About Time Review

Rated R (Language and Some Sexual Content)

Running Time: 2 Hours & 3 Minutes

Cast-

Domhnall Gleeson-Tim Lake

Rachel McAdams-Mary

Bill Nighy-Tim's Father

Lindsay Duncan-Tim's Mother

Lydia Wilson-Katherine/Kit Kat

Richard Cordery-Uncle Desmond

Tom Hollander-Harry Chapman

Joshua McGuire-Rory

Will Merrick-Jay

Margot Robbie-Charlotte

Vanessa Kirby-Joanna

Tom Hughes-Jimmy Kincade

Directed by Richard Curtis

Now to photoshop my face over Domhnall Gleeson's...

Note: Screened on Thursday, October 17, 2013 at AMC Loews Orpheum 7.

In Richard Curtis' latest film "About Time," twenty-one year old Tim Lake learns from his father that he has the ability to travel back in time, a seemingly genetic trait that all the men in the family have possessed. Tim initially believes that he's being told a very bad joke but when he successfully travels back to the New Year's Eve party the night before, the young man resolves to use his newly-discovered gift to find his 'one true love.' Well, he doesn't put it quite that eloquently. Instead, he bluntly says, 'To get a girlfriend,' prompting his amused father to respond, 'Wow…massive.' His third and supposedly last feature where he serves as director, "About Time" doesn't stray too far from Curtis' wheelhouse, whose work has always existed in the realm of romantic fantasy. Although his stories have been criticized for being nothing more than insufferable, greeting card schmaltz, there's no denying that Curtis is in a league of his own when it comes to scripting movies about love. The way he blends sentimentality with unabashed sincerity allowed 1994's "Four Weddings and a Funeral" and 1999's "Notting Hill" to become huge successes at the worldwide box office. While it likely won't receive the same critical and commercial acclaim of Curtis' earlier efforts, "About Time" remains an irresistibly charming, funny, and earnest film that overcomes its plot-hole ridden time-traveling tale with a winsome cast led by Domhnall Gleeson and Rachel McAdams.

A hopeless romantic who's always been 'too tall, too skinny, and too orange,' twenty-one year old Tim Lake (Domhnall Gleeson) has otherwise had a pretty normal childhood, growing up in a seaside abode at Cornwall, where he is surrounded by his loving parents (Bill Nighy and Lindsay Duncan), his ditzy, free-spirited younger sister 'Kit Kat' (Lydia Wilson), and his sweet but forgetful Uncle Desmond (Richard Cordery). Summoned to his father's study one morning, Tim is informed of a long-held family secret that's been passed down from father to son for generations: the men in the family have the ability to travel back in time. Although Tim believes his father is joking, he decides to humor him and asks how it is done. First he must go to a dark place (i.e. a closet) and with his eyes closed and fists clenched, visualize in his mind the exact moment he wants to go to. Tim follows these instructions in an attempt to prove his father wrong but is dumbfounded when he actually succeeds in traveling back to the New Year's Eve party the night before. His father asks an astounded Tim about his plans regarding his wondrous gift and he responds that he will use it to find the love of his life. This is easier said than done and soon Tim, still single, is moving away from Cornwall to pursue a career as a lawyer in London. His friend Jay (Will Merrick) comes by for a visit one evening and drags him to a restaurant where its customers eat in total darkness. While there, Tim meets Mary (Rachel McAdams) and he immediately becomes enchanted by her beauty, even though she doesn't see herself as very attractive. Working hard to win her heart with the aid of his time-traveling abilities, Tim comes to realize that not even his unique gift can prevent all the tragedies that can occur in one's life.

At first glance, "About Time" looks like a sappier repeat of 2009's "The Time Traveler's Wife," which ironically also starred Rachel McAdams, but besides having a male protagonist who has the inexplicable ability to travel in time, both films are very different, especially in tone. Curtis' picture has an optimistic, whimsical feel, even when it delves into more dramatic territory and its sci-fi conceit is simply used as a not-so-subtle metaphor for the story's themes. While Curtis establishes early on that Tim can only time travel backwards and revisit events in his own life (you can't 'kill Hitler or shag Helen of Troy' as his father humorously explains), it's best not to think about the rules too much because frankly, it's rife with logic holes. This is one of those times where you're going to have to just 'go along with it' and suspend disbelief for two hours. If you can do that, you'll find "About Time" to be a surprisingly good film that's unafraid to wear its heart on its sleeve. A big part of its appeal is the characterization of Domhnall Gleeson's Tim, who reminded me of myself. Skinny, awkward, and a hopeless romantic, he's desperate to connect with the opposite sex but is too shy to do so. During a New Year's Eve party hosted by Tim's parents, a pretty blonde woman leans in for a kiss when the clock approaches midnight but he nervously shakes her hand instead. Tim rectifies this mistake upon learning of his time traveling abilities and resolves to use his gift to find the one girl that he will spend the rest of his life with. Yes, it's all romantic make-believe yet Curtis brings an irresistible earnestness to the material.

'The girl' turns out to be Mary, played by Rachel McAdams. Their 'meet cute' moment is absolutely adorable as the two are initially unaware of what the other looks like. It's literally a 'blind' date since the restaurant they're in (London's Dans le Noir) requires its customers to dine in total darkness. When they finally meet face-to-face outside, Tim knows at that instant that she's 'the one' and of course, Mary just happens to be American like in all of Curtis' previous films. Admittedly, she's not a particularly well-developed character, with the story constantly putting her on a pedestal. Tim achieves marital happiness just when his and Mary's plotline begins to lose steam, allowing the writer/director to shift the focus toward Tim's relationships with his sister and father. This is where the film's larger themes begin to emerge and things take on a darker note as Tim desperately tries to prevent a car accident that leaves Kit Kat hospitalized but he comes to realize that even his time traveling abilities cannot erase all of life's tragedies. Curtis, who made a name for himself by scripting light-hearted romantic comedies, wants to reach the same philosophical depth along the lines of Michel Gondry's "Eternal Sunshine of the Spotless Mind" and while he doesn't quite pull it off with the same finesse, the final coda in "About Time," that every moment in life should be savored regardless if you can time travel or not, is delivered with beautiful sincerity and yes, I freely admit feeling a tear well up in my eye during the film's final scenes.

The delightful cast adds to the picture's charm, with Domhnall Gleeson (last seen in "Anna Karenina") delivering a terrific performance as our lanky time-traveling hero Tim. The character matures from a hormonal-driven dork to responsible, working adult over the course of the film's running time but even as Tim grows older, Gleeson always maintains a bumbling awkwardness that's both sweet and endearing. Although her character is lacking in complexity, Rachel McAdams instantly wins us over as the cute and affable Mary. In the words of Empire's Mark Dinning, the beautiful actress turns in 'another you'd-marry-her-in-a-heartbeat performance.' The two leads are enormously appealing as a couple thanks to their easy chemistry with each other but the real heart of the film doesn't lie with the lovers, it lies with the father-son relationship that's wonderfully brought to life by Gleeson and Bill Nighy. Understanding and affectionate, Nighy plays one of the coolest dads to ever grace the big screen this year, with the veteran actor effortlessly bringing a warm authenticity to Tim's relationship with his father. The rest of the supporting cast are outstanding as well and includes Lindsay Duncan as Tim's terse mother, Lydia Wilson as the quirky Kit Kat, Richard Cordery as the eternally befuddled Uncle Desmond, and Tom Hollander as Tim's curmudgeonly roommate/playwright Harry.

