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Dan the Man's Movie Reviews

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

Tag Archives: Chloe Moretz

I Love You, Daddy (2017)

Probably intended to be a porno. Title included.

TV producer Glen Topher (Louis C.K.) has a pretty care-free and lax life. He likes his work, he loves his daughter, China (Chloe Grace Moretz), and yeah, doesn’t seem to have many problems. The only problem that seems to be on his plate, at this current moment-in-time, is whether or not he’s going to be able to bag his leading-actress (Rose Byrne), who also happens to be pregnant, for some reason. Also though, he’s got issues with legendary writer/director Leslie Goodwin (John Malkovich), who strikes up something of a friendship with his 17-year-old daughter, making Glen feel all sorts of weird. Does he condone the friendship, that could suddenly turn into a relationship? Or, does he stick his head out of it because, like Leslie, Glen may be a bit of a dirt-bag, too?

So yes, obviously, I Love You, Daddy is a hard movie to review. All controversies aside, the movie doesn’t seem like it will be released in the foreseeable future and if it does, hardly anyone will want to see it. Nor should they: It’s a movie by a known sexual-abuser, that’s literally about sexual politics, what’s right, what’s wrong, men being dirty, and women having to be on the tail-end of it all. It’s like a Woody Allen (which it clearly aims for, uncomfortably so), but with a lot more F-bombs and n-words.

“I’m allowed to lock women up in closets! Come on!”

It’s also kind of funny and well-acted, all things considered.

That’s why, for me at least, I Love You, Daddy gets two ratings; one is for the movie I saw, two or three days before the New York Times article dropped, and the other, is for the kind of thought-process that went throughout my brain, days after having seen the movie, thinking about its intentions, and what it ultimately had to say. Cause for something like this, you truly can’t treat it just like any other movie – sure, it wasn’t made to be watched, thinking about what its co-writer/director/star does to do women inside locked closets and offices, but hey, we know this now and we can’t help but think about this stuff. After all, like Louis himself, we’re only human and can’t help this stuff.

Even though, he certainly could have and should have.

Anyway, I Love You, Daddy is, at times, a funny movie and that’s just because C.K. himself, is a funny writer. He knows how to write conversations between odd-ball characters that, while they may seem a tad unrealistic, still work because they’re enjoyable and funny. It also helps that the ensemble here, is so impressive and stacked, that they make it all work, even when they shouldn’t. C.K. is, as expected, a bit of a blank-slate, but that’s sort of on-purpose – the movie wasn’t entirely made to be just about him. The rest of the cast, like Malkovich, like Moretz, like Charlie Day, like Edie Falco, like Pamela Adlon, and most of all, like Rose Byrne, all get chances to bring some light and fun to this movie and they do.

Get it? It’s supposed to be Woody Allen! How creepy…..

They all shine with the material and sometimes allow us to forget how sleazy and mean it can get. Byrne especially who feels like a real, understated and smart character, and trapped inside something that should have done a whole lot more with her, rather than just having to sleep with its co-writer/director/star. After all, it’s a little strange that she’s pregnant and hardly anyone brings it up.

But once you get past that, don’t forget, the movie is dirty, mean, sleazy, and most of all, troubling.

There are certain conversations that happen in this movie, where it’s C.K’s character, talking and going on about what is right, what isn’t, and what certain people shouldn’t do during sex. There’s a few scenes or so like this, which are entertaining to listen to, but also eerily insightful into the way that C.K. himself thinks and feels about these topics. It’s weird and in a way, disgusting; to think that a man who literally trapped women to watch him masturbate, would write a movie where consent is something joked about, isn’t just stupid, it’s downright wrong. It’s the kind of movie where you know Louis wanted to be smarter than he looks here, but he just can’t.

We already know way too much about him, his perverted ways, and what he thinks is, and isn’t allowed when it comes to sex. I Love You, Daddy only helps to prove his misunderstanding of everything and it doesn’t make matters any better that the movie may never reach the general-public, or ever be seen.

And maybe it’s better off that way.

Consensus: Even with a very good cast and some funny writing, I Love You, Daddy is also a rather queasy, somewhat dirty look into the mind of C.K., which we already know, is pretty troubling.

