Dark Skies Review

Rated PG-13 (Violence, Terror Throughout, Sexual Material, Drug Content and Language—All Involving Teens)

Running Time: 1 Hour & 37 Minutes

Cast-

Keri Russell-Lacy Barrett

Josh Hamilton-Daniel Barrett

Dakota Goyo-Jesse Barrett

Kadan Rockett-Sam Barrett

J.K. Simmons-Edwin Pollard

L.J. Benet-Kevin Ratner

Rich Hutchman-Mike Jessop

Myndy Crist-Karen Jessop

Annie Thurman-Shelly Jessop

Jake Washburn-Bobby Jessop

Ron Ostrow-Richard Klein

Judith Moreland-Janice Rhodes

Kenneth Meseroll-Pete

Trevor St. John-Alex Holcombe

Andy Umberger-Doctor Jonathan Kooper

Directed by Scott Stewart

Demons, ghosts, aliens...they're all the same!

Note: Screened on Thursday, February 21, 2013 at AMC Loews 34th Street 14.

It's not just demonic entities and ghosts that are haunting the suburbs, now there are aliens too! "Dark Skies" is the latest film from former visual effects guru Scott Stewart, who made his directorial debut back in 2010 with the critically-panned "Legion," starring Paul Bettany as the archangel Michael. Bettany reunited with Stewart for 2011's "Priest," which somehow received even worse reviews. Like many of the recent horror films from Blumhouse Productions, "Dark Skies" is part of the haunted house/found footage subgenres but trades demonic possession and ghostly encounters for little grey aliens. The film did not inspire much confidence leading up to its release, with initial previews being met with guffaws from the audience and nary a single critic to be found (besides me) during the advance screening on Thursday night. I was surprised that Dimension Films even bothered to screen it at all, although it was scheduled mere hours before its general release, certainly not enough time to get a review out. "Dark Skies" is by far the best work that Stewart has put out but that's not exactly high praise since the film is still pretty mediocre. The direction is competent enough yet the film fails to provide much in the way of originality, excitement, or even scares, and eventually devolves into an absurd farce. 

Daniel and Lacy Barrett (Josh Hamilton and Keri Russell) are your typical American couple living in the suburbs with their two children, Jesse (Dakota Goyo) and Sam (Kadan Rockett). However, the Barrett Family's sense of normalcy begins to crack after they experience a series of strange phenomena during the lead up to the Fourth of July, with signs of an animal ransacking their fridge, furniture being bizarrely rearranged, and photos vanishing from inside their frames. Adding to the stress is Daniel struggling to find employment after being laid off from his job as an architect while realtor Lacy tries to pay the bills but is unable to sell any new properties to clients. As the occurrences in their home escalate, Daniel and Lacy come to the conclusion that the menace may be extraterrestrial in origin and seek the help of an online expert named Edwin Pollard (J.K. Simmons) on how to stop 'The Greys.' 

Shamelessly derivative, "Dark Skies" brings little new to the table, with any flashes of potential dragged down by Stewart's banal script and languid pace. The story follows the same template seen in films like "Insidious" and "Sinister," which finds Lacy inexplicably waking up each night only to discover something weird. The next day, she and her husband struggle to rationally explain away said weirdness while dealing with their own personal problems. It's a repetitive exercise that fails to offer an ounce of tension or suspense, with Stewart aping Tobe Hooper's "Poltergeist" and even Alfred Hitchcock's "The Birds" as the Barrett's home is suddenly bombarded by flocks of birds going kamikaze. Of course, the youngest child proves to be the most vulnerable, making innocent drawings of his otherworldly visitors and suffering from nightmares. By the time Lacy is banging her head against the door and Daniel is sleepwalking around with his 'O' face, "Dark Skies" has turned into an unintentional comedy. At their wits end, the two parents meet with an 'expert' and are given a short test to make sure that they're not crazy. It's hard not to laugh as the two fearfully nod 'Yes' at every question. The expert then doles out a long explanation, leaving you to wonder why he didn't just post all this information online and save the Barrett's gas money. Even more head-scratching is why the aliens are going through all this trouble of tormenting the family when they only need one of them. At least Stewart tries to build a creepy atmosphere, keeping the aliens as little more than dark silhouettes. This leads to the film's sole bright spot where the Barrett's try to fight back (on the Fourth of July ironically), culminating in a surreal scene and a twist that was not entirely unexpected. A sequel is set up but given Stewart's previous track record, it's unlikely to come to fruition. 

Keri Russell and Josh Hamilton are convincing in their roles as a married couple who find themselves literally in "X-Files" territory, as are Dakota Goyo and Kadan Rockett, who play their sons. The script gives each of them their own mini-subplot, allowing for more character development than what is typically shown in similar genre films. Daniel and Lacy are struggling to make ends meet while Jesse is on the cusp of adolescence, with Sam wondering if his parents will stay together. None of this material is exceptional but it shows that Stewart can write real characters. If only he applied that same effort to the rest of the story. 

Released on February 22, 2013, "Dark Skies" has received largely negative reviews with 38% on Rotten Tomatoes. This shouldn't come as a total surprise considering the film wasn't screened for critics in advance. The screening I attended was for general audiences and of course, they couldn't keep their mouths shut. It's getting to the point where I'm seriously thinking about seeing horror films in the morning in order to avoid all the rowdy teenagers and obnoxious adults…but I digress. Box office wise, it's looking at a disappointing debut as the film has only earned an estimated $3.09 million. Still, I'm sure it'll turn a small profit since the budget was a measly $3.5 million. "Dark Skies" may offer some well-rounded characters but the film fails to drum up much excitement or even cheap thrills, content with recycling the same old formula. It's by no means terrible, just perfectly mediocre.

Final Rating: 2 out of 5

"Two possibilities exist: either we are alone in the Universe, or we are not. Both are equally terrifying."  

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Snitch Review

Rated PG-13 (Drug Content and Sequences of Violence)

Running Time: 1 Hour & 52 Minutes

Cast-

Dwayne 'The Rock' Johnson-John Matthews

Jon Bernthal-Daniel James

Melina Kanakaredes-Sylvie Collins

Rafi Gavron-Jason Collins

Nadine Velazquez-Analisa Matthews

Susan Sarandon-Joanne Keeghan

Barry Pepper-Agent Cooper

Michael Kenneth Williams-Malik

Benjamin Bratt-Juan Carlos 'El Topo' Pintera

David Harbour-Jay Price

Harold Perrineau-Jeffrey Steele

JD Pardo-Benicio

Directed by Ric Roman Waugh

Dwayne Johnson takes on a more serious role in Ric Roman Waugh's latest film, "Snitch."

