Cloudy with a Chance of Meatballs 2 Review

Rated PG (Mild Rude Humor)

Running Time: 1 Hour & 35 Minutes

Cast (voice)-

Bill Hader-Flint Lockwood

Anna Faris-Samantha 'Sam' Sparks

James Caan-Tim Lockwood

Terry Crews-Officer Earl Devereaux

Andy Samberg-Brent McHale

Benjamin Bratt-Manny

Neil Patrick Harris-Steve the Monkey

Will Forte-Chester V

Kristen Schaal-Barb the Orangutan

Cody Cameron-Barry the Strawberry/Dill Pickle

Melissa Sturm-Sentinel Louise/Live Corp Scientist

Kris Pearn-Sentinel Peter/Lab-coat Jenny

Craig Kellman-Fintly McCallahan/Idea Pants Guy

Khamani Griffin-Cal Devereaux

Bridget Hoffman-Young Flint Lockwood

Directed by Cody Cameron and Kris Pearn

Is it weird that I find Sam Sparks attractive? Must be the glasses.

Note: Screened on Saturday, September 21, 2013 at the Sony Wonder Technology Lab. Strangely, the film was not shown in 3D.

Before "The Smurfs" came along and racked up half a billion dollars worldwide, 2009's "Cloudy with a Chance of Meatballs" was the closest thing Sony Pictures Animation had to a bona-fide hit. Founded in May 2002, the studio made its feature-length debut in 2006 with "Open Season," which went on to gross a respectable $197.3 million worldwide despite mixed reviews. 2007's "Surf's Up" fared better with critics thanks to the story's mockumentary approach but it disappointed at the domestic box office as its release followed a string of films that also happened to feature penguins. Then came Phil Lord and Chris Miller's "Cloudy with a Chance of Meatballs," a loose adaptation of the beloved 1978 children's book of the same name by Judi and Ron Barrett. The fledgling animation studio finally achieved the critical acclaim that had eluded them since its inception as the film received highly enthusiastic reviews (87% on Rotten Tomatoes) and earned over $240 million worldwide. Sure, these results didn't measure up to the likes of Pixar and DreamWorks Animation but nonetheless, it proved that Sony had a few good tricks up its sleeve. Four years later, we have the obligatory sequel, "Cloudy with a Chance of Meatballs 2," based on an original idea rather than the Barrett's follow-up book, 2000's Pickles to Pittsburgh. Lord and Miller, who are currently hard at work on "The Lego Movie" and "22 Jump Street" (both set to be released next year), are serving as executive producers this time around. Fortunately, the switch to new directors Cody Cameron and Kris Pearn is relatively seamless and kids won't even notice the change. It doesn't break any new ground as far as story-telling goes but "Cloudy with a Chance of Meatballs 2" remains a visual delight that's backed up by the series' trademark quirky humor and energetic voice acting.

All his life, Flint Lockwood (Bill Hader) aspired to be a great inventor but despite his best intentions and creative ingenuity, all the devices he creates end up being complete disasters. When the small island town of Swallow Falls, located in the middle of the Atlantic Ocean, suffers a food shortage due to the local sardine cannery closing down, Flint creates a device called the 'Flint Lockwood Diatonic Super Mutating Dynamic Food Replicator' (or FLDSMDFR for short) to solve the problem. The machine transforms plain old water into any kind of food a person would want but the townspeople's endless requests lead to the food to 'over-mutate' and gain sentience. Flint, with the help of brilliant weather intern Samantha 'Sam' Sparks (Anna Faris), manage to stop the FLDSMDFR at the last minute and save the townspeople. However, the citizens of Swallow Falls are forced to leave the island due to the devastation caused by the 'food storm.' Flint's childhood hero and head of LIVE Corp, Chester V (Will Forte), offers to clean-up the island and even extends an invitation to the clumsy inventor to join his company. The tech mogul relocates every citizen to 'San Franjosé' while his workers secretly try to find the FLDSMDFR, which Chester hopes to use for his own personal gain. When LIVE Corp's team suddenly goes missing, Chester reveals to Flint that the FLDSMDFR is still operational and is producing strange food-animal hybrids dubbed 'foodimals.' Flint and his friends return to Swallow Falls to try and shut down the device once and for all but are unaware that they are being manipulated by Chester.