Before Controversy: 6 / 10

After: 3 / 10

The look on the face of a man who just caught and has seen all of the hard work, crashing and burning before his eyes. Perhaps it’s better that way.

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Carrie (2013)

I thought that nowadays, someone like Carrie White would be the class slut. At least at my school she would have been. That, or my girlfriend.

You know the story by now, but just in case, I’m going to regurgitate it one more time. Carrie White (Chloë Grace Moretz) is the weird girl at school that nobody likes, nobody talks to, and everybody practically picks on. Most of this has to do with the fact that her mom (Julianne Moore) is known as a total nut, but it also has to do with the fact that she’s just plain and simply a quiet person who lays low in the back of the class, doesn’t talk, doesn’t get involved, except for when she’s forced to recite poems that have no meaning to anybody else in the class. After an incident she has in the shower, one that she is ultimately ridiculed for by all of the other gals, Carrie is even more embarrassed than ever. However, she starts to gain back some of her confidence when she realizes that she has these telekinetic powers that allows her to move anything, at anytime, and at any force. And better yet, she’s been invited to the prom by the popular jock at the school, Tommy Ross (Ansel Elgort), which, yes, was down out of pity from his girlfriend (Gabriella Wilde), but still gives Carrie’s life new meaning. I mean, Christ, it’s the prom! How bad could it be?

In case you haven’t seen by now, not only did I do a review on the 1976 original, but I saw it for the seventh time and I have to say, it surely was a charm. In fact, it was more than just a charm, it was a great experience that I’d never felt with the movie before. Suddenly, all of the points King’s original source material was trying to make, came right out at me and hit me slap-dab right in the face, making me think more about high school life, being an adolescent, and how all of that harsh bullying can effect one person’s life, for the better or for the worse. Obviously in this case, it was for the worse, but at least it still had me thinking.

Hey, I've seen worse on prom night.

Hey, I’ve seen plenty worse on prom night.

That’s why, after watching that not too long before I saw this, I realized all there was so many problems with this remake, however, the main which just stems from the problem that Kimberly Peirce, somebody so talented and thought-provoking, even with only two films under her belt, seemed like she was really phoning it in here. There may be a good reason for that (she may be saving up all of her money from this to make that next, big important piece of film), but only time will tell. As for right now, in the year 2013, I have to say I am very disappointed with what she’s brought to the table in terms of remakes, and most importantly: To the story of Carrie itself.

In fact, nothing new, improved, or original at all seems to have been brought to the table with this remake; except for maybe the inclusion of social-media websites, YouTube, and texting which, in a way, makes Carrie’s bullying worse. However, it’s strange because while the type of torment that Carrie takes does get surprisingly upped, you still don’t care because it’s such a minor inclusion, that the movie could have literally gone on without it. Other than this minor add-on, nothing else in this remake really stands out, as maybe only a couple of character’s lines or motivations will be changed around, just so that Peirce can show everybody that this is still her work, and she’s going to try and mess around with it as much as she can.

However, changes or no changes, this movie still would have failed as a remake for what they do with the ultimate prom scene at the end, something which, as we all know, has become iconic by now. What Perice does with this character of Carrie White is that she makes her more savvy to her powers. Rather than having Carrie frightened at the possibilities of hurting other people and having literally no control over it, Carrie now knows that she can hurt others with her powers, can control them, and will stop at nothing to extract revenge upon those who deserve hers the most. While most of these people do have it coming to them, it’s still strange because with this self-knowingness of what it is that she can do and how, Carrie becomes somewhat less sympathetic, and more of a horror anti-hero; except that she’s more of an anti-hero that we want her to do these bad things, yet, know she’s a better person than any of them.

That’s why when the prom sequence eventually shows up to do its story justice, there’s a weird feeling surrounding it that feels slightly off. You never quite cheer for Carrie, nor do you ever root against her either. You’re sort of just watching her kill/and or harm these people, some of which deserve it, some of which don’t, and it has no effect on you whatsoever. Not like the original where there was plenty of emotion going around that not only had you feel bad for Carrie that she’s been humiliated in front of all these people and want her to extract revenge, but you also feel bad for the kids she’s taking it out upon as well. It’s that approach that made that movie more than just your traditional, run-of-the-mill horror flick; whereas this one, on the other hand, IS that traditional, run-of-the-mill horror flick.