Note: Screened on Wednesday, February 20, 2013 at AMC Loews 34th Street 14.

As much as we'd like to believe that our country's laws are infallible, such a belief is not only naïve but is simply untrue. With an estimated 2.2 million prisoners, the United States has the highest documented incarceration rate in the world and one of the contributing factors to this increase is the passing of mandatory minimum drug sentences in 1986 during the Reagan Administration. Under this new law, prison time was now determined by the weight of the drugs involved in the offense. In addition, prisoners must serve 85% of their sentence…without the possibility of parole. Even more damning is the fact that judges can no longer 'factor in the character of the defendant, the effect of incarceration on his or her dependents, and in large part, the nature and circumstances of the crime.' The only way to receive a reduced sentence is to act as an informant against others (become a 'snitch') and hope the prosecutor is willing to cut a deal. This has unfortunately created a situation where the punishment no longer fits the crime. Judge Mark W. Bennett of the Northern District of Iowa remarks in an article for The Nation (which you can read in its entirety here) that many of the drug offenders he sent to prison were small-timers and 'other than their crippling meth addiction, they are very much like the folks I grew up with.' Yet all of them were 'charged with federal drug trafficking conspiracies—which sound ominous but are based on something as simple as two people agreeing to purchase pseudoephedrine and cook it into meth. They don't even have to succeed.' Highlighting the hypocrisies of these laws is "Snitch," the latest film from stuntman-turned-director Ric Roman Waugh starring Dwayne 'The Rock' Johnson. Although "Snitch" has its heart in the right place, the film is ultimately let down by a clichéd, leaded script that buries the social issues it tackles under a layer of preachy dialogue and overwrought melodrama. 

After accepting a shipment of ecstasy from his best friend, Jason Collins (Rafi Gavron) is quickly arrested during a DEA sting led by Agent Cooper (Barry Pepper) on the charges of possession with intent to distribute. His estranged father John Matthews (Dwayne Johnson), who owns a successful trucking business in Jefferson City, Missouri, is initially angry with his son but anger turns into shock when he learns that Jason could be facing up to thirty years in prison due to federal mandatory minimum sentences. Desperate to save Jason, John uses his connections to get a meeting with federal attorney Joanne Keeghan (Susan Sarandon) and asks her if there's any way to reduce his son's sentence. He comes away empty-handed as the only route available for his son is to snitch on other drug users (even recreational ones), something Jason refuses to do. Left with no other choice, John decides to take his son's place and agrees to bring down a local drug dealer named Malik (Michael K. Williams) in exchange for a one-year stint in prison for Jason. However, Keeghan immediately changes the deal when an opportunity to nab a major Mexican drug lord named Juan Carlos 'El Topo' Pintera (Benjamin Bratt) arises. The politically ambitious attorney offers to grant Jason his freedom if John can take down El Topo but not only will this put his family in danger, it could cost him his life as well. 

"Snitch" is loosely inspired by a Frontline documentary on PBS that detailed how James Settembrino went undercover for the feds in an attempt to reduce his eighteen-year-old son's sentence but the prosecutor later reneged on the deal because it would've required too much paperwork on his part. Settembrino's son eventually pled guilty without cooperating and served ten years in prison, all because of someone's laziness. No one can deny that Ric Roman Waugh's film means well and has its heart in the right place but "Snitch" needed a more experienced director at the helm (such as Steven Soderbergh, who tackled the war on drugs in his 2000 magnum opus "Traffic") as Waugh's approach to the material is too heavy-handed, its social commentary reduced to an overwrought melodrama that fails to grasp the complex issues that surround our nation's bitter war against drugs. The beginning of the film establishes that Jason did in fact agree (albeit hesitantly) to accept a shipment of ecstasy from his best friend. The problem with the current system is that the punishment does not take into account the circumstances of the crime. Jason may have had ecstasy in his possession but it was his lack of judgment and peer pressure that landed him in jail. However, does he really deserve the same prison sentence as someone who is involved in a massive drug conspiracy? Of course not but the script treats Jason as if he's been falsely accused and completely misses the point as to why mandatory minimum drug sentences need reform. "Snitch" also suffers from trying to do too much; it's a crime/drama film at heart but at the same time it wants to make a political statement and appeal to action fans. To garner the audience's sympathy, Waugh oversells the drama to the point where it feels like a cheap soap opera. Not to mention the script is completely devoid of any surprises, relying on tired clichés and treating its villains as little more than caricatures. The first forty-five minutes plods along with pointless scenes of John literally reading about drug cartels on Wikipedia and endlessly shuffling through paperwork while the second half fails to drum up much suspense or tension when he finally goes undercover. The shaky camera is meant to convey a sense of immediacy to the film but it ends up being an unwelcome distraction that leaves dialogue scenes almost unwatchable. 

Leading the cast is Dwayne 'The Rock' Johnson, who's enjoying a banner year in 2013, winning his eighth WWE Championship and starring in an additional three films from now until May. Johnson was never a great actor to begin with but like Schwarzenegger before him, he made up for it with a charismatic screen presence. "Snitch" gives Johnson a chance to prove that he can handle a serious role and surprisingly, he succeeds. Sure, sometimes it's hard to believe that this hulk of a man can be taken down by a couple of two-bit thugs but he manages to give an affecting performance as a desperate father trying to save his son. Jon Bernthal brings the same level of intensity that made him a household name on AMC's "The Walking Dead." Unfortunately, his character's subplot of a reformed ex-con who is forced back into the drug game gets the short end of the stick. The rest of the cast don't fare as well. Barry Pepper is saddled with a terrible Fu Manchu beard while Susan Sarandon is reduced to spouting exposition behind a desk. Michael K. Williams' attempt to instill menace as a drug dealer garners laughs instead, with Benjamin Bratt barely registering as cartel leader 'El Topo.' 

"Snitch" was released on February 22, 2013 to mixed reviews with 53% on Rotten Tomatoes. Critics noted that it 'features one of Dwayne Johnson's more thoughtful performances [but] the presentation of [the film's] underlying message is muddled by lackluster storytelling and some tonal inconsistencies.' Audience reaction during Wednesday's advance screening was mildly positive, although it's poised for only a modest debut at the box office since most moviegoers will be gearing up for the Academy Awards on Sunday. Waugh's attempt at tackling a controversial issue like mandatory minimum sentences is admirable but "Snitch" fails to offer anything that could be called compelling. At best, this is worth a rental, nothing more.

Final Rating: 2.5 out of 5

"I know I'm the one who put us all in this danger. And I gotta live with that…but there is no way I'm going to let either side dictate our fates. No way." 

