you don't want to mess with them.

In case you couldn’t tell, you don’t want to mess with them.

Then again though, like I’ve been mentioning many a times throughout this whole review, none of that really got in the way of my enjoyment with this movie, especially once people started fighting as if they thought every fighting-sequence from the first was for a bunch of amateurs. I can’t really emphasize that idea enough, without even getting myself into a bit of a repetitive-jumble, but it’s the whole truth and nothing but. This movie is awesome and you’ll more than likely get excited just by somebody looking at another person in a way that makes it seem like they’re about to go at it right away. And once they do, it’s a better time than what most of you will have watching an action film this whole summer.

Well, until this soon-to-be-declared-masterpiece makes its way around.

Can’t help it, people. I guess I’m just too much of a Michael Bay fanboy.

Consensus: While it may be a lot longer, wider and packed with more subplots than the first, the Raid 2 has just about everything you’d expect to see with all sorts of fun, creative and exciting action-sequences that not only keep you glued to everything that is happening, but makes you long for the days of when one actually used to feel the pain occurring in whatever scene is on the screen. Then again, maybe that’s just me.

9 / 10 = Full Price!!

Final round. Fight!

Final round. Fight!

Photo’s Credit to: IMDBColliderJobloComingSoon.net

Joe (2014)

In need of a father-figure in your life? Look no further than this guy. But with more facial-hair.

15-year-old Gary (Tye Sheridan) is living a hard life in the deep and dirty South. Not only is his dad (Gary Poulter) a drunk, but he’s a mean, nasty, and cruel one, too. Any money that Gary ever makes from working his butt off, or any reward he gets whatsoever, always gets taken away from him and/or has him get roughed-up a bit as well. Joe (Nicolas Cage) realizes this and he’s about tired of seeing it. That’s when he decides to step into Gary’s life when he notices that the kid has some promise for this world and makes it his mission to make him a man of sorts. The only problem is that Joe’s troubled-past with the law, criminals, booze, hookers and smoking continue to come back and bite him in the ass. And somehow, that checkered-past of Joe’s, ends up finding its way into Gary’s life, where neither one of them know if they are going to live or die. All they do know is that they got a friendship together, and they’re going to stick together, regardless of what havoc may be coming their way.

Nic fuckin’ Cage, man. That’s all I have to say.

If none of you know this by now, then let me just regurgitate everything I’ve been saying for the past couple of years or so – I’ve never given up hope on Nic Cage. Never, ever. Yes, he makes shitty movies; yes, most of the time it seems like he’s just doing everything for the movie; and yes, he over-acts more times than he often should. But you know what? Deep down inside, underneath all of the confusing career-decisions he’s made in the, oh, I don’t know, say decade or so, I knew that he was doing it all for a reason.

Kid better hope that's not Nic's ride. Cause if so, he'd better run.

Kid better hope that’s not Nic’s ride. Cause if so, he’d better run.

Some of those decisions were probably made to get him some extra cash on the side, and as a result, therefore allowing him to do smaller, more-challenging roles that we don’t get to see him do too often. And as the titled-character Joe, we get to see everything Nic Cage that any adoring, dedicated fan would want to see: Some real, grounded acting.

See, with Nic Cage, it’s hard to figure out what kind of role you’re going to get from him – either A): you get a totally bonkers role in which he yells, screams, hoots, hollers and never dials it down under eleven the whole time, or B): you get a bit of the nuttiness, but in a more sensible, human-like way. We’ve seen more of the first part one too many times, but that latter one does show its face every once and a blue moon, and when it does, it’s a sight to see. Such is the case here with Joe; a role that Nic Cage may have not been born to play, but a role that I’m glad to see him play and pull-off so perfectly.

With the character of Joe, or at least, the way he is written, he’s made out to be the traditional, misfit father-figure a little boy from a broken-home would look up to. He may not be the most perfect human being in the history of humanity, but he at least knows what is right, what is wrong, and how he can make those lives around him a lot better. His relationship with Gary could have easily been an uncomfortable one to see play-out, but somehow, Cage plays Joe so damn well, that it always seems like Joe just wants to be Gary’s friend. Nothing more than just a simple pat on the back and a beer in his hand. So yeah, they’re unconventional buddies, but they are believable as such.

But before I go on any further and start making this a tribute of sorts to Nic Cage, I think I should throw some credit towards Tye Sheridan who, with a handful of roles in the past four years, has really shocked the hell out of me. He’s only 17-years-of-age right now, but with what I’ve seen from him so far, I see a real bright, and inspired future ahead of his. The role he has here, may not be all that different from the one he had in last year’s Mud, but the kid is so good at playing-up that “angry-youth” aspect of his characters, that it almost doesn’t. Also, whenever he’s on the same screen with the almighty Nic Cage, he never gets the show stolen from him. He handles his own quite well, much like what he did with Matthew McConaughey last year, and shows us that any and all kid actors have a lot to live up to now that he’s around.

However, he won’t be a kid for too long, which I hope only means that he’ll get better and better roles coming around his way. Or, the worse could happen and he could end-up like this guy.

Please don’t, Tye Sheridan. You have too much good going for you right now to just screw it all up.

Anyway, where was I? Oh yeah, that’s right: Nic Cage. Like I was saying before, this is the type of role that seems tailor-made for what Cage does so well; he’s able to be a sympathetic character, that knows the difference between right and wrong, but by the same token, isn’t always thinking correctly and usually lets his anger get the best of him. With Joe, Cage gets plenty of chances to show the rage that’s practically brewing from inside of him the whole time, and it’s tense as freakin’ hell. You can tell by just looking in his eyes when he’s going to lose his cool and you automatically feel bad for whomever it is that’s about to feel his wrath, regardless of whether or not they deserve it. Most of the time, they do, but there is that slight chance in which Joe is just going all nutso on someone, just because he’s been having a bad day or something.

But, like I’ve been alluding to this whole time, there’s a deep, understanding human-conscience to this guy, and you see that play-out many times during his few scenes with Gary. In fact, one of the problems I had with this movie was that a lot of it seemed to get so far away from Joe and Gary’s friendship, that I sort of wanted them to go back more times than they actually did. Not just because I wanted to see more of Nic Cage acting his ass-off (deep down, I really did), but because that’s the heart of this movie that kept it going, even when everything was as black as the coffee I had this morning.

Probably just got done eating a rabid wolverine or something.

Probably just got done eating a rabid wolverine or human. Who knows. He’s Nic Cage.

However, that’s neither here, nor there; what matters is what fuels this movie, and that’s the fact that David Gordon Green never really allows for it to get to dark to where it’s off-putting. It’s never really pleasant either (with the exception of a few scenes, which, oddly enough, are between Gary and Joe), but I wasn’t really expecting much else from this movie. Green is sort of now back in good-graces with the movie world as it seems to be that he is, once again, doing more smaller-scale, lower-budget indie-flicks, and it’s exciting to see. More important is that while he does have that visual-style that was so prevalent in his earlier-flicks, he doesn’t allow for that to take over his movie; there is still a story here, and it rarely ever seemed to lose my interest.

And I have to say, it’s pretty interesting to see such wild cards like Nic Cage and David Gordon Green getting together and making a movie. It totally worked to their advantage, clearly, but it’s just interesting to see what happens when two talented people are able to come together on something, understand one another, and work their rumps off. Obviously, for me, this is Green’s best flick since, say, I don’t know, All the Real Girls; but as for Mr. Cage, hmm, well, I’d have to say, it’s probably his best “real” performance since Adaptation. Which, incidentally was a little over a decade ago. Not saying that there hasn’t been some fine pleasures in between (surely this moment in his career will never leave my memory-banks), but it hasn’t been too pretty either. Here’s to hoping that Nic’s got some more promising-material coming up the pipeline.