Except this time, we’ve seen it all before and not much has changed since. Well, kids do sext now, so I guess that’s somewhat new.

And Julianne Moore be like, "Long hurr, don't curr."

And Julianne Moore be like, “Long hurr, don’t curr.”

And while I do think that she’s a bright, young, and talented face that the mainstream should not let-go of, Chloë Grace Moretz just is not right for this role. Regardless of how Peirce’s movie paints her as, Moretz feels like she’s too smart for this character of Carrie White to be so naive and upset. Nor, however, does she really seem like she’s all that powerful or vicious to really start killing all of these people in the most hideous, disturbing ways possible. She just seems like a lonely, sad, and a bit shy. That worked for Sissy Spacek all of those years ago, and added more depth to her, however here, Carrie comes off as dull and uninteresting. Which, in and of itself, is pretty interesting, except for all of the wrong reasons.

Same goes for Julianne Moore who, is one of the best working-actresses today, and yet, comes off as a complete joke here with her performance as Carrie’s mom. She’s over-the-top, which is probably what the script called of her to be, but she goes way overboard, way quick, and doesn’t even seem like she really loves her daughter. She actually seems more infatuated with hurting herself at random times, whenever she sees fit. She’s laughable to watch and once again, that may be what she was assigned to be in the first place, but rather than coming off like a nut job that also seems to be a real person, with a real heart, and real emotions, she seems like she came right out of a Scary Movie movie, slumming it up for the paycheck. And hey, with the career she’s had, she deserves it. Let’s just not make a habit of it now, okay, Jules?

However, not everybody is terrible in this cast, and surprisingly, most come off as more interesting and more sympathetic. Judy Greer plays the no-nonsense, smart gym teacher that looks after Carrie and makes sure she isn’t being played with, and while Judy Greer is great in almost anything she shows her pretty face in, she does seem a bit dull here, doing what she can to make this teacher hip, cool, happenin’, but also very serious about her job and the kids she cares for. The one out of the whole cast that really worked well for me was Ansel Elgort playing Tommy Ross. The cool angle Peirce takes with this character is that even though Tommy Ross is still the school jock, he’s still an ultra nice guy that feels like his heart is in the right place and also just wants to do right so that he can go back and bang that sweet arse of his that he calls his girlfriend. That may make him seem less sympathetic, but in my eyes, it just makes him seem more of a real person, something this movie desperately needed more of. From what I read in the press notes, Elgort is a newcomer, and with this being his first movie, I can safely say the kid’s got a bright future ahead of him. Just steer clear of remakes, kid. Especially ones as dull as this.

Consensus: Want to save some money, time, and still have the chance of getting laid? Stay home, find the original Carrie, and rent it. Don’t even bother with this junk as it just gives you the same story, with a minor differences thrown in there which ultimately, do nothing for the movie or your interest-meter. Trust me.

2 / 10 = Crapola!!

Remember, she has to be a "weirdo".

Remember, she’s supposed to be “weird”.

Photo’s Credit to: IMDBColliderJobloComingSoon.net

Movie 43 (2013)

Not all celebrities are prudes. Only the ones with Oscars are.

The central story is about how a deranged writer (Dennis Quaid) forces a studio executive (Greg Kinnear) to make his movie. But before any moves actually take place on it, we get to see what the actual-product is as the writer reads it out to us and the executive. Basically, it’s just one dude’s shitty idea, all for us to see and cringe at. Yay!

Sketch-comedies never seem to work, that is, unless you just so happen to be drunk, horny, wild, and ready for a good-time. However, I don’t think it will matter if you’re any of those things: you may never, ever enjoy this movie. Okay, maybe if you’re 12-years-old, and love to hear the word “balls” in almost every sentence  then yes, you might just have a freakin’ ball with this thing. But if you are above that age-limit in anyway, shape, or form, this is going to be one cringe-inducing trip for you. Whether you like it or not. I’m going to guess your most likely to side with the latter.