Like most sequels, "Cloudy with a Chance of Meatballs 2" embraces a 'bigger is better' mentality, especially with its over-the-top, food-themed creature design. The script from John Francis Daley, Jonathan Goldstein, and Erica Rivinoja isn't the most inspired and treads some well-worn territory but it makes up for its shortcomings with a cavalcade of hilarious gags, which are perfectly complemented by the film's zany visuals. A brief recap handily brings viewers up to speed before the sequel dives right into the story, picking up mere minutes after the devastating 'food storm' wreaked havoc on Swallow Falls. Although Flint is hailed as a hero, his hometown is now covered in messy leftovers. Enter Chester V, who bears such an uncanny resemblance to the late-Steve Jobs that it can't just be mere coincidence. Moving like his body is made entirely of rubber, the goateed tech guru's chief claim to fame is the revolutionary 'food bar,' which is about to enter its eighth iteration even though it looks exactly like the previous versions, just with a new number slapped on the wrapping (like the iPhone). The original "Cloudy with a Chance of Meatballs" had a manic energy to it, a trait that directors Cameron and Pearn wisely retain as Flint finds himself working at his dream job with LIVE Corp, a delightfully silly environment whose building is shaped like a giant light bulb. It's obviously poking fun at the gee-whiz corporate culture of Google, with the employees constantly over-caffeinated in order to come up with new inventions. Some of the devices that come out of this place are just plain wacky, such as a zero-emission car that 'runs on cute.' It's ridiculous but the fact that it wholeheartedly embraces its inherent goofiness is what makes "Cloudy with a Chance of Meatballs 2" so fun to watch.

The sequel takes a page out of Steven Spielberg's "Jurassic Park" films when Flint and his friends return to an overgrown Swallow Falls that is now teeming with food-based wildlife. Among the 'foodimals' they encounter are the 'Double Bacon Cheespider,' who ensnares its targets by shooting webbing made out of cheese and has sesame seeds for eyes, and a vicious 'Tacodile Supreme' but the one that leaves the most memorable impression is Barry, a wide-eyed strawberry that will have audiences going 'aww' with its adorable gibberish. Flint's reaction to it is absolutely priceless as well. The numerous food puns aren't terribly imaginative ('There's a leek in my boat!') but you can't deny that some of the creature designs are rather clever, such as the 'Susheep' and 'Mosquitoasts,' who reside in a swamp made up of syrup with pancake lily pads, because where else would they be? There's also plenty of subtle adult humor, with one example being the 'BS-USB' that Chester gives to Flint to shut down the FLDSMDFR. If there's a weak link in the comedy, it's Brent McHale. The sight of him running around in a chicken suit has already played itself out and all he does is say his 'Uh oh!' catchphrase while tripping over himself. Most of the voice cast from the first film, which includes Bill Hader and Anna Faris, as well as a 'lot of other people,' has returned to reprise their roles (Terry Crews replaces Mr. T for Earl). The sheer level of enthusiasm that they exhibit through their voice-work is infectious. Yes, its plot is largely inconsequential (it's a contrived reaffirmation of the importance of friendship) but that's okay since there's never a dull moment in "Cloudy with a Chance of Meatballs 2." I mean, how can you hate a film that has kawaii-style marshmallows?

Released on September 27, 2013, "Cloudy with a Chance of Meatballs 2" has received positive reviews, although it's not as acclaimed compared to the original with 64% on Rotten Tomatoes. Critics noted that it wasn't 'as clever or inventive as its predecessor [but the film] compensates with enough dazzling visuals to keep younger viewers entertained.' Despite the overly crowded weekend, the animated sequel is poised to earn over $40 million thanks to an effective marketing campaign from Sony and the good-will generated by the first film four years ago. The story in "Cloudy with a Chance of Meatballs 2" is formulaic and mines well-worn territory in regards to its themes but the film still manages to be a lot of fun as it gleefully revels in its inherent silliness.