However, by the looks of things, that doesn’t seem to be happening.

Shit.

Consensus: Surely not the sort of pick-me-up if you’re a fan of some of Nic Cage’s, or David Gordon Green’s more mainstream flicks, but if you’re willing to let it take its toll on you, you’ll find Joe to be an emotional, gripping drama that you want to see all talents involved do more of.

9 / 10 = Full Price!!

In most circumstances, I'd be scared of the kid with the gun, but under this circumstance, it's the guy without the gun.

In most circumstances, I’d be scared of the kid with the gun, but under this circumstance, it’s the guy without it that I’m scared of.

Photo’s Credit to: IMDBColliderJobloComingSoon.net

The Royal Tenenbaums (2001)

Best way to coax your family into loving you again? Fake your death. It’s working for Andy.

The Tenenbaums aren’t your ordinary family, but then again, they don’t pretend to be either. The hierarchy of this family is Royal Tenenbaum (Gene Hackman) who isn’t necessarily the nicest, most up-front, or responsible guy in the world; in fact, he’s kind of an ass. This is why (or from what we know of) he gets kicked out his own house by his wife Etheline (Anjelica Huston), leaving behind his three children – the adopted oldest Margot (Gwyneth Paltrow); the over-achieving; ambitious middle-son Chas Tenenbaum (Ben Stiller); and the relative-favorite of Royal’s, Richie Tenenbaum (Luke Wilson). For years, Royal doesn’t speak to them or see them at all, which leaves them to grow-up full of angst, disappointment and all sorts of mistakes that make them resent him a whole lot more. However, Royal wants to change all of that as soon as he can once he realizes that he might just be dying of cancer, and is given six weeks to live. Though his kids and even his wife, have all moved on with their lives, they somehow find their way back into the house they all once lived in, which is where all of the various ego’s and heads start to clash.

He may be too old for some shit, but slaying white women isn't one of them.

He may be too old for some shit, but slaying white women isn’t one of them.

It’s pretty known among fans of him, that if you’re able to get past all of Wes Anderson’s various quirks and just accept his style for what it is, then you can actually find there’s a lot more rewarding-features to what he does. Not just with a story, or in the way he puts so much effort into the look, but to the actual characters he has in the story, as miserable and as unlikable as they sometimes can be. But I like to think of the characters he creates, as not just being considered “unlikable” or even “loathsome”, but maybe just “human”, with all of the nasty, dirty features added-on that we don’t always want to see or be reminded of actually being capable of having. Maybe it works for me and has me go to bed easier at night, but that’s always my advice to anybody who wants to watch one of his movies, especially the Royal Tenenbaums – aka, my long-time favorite of his.

I could start this review off pretty obvious and just start diving into Anderson’s sense-of-style, but I think I’ve done that more times than I ought to. Instead, I’m just going to dive right into what makes this movie kick, push and feel: The characters. Wes Anderson, although he doesn’t always look too fondly at the world, or those around him, definitely appreciates the people he places into the world of his own. It’s small, contained, quirky, heartbreaking, funny and full of all sorts of spontaneity that even the most hyper-active person may not be able to handle. That’s why the characters he creates and invites to be apart of this world of his own creation, aren’t just ones we have to pay attention to, but are filled to the inner-core with all sorts of small, tiny moments where we see them for all that they are, and who it is that they show the others around them as being.

The perfect example of this would definitely have to be Royal Tenenbaum himself, played with perfection by Gene Hackman. We’ve all seen Hackman play an asshole in a movie before, but here, as Royal, he really gets the chance to stretch that image of his own making and give us a glimpse inside the life of a man who realizes that he’s just too lonely to carry-on in this life without anybody around him any longer. Well, that, and the fact that he’s gotten kicked out of his apartment, may have him thinking of his family as well, but the fact remains that he now knows what it is that he wants with his life, and that’s just to remind those around him that he not only loves them, but wants to actually be with them for once in his life. He may not always say, or do the right things; hell, more often than not, his actions are quite reprehensible to say the least. But once we see Royal for the man he wants to be and clearly wasn’t for the most part of his life, you can’t help but want him to be happy and be loved by those around him, even if they can’t quite bring themselves to having that feeling for him. Instead, they’re more content with just being “fine” towards him; but so is he, so no problems whatsoever.

But what makes Royal such a lovable guy, is that Anderson knows he isn’t perfect and definitely deserves to have life slap him in the face a couple of times, but also doesn’t forget to let him have those small moments of victory where everything in his life that’s possible, seems to be working out for him. Same goes for everybody else in this movie though, as you can tell that Anderson and co-writer Owen Wilson, really did put all of their efforts into making each and every character somebody worth remembering, or caring about, especially once emotions, as well as tears, are shed.

Even the character of Etheline, who could have easily been an angry, vengeful ex-wife, ends up being a woman that not only loves her family, but also wants to be able to move past all of the problems they’ve faced in the past (which in this case, there are plenty of ‘em). Also, the same could be said for Henry Sherman, the guy who wants to marry Etheline, who does show various bouts of jealousy on more than a few occasions, but also doesn’t want to lose the lady he loves, especially not to a swindler like Royal. But, like I said, he’s still a guy that’s backed-up by plenty of human-emotion, that never ceases to show itself in some hilarious, yet brutally honest ways.

I guess in this case, we can all make an exception for incest.

I guess in this case, we can all make an exception for incest.

And that’s mainly where Anderson’s writing really comes to perfection. Not only is the guy hilarious with many of the deadpan, over-the-top one-liners he has his characters deliver, but he makes them seem so damn serious and down-trodden, that you can’t help but laugh at them. They are all human beings, yes, but ones that may take themselves a bit too seriously, despite being absolutely surrounded by all sorts of light, vibrant and pretty colors. That’s why a character like Eli Cash, played wonderfully and ever-so charmingly by the aforementioned Owen Wilson, sticks out amongst a group of sad-faces like Margot, Richie and Chas. Doesn’t make them any less likable or anything, because Anderson appreciates their sadness towards life and all of the perks that come along with it; and even when they do smile, or laugh, or decide to just let life’s wonders work its magic on them, it doesn’t just surprise us, but makes us happy that they themselves are actually happy as well. It makes us feel all the more closer to them and gives this story an extra oomph of emotion, that so clearly comes into play by the end.

Even when you do think that Anderson is going to get too big for his britches and get almost too dark with the possibility of suicide, he somehow comes out on-top, showing us that life, despite all of the heartbreak to be found, is still worth living, mainly due to the company you surround yourself. I mean, sure, Margot may rarely ever crack a smile, and the only time she does is when she’s around the man she loves, her brother Richie (although they do claim, on various occasions, “they aren’t related by blood”). Yeah, sure, Chas may never seem to live his life with a sign of hope or happiness, despite being surrounded by a bunch of people that do love him. And yeah, sure, Richie may look at life with a frown, despite not really having an understandable reason to. But what all of these characters have in common, isn’t just that they are apart of the same family, it’s that they have lives they don’t feel too gracious of having and most of the time, take it all for granted. However, once they realize that everything with life isn’t as bad as they unreasonably make it out to be, or that there are people with worse conditions in their life, then they can’t help but shut up, move on and crack a grin or two.