Any movie can tell a ball, poop, or fart joke like it’s nobody’s business, but it’s all how you do it and literally; this film just cannot do it in the right way where you laugh, chuckle, or even get that they just made the joke. Almost every single skit in this movie has at least one use of the word “ball” or “shit” and it gets annoying, probably around the time the first skit kicks-in and you realize that you’re going to be tormented to the core of your stomach, with non-stop raunch jokes that do nothing. Apparently, everybody who ever worked on this movie, all thought that the idea of somebody having a certain bodily-fluid sprayed all-over-their-face was downright, hilarious and it’s a huge-shocker that it never dawned on any of these people that maybe, just maybe, the type of material that they are working with, just isn’t funny enough to suit a 6-to-7-minute sketch, let alone a whole movie full of ’em.

"Today's lesson is, "How to NOT choose shitty movies like this".

“Today’s lesson is, “How to NOT choose shitty movies like this”.

And also, the idea of having a movie so chock-full of sketches where big-named stars just demean themselves to the lowest, common denominator, almost seems so old-school, it’s not even worth it paying the money to go out and seeing. I mean, you can probably go onto Funny or Die, College Humor, Cracked, or even YouTube for that matter, find big-celebrities, doing some crazy shite for laughs, and actually having there be; ACTUAL LAUGHS. Here, in this movie where it’s just one, long presentation of a bunch, you get probably one-or-two laughs and that is literally all because the jokes that they use in the film that are actually funny, were already used 100-times before in all of the trailers/commercials we have either seen or heard, 100 times before. Going out to see this movie is already a crime, but actually going out to pay for it, is like a freakin’ cardinal sin. Especially when you know that more-quality humor is laying right there for you, at your fingertips.

Even if the delivery is god-awful, at least some of the placement is okay. For instance, some skits actually seem to have some promise like the one where Robin (Justin Long) actually stands up for himself and gets involved with a Superhero speed-dating event, where other, actual superheroes show-up to mingle and hopefully, get laid. This idea seems like it’s planned to be a butt-load of fun, especially if that idea came from Joss Whedon, but sadly, it comes from the makers of this shit-pile and before you could say the word, “kryptonite”, the sketch has already lost itself in saying the word “bush” or “shit”, one way too many times. I mean, when you got Wonder Woman and Batman talking to each other about how they fucked and it never amounted to anything but Batman running-away and never calling again, you would expect non-stop hilarity, right? But nope, instead it’s all about having Robin still be played-out as the softer, gayer-one of the two and if you didn’t think that joke was over-played by now, trust me, just wait for the rest of the movie.

However, without the promise of an interesting-idea, most skits just fall from grace, right from the very start. The skit where Johnny Knoxville and Seann William Scott both find and capture a leprechaun (played by Gerard Butler, in CGI-form), in hopes to get some gold, starts off pretty bad. Apparently the director, Brett Ratner (in case you haven’t been surprised yet), thought that the idea of having a leprechaun spew-out a bunch of dirty words was funny enough to last a whole sketch, especially one where it seemed like it’s main actors would actually sparkle in. Sadly, they just don’t do anything for the sketch, or the movie itself and the way it all ends is so dark and savage-like, that it really left me with a bad-taste in my mouth, which is very shocking since the rest of the film just couldn’t. I want to spoil the ending of that sketch for you so you understand what I’m blabbering all about, but sadly, I am a critic and I have morals, people. But still, don’t see this movie because I won’t spoil it for you.

"No, I'M in this movie?!?!"

“No, I’M in this movie?!?!”

The idea of having all of these different stars being packed into one movie where all they do is completely raunchy and dirty shit (sometimes literally), may make them seem cool and on-the-edge, but in reality: it’s just a poor-decision. I guess it’s really strange to see heavyweights like Kate Winslet and Hugh Jackman in a skit about a dude with balls on his neck, or a skit with Liev Schreiber and Naomi Watts playing parents of a home-schooled kid that give him the full, high-school experience with sex, drugs, abuse and all, but it’s even stranger to see peeps like them actually stoop themselves so low as to actually make this material work. I don’t know if they knew this right from the initial script-read, but this is terrible-material they are working with here so instead of giving it their all and actually going to town with whatever energy or sense of purpose they can muster-up to make this work, they seem almost as if they forcing it out, almost like a kidney stone (and yes, it is THAT painful to watch). Nobody here really out-shines the other and probably the only person that really made me laugh and surprised the hell out of me from this whole cast was Will Sasso, who shows-up, does his thing, reminds us that he is still alive, and actually made me laugh. I was terribly and utterly surprised, but he was the real spectacle to see for me. Everybody else can suck my nut because I hated this shit, and I hated watching them try to act in it!