Final Rating: 4 out of 5

Flint Lockwood: Sam, it's going to be deadly dangerous with a good chance of death.

Sam Sparks: And that's why we'll need help!

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Don Jon Review

Rated R (Strong Graphic Sexual Material and Dialogue Throughout, Nudity, Language and Some Drug Use)

Running Time: 1 Hour & 30 Minutes

Cast-

Joseph Gordon-Levitt-Jon 'Don Jon' Martello, Jr.

Scarlett Johansson-Barbara Sugarman

Julianne Moore-Esther

Tony Danza-Jon Martello, Sr.

Glenne Headly-Angela Martello

Brie Larson-Monica Martello

Rob Brown-Bobby

Jeremy Luke-Danny

Italia Ricci-Gina

Lindsey Broad-Lauren

Amanda Perez-Lisa

Sloane Avery-Patricia

Paul Ben-Victor-Priest

Directed by Joseph Gordon-Levitt

Now there's a woman that I will never, ever be able to date.

Note: Screened on Thursday, August 29, 2013 at AMC Empire 25.

Hey, I'm going to tell you all a little secret: I…watch…PORN! Of course, this shouldn't come as a total surprise considering the fact that I am a guy but what's curious is that most men (as well as some women) would prefer to lie and say they don't watch any porn rather than admit to it when confronted. There's always been a stigma attached to people who view pornography and it's not uncommon for some to feel ashamed or guilty about it. Perennial womanizer Jon Martello, however, has the exact opposite reaction. He's proud of the fact that he spends all his free-time glued to his laptop at home while browsing PornHub for that one special clip. Hell, the man has even ritualized his porn-viewing habits and doesn't lift a finger to his penis until he finds the 'right' video to masturbate to. Played by Joseph Gordon-Levitt, the character of Jon Martello marks a departure from the more dramatic roles that audiences are used to seeing him in. A former child/television actor who successfully transitioned to the big screen and is now one of Hollywood's most popular leading men, Levitt is taking his career to the next level with the raunchy romantic comedy "Don Jon," a film that he not only stars in but also wrote and directed. Wearing so many hats on your first film project is no doubt a risky endeavor yet Levitt proves himself up to the task despite his novice status behind the camera. Although its subject matter may not be for everyone, "Don Jon" manages to impress with its funny, sincere, and insightful look into the way men and women perceive love and relationships in today's media-saturated culture of objectification.

New Jersey native Jon Martello (Joseph Gordon-Levitt) is a modern-day 'Don Juan' who impresses his friends every weekend with his ability to pick up gorgeous women, or '10s,' without fail. However, the sex, while fun in its own way, is never as satisfying compared to the awe-inspiring euphoria he feels while masturbating to porn. Jon's life is turned upside down when he meets blonde bombshell Barbara Sugarman (Scarlett Johansson), a '10' who's looking for her 'Prince Charming' instead of a throwaway one-night stand. The buff guido immediately falls hard for her and challenges himself to behave like a gentleman in the hopes that it'll pay off in the end with some great sex. Unfortunately, entering into a committed relationship leads to his masturbation schedule getting screwed up, forcing Jon to get his porn fix during his night class at the local community college. While there, he meets Esther (Julianne Moore), a middle-aged woman struggling with her own emotional issues. Jon's experiences with Barbara and Esther forces him to confront his addiction to porn and come to terms with his own sexual unhappiness.

Look, let's not kid ourselves here—we've all viewed porn at one point or another (some more than others) and although "Don Jon" does take the stance that it's detrimental to your relationships, the film wisely avoids becoming a preachy morality lecture. The script's attitude towards pornography is that it isn't so bad when indulged once in a while but when we meet buff Italian American Jon Martello, he's not watching 'once in a while.' Heck, the guy masturbates almost seventeen to thirty times a week! As he explains via voiceover during the film's humorous opening, Jon adheres to a very strict regimen when it comes to his masturbation habits. To get himself 'in the mood,' he first looks at some pictures of naked women and only once he's sufficiently aroused, both mentally and physically, does he log onto PornHub. Of course, a random clip isn't good enough for him; he has to find the 'right' one before even touching his penis. When that happens, Jon literally goes into a state of nirvana and 'loses himself.' After he climaxes, he tosses his semen-stained tissue in the trashcan and repeats. To Jon, there's nothing better than beating his meat while watching a big-breasted woman get the living daylights banged out of her.