Those moments are mainly when Anderson shines the most, as well as the brightest. Making this family one you can’t help but love, although you can still take note of them being a dysfunctional bunch. Although, I for one have definitely seen worse. Just saying.

Consensus: Wes Anderson’s sense of characterization is what really makes the Royal Tenenbaums a heartfelt, hilarious, lovable and near-perfect delight to sit-through, although you never lose the sense that these are people, and not just characters written completely and totally for-the-screen. Okay, maybe that’s a bit of a stretch, but you get my drift.

9.5 / 10 = Full Price!!

Who doesn't remember the days when grand-pop used to take them on trips on the back of a garbage-truck?

Who doesn’t remember the days when grand-pop used to take them on trips on the back of a garbage-truck?

Photo’s Credit to: IMDBCollider

Rushmore (1998)

Rebellion, love and angst. You know, the perfect mix for any 15-year-old.

Max Fischer (Jason Schwartzman) is a 15-year-old high school student who absolutely loves the hell out of his school, a little, privately-owned joint called “Rushmore”, that he’s in on academic-scholarship. He loves it so much, that he practically starts, runs and is apart of every group/activity there is to be apart of at the school, which definitely makes him feel inspired most of the time and probably look good in the eyes of future-colleges he aspires to go to, like Harvard or Oxford, but is taken a beating on his studies. However, he doesn’t really seem to care too much, since he sees himself as willing to pull any strings that he can in order to get what what he wants, when he wants. That’s why when the beautiful, yet mysterious teacher Ms. Cross (Olivia Williams) comes along his way and stuns him, he can’t help but fall weak at the knees and do whatever it is that he can do to have her fall in love with him, despite the age-difference. Also, an older, but dedicated friend of his Herman Blume (Bill Murray) seems to take notice of her as well and even gets in the way of Max’s plans, which is exactly when things start to get very tense, very angry and very sad for all three of these individuals lives.

For anybody, high school is a pretty rough time. Not only is your body changing, but so is your mind and brain, and with that, you begin to think and feel differently than ever before. In other words: You begin to get older and grasp what it means to be “an adult”. That sounds scary and all (which it definitely is, so RUN AND HIDE!), but for some people, they can’t wait for that moment to come around when they finally get rid of that adolescence that’s been holding them down for so long, to where they can take that next step into adulthood where they’ll have more responsibilities, more ideas of who they are and most importantly, more freedom than ever before. For some, it happens quicker than others, but it does eventually happen and it’s kind of scary, dare I say it.

I'd pay to stay at that table.

I’d pay to stay at that table.

However, what happens when you’re already somewhat of an adult at an early-age? Well, that’s where Max Fischer comes into play and show you the result of what happens when a kid who is way too smart, way too knowing and way too tactical for his own age or good, just so happens to fall victim to one of the most powerful, earth-shattering forces in the world: Love. Yes, love is definitely one of those first baby-steps we take into adult-hood and needless to say, it’s not all that it’s made out to be, especially not in today’s day and age where most of the adolescent-relationships we see occur nowadays, only last for a year, or even less.

Anyway though, that’s besides the point. The point here, is that this is a Wes Anderson movie we have on our hands, folks, and it’s definitely one of the first instances in which anybody actually took notice of this guy and saw him as the real deal. Which is why it’s pretty interesting to have seen all of his films now (some of them, more than once) and see just what was to come with his style, his themes and his character-developments, all through this movie.

But as I could definitely go on and on about how Anderson’s work here, practically shapes-out everything that was next to come, I won’t. Instead, I’ll focus on one aspect of his writing-style that Anderson seems to truly love and utilize more often than not, which is that he loves it when two opposing-sides/personalities, come together and clash head-on. Not only does he love writing us vibrant, lovable and colorful characters that are quite hard to forget, he also loves seeing them when they are at their lowest, or highest, in self-esteem. Because, honestly, whenever anybody is upset by anything, their anger usually gets the best of them and they show ugly-sides to them that they don’t ever want anybody to see. Anderson loves this about his characters and it shows that he loves to give his characters some depth, but also make us realize that they are actually people we’re dealing with here, faults and all, baby.

That’s why when watching a character like Max Fischer, you can’t help but feel like Wes Anderson knew exactly what he was doing, why he was doing it, and exactly whom it was that he was doing it with. I definitely bet that back in ’97 or whenever this flick was made, that Anderson took a real bold step with choosing relative-unknown Jason Schwartzman for this lead role as Max Fischer, but it was a gamble that paid-off big time as not only did it make Schwartzman a bigger-name, but gave us such an iconic character in the form of Max Fischer – the character I think every teen, male or female, should shape a small part of their lives around, for better, and especially for worse.

See, what makes Max Fischer so interesting as a character is that you don’t necessarily know how to pin him down; he’s kind of cool, in a real nerdy, preppy-way, but he’s also kind of a jerk that steps over people’s feet, just to get by in the world and make himself better. However, on the other hand, he’s also really smart and despite being quite naive about the possibility of having this much-older woman be his special, one and only someone, there’s a part of him you can definitely see knows exactly what it is that he wants to do with life, and how he’s prepared to get by in the world. He’s got the look and body of a 15-year-old kid, but the mind of a 40-year-old, been-there-done-that kind of guy. He’s a little bit cool; a little bit nerdy; a little hopeless; a little bit selfish; a little bit arrogant; and a little bit too ambitious. However, the fact remains is that he is human, and more important: He’s a 15-year-old high school student that’s just trying to understand his life, one embarrassing situation at a time.

But as much as I could harp on and on about how rad and well-written Fischer is, the fact remains that Jason Schwartzman does a very awesome job with this role, nailing all the deadpan delivery Anderson needed to have this character feel a bit more raw, without ever trying to be too real. When he raises his middle-finger up to those who look down on him, you can’t help but want to get up and join him; when he tries to kiss Ms. Cross and gets denied, you can’t help but want to give him a hug and go get some ice cream with him; and most of all, when he’s trying to impress those around him and do cool things, you can’t help but want to join in on the fun, because he’s just that awesome to be around.

Bill Murray, being Bill Murray. What else could ya ask for?

Bill Murray, being Bill Murray. What else could ya ask for?

So yeah, kids, if you need a role model in your life, look no further than Max Fischer. The kid’s got all of the answers. Or, at least some of them.

The one person you don’t want to have as a role model is probably who Bill Murray plays here, Herman Blume. By now, each and everyone of us know that Murray is a Jack-of-all-trades; not only can he be hilariously off-kilter and goofy, but he can also dial-it-back and be subdued, giving us a very humane, down-to-Earth person that we may have never thought was there in the first place. But back in ’98, before Wes Anderson came around, he was sort of just known to us as Bill Murray, a guy who can be, and is, downright hilarious. Here though, Murray finally got a chance to show everybody that he could actually act, and by doing so, he gave us a very sad, very emotional look at a guy who is just depressed with life. Herman Blume not only hates his kids, but he hates his wife, his job, his salary and even hates rich people, despite being one of them. That’s why when you see him absolutely light-up whenever Max is around, it’s sweet to see since you know that this is a down-and-out guy, finally finding someone he can connect with and be around, and not actually hate.