Already out in the UK since September 4, "About Time" is set for a limited release in the US on November 1 before going wide a week later. Reviews have been mildly positive with 62% on Rotten Tomatoes. Whether the film will do well at the domestic box office is still up in the air but it should turn a small profit given that it's a low-budget affair. So far, it has grossed $30.4 million in foreign receipts. If this is truly the last film that Richard Curtis will direct, he certainly goes out on a strong note. The time travel premise is nothing more than a plot device used to espouse the story's themes and yes, it does get too sentimental at times but if you're willing to keep an open-mind, you'll find "About Time" to be a funny and charming film whose endless optimism might just make you appreciate the smaller details in life a little more.

Final Rating: 4 out of 5

"I try to live everyday as if it was the final day of my extraordinary, ordinary life."

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The Fifth Estate Review

Rated R (Language and Some Violence)

Running Time: 2 Hours & 8 Minutes

Cast-

Benedict Cumberbatch-Julian Assange

Daniel Brühl-Daniel Domscheit-Berg

Alicia Vikander-Anke Domscheit-Berg

Carice van Houten-Birgitta Jónsdóttir

Moritz Bleibtreu-Marcus

Laura Linney-Sarah Shaw

Stanley Tucci-James Boswell

Anthony Mackie-Sam Coulson

David Thewlis-Nick Davies

Dan Stevens-Ian Katz

Peter Capaldi-Alan Rusbridger

Alexander Siddig-Dr. Tarek Haliseh

Directed by Bill Condon

Benedict Cumberbath and Daniel Brühl try their best but Bill Condon's "The Fifth Estate" is a mediocre account about the rise and fall of WikiLeaks.

Note: At AMC Empire 25.

Julian Assange: narcissistic egomaniac, security threat, or media savior? This is the central question that director Bill Condon asks in his latest film, "The Fifth Estate," but it's one that he fails to satisfactorily answer. Although the story of WikiLeaks and its eccentric founder is certainly a fascinating one, it seems somewhat premature to tell it now because it's still unfolding and the long-range ramifications of the website's actions remain to be seen. Since releasing the Afghan and Iraq War Logs three years ago, Assange has found himself holed up in a single office room at the Ecuadorian embassy in London due to allegations of sexual misconduct while whistleblower Chelsea Manning (née Bradley) was recently sentenced to thirty-five years in prison for leaking the documents in the first place. WikiLeaks has continued to release classified material to the public but hasn't received much coverage in the mainstream media as of late, with its spotlight currently stolen by another whistleblower, former NSA system administrator Edward Snowden. Written by Josh Singer (whose previous credits include television shows like "The West Wing" and "Fringe") and based on Daniel Domscheit-Berg's 2011 book Inside WikiLeaks: My Time with Julian Assange and the World's Most Dangerous Website, as well as David Leigh and Luke Harding's WikiLeaks: Inside Julian Assange's War on Secrecy, Condon chronicles the website's rapid rise and fall from 2007 to 2010, fashioning the story as a high-tech thriller but the material he covers here fails to drum up much excitement. While the film raises many interesting questions regarding WikiLeaks and its place in the media, "The Fifth Estate" fails to offer much insight about its subject matter. Despite the best efforts of Benedict Cumberbatch and Daniel Brühl, Condon's latest is just too dull and muddled to make the impact it wants.

While attending the Chaos Computer Club's annual conference in Berlin, Germany in late-2007, tech drone Daniel Domscheit-Berg (Daniel Brühl) crosses paths with Julian Assange (Benedict Cumberbatch), who had recently founded a new website one year prior called ' WikiLeaks.' Designed to receive and broadcast sensitive information from governments and other high-profile organizations, the site works hard in protecting the anonymity of its sources. Daniel's interest in online activism led him to initially reach out to Assange via email and he quickly becomes swept up by the Australian-born hacker's charisma and his idealism regarding free speech and transparency. Believing himself to be part of a large network of volunteers, Daniel disappointingly learns that Assange has been working solo since the website's inception. WikiLeaks' reputation begins to rise when the two discover in February 2008 that the Cayman Islands branch of Swiss bank Julius Baer has been engaging in illegal activities. The site is suspended when the bank obtains an injunction but this proves to be only a temporary setback as the judge dissolves it a month later. In 2010, WikiLeaks receives thousands of classified military documents related to the war in Afghanistan and Iraq, as well as a number of diplomatic cables from the United States. However, Assange's refusal to redact any of the information that might put lives and nations at risk strains his friendship with Daniel, who has become increasingly disillusioned with the way the site is being handled. Meanwhile, U.S. government officials Sarah Shaw (Laura Linney), James Boswell (Stanley Tucci), and Sam Coulson (Anthony Mackie) scramble to perform damage control in the wake of the leak, which puts one of their sources, Dr. Tarek Haliseh (Alexander Siddig) from Lebanon, in danger.  

The first sign of trouble in Bill Condon's "The Fifth Estate" is the opening credits sequence. Created by a digital design company called 'Prologue,' it covers the entire history of news media, from Paleolithic cave paintings to the ubiquity of the internet, in just under two minutes. It's definitely a unique way to begin your film but the execution leaves much to be desired as it gives the picture a made-for-television vibe, especially when paired with Carter Burwell's derivative score. Condon follows the main titles by initially flash-forwarding the action to July 2010, where The New York Times, The Guardian, and Der Spiegel simultaneously publish WikiLeaks' Afghan War Logs: over 90,000 classified U.S. military documents about the war in Afghanistan from 2004 to 2009. Regarded as one of the largest leaks in United States military history, WikiLeaks' fame (or infamy, depending on your point of view) was at an all-time high at this point but back in 2007, it was still just a one-man crew struggling to make a name for itself. This changes when ace programmer Daniel Domscheit-Berg becomes the fledgling website's first volunteer after falling under the charismatic spell of Julian Assange at a computer conference in Berlin. Since Singer draws extensively from Berg's 2011 book, he's the main character. Unfortunately, he's not a very interesting one and filtering the story through his eyes proves to be an issue as it lends the events depicted in the film a certain bias. To fix this, Condon and Singer try to go for an even-handed approach but all it does is muddle things further, resulting in an unfocused, flip-flopping presentation of Assange. One minute he's an idealistic visionary and the next he's an egotistical megalomaniac. There are glimmers of the 'real' Assange but the fleeting references to his childhood in an eccentric cult and his estranged relationship with his son (ironically named Daniel as well) fail to provide much in the way of insight. He remains a frustrating enigma and frankly, reading the man's Wikipedia page would probably prove to be more informative.

The lack of emotional investment in the characters isn't the only problem that "The Fifth Estate" suffers from. For some strange reason, Condon has chosen to tell Singer's story as a thriller but there's nothing especially 'thrilling' about the material, at least not in the conventional sense. Backed by Burwell's generic techno score (which sounds like it was ripped off from "The Social Network"), the director tries to amp up the action with flashy location title cards and a visual motif of a giant office room (curiously covered in snow) where an infinite number of Assanges hammer away on keyboards in order to expose the world's dirtiest secrets yet all of it comes across as too gimmicky and is downright distracting at times. This sprawling room also represents the website's submission platform, which Berg is forced to shut down late in the film when Assange begins behaving in a reckless manner in regards to the release of the Afghan and Iraq War Logs. To make this moment appear more 'dramatic,' Condon cuts to Berg trashing the imagined office but you're unable to take the scene seriously because it looks like a bratty child throwing a temper tantrum. There are also frequent montages of the characters traveling from one European city to the next and while this is all sleekly photographed by cinematographer Tobias A. Schliessler, it doesn't amount to much besides showing off how nice Belgium or Iceland looks.