Levitt quickly establishes a sharp and witty tongue-in-cheek tone and although "Don Jon" is billed as a romantic comedy, it's also a drama that tackles some very serious themes regarding the way men and women relate to one another in today's world where the media objectifies everything. Jon is able to get a beautiful girl to sleep with him with simply one look (there's also some dance-floor grinding involved) so why even bother with porn? He views the acts depicted in porn as the way people should have sex but repeatedly comes away disappointed when all the women just want to get f*cked in the missionary position and 'look into his eyes' as he does it. There's a certain irony to this because in almost every love scene in a mainstream Hollywood film, that's the way the characters on-screen have sex. "Don Jon" isn't criticizing porn, its criticizing media as a whole for skewing the minds of men and women and their expectations of love and sex. For Levitt, an innocent romantic comedy is just as bad as porn; it sells a fantasy of what romance should be in the same way porn sells a fantasy of what sex should be.

As mentioned earlier, Jon's world is turned upside down when he encounters Barbara Sugarman at the nightclub he frequents. To him, she's the perfect '10,' a 'dime piece,' and so, he wants to nail her. Except she's not that type of gal. Barbara wants to be wooed and swept off her feet by her 'Prince Charming,' which forces Jon to play the 'long game.' He takes her to the movies, ingratiates himself with her friends, and even starts attending night school at her suggestion! Unfortunately, it all comes crashing down when she catches him rubbing one out one night in front of his laptop. Now, Barbara asking Jon to give up porn isn't an unusual request but then you take into account that he's a huge egomaniac who objectifies everything he lays eyes on. This begs the question: his extreme narcissism and materialism isn't a problem but porn is? Levitt also places subtle cues that Barbara is trying to change or 'fix' him, which wouldn't be so bad yet it's just as manipulative as what he's doing. Jon is only behaving like a gentleman and doing everything she says in order to get in her pants and at the same time, Barbara is using the promise of sex to get him to do whatever she wants. It's a situation where like attracts like. The appearance of Esther is when Jon starts to re-evaluate his life and its here that "Don Jon" stumbles a little by being a bit too on the nose with the overall message. Thankfully, it's only a minor issue and Levitt restrains himself enough to let the main theme come about organically rather than bluntly shoving it down our throats.

This is Joseph Gordon-Levitt as you've never seen him before: an overcompensating, buffed-up guido with way too much product in his hair. It's easy for a ridiculous character like Jon Martello to slip into a parody of 'The Situation' from "Jersey Shore" but Levitt manages to lend him enough depth and charm to make him relatable. In addition, the actor cleverly weaves a personality that's full of contradictions. This is someone who has sex with a different woman every weekend and masturbates almost every hour of every day yet Jon is also a devout Catholic who attends church with his family. These traits might seem contrary to the character but it's the way he uses his religion to justify his bad habits, believing that confession and the number of Hail Mary's he says will absolve him of his vices. Scarlett Johansson is absolutely beautiful here (as always) and it's clear that she's having a lot of fun portraying a gum-smacking New Jersey woman who isn't afraid of using her looks to ensnare sex-obsessed men like Jon. Julianne Moore is great as well with her warm and sympathetic performance as the refreshingly non-judgmental Esther. Rounding out the cast is Glenne Headly, Brie Larson, and a hilarious, scene-stealing Tony Danza as Jon Sr., who screams and shouts at his family and the television in his wife-beater while the veins are literally bulging out of his neck. I have to say, Danza's reaction to Barbara's beauty was priceless!