So when the two actually do start fighting over this gal, it’s amusing to watch, in a funny way, but also a bit sad since you know they are friends, and they are hurting one another’s feelings. But it’s all for a good cause, right? Well, I’d say so, because Ms. Cross is a catch for any guy that’s able to nab her down, thanks mostly to Olivia Williams perfectly-nuanced performance. She’s pretty, British, charming and pretty easy-going, but we do know that there’s a huge path of sadness just brewing all beneath her, and it makes you wonder if either of these guys deserve to be with her, or if she should just give up on dating alone and live the rest of her life in solitude and sadness. Doesn’t sound too ideal, but I guess when you have two wild cards like Herman Blume and Max Fischer fighting over you, then I guess it’s the only possible solution really.

Consensus: Wry, snappy and chock-full of angst, Rushmore finds Wes Anderson at his meanest, yet, still finds a way to give us characters that we can not only love, but identify with, making their adventures together all the more rewarding by the end.

9 / 10 = Full Price!!

What a smug a-hole. But damn is he cool or what?!?!

What a smug a-hole. But damn is he cool or what?!?!

Photo’s Credit to: IMDBCollider

Juno (2007)

Just as long as you’re a quirky hipster-teenager, not a single person will be mad at you for being preggo!

Juno MacGuff (Ellen Page) isn’t your traditional, normal high school teen in the way that she holds herself. She knows a lot about people, life and society to the point of where people cast her a bit as an “outside”, however though, that doesn’t bother her because she’s just happy being herself, in her own, wide world of quirkiness and faux-clever pop culture references. But now her world is about to be shaken-up a bit now that she’s been impregnated by her best-buddy, Paulie Bleeker (Michael Cera). He clearly has no idea what the hell to do when he hears this news, and neither does she, but she decides not to take “the easy way out”. Thus bringing her to the idea of having the baby, but then giving it right to hopeful parents Vanessa and Mark (Jennifer Garner and Jason Bateman), who have been wanting a baby for quite some time, and have even gone as far as to place ads in the papers. It seems like the right thing for Juno to do, however, she still can’t help herself from causing a bit of ruckus in the meanwhile.

Many people have spoken-out against this movie for being what is clearly a “mainstream attempt” at trying to do a quirky, hipster movie, that you’d most likely see in a small, run-down movie theater with at least five or six other people, and then hear about years later, with it gaining a cult-following and loyal fan-base and such. Reason being, the script by Diablo Cody is filled to the core with numerous amounts of slang, phrases that seem like they’d only come from “hip” people’s mouths and more inside-joke pop culture references than you or I could ever shake a stick at. Hell, it even opens up with a rotoscoped credit-sequence, done to the tunage of Barry Louis Polisar.

Look at that thing! So rad, man!

Look at that thing! So rad, man!

If that doesn’t scream, “Hey, look at me! I’m hip! I’m cool! I’m “with it”!”, then I don’t know what does.

Usually whenever a movie has me thinking this in the first couple minutes, it’s usually all downhill from there. But that wasn’t the case here. Surprisingly, Cody’s writing began to work more and more, even when more of an onslaught of absolutely random references came into play. However, that also made it so much more entertaining to watch as I could not only find myself laughing, but feel like I’m in the presence of real teenagers who sure, talk a bit funnier and more colorful than you or I, but act and behave as if they were us. Early pregnancy aside, I could still see myself talking, hanging out and getting to know some chick just like Juno, and being picked to pieces for either saying something really dumb, or being intimidated by her presence. But I could say the same thing about meeting Juno, about everybody else here.

The fact is, although its a rather showy script, it’s always believable and never loses that sense that we are placed into a world that exists in the 21st century, with characters who have grown-up on Nickelodeon, Slurpee’s and the almighty “Hamburger Phones”. Yes, they do exist and yes, they are awesome.

But once all of the playful wit of this movie leaves, then comes in the huge heart it has and it really takes you by surprise. One second you could be laughing at how Juno tries to match wits with some older dude about how Iggy Pop is such a bad-ass, to then be soaking your eyes out crying because of some beautiful speech her dad gave to her about finding that one and only special someone and why that does inf act matter. The movie definitely plays with that balance more than a few times than it ought to, but Cody and Reitman seem like they have a perfect idea of when the right time to play a moment up for laughs is, and when it’s the time to start letting the tears flow. More often than not, the former got the best of me, but the latter came in with a surprising thunder and really touched. Especially during the last ten or so minutes when the whole story, all of the characters and subplots, come together and get tied-up in a nice, neat little bow-tie.

How perfect that is to see actually happen in a movie for once.

Of course though, the one’s who really make this movie work so well, just as much as both Reitman and Cody do, is the ensemble cast, mainly Ellen Page in the lead as “anti-hero” of sorts, Juno MacGuff. Page got a lot of praise for this role, and some could say it made her a bon-a-fide “star”, and while I’m not up for a discussion on whether or not that’s fully, entirely true (it isn’t), I will say that Page deserved all of the chatter being made about her because she fits this role like a glove. She’s quick, funny, and always up to say something you don’t expect her to, but she’s never a big meanie. Sure, she can be a bit of a sassy-pup to those who deserve it, but to everybody else around her, you know, the one’s that actually matter and care for her, she’s always kinder to and definitely doesn’t take of them for granted. She’s unpredictable for sure, but she’s never a “bad person” per se, which is what I think makes her so damn likable and watchable in the first place. That, and the fact that she’s edgy, without being overly so. Good for Page though, as I think that she’s a solid actress who is sadly still trying hard to live this iconic-role down. One day, I think, she will. But until then, we have this to adore and appreciate.

Please be my parents! Please!!

Please be my parents! Please!!

Michael Cera also does a nice job as Paulie Bleeker, despite still being in that “George Michael“-frame. However though, he was good at showing what a guy like him would do if he was suddenly thrown into the same situation that he is obviously incapable of handling. Also, the relationship that he and Juno have is a very well-done one which would have made for its own interesting rom-com. Even the friendship Juno has with her bestie, played by Olivia Thirlby, is well-done because she’s just as sassy, if not more than Juno’s snarky-ass, which also makes their time together all the more enjoyable to watch.

But this isn’t just a movie for, and starring all teenagers throughout the world! Believe it or not, there are some performances from adults here, and for the most part, they’re pretty outstanding. As I’ve mentioned before about his one scene, J.K. Simmons is great as Juno’s daddy that isn’t the typical toughened war-vet, hard-ass daddy you usually see in these types of movies. He definitely loves his daughter and accepts her for everything that she is, despite her making one dumb decision and getting pregnant as a result. Still though, he stands by her and wants what’s best, without getting in the way too much. Same for Allison Janney’s step-mom character who isn’t the evil, cackling step-mom that holds everything against her step-daughter for not being biologically related to her. In fact, one could say that she’s more concerned and protecting of Juno, and doesn’t want people bad-mouthing her all because she’s a teenager, who just so happens to be pregnant. Even the two performances from Jason Bateman and Jennifer Garner are great too, and, believe it or not, would have definitely worked in their own, little movie. However here, they’re both believable as a married-couple that may not be perfect together, but definitely seem to want the same things in life and within each other, even if their vision does get a bit blurred at times.

Mainly though, everybody works perfectly together and makes this something more special than just an-hour-and-a-half rom-com with pregnancy involved somehow. I would have definitely liked to seen more of this cast do what they do best, but hey, I’ll take what I can get when I have a cast that is this good, and given this much meaty-material to work with. If only more ensemble-pieces handled its cast as well as Reitman does. If only.

Consensus: Most will definitely know if Juno is right for them or not, judged solely by the first ten minutes. But if you just so happen to be one of those people that take the bait and enjoy the show, you’ll find yourself not just happy you stuck-through, but ending it all with a smile on your face and a warm feeling in your stomach, like coming-of-age, rom-comers should do.