Consensus: Do not, I repeat, DO NOT let the star-studded cast fool you, Movie 43 is one hell of a bombshell that begins on a lame-note and ends on an even-worse one that makes you feel like you’ve just been hit over-the-head with somebody’s foreign parts, and not in the fun, or pleasureful way, either. It’s the type of way that disturbs you and scars you for life. That is, until you see an equally as bad movie and that’s, going to be very hard to come by for some time I think.

1 / 10 = Crapola!!

Poor Gerard Butler. This is probably his worst movie to-date.

Poor Gerard Butler. This is probably his worst movie to-date.

Dark Shadows (2012)

Just when you thought vampires were getting lame, Jack Sparrow comes along and makes them hip again — sort of.

The movie centers on playboy Barnabas Collins (Johnny Depp) who is turned into a vampire and buried alive when he breaks the heart of the witch Angelique Brouchard (Eva Green) back in 1752. When he wakes up two centuries later in 1972, his manor has fallen into ruin and his descendants are in such state of discord that matriarch Elizabeth Collins (Michelle Pfeiffer) has called on the resident psychiatrist (Helena Bonham Carter) to help her and her family out a bit.

It seems everybody out there already realized that Johnny Depp and Tim Burton can’t get enough of each other. I mean this is their 8th collaboration and judging by it, I think it’s time for them to separate. It’s not always easy, but it’s for the best, guys.

The first trailer for this flick really had me anxious. I don’t know a lot about the 60’s cult TV show that this movie is based off of, but from what I hear, it definitely was all work and no play. Everything was so serious on that show, whereas the trailer promised a slightly goofy flick that more or less made a lot of jokes towards the earlier premise, rather than play them in a serious matter. Sadly, all of those laughs and all of that humor goes away pretty quickly and that’s when I realized that once again, I was jipped by Hollywood. Damn you!

That’s not to say there isn’t any humor here, because there is and it does work to an extent. The jokes and gags are funny and had me laughing a lot when I least expected to, but the problem was that all of the funniest material was already done to death by all of the commercials and trailers. Once again, damn you! The humor this flick has does add a little lift to the story, and whenever the film actually starts to focus on the soap opera melodrama that made the TV show so famous, Tim Burton goes more for a tongue-in-cheek approach that brings out some laughs. Funny stuff but should have been so much funnier.

With a plot like “ancient vampire, wakes up in 1970’s and experiences a culture shock”, you would expect that there would be an enormous about of jokes for Burton to play up; but instead he plays a more serious note. I know that the original TV show was sincere and all, but to have an idea that seems pretty original and something that would be deemed “comedic gold” turn into a plot the gets weirder and weirder just for the sake of being weird only makes it seem like Burton wanted an excuse to make a film to bring him back to his weird-o childhood days. Then again, maybe it’s as original as I once though and maybe it’s been done before. But come on, guys, what would you rather see?: a melancholy but meaningful “Dark Shadows” movie, or a “Dark Shadows” movie full of one-liners and odd humor? I choose the latter, but some folk might drift the other way.

As always though, Burton’s film does look pretty good in his dark, CGI way. Everything is so dark and gloomy, but yet very lavish; it shows that once again, Burton can do almost no wrong when it comes to his production designs. However, the whole gothic style started to wear off by about the third or fourth time I saw waves crash against the rocks, or whenever there would be an eerie piece of music played in the background when Depp came walking into a scene. It seemed like Burton didn’t have much faith in this material in the first place, so he just resorted to a bunch of random moments that would hopefully keep his audience glued. I was watching the whole entire time, but that’s only because I was waiting for Burton to really pull me in and give me something that I wasn’t expecting from him. Sadly, that is exactly what I got.

Regardless of what Burton did here, I still have to give a lot of credit to Johnny Depp because no matter what flick he is in, he always give it his all and that is no different here. Depp is fully committed to playing Barnabas Collins with his Old English delivery and goofy faces, and still gets most of the film’s laughs despite being a one-joke the whole way through. Collins is a vampire from another time, that is simply trying to adjust to a very different world but Depp is better than that and allows Collins to be one of his more erratic characters to date. Which is definitely saying a whole lot.