Premiering at the Sundance Film Festival back in January, "Don Jon" is set to be released on September 27, 2013. Reviews have so far been positive with a solid 80% on Rotten Tomatoes. However, the true test will be at the box office as the biggest barrier for mainstream audiences will be the premise. I feel like couples who go see this film will end up getting the wrong impression and mistakenly believe that it's singling out porn as the problem in all relationships. I sure hope this isn't the case and that people who do go see it will be inspired to really think about how the media influences the way men and women relate to one another from a romantic perspective. First-timers always suck (and that goes for anything, not just sex) but Joseph Gordon-Levitt handles his new screenwriting and directorial duties like an old pro. Humorous and poignant, "Don Jon" isn't a genre-bending revelation yet it's a film that's crafted with obvious passion and backed up by three great performances. If you're turned off by Hollywood's constant regurgitation of the same romance clichés, this is the film for you. By the way, Levitt makes sure that you will never hear the Mac startup chime the same way ever again.

Final Rating: 4 out of 5

"There's only a few things I really care about in life: my body, my pad, my ride, my family, my church, my boys, my girls, and my PORN."

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After Earth Review

Rated PG-13 (Sci-Fi Action Violence and Some Disturbing Images)

Running Time: 1 Hour & 40 Minutes

Cast-

Will Smith-Cypher Raige

Jaden Smith-Kitai Raige

Sophie Okonedo-Faia Raige

Zoë Isabella Kravitz-Senshi Raige

Glenn Morshower-Commander Velan

David Denman-Private McQuarrie

Sacha Dhawan-Hesper Pilot

Chris Geere-Hesper Navigator

Directed by M. Night Shyamalan

Jaden Smith stars in "After Earth," the first of summer 2013's box office flops.

Note: I missed the advance screening so I'm making up for it now.

A few days ago, fifteen-year-old Jaden Smith decided to go on a little anti-education rant and encouraged his 4.6 million followers on Twitter to drop out of school because according to him, it was a 'tool to brainwash the youth.' Considering how badly "After Earth" flopped both critically and financially, the last thing Jaden should be doing is give advice regarding one's educational pursuits. Released back in May, the sci-fi action/adventure film was conceived from the ground up by Jaden's father, megastar Will Smith, but why the hell did he pick M. Night Shyamalan to direct?! Did the actor not see 2008's "The Happening" (the one where Mark Wahlberg started talking to plastic trees) and 2010's horrid adaptation of "The Last Airbender"? The sight of Shyamalan's name emblazoned on a movie poster used to be a guaranteed sign of quality but then came 2004's "The Village," a creepy yet ultimately misguided drama/psychological thriller about a group of people who willingly sealed themselves off from the modern world. Each successive film that followed grew progressively worse and it's gotten to the point where Columbia Pictures has to deliberately hide the director's name while marketing "After Earth." Given all the bad press that Shyamalan has received in the past seven years, I'm frankly amazed that he's still getting work on big-budget studio projects. For fans still holding out hope that "The Sixth Sense" director will eventually regain his mojo, you might as well move on because "After Earth" is a disaster from start to finish, a tediously dull and plodding piece of science fiction that's let down by unengaging performances and self-indulgent, soapbox sermonizing.

A thousand years ago, an environmental cataclysm forced humanity to abandon their home planet of Earth and take to the stars. The survivors eventually settled on an arid world they dubbed 'Nova Prime' but a hostile alien species, the S'krell, was in the process of conquering the planet. They unleashed a race of monstrous predators called 'Ursas' to hunt the humans toward extinction, using their uncanny ability to sense fear to locate their prey. Hope arrived in the form of the United Ranger Corps, whose prime commander, Cypher Raige (Will Smith), developed the ability to suppress his fear and literally become invisible to the Ursas. This technique was called 'ghosting.' Cypher's thirteen-year-old son, Kitai (Jaden Smith) aspires to be a ranger like his father but fails to advance to the next level when his instructor reveals that he collapses under pressure. Encouraged by his wife Faia (Sophie Okonedo), Cypher decides to take his son along on his last mission in an effort to bond. However, their spacecraft runs into an asteroid shower and crash-lands on a nearby planet. With both of his legs broken, Cypher instructs his son to retrieve a distress beacon from the other half of the ship, 100 kilometers away. He reveals to Kitai that the planet they're on is Earth, and that every animal has evolved to kill humans.