9 / 10 = Full Price!!

That's to all ya haters out there. You know who you are, too!

That’s to all ya haters out there. You know who you are, too!

Photo’s Credit to: IMDBColliderJobloComingSoon.net

Her (2013)

If Scar-Jo was my computer, then yes, I’d consider it. Her, or Bea Arthur.

Somewhere in the not-too-distant future, L.A. writer Theodore Bwombly (Joaquin Phoenix) finds himself in a bit of a rut. After his wife (Rooney Mara) asked for him to sign the divorce papers, he’s been a bit slacking in terms of getting a move-on with that, his love life, or just getting out there and meeting new people in general. I guess you could consider him “antisocial”, although he does still hang-out and pal-around with an old friend of his (Amy Adams); but other than that, he’s practically all alone up in his big apartment, where he sits around, plays interactive video-games and even ends some nights with eventful bouts of late-night chats with complete and total strangers. This all changes once he discovers a new operating-system by the name “OS1″, which promises him “the closest thing he’ll ever get to a real, honest human-connection”. Theodore believes this, downloads the system and eventually, is graced with the presence of Samantha (voiced by Scarlett Johansson) who, at first, Theodore feels a bit odd with. Which, yes, is expected considering that she’s just a speaking-system that he just so happens to be stuck with, but over time, the two begin to grow closer as they help each other out in ways they never expected to, like in discovering life, love, the pursuit of happiness, and heck, even sex. So yep, it gets pretty crazy and passionate, but eventually, like most romances do, problems do arise, uncertainties are brought into the equation, and feelings are hurt; and a relationship with an operating-system doesn’t make that any further from happening. In fact, maybe even more likely to happen.

Must've been real bummed-out about not getting the role of Mario in the upcoming film-adaptation.

Must’ve been real bummed-out about not getting the role of Mario in the upcoming film-adaptation.

I know some of you may have already been lost at “human falls in love with operating-system”, and trust me, with anybody else behind this, I would have been too. However, this is not just directed, but written by Spike Jonze and from what I can tell you, the guy’s pretty damn amazing at what it is that he does, especially when it comes to making magic with something as odd and as unique as this. But considering that Charlie Kaufman isn’t around to lay-down the ground-work for him this time around, it makes you wonder: Can Jonze handle all of the pressure when it’s placed upon himself, or, does he simply fold and make this something that’s “too strange” for anybody to even like?

Well, for the most part, Jonze succeeds. And then some.

First things first, this movie would not work at all if it weren’t for the fact that Jonze himself was actually able to get us to believe the relationship that our main character Theodore has with his operating-system. It makes a slight bit of sense that someone as sad, lonely and clinically-depressed as Theo would actually have a relationship with somebody he wouldn’t have to see, touch or even impregnate in order to fall in love with, but it makes total sense why it is that he falls for her, and why it is that you actually want to see them together in the end, despite all of the obvious problems surrounding that outcome.

For instance, like what most relationships are based-on, is the way in which both companions actually do something for the betterment of the other. Theo allows Samantha to experience life in its finest, most complete-form; whereas Samantha allows Theodore someone he can vent-out to, be encouraged by, gain some insight from and most of all, actually connect with. Sure, she definitely is a computer when you get right down to it, but she’s more than just a bunch of data filled with numbers, codes and chips. She’s actually a “thing” that has feelings, emotions, wants, needs, pleasures, desires, dreams, ideas, insecurities, doubts, and anything else you could name that a normal, everyday human-being would have. The only difference here is that she’s an operating-system that you can talk to and engage with through a little speaker in your ear, or anywhere else.

In fact, I’m only going to say this now considering I’m already on a roll and I kind of want to get this out of the way, is that the problem I sometimes had with this movie was that it wasn’t always clear how Theo and others around him could constantly chat-it-up with Samantha, despite it obviously being clear that he needed an ear-piece in, in order to do so. I don’t know, maybe it was something that I missed, but once others could hear Samantha as perfectly and as understandably as Theo did, it kind of had me scratching my head. Didn’t bring this movie down an awful-lot, but did bother me a tad bit whenever it showed up.

Anyway, back to the good stuff, of which there is plenty more of!

Like I was saying though with the relationship between Samantha and Theodore, although it may clearly be an odd relationship between two, highly unlikely candidates, Jonze makes it work solely through the way in which he channels ordinary feelings, emotions and happenings that go on during any relationship, whether it be good ones, or bad ones. While doing this though, he also channels through the step-by-step process in which a relationship builds into being over time, which is something that surprised me the most in how honest, and sometimes heart-breaking it was to take note of.

At first, the relationship is blossoming with countless acts of sex during the day; plenty of late-night talks that go on and on about seemingly nothing; getting comfortable with another person to the point of where you think you know them from the inside, to the outside; aspirations for the future in which one party would be able to meet the other parties’ friends, families, confidants, etc.; the action of getting a place together, moving and even looking for a house pet by any chance; and even the slightest, yet clear discussion about the possibility of moving even more forward and “getting serious” about what it is that these two people into question have together, that possibly, could last forever.

That all seems like the quintessential, go-to sets of standards of what it’s like to be involved with a romance when its first stages, and when it begins to move further and further on into being something deadly, freakin’ serious. It’s what we all know and live by, and that’s just the way basic humans are. It’s neither good nor bad; in fact, I’d say that it’s freakin’ beautiful.

Nice to see a recent-movie in which Amy Adams has more than one-layer of clothing on.

Nice to see a recent-movie in which Amy Adams has more than one-layer of clothing on.

But, as we all know, there are those problems that casually show up when two people get together and start swapping as many emotions with one another, as they do fluids and it seems like it’s nearly unavoidable, no matter how perfect you think you got it. Eventually, tensions do arise when people start to experience new things; change in ways that they themselves realize, but are too scared of telling the other person; passions begin to go away; eyes start to linger elsewhere; minds don’t seem to cling together as well anymore as they used to, and instead, more or less clang together; and the worst of all, finding something, and/or someone else that seems better for you in many more ways than one.

These happenings are usually what one can expect when a relationship that was once beautiful, passionate, romantic and heartfelt in every sense of the word, suddenly goes South. And what sucks the most is that you don’t know how, you don’t know why, and you sure as heck don’t know what to do in order to you to stop it from ending and being tarnished in the ground forever. All you know is that what it is you have with this person, is real, honest, lovely and altogether, very painful when you get to look at it. When a relationship ends, it doesn’t just end with a whimper, but it ends with a bang in which a connection that two people shared together, seems like it could be gone. And in some cases, possibly gone forever.

Yes, it’s all so very sad and yes, it can be avoided in some situations (trying to re-ignite the flame by getting freaky with it, bringing in the shrink, asking for advice, etc.), but in reality, it’s inevitable. I truly do hate to sound like the miserable, cynical, “love sucks” a-hole that would much rather watch a movie about two people falling in love, than actually going out there into the field, making myself known and experience some lovin’ for myself, but that truly isn’t the case here. I’ve been in plenty of relationships (or in some cases, “something” that was close enough to being one), with plenty of different gals over the year to realize that this transition from absolute adoration for the other person, may not always last. And sometimes, it may even get so ugly and negative to the point of where it’s not even worth sticking around for. But people do try, and more than likely, they succeed and end-up sticking with that special someone of theirs forever and ever, or at least for a very long time.