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Identity Thief Review

Rated R (Sexual Content and Language)

Running Time: 1 Hour & 52 Minutes

Cast-

Jason Bateman-Sandy Bigelow Patterson

Melissa McCarthy-Diana

Amanda Peet-Trish Patterson

Robert Patrick-Skiptracer

Genesis Rodríguez-Marisol

Clifford Joseph Harris, Jr./T.I.-Julian

Morris Chestnut-Detective Reilly

John Cho-Daniel Casey

Eric Stonestreet-Big Chuck

Mary-Charles Jones-Franny Patterson

Maggie Elizabeth Jones-Jessie Patterson

Jonathan Banks-Paolo

Directed by Seth Gordon

"This woman destroyed my personal and financial life but I don't blame her because she had a terrible childhood." Uh-huh, I would still put her away.

Note: At UA Court Street Stadium 12.

Having your identity stolen is no laughing matter—it's a serious offense that has left many victims in a state of personal and financial ruin. These people can't even perform a simple act like renting an apartment or buying a car because their credit history has been irreparably damaged. Making matters worse is when the thief commits a crime in the victim's name, resulting in a criminal record that's almost impossible to get expunged. Identity theft destroys lives but Hollywood seems to believe that it's all fun and games in director Seth Gordon's latest R-rated comedy, "Identity Thief," starring Jason Bateman and Melissa McCarthy. Ever since her scene-stealing role as Megan in Paul Feig's 2011 comedy "Bridesmaids" (for which she was nominated for an Academy Award for Best Supporting Actress), McCarthy has been enjoying a new level of fame, both on television and in film. Unfortunately, McCarthy and Bateman's comedic talents are completely wasted in "Identity Thief," as the film features not one single laugh-worthy moment in its entire two-hour running time but even worse is the fact it forces the audience to sympathize with a woman who lies, cheats, and steals to get her way. 

Sandy Bigelow Patterson (Jason Bateman) is a mild-mannered, play-by-the-rules family man who works at a high-profile financial firm in Denver, Colorado. Trapped in a dead-end job as an accounts processor, Sandy gets his big-break when a group of disgruntled co-workers led by Daniel Casey (John Cho) reveal that they are quitting their jobs to form their own firm. They ask him to join them, offering Sandy the coveted position of vice president. Enticed by the promise of a higher salary, he readily agrees but his happiness proves to be short-lived when he learns that his identity has been stolen by a woman named Diana (Melissa McCarthy) living in Winter Park, Florida. With the local police tied up in jurisdictional bureaucracy, Sandy decides to take matters into his own hands and drives down to Florida in the hopes of convincing the scam artist to face the music. When the two finally meet, Diana punches Sandy in the throat and tries to escape but she is forced to team-up with him when she finds herself pursued by a wild bounty hunter (Robert Patrick) and two gun-toting assassins (Genesis Rodríguez and T.I.). 

"Identity Thief" is by far one of the worst comedies I have ever seen. The script from Craig Mazin and Jerry Eeten follows the buddy road trip formula to the letter, resulting in an uninspired and predictable film that is twenty minutes too long but what's worse is that there is not one scene that can be called funny. To sit through a two-hour 'comedy' that offers absolutely no laughs makes for a painful viewing experience. Besides its lazy story-telling, one of the more glaring problems is that there are too many characters. Was it necessary to include Robert Patrick's bounty hunter and the two assassins played by Genesis Rodríguez and T.I.? Not only does their presence seem incongruous but they feel like they belong in an entirely different film altogether—or as ScreenRant's Kofi Outlaw puts it, 'like somebody forcibly wedged a slice of urban crime drama into a white bread comedy.' However, that's small potatoes compared to the wildly veering tone. Seth Gordon accurately depicts how scary it is to have your identity stolen as Sandy's life starts to crumble all around him. He's angry and rightfully so. Then the film has the gall to ask its audience to feel sorry for Diana. This monster of a woman financially ruins an innocent man and almost gets him fired from his new job but it's all okay because despite her obvious sociopathic behavior, deep down she just wants to be loved. See, "Identity Thief" exhibits a double-standard. At one point, Sandy and Diana stop at a restaurant in Georgia and in order to get a free meal, Diana tells the waitress a sob story that paints Sandy in a bad light…to put it mildly. Later, Sandy openly insults her in front of a hotel clerk, which offends Diana! It's reprehensible to see this woman pathologically lie to get what she wants and then excuse it by shoehorning a 'heartbreaking' story of abandonment. She even wrangles Sandy into committing credit card fraud, as long as the victim is someone 'who deserves it.' It really makes me wonder if anyone actually read the script given the cavalier way the film treats its subject matter. 

Jason Bateman and Melissa McCarthy are two very talented comedians but they deserve better than "Identity Thief." I'll admit that pairing the two was a stroke of genius as they do make for an appealing 'odd couple,' with Bateman once again bringing a charming wit as the straight man while McCarthy bounces all sorts of verbal and physical comedy off her co-star like a human ping-pong ball. It's just a shame that McCarthy's earnest commitment to her role is not matched by the film's quality. The rest of the supporting cast fails to leave much of an impression. Robert Patrick, Genesis Rodríguez, and T.I. bring a level of menace that never fits in with the film's already-conflicted tone while Amanda Peet, John Cho, and Morris Chestnut are reduced to playing generic roles for a paycheck. The only actor that almost garner's a chuckle is Eric Stonestreet from ABC's "Modern Family." His cameo is arguably the only highpoint in the film but it's marred by another forced attempt at sympathy. 

Released on February 8, 2013, "Identity Thief" has received overwhelmingly negative reviews with 24% on Rotten Tomatoes. Critics noted that what little laughs in the film can be 'attributable to Melissa McCarthy and Jason Bateman, who labor mightily to create a framework for [it's] undisciplined plotline.' Like clockwork, audiences flocked to the theater to the tune of $34.6 million, paying no heed to its atrocious reviews. Of course, they all ate it up and it's pathetic to see films like this get rewarded. The list of worst films of 2013 continues to grow as "Identity Thief" is an absolute failure of a comedy, offering virtually no laughs and excusing the despicable behavior of a criminal by resorting to an offensive, schmaltzy back-story. Jason Bateman and Melissa McCarthy are not at fault here and hopefully they can bounce back with a project more worthy of their talents.

Final Rating: 1.5 out of 5

"Look at her. That number right there's her height. She's like a Hobbit. I can handle her. I'm going after Bilbo." 

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A Good Day to Die Hard Review

Rated R (Violence and Language)

Running Time: 1 Hour & 37 Minutes

Cast-

Bruce Willis-John McClane

Jai Courtney-John 'Jack' McClane Jr.