'What is up with the weird accents?' That was the first thought running through my mind during Kitai Raige's opening narration in "After Earth." Not only is it distracting and off-putting to listen to, but it forces the actors to awkwardly enunciate every word while sounding like HAL from "2001: A Space Odyssey." The film immediately starts off on the wrong foot with a needless flash-forward to an injured Kitai on Earth before it dives into a messy prologue that dumps a huge amount of information on the audience's lap. In a matter of minutes, we learn about humanity's flight from a polluted Earth, their eventual settlement on Nova Prime, the rise of the Ursa, and the discovery of 'ghosting' but the scenes feel poorly cobbled together, as if they were culled from the cutting room floor at the very last minute. Developed by Will Smith and written by Shyamalan (with an assist from Gary Whitta, whose previous credits include 2010's "The Book of Eli"), "After Earth" contains a kernel of a good idea. Unfortunately, the sci-fi world presented here raises more questions the more you think about it. Despite the fact that humanity has mastered interstellar travel, they're still fighting with metal sticks. Sure, the double-bladed 'cutlass' looks cool on-screen yet it's mind-boggling why the Rangers don't just use a gun to fight the Ursas. Also, if the creatures can track its prey through the 'scent' of fear, couldn't the Rangers wear special airtight suits or let advanced robotic drones do the heavy-lifting since they're 'technically blind?' It doesn't seem like Shyamalan thought the whole concept through. Sure, the 'Survival Manual' or the 300-page bible that the writers created probably might've clear up all these inconsistencies but I shouldn't have to read or buy a tie-in book in order to make sense of a film.

Once the ship crash-lands on Earth, the film devolves into tedium as it plods along, unable to muster any palpable sense of danger or excitement due to the slack pacing. The only notable set-piece is when Kitai skydives off a mountain cliff while being chased by a giant condor. At least Shyamalan continues to have a good eye for visuals with its vision of a wild Earth reclaimed by Mother Nature, which compensates for the dated CG effects and derivative creature designs. Plot-wise, "After Earth" runs into another roadblock as it turns a simple sci-fi coming-of-age tale into a self-important and overly preachy soap opera. Gabe Toro perfectly sums it up in his own review with the following line: 'it feels less like father and son, and more like a young boy listening to an inspirational audiobook.' The stories in many of Shyamalan's films have always been allegorical in nature but he takes this to an extreme degree here by being too literal with Kitai's personal journey. Just to hammer the point home, the director has the condor inexplicably rescue him even though the creature was trying to eat the boy before. It's obviously meant to symbolize a parent protecting its offspring but its inclusion goes against what the film established—that everything on Earth has evolved to kill humans. The concept of having a boy struggling to live up to his father's expectations while facing a sudden trial by fire is a sound idea. However, the execution is all wrong and it's hard to emotionally invest in these characters when the dialogue consists of banal platitudes like 'he doesn't need a commanding officer; he needs a father.'

"After Earth" is largely a two-person show as evidenced by the poster. While Jaden Smith managed to do a fine job in 2010's "The Karate Kid," his performance here leaves much to be desired. He just doesn't have the physicality to pull off a lead role in a big-budget film like this and comes across as a whiny brat whenever the scene calls for him to show emotion. Will Smith doesn't fare any better either as the script completely strips the actor of his trademark charisma and replaces it with a stodgy demeanor that's devoid of any personality whatsoever. Worse, he's confined to a single location for almost the entirety of the picture. Sophie Okonedo and Zoë Isabella Kravitz make the most of their limited roles but it's clear the film was run through with a chainsaw in the editing room as Isabelle Fuhrman, who was previously third billed, is reduced to a wordless, one-second cameo.