But that’s what life is all about: Finding someone, getting to know them, falling for them, handing yourself to them on a silver-platter, realizing that they’re everything you could want in the world and basically, just finishing it by sticking together, or calling it quits. Either way, it’s a fact of life that I’ve been through many of times, and although I’d like to think that each and every time I step up to the plate, I’ve learned something new, tricky or life-changing about “The Game of Love“, reality hits me with a curve-ball and reminds me that I really don’t. But hey, that’s not a bad thing. That’s just life; I’m human, you’re human, we’re all human and that’s what humans do: We make good decisions and we make mistakes, but we always get back-up and ride the horse again.

That’s why watching the relationship between Samantha and Theodore develop over time to the point of where I wouldn’t see “an operating-system and a human falling in love with one another”, but rather, “two emotional, sensitive and compassionate-beings falling in love with one another, that also happen to be an operating-system and a human.” And to see these two as they realize who it is that they are when they’re around the other, and certainly away, really did touch me and had me remember all of the relationships I’ve had in the past. But most importantly, I thought about the memories: The good times, the bad times, the sexually-active times, the romantic times, the frustrating times, the upsetting times and how each and every one has shaped me into the person who I am today. Not just in the relationship-world, but in the world in general.

Jonze taps into this reality about our lives oh so beautifully, that isn’t all about the heart, the romance, or the drama, because, believe it or not, there is actually plenty of comedy to be had here. Most of the comedy to be found here stems from the fact that everybody in the future relies more on technology than ever before, but they aren’t cheap jokes. Like it’s not the type of, “Oh, look how funny it is that that person can’t stop texting at the table,” joke, but more sophisticated in the manner that Jonze shows us that we rely on technology so much, that it would totally break-down our lives if it were to go away in some shape, or form. It’s funny, but it’s also true. Brutally so, too.

The dreaded ex that haunts your dreams and daily-life for the rest of your existence. Yeah, bud, we've all been there.

The dreaded ex that haunts your dreams and daily-life for the rest of your existence. Yeah, bud, we’ve all been there.

Also, one aspect of this movie that a lot of the laughs seem to come from are with the performances of both Joaquin Phoenix and Scarlett Johansson who both have some pretty hard tasks on their hands, but handle it effortlessly and make this a romance one won’t soon forget. Though Phoenix has never been known as the main source for comedy, but here, he’s pretty damn funny, but in a subtle manner. The way he uses his eyes or facial-expressions to make clear to us whatever emotion it is that he’s feeling, really worked for me and not only made me crack-up more than a few times, but made me feel more for this character of Theodore, who, in essence, is a hurt, beaten-up, heart-broken man that’s left with just about little to nil direction left in his life of where it is that he wants to go or what it is that he wants to do next with it. However, he’s not a boring loser and after awhile, once we get to spend more time with him and see who he is as a person, we realize that he’s just a really nice, fun-loving type of dude that used to be cool, happenin’ and the life of the party; it’s just been awhile since he’s been able to do so and he’s finally getting that chance. Phoenix is wonderful here and for a guy who has been of his for a long, LONG time, let’s just say that I’m happy to see my man Joaquin not only lighten-up the mood a little bit, but smile as well.

Sheesh! When was the last time we saw that dude crack a cheek-to-cheek grin on his face?!!?

As good as Phoenix is though, he somehow gets over-shadowed by the fact that Scarlett Johansson, using only her voice, is able to make us think-up, dream-about and visualize a character of who it is that she would be, as Samantha. I don’t know if I’m alone or not in this voice, but I’ve always thought that Johansson had a wonderful voice and it was about time it was put to the test that was more than just her singing out some classic, gold oldies. Now, we have her voice that practically takes up half of what we hear in the movie, but it never gets old and the character itself, is written so richly, that you understand why somebody like Theodore would fall head-over-heals for it. Heck, you may even ponder the question yourself! Regardless, the chemistry the two have together is pitch-perfect and not only makes you believe in their relationship when it’s beginning to pick-up speed, but when it surprisingly starts to fall-apart. They both seem perfect together and like they know what the other person wants in a relationship, but you know that with them, like with any other relationship out there in the world, conflict is inevitable, and so is the parting-ways between two people. It’s just all a matter of moving on, remember everything that you’ve been through and knowing that life does, and will continue on, that is really important.

Consensus: Her may have a weird premise on-paper, but it works out as perfectly as any other romance put-to-screen in a long while and will more than likely bring a few tears down the cheeks of many on-lookers, as well as having plenty of high-school sweetheart’s getting drunk-dialed in the middle of the night from a sobbing, incoherently rambling ex of theirs. But that’s perfect though, because love truly does make one person do the darnedest things.

9.5 / 10 = Full Price!!

Everybody on that beach was probably thinking who "that weird guy walking, smiling, laughing and talking all by himself", was. And then they realized it was Joaquin, so they no longer were curious anymore.

Everybody on that beach was probably thinking who “that weird guy walking, smiling, laughing and talking all by himself”, was. Then they realized it was Joaquin, so they no longer were curious anymore.

Photo’s Credit to: IMDBColliderJobloComingSoon.net

The Wolf of Wall Street (2013)

Sex, drugs, rock ‘n roll and a whole lot of money. Oh my!

Meet Jordan Belfort (Leonardo DiCaprio): He’s a womanizer, a drug-addict, a go-getter, a hard partier, and most of all, a full-fledged billionaire, and this is his story. We follow Jordan through his early days as a licensed stock broker on Wall Street, where he learns of the ins and the outs from a seasoned-pro (Matthew McConaughey), but eventually, finds himself out of a job and inspiration for life once the stock market crashes. From there, Jordan finds another job in which he’s still working the stocks, however now, he’s found a way to rip people off, and benefit from the extra cash money he has flowing in by the weeks, and then by the days, and then it’s by the hours, and sooner or later, it’s by the minutes of each hour, of each and every single day. So basically, Belfort discovers a way on how to keep on getting richer, and best of all, how to keep on partying and living life until you can’t no more. Sooner than later, though, the FBI starts snooping around and that’s when Jordan begins to find himself backed into a corner that he may not be able to get out of, or one that he may be able to, but will have to take those nearest and dearest down in the process.

Most of you can probably tell by now, but I’ll say it anyway: This movie is a freakin’ blast. Yes, it does clock-in at 179 minutes (that’s near-three hours for those of you counting at home), and yes, it features countless acts of debauchery in which drugs are consumed, women and their body parts are fondled, Big Bens are thrown high up in the air and the “f word” is used more times than it ought to be, but if you can stick through all of this and keep the blood pumping, you’re going to find yourself having one of the best times at the movie theaters.

Was it all politically correct to call it "midget tossing" back in the late-80's/early-90's?

Was it politically correct to call it “midget tossing” back in the late-80’s/early-90’s?

Just exactly like I did, and here’s why.

It’s not easy to make a film about a bunch of stockbrokers that are knowingly ripping people off, in hopes of gaining a heftier wallet and more gifts to bring to the parties, in which we don’t actually hate them and instead, actually rather loathe them, but with all of the movies he’s made in the past (including this), Martin Scorsese has proved himself to be more than up to the task, and then some. Scorsese is approximately 71-years-of-age, but this movie does not show an old man working inside of his comfort-zone, nor one who seems like he can just get as much enjoyment from the spoils of this movie, as much as his subjects in his movie are. Nope, instead, Scorsese continues to find more and more ways in which he can try something new, or, for lack of a better term, never slow down.