Sebastian Koch-Yuri Komarov

Yuliya Snigir-Irina Komarov

Rasha Bukvic-Alik

Sergey Kolesnikov-Viktor Chagarin

Cole Hauser-Mike Collins

Roman Luknár-Anton

Amaury Nolasco-Detective Murphy

Mary Elizabeth Winstead-Lucy Gennero-McClane

Directed by John Moore

Don't look at me! I'm not the reason this film sucks!

Note: Screened on Tuesday, February 12, 2013 at Regal E-Walk Stadium 13.

'Yippee-ki-yay, motherf*cker!' Hollywood's current nostalgia for the action movies of the 1980's continues with "A Good Day to Die Hard," the fifth installment in the twenty-five year old "Die Hard" franchise. The words "Die Hard" and Bruce Willis have been inseparable since the release of the 1988 original (widely considered to be one of the best action films ever made with 94% on Rotten Tomatoes) but what most people don't know was that the role of John McClane was initially meant for none other than the 'Chairman of the Board' himself—Frank Sinatra. "Die Hard" is actually based on Roderick Thorp's 1979 novel Nothing Lasts Forever, which was a sequel to an earlier work, 1966's The Detective, where the lead character was called Joe Leland. Back in 1968, Sinatra starred in a film adaptation of The Detective, so when it came time to casting "Die Hard," 20th Century Fox was contractually obligated to offer Sinatra the part of Leland/McClane, despite him being seventy-three years old at the time. Sinatra declined to return and the script was retooled to be a sequel to Arnold Schwarzenegger's "Commando." When Schwarzenegger also turned it down, the script was retooled again, this time into the film that we all know and love. The rest, as they say, is history. Unfortunately, hack director John Moore tosses everything that was unique about "Die Hard" out the window. Not only is the story in "A Good Day to Die Hard" non-existent but the action is a loud, poorly-edited mess that will likely result in seizures for those watching. It's a shame to see the series ruined like this; 'R.I.P. "Die Hard" franchise…We'll always have Nakatomi Plaza' (Brian Orndorf, Blu-Ray.com). 

Viktor Chagarin (Sergey Kolesnikov), a corrupt high-ranking government official in Moscow, plans to incriminate political prisoner and whistleblower Yuri Komarov (Sebastian Koch) when he refuses to hand over a secret file. Meanwhile, Jack McClane (Jai Courtney) attempts to assassinate a man named Anton (Roman Luknár) at a Russian night club but is promptly arrested. He agrees to testify against Komarov in return for a shorter sentence. Veteran NYPD detective John McClane (Bruce Willis), who has not been in touch with his son in years, learns of Jack's whereabouts and decides to go to Russia to bail him out. Fresh off the plane, John arrives to find the courthouse where Jack and Komarov are awaiting to be sentenced struck by a massive explosion. Inside, Jack takes advantage of the chaos to escape with Komarov but runs into his estranged father instead. Learning that his son is a CIA operative assigned to bring Komarov to safety, John decides to join forces with Jack as they find themselves on the run from Chagarin's men, with only their wits to back them up. 

The problems in "A Good Day to Die Hard" quickly become apparent not even a minute into the film as what is supposed to be a tense exchange between former friends is turned into a distracting shaky-cam mess. In fact, the entire film is shot this way! Despite the mixed reception among fans, 2007's "Live Free or Die Hard" proved to be a fun, even thrilling action flick. Yes, it was handicapped by a PG-13 rating but Len Wiseman understood what made John McClane such an enduring action hero icon. Here was this simple police officer, thrust into an impossible situation and forced to rely on his instincts alone to survive. Even when beaten to within an inch of his life, McClane still fought back and he did it while laughing in the face of Death. In the words of Collider's Matt Goldberg, 'screenwriter Skip Woods and director John Moore could not care less.' To call this sorry excuse of a story 'terrible' would be a huge understatement. Not only is it needlessly convoluted, nothing makes a lick of sense. Supposedly Jack is to help smuggle Komarov out of Russia to be extracted by the CIA but it would appear he has no idea what he's doing because it is the explosion triggered by Chagarin's men that allows him to escape. Making matters worse is the lack of a true villain. One of the most entertaining aspects of the "Die Hard" films is the cat-and-mouse game that McClane plays with the villain as he tries to figure out their motives and how best to stop them. This is entirely absent in Moore's film and in its place is a string of loud, crappy action scenes that will turn audience's brains into powdered dust. Moore exhibits a complete disregard of geography when it comes to filming these scenes, randomly editing a bunch of shots together and paying no attention to even simple continuity. There's a car chase that goes on for far too long and is just so poorly composited that you have to wonder if anyone watched the film before sending it out the door. Not to mention that McClane walks away from two car wrecks with just a scratch on his face. I'm simply amazed that 20th Century Fox allowed an abomination like "A Good Day to Die Hard" to be released. What a way to kill one of your most popular franchises. 

Bruce Willis once again reprises his famous role as John McClane and while it's still fun watching him smirk in the face of danger, he basically sleepwalks throughout the entire film. Willis is reduced to running around in front of a green-screen while shouting one of two lines: 'Jesus!' and 'I'm on f*cking vacation!' Strange, I thought he was in Russia to rescue his son. Jai Courtney made quite an impression in last December's "Jack Reacher" but as McClane's son Jack, he's an insufferable assh*le and definitely not worthy to carry on the "Die Hard" franchise. When a complete stranger like Zeus shares more chemistry with McClane compared to his own flesh-and-blood, you know you're in deep trouble. As for the 'villains,' Russian model Yuliya Snigir offers some nice eye-candy but little else. Tagging along is Rasha Bukvic as Chagarin's right-hand man Alik, who uses tap-dancing to taunt his enemies. I'm not even joking here. 

"A Good Day to Die Hard" was released on February 14, 2013 to overwhelmingly negative reviews with 17% on Rotten Tomatoes. Critics called it 'the weakest entry in a storied franchise, and not even Bruce Willis' smirking demeanor can enliven a clichéd, uninspired script.' The advance screening this past Tuesday proved to be frustrating as there was a last-minute theater change and to add insult to injury, I ended up sitting next to an annoying woman who kept whooping and cheering as if this was some sort of interactive event. It took every fiber of my being not to elbow her in the face. A few audience members behaved this way as well but for the most part, reactions to the film was lukewarm at best. It's still poised to open big with at least $55 million over President's Day weekend and there's even talk of a sixth film! I sincerely hope the franchise redeems itself because I was left completely speechless at the incompetency on display in "A Good Day to Die Hard." John McClane has spent his entire life as the underdog; if he can survive so many life-and-death situations with a smile on his face, then he can overcome a horrid sequel like this one.

Final Rating: 1.5 out of 5

"Some f*ckin' vacation!" (That's as clever as the jokes get.)  