What was supposedly about the rise and fall of WikiLeaks, as seen through the eyes of Berg and his friendship with Assange, becomes a cluttered mess by the end. There are no less than three subplots competing for our attention yet only one of them works within the context of the film. The other two involve a trio of U.S. government officials worrying about the dangers that the leak poses and try to perform damage control while a source based in Lebanon waits to be extradited but whenever the camera focuses on these characters, it feels like you're watching a completely different movie. Condon and Singer raise many interesting questions. How has WikiLeaks changed the way people consume news? Is WikiLeaks the force of good it purports to be or is it all the product of a raving narcissist who just wants his fifteen minutes of fame? Good luck finding any answers because "The Fifth Estate" literally closes with Assange telling the audience to figure it out themselves.

The film's sole saving grace is the performances. Benedict Cumberbatch is fantastic as Julian Assange. It's not just the white hair and the Australian accent; the British actor really captures the man in all its facets: his charisma, his idealism, his paranoia, and especially his inflated self-important ego. However, it's still only a skin-deep portrayal and whenever Cumberbatch tries to delve deeper into Assange and explore what makes him tic, the story pulls the actor back. Daniel Brühl, fresh off his extraordinary performance in Ron Howard's "Rush," continues to impress, ably carrying the film on his shoulders despite the lack of depth afforded to his character. The two are supported by a stellar cast that unfortunately is given little to do. Alicia Vikander's Anke mostly spends her time complaining about Berg putting his work on the site ahead of her while Laura Linney, Stanley Tucci, and Anthony Mackie try to lend the film some gravitas in their one-note roles as U.S. government officials. Carice van Houten, Peter Capaldi (the new Doctor Who), and Alexander Siddig have what amounts to glorified cameos. David Thewlis, who plays freelance Guardian reporter Nick Davies, gets to give a speech about the importance of the press at the end but it's a little too on the nose, especially when he dramatically pauses to mention the film's title.

Released on October 18, 2013, "The Fifth Estate" has received largely negative reviews with 38% on Rotten Tomatoes. Critics found the film 'heavy on detail and melodrama but missing the spark from its remarkable real-life inspiration.' However, they did praise Benedict Cumberbatch's performance in spite of Condon's picture serving 'as a middling showcase for [his]…talent. One person who has been particularly vocal about his displeasure with the film is Julian Assange himself. The WikiLeaks founder even tried to persuade Cumberbatch to leave the project in a letter he wrote back in January, which you can read here. His reaction isn't surprising considering the source material presents him in an unflattering light. He predicted that the film was going to fail and he was right: "The Fifth Estate" bombed with a pathetic weekend debut of $1.67 million, a 2013 worst for a feature playing in more than 1500 theaters. It'll barely make $10 million at this point. Hell, some audience members were loudly snoring while the film played! With the exception of Benedict Cumberbatch and Daniel Brühl, "The Fifth Estate" is a misfire all around. Its episodic structure is as informative as a Wikipedia page and Condon's choice to fashion it as a thriller ends up doing more harm than good. Yea, maybe we are better off seeking 'the truth' by ourselves.

Final Rating: 2 out of 5

"You want to know the truth? No one is going to tell you the whole truth. They'll only tell you their version. You want the truth; you have to seek it out for yourself. That's where real power lies, your willingness to look past this story, any story. As long as you keep searching, you are dangerous to them. That's what they are afraid of…YOU. It is all about you."

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Escape Plan Review

Rated R (Violence and Language Throughout)

Running Time: 1 Hour & 56 Minutes

Cast-

Sylvester Stallone-Ray Breslin

Arnold Schwarzenegger-Emil Rottmayer

Jim Caviezel-Warden Willard Hobbes

Faran Tahir-Javed

Vinnie Jones-Drake

Amy Ryan-Abigail Ross

Curtis '50 Cent' Jackson-Hush

Vincent D'Onofrio-Lester Clark

Sam Neill-Dr. Emil Kyrie

Caitriona Balfe-CIA Agent Jessica Miller

David Joseph Martinez-Captain Newal Beradah

Directed by Mikael Håfström

These guys may be a few years shy of seventy but they can still pummel your ass.

Note: Screened on Wednesday, October 16, 2013 at AMC Empire 25.

Is it time for Sylvester Stallone and Arnold Schwarzenegger to retire? Back in the good ol' days (the 1980s and early 1990s), both stars were action movie gods who raked in millions of dollars at the box office just on their names alone but much has changed in the past thirty-something years. The muscle-bound, gun-toting heroes they played have now been replaced with the likes of Iron Man, Katniss Everdeen, and Liam Neeson. With the exception of "The Expendables" series, Stallone and Schwarzenegger's recent films have all flopped (badly) at multiplexes. I enjoyed January's "The Last Stand" very much but it wound up in ninth place during opening weekend and grossed a disappointing $37.2 million worldwide. February's "Bullet to the Head" fared even worse with only a pathetic domestic total of $9.5 million. Now the two aging action stars are finally teaming up (for real this time) in Mikael Håfström's "Escape Plan." If this film was released during the 1980s, it would've been the cinematic event of the decade. Hell, seeing Stallone and Schwarzenegger share the big screen together would've resulted in the universe literally imploding in on itself due to its sheer awesomeness. Unfortunately, it's not the 1980s anymore as Summit Entertainment is dumping the action thriller in the middle of October with little to no fanfare. Does that mean Håfström's film is terrible? The answer is no, far from it in fact. It definitely has some very big flaws but "Escape Plan" remains a fun, nostalgically cheesy throwback to the action movies of yesteryear thanks to the larger-than-life presence of its lead actors.

Ray Breslin (Sylvester Stallone) is a former prosecutor-turned-security expert/consultant who infiltrates and breaks out of prisons in order to expose their weaknesses. Following a successful escape from a federal penitentiary in Colorado, Ray is approached by CIA agent Jessica Miller (Caitriona Balfe) with the following multimillion dollar deal: enter a maximum security prison codenamed 'The Tomb' and see if it is escape-proof. Due to the dangerous inmates housed within, its location cannot be disclosed. However, if he can successfully escape, he gets $5 million payday, which is double his usual fee. Ray's associates, Abigail Ross (Amy Ryan) and Hush (Curtis '50 Cent' Jackson) are reluctant to take the job under these conditions but business partner Lester Clark (Vincent D'Onofrio) doesn't see any problem with it. Despite all the risks involved, Ray accepts and flies down to New Orleans, Louisiana, where he is to be picked up by the CIA and transported to the prison. Unfortunately, the plan goes awry and Ray finds himself being set-up and violently tossed into a glass cell in the Tomb. With no idea where he is and no back-up arriving, Ray is forced to team-up with fellow inmate Emil Rottmayer (Arnold Schwarzenegger) if he is to escape the prison and its sadistic warden, Willard Hobbs (Jim Caviezel).