Backing up Depp when it comes to the laughs is Jackie Earle Haley as Willie Loomis, the bum who cleans the Collins estate and pretty much delivers every line with sarcasm and a snarl in his voice. Haley is so funny in this flick and it’s a real wonder as to why Burton didn’t give him more material to play around with. Michelle Pfeiffer is also pretty good here as the family matriarch, Elizabeth Collins Stoddard, even though her character gets pushed to the side by the last act; Helena Bonham Carter brings some laughs as the alcoholic psychiatrist Dr. Julia Hoffman, but should have been a whole lot funnier; Eva Green is very easy on the eyes but very over-the-top with her villainous role here as the evil witch Angelique; and Chloë Grace Moretz is fine as the teenage daughter of the family that is constantly being weird and seems like she’s about to sneeze every time the camera is on her. Still, with a cast like this you can’t go wrong but somehow Burton is able to just let them all fall by the waste-side so he can have some fun with his “passion project”.

Consensus: Definitely has some moments that are funny and very cool to look at, but as a whole, squanders a original premise with annoying jokes, loses its comedic edge with it’s semi-serious tone, and lets a great ensemble cast like this, do nothing other than play second-fiddle to the Tim Burton and Johnny Depp freak show.

5.5/10=Rental!!

Song of the Day: (hope you like this little thing I got going)

There are many films with the combination of Tim Burton and Johnny Depp. If you would like to see more such as Edward Scissorhands then why not try an online service. LOVEFiLM provide an excellent free month trial which allows you to watch free movies online.

Let Me In (2010)

Children are creepy and not just ones from Sweden either.

When 12-year-old Owen (Kodi Smit-McPhee) befriends his mysterious next-door neighbor, Abby (Chloe Moretz), the two outcasts form a tight-knit bond that gives Owen the courage to stand up to school bullies. But he slowly begins to suspect his new friend has a secret.

After checking out the original Swedish classic, ‘Let the Right One In‘, I got all of these people just saying I need to check this out and what not and I have to say that having director Matt Reeves (‘Cloverfield‘) didn’t really spark too much of my interest but it doesn’t do much to make me hate it anyway.

The one thing I have to say that Reeves does and he does it well is that he doesn’t try to eff around with the original, and instead gives us everything we practically saw in that one but with his own little slight takes on everything as well. Reeves creates a lot of tension within this film that got my blood really tingling and also isn’t afraid to let loose on the blood and gore when it came to the actual “action” of this film. It’s a good thing he made this flick R and didn’t try to go for a lame-o PG-13 rating, which he could have easily used as a cash grab.

The highlight of this whole film was probably my favorite car wreck I think I have ever seen in a film for a long time. Reeves keeps the camera in the back of a car, while it’s toppling over and it was a really cool thing to see because I almost felt like I was watching a video of someone on a roller-coaster, but instead I had Blue Oyster Cult playing in the background. Now adding a little bit of Blue Oyster ain’t so bad either and that scene just totally rocks.

The problem with this flick is that a lot of this is also Americanized which means instead of being a very subtle teen-horror romance there’s a lot of loud noises, driving score, and some unneeded special effects that look so bad. There is a score playing in just about every scene, just so we know that something crazy is about to go down and it was getting pretty annoying considering that it was only used to build-up tension, which it sort of did, just not as an effective way as the original did. The scares here were also pretty cheap because I constantly felt a lot of the annoying jump-scares, people jumping out of darkness, and silence-to-loudness kind of scares happen just about every time and I was less and less scared by it every time it tried to creep me out.

A lot of the scenes here that worked in the Swedish film, don’t really work all that well here because of the terrible CGI and special effects this film showed up on the screen. To put it kindly, they look cheap, and almost like they came off of a really crappy PS2 game that was around when the console first started coming out. Anytime Abby ran up a tree, attacked someone, or turned into her evil werewolf-like self, it all looked pretty crummy and although the Swedish version had its fair share of bad effects, this one had too much of them and therefore lessened my impact of the film originally.