When I said that this was a movie that clocked-in at nearly-three hours, most of you probably ran for the hills and never looked back; but what I didn’t say was that it was a near-three hour movie that never, not for a single second, slows down. Sure, there are some moments where we see Scorsese let go of his style and just let his ensemble do the speaking for him, but it’s all Scorsese, all of the time, and it never lost its sense of energy that made it such a blast to watch for its first five minutes of being on screen, let alone it’s 2-hours-and-59-minutes. And needless to say, some of it could have definitely been chopped-down and even taken-out, but with what Scorsese himself has here, it’s pure dynamite by how quick, fun and energetic everything is, without taking a brief moment for silence or to catch your breath.

In other words, if you can’t handle a near-three hour movie that never cools its brakes, you may want to look elsewhere, because once Marty and the rest of his gang get this bus going, they aren’t stopping and it makes you feel like Scorsese himself may never, ever quit making movies. And I would have no problem with that whatsoever, because if he shows us, so late in the game, that he can still hang with the best of them, get moving when he needs to, and also be able to keep his blood-pressure at a reasonably healthy rate, then we don’t need anybody else other than him. If he’s going to keep on branching out and trying new things, then who needs someone that could be, “The Next Martin Scorsese”. It would surely be nice to get someone else who can master the art of the multiple over-head narrations, or the constant zooming-in camera movements, but as for right now, at this moment in time, I’m fine with Marty Scorsese sticking around for however long he damn well pleases to. I just hope that he continues to make movies as exciting, entertaining and hilarious as this.

But everything that I’m saying about Marty, and how he seems to still be open to new and cool things to play around with, could be said for his cinematic muse, Leonardo DiCaprio. Anybody who has ever followed my blog and knows my history, knows that I am a huge and adoring fan of Leo, and he did not disappoint me a single second here. Heck, in fact, I’d say that he surprised the hell out of me here, showing that it is possible for somebody who’s nearing-40, and who has already shown his talents as an actor, to still shock us by letting us know that he’s capable of doing more than just yelling, emoting and being upset; in fact, just like he proved with his Oscar-worthy performance last year in Django Unchained, he can actually be quite funny and steal the scene from some of the most charming, and spirited screen-presences out there.

Women, AMMIRIGHT?

Women, AMMIRIGHT?

Not only does Leo get show his lighter-side with Belfort, in terms of making wise-cracks and just being the lovable, handsome devil that knows what to say, and when to say it, he also gets to branch-out a bit and pull-off some really impressive scenes where it’s just him, and him alone. There’s the one scene that everybody seems to be talking about in which Leo begins to feel the side effects of decade-old Quaaludes, and begins to fall limp in every part of his body; almost to the point of where he’s practically dragging himself and crawling to his car. It’s the scene that everybody seems to be talking about, and with good reason: It’s funny, it never ends (in a good way), it’s probably the quietest scene in the whole movie, it’s bizarre and the best of all, it shows us that even somebody like Leo DiCap, the same guy who has been taking serious-role-after-serious-role for a good chunk of his career, can handle something like “physical comedy”, and pull it off with perfection. There’s even a couple more scenes where he’s getting the rest of his stockbrokers all locked, cocked and loaded for whatever it is he wants them to do, whether it be getting richer or throwing down a sweet-ass party, and he absolutely owns each and every one of them, showing us, once again, that if you give him character, you give him a drive, you give him a capable director and you put a camera in front of his face, he’s going to make some magic happen and absolutely over-power everybody else around him.

That’s why, when you look at an ensemble as wide and as fun as this, you really do have to give a whole bunch of credit to somebody like Leo for never letting this movie loose, because his shoulders are the ones in which this flick solely rests its fate on. While everybody here is charming, fun, crazy and anything else but boring, he’s the guy who keeps the train on its tracks, making us realize that these were in fact, real people, who screwed over real people, just like you or me. Though Scorsese may never seem to go any further than “look at all these rich guys and all the debauchery acts they’re committing”, the movie is still a powerful indictment on the fact that these were guys who messed our economy over, and we’re the ones who had to pay for it. It sucks big time, and even though this movie has a good time getting itself away from that fact, we’re still the ones who have to suck it up and move on with our lives, while they are the ones who get to live freely and still be able to do what they want.

Sucks, I know, but it’s all in the name of a good time, right?

Anyway, needless to say, I’ll be pulling for Leo to land his Oscar this year, as I do every year, but let’s face it: He’ll be lucky enough to nab a nomination. Which blows, because he’s so electrifying here, you’ll wonder what else he’s got in-store for us and whether it will be back to his old ways of playing the same old,”troubled and tortured smart guy role”, or if he’ll continue to surprise us and show that he’s got more in his tank than what we know of? I don’t know what side he’ll most likely lean towards, but what I can is that Leo will definitely keep on being one of the best working today, and one that proves to me, as well as to everybody else, time and time again, that nobody can steal the spotlight away from him. Nobody!

Yeah, I’m a bit of a Leo DiCap fan boy. Deal with it.

"Hey, Judd? Seth? Yeah, I've moved on to bigger, and more critically-acclaimed things. Sorry, guys."

“Hey, Judd? Seth? Yeah, I’ve moved on to bigger, and more respected things. Sorry, guys.”

Like I was saying before though, Leo may own this movie, but he isn’t the only that’s actually “good” in it. Jonah Hill is a laugh-out-loud riot as the equally as demented and sick buddy of Jordan’s, Donnie, who starts to show some pretty dark shades to his character as time goes on; Matthew McConaughey appears in about two or three scenes early on in the movie and is a whole box of fun, even giving us some insight into the person that Jordan himself aspires to be, and most likely, will be once he gets his paychecks in order and balance; Rob Reiner is a welcome-presence to see back on the screen, this time, playing Jordan’s dad who handles all of the money, and doesn’t like to ask questions about where it comes from and what it’s for, but still somehow can’t get away from being just a little curious; Jean Dujardin shows up as a Swedish bank-owner that Jordan doesn’t particularly like, but does business with to keep the feds off of his ass; and speaking of those feds, Kyle Chandler plays the FBI Agent whose leading the whole sting-operation against Belfort and his trusty band of misfits, and somehow forms a nice rivalry between the two, despite only having about two scenes together where they actually do match wits.

Oh, and last but not least, Margot Robbie is as perfectly-suited for this Scorsese flick, as much as she’s easy-on-the-eyes, because while she does definitely get full-on naked at various times, she never feels like an object that’s an easy stepping-stool. She can hang with the big boys and she proves that she won’t be taken advantage of, even when it’s clearly obvious that all Jordan wants her for is a nice fuck and a gal to watch over the rest of his family, as well as his empire, just in case he just so happens to be gone for a short while. She’s what every man in the world wants: Smart, brass, good-looking, and a fire-breather in bed, but also the same type of girl that won’t put up with your shit, no matter what. In other words, each and every one of my ex’s. Damn them all!

Consensus: Running on a near-three hour time-limit may take some viewers away from spending time with the Wolf of Wall Street, and the excessive amount of drugs, sex, crime and violence that it depicts, but those who are willing to, will find themselves rewarded with not only one of the most entertaining flicks of the year, but also one of the most impressive that shows us that neither Leonardo DiCaprio, nor Martin Scorsese are down for the count and might just have a few more hits left in them.

9 / 10 = Full Price!!

Cheers indeed, Leo. Cheers indeed.

Cheers indeed, Leo. Cheers indeed.

Photo’s Credit to: IMDBColliderJobloComingSoon.net

Merry Christmas to all, and to all a good night!