Like its two lead actors, "Escape Plan" is a dinosaur, a relic from a bygone era that's best viewed through the rose-tinted glasses of 1980s nostalgia. Surprisingly, there is an actual plot here (credited to Miles Chapman and Jason Keller) but it's silly and fails to make a lick of sense, with Håfström mistakenly believing his film to be more clever than it actually is. One nagging issue is Ray Breslin's chosen occupation. I don't imagine the taxpayers being all that happy about a man who regularly gets himself in jail just to later escape and lead the guards on a wild goose chase. However, that's beside the point as the real problem is the script's lack of logic. The opening scene finds Ray trapped in a federal penitentiary in Colorado and the way he breaks out is completely absurd. Apparently this prison doesn't even bother changing its lock codes every few hours, is coincidentally understaffed, and allows a suspiciously-dressed woman to blow up a car right outside without anyone noticing how suspicious she looks with her fake wig and shady trench-coat. The writers try hard to make Breslin's escape strategies sound plausible yet the flaws he (and later Rottmayer) exploits feel forced. There are definitely a few smart ideas at work here, such as having all the guards wear masks so their movements can't be easily tracked but somehow, they never frisk the inmates for any contraband. Even more puzzling is that the prisoners from all blocks have recreation at the same time. I'm surprised a riot didn't happen sooner. The pacing is also problematic, with the film suffering from a too-long second act that could've been a good twenty minutes shorter.

In spite of all those issues that I just listed, "Escape Plan" still manages to be a fun ride and it's all because of Sylvester Stallone and Arnold Schwarzenegger. Stallone seems to take his role a tad too seriously, not to mention his line delivery is still as garbled as ever, but the man still looks like a credible action star even though he's three years shy from hitting age seventy. Although he plays second fiddle, Schwarzenegger is the one who steals the show as he throws himself into his role with a twinkle in his eye and an infectious enthusiasm. The former governor gets all the best laughs and one-liners ('You hit like a vegetarian!'), and the audience was cheering on their feet when he ripped a giant machine gun from a helicopter and began mowing down wave after wave of bad guys. Arnold wielding big guns—now that's classic. He even gets to go crazy in one scene in his native German. Jim Caviezel does a fair amount of scenery chewing with his slightly effeminate turn as the sadistic Warden Hobbes while Vinnie Jones is appropriately growly as prison guard Drake. The rest of the cast are largely wasted; Academy Award nominee Amy Ryan is stranded in a one-note role with Curtis '50 Cent' Jackson. Faran Tahir gets one good 'last stand' moment and Sam Neill is quickly done away with once his character serves its purpose. Finally, there's Vincent D'Onofrio as the smarmy Lester, who's only memorable trait is that he's a germaphobe.

Released on October 18, 2013, "Escape Plan" has received mixed reviews with 47% on Rotten Tomatoes. Critics admitted that it was fun 'to see Sylvester Stallone and Arnold Schwarzenegger team up onscreen… [but the film] fails to offer much more than a pale imitation of 1980s popcorn thrills.' Although the audience response at the advance screening was highly enthusiastic, that didn't translate to box office success as it came in fourth over its debut weekend with $9.9 million. That's at least better than both their solo outings earlier this year but that isn't saying much. It's clear that the only people seeing these films are those who grew up during the 1980s or nostalgic folks like me. Stallone and Schwarzenegger are obviously way past their prime yet I'm glad that they're still making old-school action movies. "Escape Plan" doesn't even bother with proper storytelling or character development and while that would be a huge detriment in any other film, it's actually an advantage here. When you have two of the biggest action stars of the 1980s, such things are for sissies.

Final Rating: 3.5 out of 5

"You tell whoever put me here; I'm going to burn this place to the ground."

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Carrie (2013) Review

Rated R (Bloody Violence, Disturbing Images, Language and Some Sexual Content)

Running Time: 1 Hour & 40 Minutes

Cast-

Chloë Grace Moretz-Carrie White

Julianne Moore-Margaret White

Judy Greer-Rita Desjardin

Gabriella Wilde-Sue Snell

Portia Doubleday-Chris Hargensen

Ansel Elgort-Tommy Ross

Alex Russell-Billy Nolan

Zoë Belkin-Tina

Samantha Weinstein-Heather

Karissa Strain-Nicki

Katie Strain-Lizzy

Barry Shabaka Henley-Principal Morton

Directed by Kimberly Peirce

Hell hath no fury like Carrie scorned.

Note: At AMC Loews 34th Street 14. 

I find it rather ironic that Chloë Grace Moretz can work in R-rated films yet is prevented from viewing them due to her not meeting the arbitrary age requirement. Seriously, is there any real difference in maturity between ages sixteen and seventeen? The actress even made a joke about this during an interview on ABC's "Nightline," where she was promoting her latest film, "Carrie," based on Stephen King's famous 1974 epistolary horror novel of the same name. Wait a minute now, wasn't King's novel adapted into a film already? Yes, by director Brian De Palma in 1976. The title role was played by then-27 year old Sissy Spacek and led to her first Academy Award nomination for Best Actress alongside her co-star Piper Laurie, who portrayed Carrie's abusive mother Margaret. De Palma's "Carrie" is widely regarded as a classic nowadays, with the image of Spacek drenched in pig's blood becoming one of the most iconic images in cinema, to the point where it became ingrained in pop culture. A remake was pretty much inevitable and I suppose thirty-seven years is more than enough time for the idea of a new version to become palatable to today's audiences, financial incentives notwithstanding. This 'reimagining' of "Carrie" certainly boasts some major talent, both in front of and behind the camera (Kimberly Peirce of "Boys Don't Cry" fame directs). The film may not go far enough in differentiating itself from its more acclaimed predecessor but it's definitely a well-directed picture that's aided by strong performances from Moretz and Julianne Moore.

Seventeen-year-old Carrie White (Chloë Grace Moretz) is a shy and withdrawn senior at Thomas Ewen Consolidated High School. Raised by her deranged and religiously fanatical mother Margaret (Julianne Moore), Carrie is frequently tormented by her teenage peers, led by the popular Chris Hargensen (Portia Doubleday) and Sue Snell (Gabriella Wilde). While showering after gym class, she has her first menstrual period but believes she is bleeding to death due to her sheltered upbringing. Carrie cries out for help yet the other girls simply laugh and throw tampons at her while chanting 'Plug it up!' Gym teacher Rita Desjardin (Judy Greer) comes to Carrie's rescue and later reprimands her class for their despicable behavior. However, Chris defiantly resists Desjardin's disciplinary actions and is subsequently suspended and banned from attending prom. Meanwhile, Carrie's period coincides with her burgeoning telekinetic abilities. A remorseful Sue convinces her boyfriend Tommy Ross (Ansel Elgort) to take Carrie as his date to the prom. Although she is initially suspicious of his intentions, Carrie eventually agrees despite the protests of her mother. Feeling slighted, Chris and her boyfriend Billy Nolan (Alex Russell) decide to play a heinous prank on Carrie, setting in motion a series of tragic events.

Kimberly Peirce's "Carrie" won't be replacing De Palma's film as a modern-day horror classic but neither is it as terrible as the skeptics would have you believe. In fact, it's a very well-made picture, less a 'reimagining' as advertised and more akin to a 'cover version' of a popular song. Written by Roberto Aguirre-Sacasa (whose previous credits include the television show "Glee" and his year-long, eighteen-issue run on Marvel's Sensational Spider-Man), the script draws inspiration from both King's novel and the 1976 Lawrence D. Cohen screenplay, albeit filtered through a modern lens. However, the overall story remains largely the same, with the titular Carrie once again receiving her first menstrual period while showering in the girl's locker room and of course, exacting brutal revenge on her tormentors after being drenched with pig's blood on prom night. The more obvious changes are fairly minor at best, with Peirce capturing the current atmosphere of bullying by having Chris record Carrie as she cries for help on her phone and further humiliating the girl by uploading the video online. When confronted by Desjardin and Principal Morton (an enjoyably clueless Barry Shabaka Henley), she is quick to hide behind her rich, yuppie father (Hart Bochner). This lends a bit of nuance and detail to Chris' behavior, although the character's extreme callousness verges on being too over-the-top at times.