However, as much as I may talk shit on this film I still do have to say that the story still works here even if it doesn’t feel as original as it did the first time around. The story of these two falling for each other and basically creating their own little world together, still feels genuine and beautiful without ever feeling like it was forced or taken directly from another film (which it was, but still it somehow worked).

I think the real reason why this story works so well again is because of the amazing leads they have in these roles. Kodi Smit-McPhee is very good as the silent, and sad type as Owen, and Chloe Moretz does an even better job as Abby. These two work great together and right from the beginning you can feel their chemistry just popping right off of the screen and you start to feel this little innocent and sweet love they build together. Basically, if you need a great chemistry between two young actors, just cast kids with some funky first names (Chloe and Kodi, come on!).

Richard Jenkins has about 15 lines of dialogue the whole film but is very good as the strong and silent dude who’s looking over Abby. The guy has a lot more development as a character this time and it also helps that Jenkins is just a perfect actor for the role as well. Elias Koteas is also very good as the cop who’s investigating all of these little strange murders that keep happening around town. Both aren’t really the high-lights of the story but they still show why they deserve these roles.

Consensus: Let Me In may not be as great as the Swedish classic, but it still features great performances from the cast, a surprisingly good direction from Matt Reeves, and just a great idea of not trying to mess around with the original too much but still standing on its own terms.

7/10=Rental!!

Hugo (2011)

I guess Marty got tired of making films about people getting murdered so he decided to get in touch with his inner-child. No, not I’m not talking about Leo.

When his father dies, 12-year-old orphan Hugo (Asa Butterfield) takes up residence behind the walls of a Parisian train station. There, he meets Isabelle (Chloe Moretz), the daughter of filmmaker Georges Méliès, who holds the key to Hugo’s destiny.

Knowing that this is Martin Scorsese‘s first family-film and the trailer was kind of cheesy considering it had that really bad song by 30 Seconds to Mars in it, my expectations were pretty low despite all of the non-stop positive reviews. However, I’m glad to say I was duped once again.

What Scorsese does perfectly here is bring out the most exuberant flair as a visual arts director then in anything else we have ever seen him in. I don’t normally see films in 3-D because I think they’re are a waste of money and 9 times out of 10, the 2-D versions end up being the same thing as the 3-D one. However, I went into this one with the glasses and everything, and I have to say that almost every single shot here is perfectly made with lush and gorgeous visuals that will take you inside of this colorful little place where it seems like Scorsese had Van Gogh do the film’s art-work himself. I mean this guy makes screws look beautiful. That has almost never been done.

Another great element about this flick is how Scorsese is able to basically send a love-letter to all of the silent film era stars who have inspired him to do what he does best, but it doesn’t feel like he’s just kissing these peoples asses the whole time, he actually creates his own story and adds a silent film-look onto it as well. There are some scenes where there is barely any talking at all and it’s all about how the score, sounds, and art-work all look to make sure you aren’t bored one bit. Basically, anybody that is a film-lover, like yours truly, will love all of the homages and shout-outs to all of Scorsese’s homeboys but the film is also something for kids to watch even if they don’t get all of the silent film stuff right off the bat. However, that’s why they invented Google kids.

The biggest problem for this flick is that it does take quite a bit of time to get started and that usually doesn’t bother me but the first hour or so, was terribly boring and actually had me zoning in-and-out of the film, which barely ever happens. The first part is your typical little kiddie movie that I’ve seen far way too many times for my own liking where the two kids both talk about being reckless, free, and adventurous but then everything sort of just goes back to normal once they realize their kids. It also a long flick (clocking in at 127 minutes) but then again, coming from Scorsese I wasn’t expecting a 1 hour series premiere.

Another major problem I had with this flick was the fact that I think it’s central story, you know the story about the orphaned kid who’s father dies, kind of gets lost by the end. I don’t want to give away too much but there is a big “twist” in the story that gets more attention than the real story at-hand, which is something I was kind of disappointed about because I think they could have made a real emotionally-realistic story about a kid who misses his daddy, but they went with something else. The story they ended up going with was not a problem for me but I still think they could have a done a bit of better job of focusing on the real story they started with.