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Beautiful Creatures Review

Rated PG-13 (Violence, Scary Images and Some Sexual Material)

Running Time: 2 Hours & 4 Minutes

Cast-

Alden Ehrenreich-Ethan Lawson Wate

Alice Englert-Lena Duchannes

Jeremy Irons-Macon Melchizedek Ravenwood

Emma Thompson-Mrs. Lincoln/Sarafine

Viola Davis-Amarie 'Amma' Treadeau

Emmy Rossum-Ridley Duchannes

Thomas Mann-Link

Zoey Deutch-Emily Asher

Eileen Atkins-Gramma

Margo Martindale-Aunt Del

Kyle Gallner-Larkin Ravenwood

Tiffany Boone-Savannah Snow

Rachel Brosnahan-Genevieve Duchannes

Sam Gilroy-Ethan Carter Wate

Directed by Richard LaGravenese

Now I just have to replace Alden Ehrenreich's face with mine...

Note: Screened on Monday, February 11, 2013, at AMC Loews Lincoln Square 13.

Love it or hate it, Stephenie Meyer's Twilight series and the film adaptations it inspired left an indelible mark on both literature and cinema, with the novels selling in excess of 116 million copies worldwide since October 2010 and the films grossing a gargantuan $3.3 billion. It wasn't just the fans whose hearts were set on fire by the vampire/human/werewolf love triangle, it was studio executives as well. With last year's "Breaking Dawn Part 2" concluding the "Twilight" film series (surprisingly on a high note), Hollywood studios are now scrambling to repeat Summit Entertainment's success. One of those studios is Alcon Entertainment and they're banking on "Beautiful Creatures," based on the 2009 young adult novel of the same name from Kami Garcia and Margaret Stohl, to be a big hit at the box office. I don't follow young adult fiction very closely so my first exposure to "Beautiful Creatures" was at New York Comic Con last October where the cast and crew introduced an exclusive trailer for the audience. The film was clearly an attempt to fill the void left by "Twilight" but I admit that it had my interest even though I was not the target demographic. While it's unlikely to turn into the massive phenomenon that "Twilight" was, "Beautiful Creatures" remains surprisingly enjoyable thanks to its intriguing world, scenery-chewing performances (especially from Jeremy Irons and Emma Thompson) and a winking self awareness that manages to overcome its familiar tale of angst-ridden, adolescent love. 

Living in the remote (fictional) town of Gatlin, South Carolina, seventeen-year-old Ethan Wate (Alden Ehrenreich) is eager to start his junior year of high school, taking him one step closer to fulfilling his dream of leaving home and traveling the world. When he's not in class, Ethan spends his days avidly reading books banned by the community while taking care of his invalid father with the help of Amarie 'Amma' Treadeau (Viola Davis), who also runs the local library. Ugly rumors begin to swirl when Macon Ravenwood's (Jeremy Irons) niece, Lena Duchannes (Alice Englert), arrives in town but Ethan is immediately smitten with her, much to the chagrin of his ex-girlfriend, Emily Asher (Zoey Deutch). At first, Ethan has trouble befriending Lena as she believes that he is like all the other students who talk behind her back but slowly, she warms up to him. The two eventually fall madly in love but forces beyond their control soon threaten to tear them apart when Lena reveals that she is a Caster, or witch, and that on her sixteenth birthday, she will be 'claimed' for either the Light or the Dark. Making matters worse is the arrival of Lena's mother Sarafine (Emma Thompson), a powerful Dark Caster who hopes to turn her daughter onto a path of evil by exploiting a curse that dates back to the Civil War. 

"Beautiful Creatures" may look like warmed leftovers from "Twilight" and in many respects, it is, but it differs in one crucial area and that's the tone. With the exception of the last installment, the remaining four "Twilight" films often suffered from an overly morose atmosphere and it was hard to get caught up in the romance when your two main characters had as much emotion as a rock. Fortunately, Richard LaGravenese's film manages to avoid this problem as Ethan and Lena are much livelier in terms of personality but its biggest success is that "Beautiful Creatures" doesn't take itself too seriously, finding the humor amongst its twangy Southern accents and ridiculous costumes yet holds back enough to prevent the material from turning into a total farce. Even when the film is at its most nonsensical, it remains stylish and surprisingly engaging. Although the script from LaGravenese follows the general blueprint set forth in "Twilight," it's been given a Southern Gothic twist (not a surprise considering all the references to Harper Lee's To Kill a Mockingbird) and the perspective has been switched to a male as opposed to a female. The supernatural elements, with its themes of choice and destiny, aren't entirely original. The idea of having 'light' and 'dark' Casters reminded me of "Star Wars" and even "X-Men" given their ostracized status in society. Certain aspects, such as how 'The Claiming' chooses its Casters to go 'light' or 'dark' feel underdeveloped but the world that Garcia and Stohl built is an intriguing one, brought vividly to life by LaGravenese and his talented production team. Despite its promise of an epic confrontation between Lena and Sarafine, the climax is a bit of a letdown and ends rather abruptly. Whether it will kick-start a franchise is still up in the air but enough of the story's plot threads is resolved to allow "Beautiful Creatures" to stand on its own while leaving the door open for a sequel. 

One of the reasons the film works is the chemistry between Alden Ehrenreich and Alice Englert. The two may be unfamiliar to general audiences yet they manage to give likable performances despite their novice status. You actually do feel for their plight and want them to be together. Ehrenreich's Ethan Wate is absolutely delightful, exhibiting a sort of boyish charm that's both awkward and sweet. Englert's Lena has a moody quirkiness that I found appealing. She's like the shy girl in your class that you secretly had a crush on. The rest of the supporting cast is filled by some very big names. Jeremy Irons and Emma Thompson go way over-the-top with their scenery chewing; their characters' verbal sparring in a church is worth the price of admission alone. As Amma, Viola Davis is largely reduced to dolling out exposition but still brings a measure of depth to her role. Emmy Rossum goes full Dark Side (complete with glowing yellow eyes like Emperor Palpatine) as Lena's cousin Ridley. Rossum makes quite an impression despite appearing in only a handful of scenes. 

To be released on February 14, 2013, "Beautiful Creatures" has received mixed reviews so far with 47% on Rotten Tomatoes. The advance screening on Monday didn't exactly draw a huge crowd, which doesn't bode well for its box office prospects, especially since its going up against an established franchise with "A Good Day to Die Hard" and competing for the same audience as "Safe Haven." Plus, the marketing hasn't really done enough to distinguish it from "Twilight." Still, it'll likely be a moderate success and hopefully lead to a green-light on the sequel as I actually do want to know what happens next. "Beautiful Creatures" definitely caught me by surprise. It doesn't offer anything remotely original but LaGravenese manages to create a fun film that hits more than it misses.