The major differences in Peirce's film lie under the hood and it starts with the chilling opening scene where Margaret writhes in bed, the sheets covered in patches of blood as she screams in agony. Peeking beneath her nightgown, she finds a baby and is prepared to kill it with a pair of scissors when she stops herself at the very last second. Margaret then cradles her newborn daughter. This image defines the disturbed and complex relationship that Carrie has with her mother, by far the strongest element in the film. Eschewing De Palma's lurid sensibilities in favor of a more grounded approach, Peirce depicts Margaret as someone who suffers from a sense of self-loathing, making her a pitiable figure rather than a broad caricature of a religious zealot. It is implied that she uses the Holy Bible as a way to hide her own guilt and shame, with a late scene where she reveals the circumstances of Carrie's conception supporting this. Despite Margaret's abusive tendencies, she is capable of genuine affection but its affection that's been twisted by her own mental instability and repression. This is a woman who feels ugly inside and she instills that same sense of worthlessness in her own daughter. It's the kind of psychological insight that can only come from a distinctly female perspective and is one of the few instances where Peirce succeeds in surpassing the original film.

The grand finale where Carrie unleashes the full force of her telekinetic powers is a horrifying yet also exhilarating spectacle. It may come off as a minor detail but the trigger that pushes her over the edge is actually not the act of getting doused in pig's blood but rather Tommy's fatal injury when the bucket falls on his head. Carrie rushes over to him in concern and it is only then that she turns her wrath toward the other students. Aided by CGI, Peirce certainly goes big and one gets the sense that Carrie is 'showing off' her powers in much the same way a performer on a live stage would. Even her body language and gestures become more graceful and dancer-like. She becomes the literal embodiment of wrath when she starts floating across the room, presiding over a Grand Guignol display of mayhem. The kills increase in their gruesomeness, from being trampled to having a face slashed to pieces after being shoved through a car window. As Walter Chaw writes in his own review on Film Freak Central, Carrie's display of her powers becomes 'expressionistic' and in its own disturbing way, a work of art that critic Matt Zoller Seitz best describes as '"Hellraiser" by way of Columbine.'

At the center of Peirce's film is sixteen-year-old Chloë Grace Moretz. Yes, she's naturally very pretty and the attempts to make her look homely, complete with a mop of unkempt hair, aren't all that successful but it's her performance that counts. It's a strong one as Moretz immediately earns our sympathy right from the very first scene, capturing Carrie's lack of self-worth and the constant fear she lives in. The actress' nervous and wide-eyed expression will definitely spark your protective instinct; you just want someone, anyone, to help this girl and it adds to the tragedy of the story. Moretz is matched with an equally strong Julianne Moore, who shifts from motherly affection to frightening religious zealotry with a natural ease. It's a role that can slip dangerously into caricature territory but like Moretz, Moore lends Margaret a tragic quality, a person who's just as lost as her own daughter. The rest of the cast is largely one-note, with Gabriella Wilde and Portia Doubleday delivering adequate performances that display slight glimmers of nuance while Ansel Elgort exudes a boyish, 'nice guy' charm. Finally, Judy Greer conveys a genuine warmth as gym teacher Rita Desjardin.

Released on October 18, 2013, "Carrie" has received lukewarm reviews with 51% on Rotten Tomatoes. Critics noted that it 'boasts a talented cast, but Kimberly Peirce's reimagining of Brian De Palma's…classic finds little new in the Stephen King novel—and feels woefully unnecessary.' Despite being the sole horror release of the month, the film is poised for a middling debut of only $15 to $17 million, enough for second place behind reigning champion "Gravity." The problem here is that "Carrie" leans more toward a teen drama with supernatural elements than a full-on horror film. It's not aiming to be scary but since Sony/Screen Gems is marketing it as 'horror,' audiences are expecting thrills and chills. Kimberly Peirce's "Carrie" is another remake that will fail to catch on with moviegoers but it's not because she made a bad film. Yes, it may hew too closely to De Palma's 1976 original yet the changes that Peirce does make are effective and stand as proof of the story's timelessness.

Final Rating: 3.5 out of 5

"The other kids, they think I'm weird. But I don't wanna be; I wanna be normal. I have to try and be a whole person before it's too late."

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Captain Phillips Review

Rated PG-13 (Sustained Intense Sequences of Menace, Some Violence with Bloody Images, and for Substance Use)

Running Time: 2 Hours & 14 Minutes

Cast-

Tom Hanks-Captain Richard Phillips

Catherine Keener-Andrea Phillips

Michael Chernus-Shane Murphy

Barkhad Abdi-Abduwali Abdukhadir Muse

Barkhad Abdirahman-Bilal

Faysal Ahmed-Najee

Mahat M. Ali-Elmi

David Warshofsky-Mike Perry

Corey Johnson-Ken Quinn

Chris Mulkey-John Cronan

Yul Vazquez-Captain Frank Castellano

Max Martini-SEAL Commander

Omar Berdouni-Nemo

Mohamed Ali-Asad

Issak Farah Samatar-Hufan

Directed by Paul Greengrass

Tom Hanks delivers his best performance since 2000's "Cast Away" in Paul Greengrass' intense thriller/docudrama "Captain Phillips."

Note: Screened on Thursday, September 12, 2013 at Regal Union Square Stadium 14.

Desperate men are the most dangerous men. When four Somali pirates, led by Abduwali Abdukhadir Muse, forcibly boarded the merchant vessel Maersk Alabama on April 8, 2009, their plan was to hold the ship for millions of dollars in ransom money but boiling down their motivations to pure simple greed means willingly ignoring the circumstances that drove them to commit such an act in the first place. Already decimated by civil war due to the collapse of its military dictatorship in 1991, Somalia was hit with an influx of illegal fishing at the same time. Tightened regulations from the EU forced foreign trawlers to seek new hunting grounds and with their livelihood now at stake, Somali fishermen decided to take up arms and hijack ships for ransom as a source of income. The involvement of local warlords, who were truly driven by greed, eventually transformed piracy into a lucrative and global criminal enterprise. These are facts that the media all too often 'conveniently' leave out because it's simply easier to paint men like Muse as violent thugs. Director Paul Greengrass' latest film, "Captain Phillips," could've taken the lazy route and demonized Muse and his men but fortunately, it doesn't. No one will dispute that their actions were wrong; however, they are also very much victims of circumstance. This well-rounded approach is just one of many things that Greengrass and writer Billy Ray get right in bringing the 2009 Maersk Alabama hijacking to the big screen. Aided by a powerful performance from Tom Hanks, "Captain Phillips" is a thoroughly absorbing, tense, and emotionally harrowing thriller/docudrama that will literally leave you breathless. At the risk of sounding like a broken record, this grueling real-life tale of survival also ranks as one of the best films of the year, with Hanks guaranteed an Academy Award nomination for Best Actor.