Blackfish (2013)

Kids, next vacation, you’re going to Universal and you’re going to like it!

This a documentary discussing orcas, how they’re captured, sold, taken to SeaWorld and left to perform tricks and all sorts of shows for the pleasure of tourists and rich families. However, underneath all of the showboating and smiley faces that usually come along with these performances, is a very dark and sinister world that goes even deeper than orcas being mistreated, they’re downright tortured. But this is also a story told through one orca named Tilikum who, when just a wee, little baby, was taken away from his mother and taken to SeaWorld, where he was expected to perform acts, follow the rules, not hurt anybody, not get hurt, not screw up, and basically, just get used to the cram conditions he was set to live in. Apparently though, Tilikum didn’t listen all the way through, and due to him, SeaWorld has been held responsible for four trainer’s deaths, all of which they do not take sole blame for. And this is despite not only SeaWorld owning these orcas, but also paying and ensuring the safety of the trainers themselves, especially the most notable one, Dawn Brancheau.

In case any of you out there have been living underneath a rock for quite some time, you may have seen that this documentary has caused quite the stir among just about everybody in the world. Celebrities, activists, tourists, regular humans, and heck, even rockin’ bands like REO freakin’ Speedwagon themselves don’t want anything to do with SeaWorld all because of this documentary. Now if that doesn’t tell you at least something of this movie’s effectiveness, then I don’t know what will. Oh wait, yes I do: A nice, lean, mean and mashed-up, 1500+ word review from yours truly. Here we go, people!

Just imagine tears steaming down his face, and you'll understand the sadness.

Just imagine tears steaming down his face, and you’ll understand the sadness.

Some of you peeps out there may not know this, but I am quite the animal lover. No, that doesn’t mean I am a vegetarian, or don’t wear leather or fur, but I know when an animal is being mistreated and I, like many other humans out there I would suppose, don’t stand for it. Downright, I am one of those big softies that, even after kicking some tough dude’s ass at a bar, would go home, lay down on my bed and cuddle up with whatever pet was lying around my house. So basically, I’m a big softy because I love animals, but that’s just the way I am and I would hate to see any torture or mistreatment placed upon those little friends of mine, as well as ours.

That’s why documentaries like this, no matter how well put-together they may actually be, always get me up in a rut. For starters, I never did trust SeaWorld to begin with. Surely, I’ve been there maybe once or twice, but those were when I was just a little tike. Now that I’m older, wiser and more knowing, I’ve learn to not really trust a place too much that parades around a bunch of killer whales, as if they could actually be pals with either you or I. Like I said, I love animals and all, but there would be no way in my mind that I could see myself befriending a killer whale, hence why I give a whole slew of credit to the trainers who show up here to talk, not just for sticking with SeaWorld when they actually saw all of the mistreating that was going on behind the scenes, but because they took a risk each and every day, getting into that water with those whales, performing with them, training them and just trying whatever it is that they could do to treat them the best that they could, because they sure as hell weren’t going to get it anywhere else in that corporation.

And through these stories with these various trainers over the years who have either been with Tilikum, or who have worked at SeaWorld in general, we get a pretty good idea of what’s really going on behind the whole show of SeaWorld and why we can’t always trust what it is that we see, especially since all of these people themselves never did, and yet, they still stuck around! Why? Because they had a heart and a conscience, and they knew that if they left, then nobody would take care of their “pals”, so they stood by no matter what. Even when it got so dangerous, they had to be placed on another side of a steel barrier. If that doesn’t make you at least well-up a bit just reading that, then I don’t know what will.

Oh wait, yeah I do: THE REST OF THIS MOVIE WILL!

The best aspect about Gabriela Cowperthwaite’s direction here as a documentarian is that she clearly sides with the killer whales, the trainers and the people who are especially sympathetic to Tilikum’s cause, but due to their actually being some wrongful deaths involved in the mix of things, it never gets to the point where she’s so one-sided, that she loses the humanity behind the whole idea. The movie does deal with three or more deaths that were caused by killer whales, and shows/tells us even more near-death experiences some trainer’s have had and it’s some of the most suspenseful, exhilarating things you’ll hear in a movie this year. Which is odd too, because it’s all told to us through words and recollections. There are some video spots of these actual attacks happening on-screen for the whole world to see, and as good as they are, they somehow don’t match up to watching these people just tell us like it was, with all of their feelings and emotions right in front of us. It’s raw, brutal and altogether, very sad, because while you do realize that most of these people may still be coping with the fact that they were almost killed by somebody they considered “their friend”, but that they know that there are more experiences like that to come for other trainers, and they can’t do a single thing about it.

And honestly, that’s probably the most heart-breaking aspect surrounding this documentary: The fact that no resolution seems to be found in sight. Sure, watching as killer whales get taken away from their parents is more than sad, in fact, it’s downright torturous; but I knew that it couldn’t have been all that bad for the whale once they got to the big-budget, illustrious and wonderful extravaganza that was SeaWorld. Sadly though, I was terribly wrong and it really hurt me to see how it continued to get almost worse and worse, with no end to all of the problems in sight. I won’t even dare to spoil the ending to this documentary and what sort of note Cowperthwaite herself ends on, but what I can tell you is this: It will make you angry, upset, ready to punch a wall, free any Willy you stumble upon, and do all sorts of these other heroic, inspiring things that you can only see in movies about pot-smoking, free-loving hippies (of which this movie has none, except for one, and his fate isn’t quite desirable).

How in the blue hell can something that massive, be "poorly-treated"?

How in the blue hell can something that massive, be “poorly-treated”?

And that’s quite alright, since these are the types of documentaries to do so, especially one as perfectly-crated with just enough amount of respect for those who have fallen, those who stand behind the corporation that’s going to continue to commit their wrong-doings, those who were there with Tilikum and witnessed, first-hand, the name he lived up to over time, those who saw the corruptness to the corporation and still stood by it because they had “prior obligations”, and last, but certainly not least, those who know that it’s a problem, won’t stand for it and are making their voices heard. With all of these people getting behind the movie’s message and the movie itself, I wager that maybe, just possibly maybe, SeaWorld will cease to exist in the next 20, or 30 years, which also means that plenty of orcas will be allowed to roam freely throughout their large bodies of water, without having to worry that one day, they might just accidentally get picked up by a couple of hunters looking for a quick buck, sold to some head-honchos looking for more than a quick buck, being enslaved in tiny, concrete pools, and practically being forced to live the rest of their lives in a joyless, depressing and highly emotional manner. Yeah, I know I sound soft and sweet, as if I traded in my “Man” card for a whole big can of red paint, but trust me, once you see this, you won’t want to do anything else in your life other than stand up, get your voices heard and let SeaWorld know that you’re onto them, and you won’t be giving them a single one of your own dollar bills.

In other words: Fuck SeaWorld.

Consensus: You don’t have to be a die-hard animal lover to understand the wrong-doings that Blackfish clearly speaks out against, and for that, the movie will more than likely have you upset, disgusted and downright appalled that something like this still stands, in a popular tourist attraction no less. But it will also make you want to speak up, have your voice heard and make a difference in your life, but also with these poor, little killer whale’s lives’ as well. Strange, right?

9 / 10 = Full Price!!

See? All the killer whale wants is a kissie, along with a side platter of blood and guts, but hey, we're losing the point!

See? All the killer whale wants is a kissie, along with a side platter of blood and guts, but hey, we’re losing the point!

Photo’s Credit to: IMDBColliderJobloComingSoon.net

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