Final Rating: 3.5 out of 5

"You want to be a normal human? What do you think that is? We don't have powers to just change things whenever we like. Being human is feeling bad. Its feeling pissed off. Its feeling scared and not being able to do anything about it until you don't feel that way anymore, until you can just see your way out of it. And I yelled at you because I care about you. That's what normal people do when they love each other when one of them is acting like a brat. Now would you please stop raining on me?!" 

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21 & Over Review

Rated R (Crude and Sexual Content, Pervasive Language, Some Graphic Nudity, Drugs and Drinking)

Running Time: 1 Hour & 33 Minutes

Cast-

Justin Chon-Jeffrey Chang

Skylar Astin-Casey

Miles Teller-Miller

Sarah Wright-Nicole

Jonathan Keltz-Randy

Dustin Ybarra-PJ Bril

Samantha Futerman-Sally Huang

Daniel Booko-Julian

Russell Mercado-Jayden

Josie Loren-Pledge Aguilar

Christiann Castellanos-Pledge Gomez

François Chau-Dr. Chang

Russell Hodgkinson-The Chief

Directed by Jon Lucas and Scott Moore

We have a crazy Asian over here!

Note: Screened on Wednesday, February 6, 2013, at AMC Loews Lincoln Square 13.

Coming-of-age films are a dime a dozen these days, with the latest example being last year's critically acclaimed "The Perks of Being a Wallflower" but surprisingly, there's never been one that explores what's it like to turn 21—probably because it's not as big a deal as turning 18 (the only benefit is that you're legally allowed to consume alcohol). That's all about to change with "21 and Over," a raunchy R-rated comedy from first-time directors Jon Lucas and Scott Moore. You may recall that Lucas and Moore wrote the script for "The Hangover," one of 2009's surprise hits, grossing over $467 million worldwide on a cheap $35 million production budget. Its success sparked a new wave of R-rated comedies, albeit to mixed results. However, the rest of Lucas and Moore's filmography leaves much to be desired; not only did 2011's "The Change-Up" receive negative reviews from critics (26% on Rotten Tomatoes) but it also bombed at the domestic box office with only $37 million. "21 and Over" never reaches the heights of "The Hangover" as it's neither as original nor as well-executed but the film offers enough outrageous laughs to put it above the cookie-cutter fare that Hollywood tends to release. 

Former high school friends Casey (Skylar Astin) and Miller (Miles Teller) are reuniting with their best friend Jeffrey Chang (Justin Chon) in order to celebrate his twenty-first birthday. Despite having an important medical school interview in the morning and an overbearing father (François Chau) who would 'honor kill' him if he screws up, Jeffrey agrees to have a quick beer at Miller's insistence. Not surprisingly, Jeffrey ends up getting drunk and starts hitting all the bars around campus. Hours later, Casey and Miller find their friend passed out and completely incoherent. The two try to get Jeffrey home in time for his interview but there's only one problem: they don't know where he lives! What started off with an innocent drink soon turns into a night of humiliation and utter debauchery for these three friends. 

R-rated comedies tend to push the envelope and I was afraid that "21 and Over" would amount to nothing more than a barrage of 'jokes' mocking Asians. The beginning of the film seems to indicate this as Miller calls Jeffrey a 'yellow-faced little girl' for refusing to celebrate his twenty-first birthday. Obviously, they all could've gone out for drinks after Jeffrey wrapped up his interview but then we would have no movie. There's also the fact that Jeffrey's father conforms to the 'strict Asian parent' stereotype. Fortunately, such jokes are largely abandoned in favor of ridiculous sight gags as these three friends find themselves in one crazy situation after another. The script is basically a rehash the original "Hangover" with a few changes here and there. Instead of Las Vegas, the film is set on a college campus (actually the University of Washington) and rather than losing Jeffrey, Casey and Miller have to find out where he lives. It's a flimsy premise, and one that the audience will easily resolve if they pay close attention but Lucas and Moore cook up enough outrageous, if uninspired, scenarios that keep the laughs consistently rolling. Jeffrey is quickly knocked out for the majority of the film, leaving his two friends to fend for themselves as they run afoul of a Hispanic sorority and a group of jocks with way too much school spirit. The highpoint arrives midway and involves an eight story maze of various drinking games and beaded necklaces called the 'Tower of Power.' Lucas and Moore frequently mock the stereotypical 'college experience' even as it revels in them, from strange sorority rituals where initiates are spanked with a paddle to keg parties that result in a buffalo running amok. The characters fall under the usual comedy archetypes with Casey being the straight man, Miller the wise-cracker and Jeffrey the nerd (of course). Surprisingly, "21 and Over" does deal with some serious issues, with Casey and Miller finding a gun in Jeffrey's pocket while wondering how they all drifted apart. Given the number of mass shootings recently, some may believe that Jeffrey is mentally unstable but the truth is far more mundane (and handled with less finesse since this is a comedy after all). 

As for the performances, Skylar Astin and Miles Teller share a good rapport and they're likable enough in their roles to keep us invested despite the weak characterization. The dialogue can get too hung up on one joke but the banter between the two remains entertaining and well-improvised. Justin Chon's screen-time is unfortunately limited as the story demands he spend a good chunk of the film passed out and drunk, although I have to admire his tenacity for running around butt-naked with only a teddy bear to cover his crotch. Astin and Teller also end up wearing nothing but a tube sock as part of a humiliating ritual by a sorority group. Sarah Wright is sweet as Astin's love interest while Dustin Ybarra, Jonathan Keltz, and Samantha Futerman make the most out of their limited roles. 

"21 and Over" will be released on March 1, 2013 but has actually been screening as far back as last summer. Apparently, there was some footage shot in China (which led to a mild controversy that you can read about here) but not one scene is set there...in this version. Yes, there are actually two versions of the film! One will contain all the R-rated debauchery promised in the trailers while the other will be shown exclusively in China and features a radically different ending warning of the dangers of the 'hedonistic West' to Chinese audiences. I won't be going into a long discussion on this as it is not the focus of this review but to sum up my feelings, I find it sad that the Chinese populace is unable to enjoy the same cinema we have because their government is so afraid of free speech. Moving back to the topic at hand, audience reaction at last Wednesday's advance screening was positive, although the laughs did not reach the riotous levels of 2012's "Ted." Critical reception will likely be lukewarm at best given the film's derivative nature and it faces stiff competition during its opening weekend. Compared to similar R-rated comedies, "21 and Over" is merely passable, playing it safe by sticking to a tried-and-true formula but it does manage to be funny enough to make it worth a matinee.