March 2009. Merchant mariner Captain Richard Phillips (Tom Hanks) wakes up at his home in Vermont and prepares for his latest assignment—a journey around the Horn of Africa. During the drive to the airport, Richard and his wife Andrea (Catherine Keener) ponder the future and wonder how to get their son Daniel to take school more seriously. Despite her husband's increasingly perilous job which keeps him away from home for months at a time, Andrea reaffirms that everything will turn out fine in the long run and says her good-byes. Meanwhile at Eyl, Somalia, Abduwali Abdukhadir Muse (Barkhad Abdi) is awakened with news that the local warlord is seeking to enlist men for piracy missions. Muse is chosen to lead a crew and handpicks Bilal (Barkhad Abdirahman), Elmi (Mahat M. Ali), and Najee (Faysal Ahmed) as his followers. As Muse and his men set out to hijack any foreign cargo ships that come their way, Phillips arrives at port in Salalah, Oman, where he takes command of the MV Maersk Alabama. Loaded with over 2400 tons of commercial cargo, food aid, and more, the ship disembarks and heads toward its destination, Mombasa, Kenya. The trip takes them through the Somali basin, prompting Phillips to order his first mate, Shane Murphy (Michael Chernus), to tighten security measures. In spite of the crew's best efforts, four Somali pirates, led by Muse, succeed in boarding the vessel in the hopes of collecting millions of dollars in ransom money. When that doesn't work out, Muse and his men flee in a lifeboat but not before taking Phillips as their hostage.

Adapted by writer Billy Ray from Richard Phillips' own book (A Captain's Duty: Somali Pirates, Navy SEALs, and Dangerous Days at Sea), "Captain Phillips" is a riveting docudrama from beginning-to-end, one that brings new meaning to the word 'nail-biter.' Much like Alfonso Cuarón's "Gravity," director Paul Greengrass strove to create a strong sense of verisimilitude in the production and he decided right from the start to shoot almost 75% of the picture on open water. Cuarón's biggest obstacle was accurately recreating the sensation of being in space and he accomplished this by using the latest technologies in a creative and innovative manner. For Greengrass, the challenge was logistical and I came away really impressed given the infamous difficulties of shooting at sea (Remember 1995's "Waterworld"?), an issue that would also be compounded by the extremely claustrophobic environments the film's crew had to work in. When it comes to depicting a real-life event with as much veracity as possible on the big screen, Greengrass is nearly unmatched. I would say his only equal is Kathryn Bigelow. The meticulous way he handles the material not only enhances the realness of what's happening on-screen in the eye of the viewer but heightens the drama as well. It's what made 2006's "United 93" a great film and it's the same reason for "Captain Phillips."

Basing your film on a true story, especially a recent one, has always been a risky endeavor because how it all ends is already known. Despite this disadvantage, Greengrass has managed to create a film that's immensely gripping and not once does the pacing ever drag. The opening minutes of "Captain Phillips" establishes the titular merchant mariner as a normal, everyday blue collar worker whose job unfortunately takes him away from his family a lot. The following scene introduces Muse, who is dressed in dirty rags and lives in squalid conditions in Eyl, Somalia. For him, piracy is the only type of work he can do, and its work that other poor Somalis are desperate to partake in. For these people, it's their livelihood. It doesn't take long for the Maersk Alabama to encounter the pirates, kicking the film into high gear. The intensity of this initial meeting has to be experienced, with Phillips ordering his chief engineer to 'goose' the ship's engines, churning out large waves in an attempt to disable the pirates' skiffs. To confuse them further, Phillips even engages in a clever bit of trickery by pretending to communicate with a Navy warship on his radio. However, these tactics only offer a brief respite as Muse and his men come barreling toward the cargo ship at full speed the very next morning. You know that they'll eventually board the vessel but the kinetic editing from Christopher Rouse, combined with Henry Jackman's moody score, create an edge-of-your-seat moment as Phillips desperately tries to deter the pirates using high-pressure hoses. Alas, they finally invade the ship. The tension slows to a simmering boil here, with Phillips and his crew thinking quickly on their feet and trying to outsmart Muse by using their knowledge of the ship's interiors to their advantage. The courage and heroism of the Maersk Alabama's crew is presented in a matter-of-fact manner. In their own eyes, they aren't even heroes; they were just doing their job and trying to survive a life-and-death situation.

The tension ratchets up again when Muse and his men forcibly take Phillips hostage and escape on a lifeboat. From there, it's a David vs. Goliath scenario as three Navy warships arrive on the scene, trailing the tiny ship and coordinating a rescue effort before one of the pirates harm or kills the captain. It's really a testament to Greengrass' skill that he's able to maintain this kind of slow-burn, claustrophobic tension for over an hour and the emotional release that comes at the end will assuredly leave many audience members on the verge of tears. While "Captain Phillips" is first and foremost a tale of survival, it's also a tale of desperate men committing desperate acts. Billy Ray's script goes to great lengths to humanize Muse and his men but make no mistake, it doesn't excuse their actions. It also presents a darker side to globalization, resulting in a world of deeply ingrained economic disparity that produces men like Muse. We may celebrate the might of the American military for defusing situations like this yet it fails to address the real heart of the problem. This is a cycle that's unfortunately doomed to continue in one form or another—the age-old battle of the haves of the global economy versus the have-nots.

As the titular Captain Phillips, Tom Hanks delivers an absolutely incredible performance; it's his best work since 2000's "Cast Away." The veteran actor exudes a commanding, no-nonsense presence and keeps his cool once the pirates take over the ship but there's always a palpable fear in his eyes, a fear that boils over during the film's emotionally-charged finale. It could've easily devolved into cheap sentimentalism yet Hanks remains completely authentic here, conveying a raw honesty within an Average Joe who was just smart enough to survive. Even more impressive is newcomer Barkhad Abdi as lead Somali pirate Muse. The realness in Abdi's performance goes beyond physical appearance, with the inexperienced actor exhibiting a range of emotions from ruthlessness, to desperation, to even regret. In spite of his menacing demeanor, Muse remains a very human character due to the way Abdi fully disappears into the role. To hold his own against a two-time Academy Award-winning actor is truly amazing and I'll even go so far as to say he deserves a Supporting Actor nomination. The other three pirates, played by first-timers Barkhad Abdirahman, Mahat M. Ali, and Faysal Ahmed, are great as well, if perhaps one-note. Only Abdirahman's Bilal comes closest to being as fully developed as Muse, playing a teenage Somali who's overwhelmed and ill-equipped to handle such an intense situation.

To be released on October 11, 2013, "Captain Phillips" has received positive reviews so far with 87% on Rotten Tomatoes. I saw the film ahead of its official premiere at the 51st New York Film Festival and security was incredibly tight. I felt like I was back at JFK airport and was fully ready to start emptying all my pockets! Greengrass has certainly crafted an excellent film but the bigger question remains: will people actually go see it? Sony's marketing campaign has been pretty aggressive so a weekend debut of $20 to $25 million isn't too far from the realm of possibility. From there, it'll have to rely on positive word-of-mouth and awards buzz to get to $100 million. Once again displaying a natural talent in bringing nail-biting drama to real-life events, Paul Greengrass' "Captain Phillips" grabs you in a vice grip from the beginning and doesn't let go until the very end. This is a meticulous, visceral film that's breathlessly told. As IGN's Matt Patches so eloquently puts it, this isn't 'so much a movie you watch as a movie you survive.'

Final Rating: 5 out of 5

"Look at me, look at me. I'm the captain now."

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Gravity 3D Review

Rated PG-13 (Intense Perilous Sequences, Some Disturbing Images and Brief Strong Language)

Running Time: 1 Hour & 30 Minutes

Cast-

Sandra Bullock-Dr. Ryan Stone

George Clooney-Matt Kowalski

Ed Harris (voice)-Mission Control

Orto Ignatiussen (voice)-Aningaaq

Phaldut Sharma (voice)-Shariff

Amy Warren (voice)-Explorer Captain

Basher Savage (voice)-Russian Space Station Captain

Directed by Alfonso Cuarón

Sandra Bullock delivers a career-best performance in Alfonso Cuaron's sci-fi masterpiece, "Gravity."

Note: At Regal E-Walk Stadium 13.