The performances from everybody involved is also great as well. The kiddie performances from Asa Butterfield and Chloe Moretz are good but they have done better in the past, and they kind of get lost by the end of the film. Sacha Baron Cohen plays Gustav the Station Inspector and is a perfect fit for this role because he seems like a silent film star villain where he uses his goofy emotions on his face to express his villainous acts and the terrific dialogue matches well with those emotions too.

Ben Kingsley is the real show here to watch as he gives a totally heart-breaking performance that goes way back to his wonder days when he was in talks for Oscar-bait every year. Kingsley had me worried at first because I thought I was going to hate this angry and grumpy old man but somehow he turns that around with a sad and grief-stricken character that brings out the most emotion I felt for the whole entire film. It’s definitely a good performance that I wouldn’t be surprised got him a nomination come Oscar time but it is definitely enough to make me forgive him for BloodRayne. But I understand, a man’s gotta make a living somehow.

Consensus: Hugo may not get fully off its grown in the first hour or so, but Martin Scorsese makes this love letter to his favorite films growing up something else that’s stacked with utterly gorgeous, luscious, and amazing visuals that everybody should definitely go and experience in 3-D no matter what.

8.5/10=Matinee!!

Kick-Ass (2010)

Sorry to disagree with you my bud, Aiden, but this did not suck-ass.

Inspired by his love of comic books, high school student Dave Lizewski (Aaron Johnson) decides to transform himself into a masked crime fighter — a decision that eventually thrusts the teenager into Internet stardom. Soon, Dave’s antics inspire a wave of would-be heroes to don costumes and live out their superhero fantasies. Nicolas Cage, Christopher Mintz-Plasse and Chloe Moretz also star in this comic book adaptation from director Matthew Vaughn.

The controversy for this movie has mostly been brought out from the first trailer. There is a lot of bloody, and crazy violence, while there is like a 12-year old saying the word “cunt”. However, those were mostly it’s main points.

The film has great writing. The premise is highly original, and perfect for any superhero nerd, who has dreamed of one day being a cool guy with a mask, and don’t get me wrong it starts out funny and fresh, but then it just turns into something I have seen before. It’s basically structured , by the end, like a super-hero film, and last time I checked it was about this dude trying to be a superhero and failing, not being a super-hero, and all of a sudden, turning into one. It also, sometimes is just too flat at times to be funny, and could have actually benefited from better writing when it came to its comedic side, although I do think some of it was good. I understand the fact of tongue-in-cheek, but after awhile I just ignored it, and thought too myself, if this is how its going to be the whole film, oh well I can get over it, and still have a good time.

I have to say though, it’s main strong-point was the crazy violence it got in trouble for. If you are squeamish, do not go to this film, because you will mostly be wasting your money seeing this blood-fest. And I’m no major blood lover kind of guy, but I just loved how much these people got their shit wrecked. It was cool to see how we evolved from old superhero films that use like super-powers, and now in our recent ones, we have guns, weapons, and basically our fists. If you wanted to watch one scene from the movie that would basically sum it all up, it would basically be the one where Nic Cage’s character, takes out about a dozen dudes, by far one of the coolest things I have seen in any action film.

Aaron Johnson is good in his role as a nerdy dude, but when he takes his mask and glasses off, and his hair is matted down, you realize that he is just another good-looking actor. His character also is played too much like a Jesse Eisenberg, or Michael Cera, and he is just basically a type picked for this role. The best part of the cast was Hit-Girl, and that bad-ass to the top right, Big Daddy. Nic Cage is great in this role, cause its awesome just be in this role, and not try so hard to cheese it up, or be cool. He’s just one bad-ass mofo, that knows how to use a shotgun. Chloe Moretz, basically owns this movie, and shoots it in the face. She curses like my dinner table at Thanksgiving, kills people in beautiful ways, but there is also this innocence that makes it so hard not to love. She is an iconic character, and will surely be played off many other times in other films to come. Halloween costume?? I think so!

Also, Mclovin’s in this basically playing, a rich, super-hero like Mclovin. Poor guy can never play anything else. While, Mark Strong is his dad, and cheesing it up as the main villain.

Consensus: Kick-Ass may not have the best writing, and start to turn into something we have seen before, but still has the great bloody violence, awesome performances, and some nice writing.

8/10=Matinee!!