Final Rating: 3 out of 5

"Dude, I'm really alert right now. I feel like Spider-Man!"  

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Safe Haven Review

Rated PG-13 (Thematic Material involving Threatening Behavior, and for Violence and Sexuality)

Running Time: 1 Hour & 55 Minutes

Cast-

Julianne Hough-Katie Feldman

Josh Duhamel-Alex Wheatley

Cobie Smulders-Jo

David Lyons-Detective Kevin Tierney

Noah Lomax-Josh Wheatley

Mimi Kirkland-Lexie Wheatley

Red West-Roger

Robin Mullins-Maddie

Irene Ziegler-Mrs. Feldman

Juan Carlos Piedrahita-Detective Ramirez

Ric Reitz-Police Chief Mulligan

Cullen Moss-Police Officer Bass

Mike Pniewski-Lieutenant Robinson

Directed by Lasse Hallström

Nothing like watching two sad white people fall in love!

Note: Screened on Tuesday, February 5, 2013, at AMC Loews Orpheum 7.

Hollywood has always used Valentine's Day to churn out another in a long line of generic, clichéd romance films and this year is no different with the release of "Safe Haven," based on the 2010 novel of the same name from Nicholas Sparks starring Julianne Hough and Josh Duhamel. With already seventeen novels to his name since his debut in 1996, Sparks has turned himself into a worldwide literary phenomenon but that success is built on him recycling the same soppy love story over and over again. He knows how to push the emotional buttons of young woman and exploits this mercilessly while laughing all the way to the bank. In his own (delusional) mind, Sparks sees himself as the next Ernest Hemingway, a sentiment that would make the Nobel Prize-winning author turn in his grave. The seven films already adapted from Sparks' novels have grossed over $600 million worldwide yet none of them have been able to receive favorable reviews from critics (2004's "The Notebook" came close with 52% on Rotten Tomatoes; the rest fall into the 20 to 30% range). It doesn't seem like the target audience really cares though as they eat up the author's schmaltzy melodrama like cheap movie popcorn. Hough and Duhamel manage to deliver charming enough performances in their respective lead roles but "Safe Haven" does little to deviate from the now-tired formula set forth by Sparks. After all, why fix something that isn't broken? 

Fleeing a violent domestic situation in Boston, Katie Feldman (Julianne Hough) boards a bus bound for Atlanta, Georgia but during a brief layover in Southport, North Carolina, she decides to stay behind and start a new life for herself in this small American town. Katie quickly finds work as a waitress at the local diner and rents a small cabin out in the woods, away from prying eyes. She later befriends her neighbor, a lonely woman with a mysterious past named Jo (Cobie Smulders). Although determined to keep a low-profile, Katie soon catches the attention of small grocery store owner Alex Wheatley (Josh Duhamel), a widower struggling to raise his two children, Lexie (Mimi Kirkland) and Josh (Noah Lomax), after losing his wife to cancer. Initially wary of Alex, Katie soon finds herself falling in love with him (thanks to a little prodding from Jo), and slowly bonds with not only his children but also with Southport's close-knit community. However, Katie's past soon catches up with her when a persistent Boston detective, Kevin Tierney (David Lyons), comes looking for her as she is a suspect for murder. 

With its soulful looks, swooning gazes, and perpetual sunsets, "Safe Haven" has all the hallmarks of a Nicholas Sparks film. What's really amazing is that Sparks started writing the novel back in February, 2010 and he finished in a mere seven months, with the rights to the film adaptation being sold to Relativity Media a year later. If only George R.R. Martin wrote this fast but that's the difference between quality and quantity. Not only is "Safe Haven" a copy-and-paste job from director Lasse Hallström (who also helmed 2010's "Dear John" and yes, it's based on a Nicholas Sparks novel too), it also blatantly plagiarizes from 1991's "Sleeping with the Enemy" starring Julia Roberts, but with all the edge stripped away. It's an attempt to add a few wrinkles to the Nicholas Sparks formula yet the resulting script from Leslie Bohem and Dana Stevens remains uninspired, bereft of any suspense or drama because everything that happens is telegraphed well in advance. This lack of effort stems from laziness; the film is already guaranteed to sell tickets so why even bother trying? There's also a decidedly television-like quality to the film as the opening scene finds our young heroine Katie running for her life while a generic score that absolutely fails to build any tension plays in the background. Once Katie arrives in Southport, North Carolina (the setting of every Nicholas Sparks novel), she's immediately able to find a job without any background check whatsoever and is somehow able to rent a picturesque cabin out in the woods on a waitress' salary. The actual romance kicks off when Katie shares 'the look' with grocery store owner Alex. Of course, she's reluctant to fall in love again yet succumbs to her feelings anyway. Apparently, Alex's idea of courtship means driving out to Katie's cabin in the middle of the night to leave her a gift (which happens to be a bicycle), because that's not creepy at all. There is also a canoeing scene as nothing screams romance better like canoeing. "Safe Haven" hits all these beats like clockwork and yes, someone dies but right at the end, the film throws a 'twist' that comes so far out of left field that it would make even M. Night Shyamalan cringe. It introduces a whole host of plot holes and calls into question Katie's mental state yet the audience reacted as if this was Hitchcock. 

The only saving grace (besides Terry Stacey's naturalistic cinematography) is Julianne Hough and Josh Duhamel. Obviously, they were cast more for their looks but their onscreen chemistry manages to feel genuine enough, allowing their characters' romance and affection for each other to resonate with sincerity despite the sixteen-year age gap between Hough and Duhamel. Cobie Smulders is largely extraneous to the plot until the ending tries to clumsily justify her presence with the aforementioned twist while David Lyons goes way over-the-top as the villain. Lyons' role is not as cookie-cutter compared to previous Nicholas Sparks films but that's not exactly saying much. 

"Safe Haven" will be released on February 14, 2013 and has been screening quite aggressively for the last two weeks. There are no reviews yet on Rotten Tomatoes but it's safe to say that it'll land in the 20 to 30% range, in line with previous Nicholas Sparks films. The advance screening I attended this past Tuesday was, not surprisingly, made up of women and couples. Being the only male not with a woman made me feel a little self-conscious and yet I soldiered on. For all its clichés and the head-scratching twist at the end, "Safe Haven" is not a terrible film, just a really mediocre one. Still, I recommend passing on it unless your significant other really loves Nicholas Sparks. Even then, you should just dump her in the theater while you go see a more worthy film deserving of your attention.

Final Rating: 2.5 out of 5

"If you're in some kind of trouble we can fix it. I love you and I can't let you go. There's no safer place for you than here with me." 