A person's greatest fear is to die alone. There are over 7 billion people on the planet but despite the rich complexity of our lives, the sum total of all our experiences will be nothing more than an infinitesimal footnote when cast against the cold, unending void of the cosmos. When we are gone, who will remember us? Mourn us? We are alone in the universe yet one thing remains certain: our lives are only worth living if we are willing to fight for it. Hollywood has made excellent films year in and year out but Alfonso Cuarón's "Gravity" easily trumps them all. Not since 1968's "2001: A Space Odyssey" has the experience of watching a film been this transformative. An unrelenting, revolutionary picture filled with breathtaking visual effects and immersive sound design, "Gravity" is a large-scale yet emotionally intimate tale of survival that powerfully reaffirms cinema as a transcendental art form. A thrilling technical marvel that is completely unmatched by its modern peers, Cuarón's film doesn't just rank as one of 2013's best but is also without a doubt a once-in-a-lifetime masterpiece.

NASA bio-medical engineer Dr. Ryan Stone (Sandra Bullock) is on her first voyage to space, where she diligently works to install a new scanning system on the Hubble Space Telescope while veteran astronaut Matt Kowalski (George Clooney) supervises. Set to retire after the mission's completion, Kowalski is enjoying the view as he zips around on his thruster pack, regaling his fellow astronauts and Mission Control (voice of Ed Harris) with cheesy jokes and reheated stories of his earthbound revelry. However, disaster strikes when a Russian satellite suddenly self-destructs, sending a storm of debris hurtling toward the telescope. The Space Shuttle Explorer is destroyed and the crew is instantly killed, with Stone separating from Kowalski in the ensuing chaos and flung into space. Unable to communicate with Mission Control and facing a dwindling oxygen supply, Stone is forced to rely on her own limited training if she is to survive and return home.

Against a black screen, the following words appear: 'At 600 km above planet Earth, the temperature fluctuates between +258 and -148 degrees Fahrenheit. There is nothing to carry sound. No air pressure. No oxygen. LIFE IN SPACE IS IMPOSSIBLE.' That last line is written to almost sound like a threat before the words disappear and we are treated to an image of our planet, looking peaceful and serene while it floats in the cold, empty void of space. Silence slowly gives way to indistinct radio chatter. A spot appears off to the right of the screen, along the orbital plane of the planet but it is too small to discern what it is at first. Closer it moves until the spot finally reveals itself to be an American space shuttle docked at the Hubble Space Telescope, with a small group of astronauts hovering just outside. All this is shown in the first fifteen minutes in a single, unbroken shot from Cuarón. It's an incredibly immersive moment, so beautiful and breathtaking in its majesty but what makes it so effective is the feeling it creates within the viewer. Cuarón has crafted a cinematic experience unlike any other and the level of verisimilitude he displays is virtually unmatched.

"Gravity" is a film that you have to see on the biggest screen possible (preferably IMAX) and in 3D because it loses much, if not all, of its power if viewed in conventional 2D. Hands down, this is the best 3D film since 2009's "Avatar" and last year's "Life of Pi." Too often, Hollywood has abused and wasted the technology as a gimmick to inflate their coffers but Cuarón proves how transformative the experience is when the extra dimension is applied with vision and purpose. The 3D and photorealistic CGI are all used in service to the story and to make you believe that you are in space, floating alongside Stone and Kowalski. Every image from cinematographer Emmanuel Lubezki is gorgeously realized and the sound design is on a whole other scale. To keep it as realistic as possible, Cuarón takes a page out of Stanley Kubrick's playbook by eliminating all sound in space, creating a much more terrifying atmosphere as destruction silently fills the screen, with only the whimpers and heavy breathing of our heroine to comfort us. Steven Price's throbbing score is a work of art on its own and perfectly complements the film. The 3D, the CGI, the cinematography, the sound, and the music all combine to create a sensory experience that is as immersive as it is innovative. Cuarón has set the technology bar that much higher.

What of the story in "Gravity"? It's a simple tale of survival but this description fails to do justice to the nuance in Cuarón's script (which was co-written with his son Jonás). The opening of the film finds Dr. Ryan Stone struggling to adjust to the zero-g environment of space while she installs a new scanning system on the Hubble Space Telescope, completely oblivious to the beauty surrounding her. Nearby, veteran astronaut Matt Kowalski is enjoying his last tour of duty before he retires while joking that he has a 'bad feeling' about the mission. His words prove to be prophetic when a wave of debris from a self-destructed Russian satellite strikes the telescope and sends Stone tumbling wildly off into outer space. It's an absolutely harrowing scene to watch as Cuarón's camera alternates between a first-person and a third-person view that slowly zooms in on Stone's eyes, which are caught in a state of unbridled terror. Kowalski manages to reconnect with Stone and as they begin the long trek toward the ISS, the bio-medical engineer reveals that she once had a daughter, a little girl who tragically lost her life due to a freak accident on a playground. When the one thing you love most is taken away from you, what reason do you have to live? It's a question that Stone grapples with as her situation continues to worsen and she slowly comes to realize that she will die alone and no one will miss her. However, her despair soon gives way to hope and drives home the point that "Gravity" isn't about avoiding death, it's about finding a reason to live because life only has meaning once you deem it is something worth fighting for. It is so easy to give up and give in to your own fear but Cuarón shows through Stone's journey that what defines and inspires us is our indomitable will to hold on, to persevere even when the odds are stacked against us.

There's no question that "Gravity" will go down as a major technical achievement but the real star of the show is Sandra Bullock. Her performance in the film is a career best and brims with a palpable raw honesty. The actress perfectly captures her character's inner struggle to move on from her debilitating grief while also trying to locate the strength and willpower to live. There's a moment where Stone suffers a breakdown and resigns herself to the fact that no one will mourn or miss her if she were to die. She realizes she is all alone as the enormity of where she is comes to bear on her. It's a heartbreaking scene, one that leaves me emotional just thinking about it. Making things even more difficult is the physical demands that Bullock's role requires and I have to say, I was impressed with the way she handled them, as well as her toned physique. In a supporting role is George Clooney, who's essentially riffing on his own real-life personality. The charismatic movie star brings a nice sense of levity that keeps the tone from being overbearingly grim. Finally, Ed Harris voices Mission Control, referencing his role in Ron Howard's 1995 historical docudrama "Apollo 13."

Premiering at the 70th Venice International Film Festival back in late-August and released on October 4, 2013, "Gravity" has received overwhelmingly positive reviews with 98% on Rotten Tomatoes. Critics hailed it as 'an eerie, tense sci-fi thriller that's masterfully directed and visually stunning.' Box office-wise, the film soared to a record-breaking $55.6 million and also marks the highest opening ever for both of its stars. Clooney is probably a lot happier now that 1997's "Batman & Robin" isn't his all-time best debut anymore, although when adjusted for inflation, "Gravity" still falls short by just $7 million. I think it's safe to say that Cuarón's film will sweep all the technical categories when the Academy Awards are held next year and Sandra Bullock is pretty much guaranteed a nomination for Best Actress, if not a win. Cuarón has truly outdone himself here as "Gravity" is a cinematic masterpiece through-and-through, the kind that only shows up once in a lifetime. This is "2001: A Space Odyssey" for the 21st century, and that's a claim I don't make lightly.

Final Rating: 5 out of 5

Matt Kowalski: Beautiful, don't you think?

Dr. Ryan Stone: What?

Matt Kowalski: The sunrise…terrific.

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Runner, Runner Review

Rated R (Language and Some Sexual Content)

Running Time: 1 Hour & 31 Minutes

Cast-

Justin Timberlake-Richie Furst

Ben Affleck-Ivan Block

Gemma Arterton-Rebecca Shafran

Anthony Mackie-FBI Agent Shavers

John Heard-Harry Furst

Michael Esper-Billy 'Pet' Petricoff

Oliver Cooper-Andrew Cronin

Christian George-Wilson

Yul Vazquez-Delegate Herrera

James Molina-Esteban

Louis Lombardi-Archie

Vincent Laresca-Sergeant Barrancas

Sam Palladio-Shecky

Bob Gunton-Dean Alex Monroe

David Costabile-Professor Horstein

Directed by Brad Furman

"Wait a minute, so you're actually Batman?"

Note: Screened on Wednesday, October 2, 2013 at AMC Empire 25.

Do people even gamble online anymore? Last time I checked, it was illegal as per the 'Unlawful Internet Gambling Enforcement Act of 2006,' a measure that was hastily tacked on to the SAFE Port Act (which regulated port security) at the last minute and signed into law by then-President George W. Bush seven years ago but according to Brad Furman's latest film, "Runner, Runner," it's currently a raging epidemic on college campuses. Perhaps it's set before 2006. Then again, it doesn't even matter what year it takes place in given how bland and by-the-numbers this film is. The only saving grace is the timely casting, with lead actor Justin Timberlake coming off of two blockbuster album releases ("The 20/20 Experience" 1 and 2) and his co-star Ben Affleck recently cast as the latest Bruce Wayne/Batman in the 2015 "Man of Steel" sequel, tentatively titled "Batman vs. Superman." Other than that, "Runner, Runner" doesn't have much to offer besides a brief ninety running time. There are some nifty visual flourishes and the premise has potential but Furman fails to capitalize on it, resulting in a generically-made crime thriller that generates little in the way of suspense and is instantly forgettable despite its impeccable cast.

With his career on Wall Street stalling in the midst of the 2008 meltdown, Ritchie Furst (Justin Timberlake) decides to return to New Jersey's Princeton University in order to pursue his master's degree in finance. He pays for his ever-increasing tuition bills by working as a recruiter for online gambling sites, enticing fellow students and even professors to sign up and drain away their life savings. When the school's dean, Alex Monroe (Bob Gunton), gets wind of this, he threatens the smooth-talking student with expulsion. Already heavily in debt, Ritchie decides to risk everything he has in his bank account on a round of virtual poker but loses…badly. He immediately suspects that someone cheated him, with his suspicions confirmed when a computer expert on campus reveals that the winner had the odds to win four lotteries in a row. To get his money back, Ritchie flies down to Costa Rica to confront the website's multi-millionaire owner, Ivan Block (Ben Affleck). An impressed Ivan offers Ritchie a full refund and a position within his company as well. Quitting school on the spot, Ritchie becomes Block's trusted protégé and is quickly drawn into a world of easy money, fast cars, and loose women while also falling in love with Rebecca Shafran (Gemma Arterton), Ivan's former girlfriend-turned-business advisor. However, the young man soon finds himself in way over his head when an FBI agent named Shavers (Anthony Mackie) comes knocking on his door and reveals that the online gambling magnate is a fraud. Ritchie must now try to outsmart Ivan if he is to escape unscathed.

Back in 1998, writers Brian Koppelman and David Levien explored the underground world of high-stakes poker in the cult hit "Rounders," so a film set against the backdrop of online gambling isn't that far removed from their wheelhouse. Unfortunately, the script they've come up with for "Runner, Runner" is utterly forgettable, and pretty much goes in one ear and out the other. Given its subject matter revolves around a game of risk, its rather ironic to see the story here play it safe. Every plot point is telegraphed well in advance and the whole affair is just so predictable that it saps what little suspense it has. The film's problems don't end there, however, with the dialogue often coming off as too trite to be taken seriously thanks to such gems like 'you're either bred for it, or you bleed for it.' It also tries to come off as sophisticated by throwing around a bunch of complicated poker and mathematical terms (short-term variance, standard deviation) but doesn't display a clue as to what they actually mean. Hell, even the jokes are groan-inducing. Ivan Block calls his luxury yacht 'The House' because 'the house always wins.' I bet Koppelman and Levien thought they were real clever when they came up with that line.

The biggest issue with "Runner, Runner" is that it's morally confused. Apparently, we're supposed to root for Ritchie yet how can we when it's plainly obvious that Ivan is a shady character to begin with. What's even more puzzling is that Ritchie seems perfectly content with doing whatever Ivan asks of him, making his change-of-heart midway through the film jarring to say the least. The fact that he had to resort to blackmail in order to get a client to sell to Block is already a red flag but Ritchie remains completely oblivious. By the time he's forced to 'do the right thing,' it's simply out of self-preservation. The film tries to raise the emotional stakes by having Ivan tighten his grip on Ritchie by buying his father's (John Heard) debt but there's never a sense that they're in any danger due to the awfully restrained, PG-13 violence. When Ritchie is beaten up by a couple of thugs, he looks no worse for the wear besides a tiny scratch on his face. Ivan, who twirls his invisible mustache like a cheesy Bond villain, has his own posse of grunts but favors throwing people who cross him into a crocodile-infested den over blunt force. I was half expecting him to reveal that he has a giant laser orbiting the planet! A perfunctory romance is thrown in and the script lamely positions Ivan as being no different to those who work on Wall Street yet all this fails to add much to a film that's already going nowhere. Furman does add some stylistic flourishes, placing the camera on Ritchie's face as he slowly looks around in awe and takes in the glitz and glamour of the world Ivan lives in. Other than that, "Runner, Runner" just blandly goes through the motions.

Justin Timberlake may sell millions of music albums around the world but his acting skills definitely need some refinement. While he showed promise in 2010's "The Social Network" and managed to land a few solid laughs in 2011's "Bad Teacher," the singer never feels entirely comfortable with the material he's given here and comes across as overly earnest at times. The man does have an inherent likability when placed in front of a camera. However, I feel his talents are better suited for supporting or comedic roles. As the smarmy Ivan Block, Ben Affleck is fine yet one can detect a slight hint of boredom with his half-hearted performance. The future Batman actor just doesn't drum up the necessary amount of malice to make the character truly menacing. Failing to add anything to the film's plot is Gemma Arterton. She's a beautiful actress and the wardrobe that's provided for her drives home this fact but all she does is smile and pout while batting her eyes at Timberlake. The two have about as much chemistry as two rocks, leaving the romance aspect limp and frankly, a waste of time. Anthony Mackie also pops in for a couple of scenes, screaming and shouting his way through the picture as an FBI agent hell-bent on nailing Block.

Released on October 4, 2013, "Runner, Runner" has received overwhelmingly negative reviews with a mere 9% on Rotten Tomatoes. Critics noted that 'it has an impressive cast and an intriguing premise, but [the film] wastes them on a bland, haphazardly assembled thriller with very little payoff.' Competing against Alfonso Cuarón's critically-acclaimed sci-fi drama "Gravity," the box office prospects for Furman's picture appear low, with 20th Century Fox estimating a debut of only $10 to $12 million. That's disappointing given the star power behind the film. The equivalent of a shrug, "Runner, Runner" isn't one of the worst films of the year but it's just so bland and generic, with a script that's completely absent of any danger or moral complexity. A royal flush it isn't.

Final Rating: 2 out of 5

"This is your job. You want a clear conscience, go start a charity. But if you want your own island and your boss says you gotta go out there and take a beating, you go out there, take it and come back to work and say, 'Do you need me to do it again?!'"

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