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Side Effects Review

Rated R (Sexuality, Nudity, Violence and Language)

Running Time: 1 Hour & 46 Minutes

Cast-

Rooney Mara-Emily Taylor

Jude Law-Dr. Jonathan Banks

Catherine Zeta-Jones-Dr. Victoria Siebert

Channing Tatum-Martin Taylor

Vinessa Shaw-Dierdre Banks

Ann Dowd-Martin's Mother

Polly Draper-Emily's Boss

Michael Nathanson-Assistant District Attorney

Sheila Tapia-Emily's Attorney

Directed by Steven Soderbergh

Rooney Mara delivers an excellent performance as a young woman suffering from depression in Steven Soderbergh's "Side Effects."

Note: Screened on Thursday, January 31, 2013 at AMC Loews Lincoln Square 13.

During the premiere for "Side Effects" (which took place this past Thursday at AMC Loews Lincoln Square 13), director Steven Soderbergh made a few opening remarks, thanking Open Road Films and Endgame Entertainment for financing and distributing his film as well as praising writer Scott Z. Burns for an amazing script but there was one little detail he neglected to mention: his retirement (or was it sabbatical?). "Side Effects" will be Soderbergh's last theatrical release as he is retiring at age fifty to focus on other creative pursuits, such as painting. For those of us who've followed his career for the past twenty-four years, this is no doubt disappointing news but Soderbergh does still plan to direct, mainly 'theater stuff, and…a TV series if something great were to come along.' As for his reasons for quitting Hollywood, he explains in an interview with Vulture (which you can read here in its entirety) of 'wanting a change personally' and hitting a creative wall he's unable to break through but more importantly, he's grown frustrated with the filmmaking process where it's all about pandering to the audience. One of the reasons why I'm such a fan of Soderbergh's work is that he's not afraid to experiment, audience reaction be damned. That's refreshing since Hollywood is increasingly risk-adverse nowadays but as much as people like us complain, there are still millions out there who are content with lapping up whatever garbage is put in front of them. It's disheartening to see "Side Effects" dumped in the middle of February with little fanfare as Soderbergh deserves a much better send-off. This is by far the first legitimately good movie of 2013, a mind-bending psychosexual drama/thriller of Hitchcock proportions that not only boasts excellent performances from its all-star cast but also a brilliantly written script that will keep you guessing until the very end. 

Emily Taylor (Rooney Mara), a graphic designer living in Manhattan, is finally reuniting with her husband Martin (Channing Tatum), who was sent to prison after being convicted for insider trading. His release instills a feeling of excitement and dread within Emily, who has struggled with depression on and off for as long as she can remember. Martin is eager to return to the corporate world and resume his life but his wife's anxiety disorder soon flares up during a spontaneous suicide attempt where Emily drives her car into a wall. She begins seeing a psychiatrist named Jonathan Banks (Jude Law), who prescribes her an experimental anti-depression drug called 'Ablixa' after consulting with Dr. Victoria Siebert (Catherine Zeta-Jones), Emily's former psychiatrist. Soon after taking the drug, Emily awakens one day to find a dead body in her apartment. Questions begin to arise over Ablixa's side effects while Banks' personal and professional life is turned upside down as he finds himself under investigation. 

"Side Effects" is one heck of a film, a post-modern thriller in the vein of Hitchcock that not only encompasses a variety of genres but also serves as a showcase of Soderbergh's versatility as a director. The short synopsis I've written doesn't even begin to touch on what the film is about and it's highly recommended that you avoid all the previews so that you can go in blind without any preconceived notions. Soderbergh opens the film by slowly panning toward a Manhattan apartment, taking us inside as the camera tracks a trail of blood on the floor. It then flashbacks to three months earlier as Rooney Mara's Emily visits her husband Martin in prison for the last time. Martin is about to be released and understandably, Emily is feeling anxious after he was away for so long. However, her anxiety soon amplifies to the point where she tries to commit suicide by driving into the wall of her parking garage. For the first twenty or so minutes, "Side Effects" appears to be a character drama as it focuses on Emily's struggle with her depression and her desperation to get better. A shocking event happens and the film then switches gears, turning into a courtroom drama as questions start to arise over the drug Emily has been taking and the pharmaceutical industry coming under fire. Dr. Jonathan Banks, the psychiatrist treating Emily, finds himself under investigation and it would seem that Soderbergh and Burns are criticizing the pharmaceutical industry for their lack of ethics and personal responsibility. Like any good thriller, these are simply red herrings as the story slowly leverages Banks as the true protagonist of the film. It becomes a whodunit procedural, complete with a labyrinth-like maze of twists and turns where you're never entirely sure of a character's true motivations. "Side Effects" closes with a very pessimistic view of the human condition and it is this sobering truth that lies at the heart of the film. If all that sounds very vague; trust me, it's for your own good. Not many people would describe a dialogue-heavy film like this as 'exciting' yet Soderbergh manages to create a completely engrossing feature through his stylistic choices, utilizing the same lurid visuals that dominated 2011's "Contagion" to not only add another layer of intrigue but also reinforce the story's clinical tone. Dialogue scenes are cut in such a way where each frame doesn't last longer than a second and there's an escalating sense of unease when combined with Thomas Newman's haunting electronic score. 

Then there's the cast that Soderbergh has assembled, with Rooney Mara delivering a captivating performance as a young woman suffering from depression but there are so many layers to her character, requiring the actress to convey a variety of emotions yet still convincingly appear to be the same person that we met in the beginning. Jude Law is currently on a roll after his sympathetic portrayal of Alexei Karenin in last year's "Anna Karenina." Here, he plays a psychiatrist who genuinely wants to help his patients but is not above using them as guinea pigs if it means a big payout for him. Law is just compelling in the role, especially in the latter half when he finds his name being dragged through the mud. Channing Tatum and Catherine Zeta-Jones have supporting roles but they are no less integral to the story. How integral is something I leave for you to discover. 

To be released on February 8, 2013, "Side Effects" has been receiving a lot of positive buzz lately and it currently has a 100% on Rotten Tomatoes. The response at the film's premiere was nothing short of enthusiastic but this one will sadly be a mid-level hit at best. The problem is that the previews have been intentionally vague and audiences, they don't like to be 'lied' to. They want to know exactly what kind of film they're seeing and expect that same film as advertised. Studios are all too happy to oblige but it's terrible when it results in a great director like Soderbergh quitting. Hopefully, he'll change his mind, although that won't be happening anytime soon. With that being said, "Side Effects" is a thoroughly mesmerizing film from start to finish, an adult thriller that is rarely made anymore and serves as a perfect way to cap off the career of one of Hollywood's most talented directors.

Final Rating: 4.5 out of 5

"The point is…the cardiologist could see it coming from the tests. It's in the blood. But who can see the lies?" 

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