Released on May 31, 2013, "After Earth" has received overwhelmingly negative reviews with a paltry 11% on Rotten Tomatoes. Critics labeled it as a 'dull, ploddingly paced exercise in sentimental sci-fi—and the latest setback for director M. Night Shyamalan's once-promising career.' Despite the star power of Will Smith, the film flopped at the domestic box office and grossed only $60.5 million. Foreign ticket sales, totaling $183.1 million, probably allowed Sony to recoup its losses but I highly doubt the studio will move forward with a sequel given its vitriolic reception from critics and moviegoers. "After Earth" may not be quite the disaster that "The Last Airbender" was but then again, that isn't saying much, is it?

Final Rating: 1.5 out of 5

"Now do not misunderstand me. Danger is very real, but fear is a choice."

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Rush Review

Rated R (Sexual Content, Nudity, Language, Some Disturbing Images and Brief Drug Use)

Running Time: 2 Hours & 3 Minutes

Cast-

Chris Hemsworth-James Hunt

Daniel Brühl-Niki Lauda

Olivia Wilde-Suzy Miller

Alexandra Maria Lara-Marlene Knaus

Pierfrancesco Favino-Clay Regazzoni

Christian McKay-Alexander Hesketh

Natalie Dormer-Gemma

Patrick Baladi-John Hogan

Colin Stinton-Teddy Mayer

Alessandro De Marco-Daniele Audetto

Ilario Calvo-Luca Cordero di Montezemolo

Tom Wlaschiha-Harald Ertl

Kristofer Dayne-Mario Andretti

Alistair Petrie-Stirling Moss

Cristian Solimeno-Arturo Merzario

James Norton-Guy Edwards

Akira Koieyama-Noritake Takahara

Robert Christopher Austin-Brett Lunger

Robert Finlay-Gunnar Nilsson

Zack Eisaku Niizato-Masahiro Hasemi

Butchy Davy-John Watson

Cris Penfold-Jochen Mas

Roddy Button-Michael Parkinson

Directed by Ron Howard

James Hunt and Niki Lauda's rivalry in Formula One racing captured the imagination of the entire world.

Note: Screened on Tuesday, September 10, 2013 at AMC Loews 34th Street 14.

Just one wrong move. In the dangerous world of Formula One racing, that's all it takes to lose your life. 'Twenty-five people start Formula One, and each year, two die. What kind of person does a job like this?' Yes, what kind of person would willingly strap themselves into a fiberglass coffin surrounded by high-octane fuel and drive around a winding racetrack at unimaginable speeds where the slightest mistake can permanently end your life? 'Rebels, lunatics and dreamers…the kind of people who want to make their mark on the world and are prepared to die making that mark,' that's who. During the 1976 Formula One season, the intense rivalry between British playboy James Hunt and staid Austrian Niki Lauda captured the imagination of racing fans around the world, and now it's the subject of Ron Howard's latest film, "Rush." It's no secret that Howard's recent output has been underwhelming to say the least. For every masterpiece like 2008's "Frost/Nixon," there are one or two duds like 2009's bloated "Angels & Demons" and 2011's puzzling romantic comedy "The Dilemma." Making matters worse is the genre that the director has chosen to work with. Sports films based on true stories can be notoriously tricky to pull off since a person can simply look up the outcome with ease nowadays. Howard, however, has cleverly managed to get around this issue by emphasizing the people who defined the sport rather than on the competition itself. An enthralling drama backed up by exhilarating, heart-pounding race sequences and a pair of excellent performances—especially Daniel Brühl—"Rush" easily roars through the finish line to take its place among the very best films of 2013.

In 1970, British playboy James Hunt (Chris Hemsworth) and by-the-book Austrian Niki Lauda (Daniel Brühl) are rising stars on the Formula Three circuit but the two become instant rivals during a race in London's Crystal Palace where Hunt manages to take the top prize. A frustrated Lauda decides to subvert the usual means of ascent by essentially buying his way into the big leagues. Despite his chilly, brusque attitude toward his peers, the Austrian proves to be an invaluable asset thanks to his skill in designing race cars that are both lighter and faster. He eventually lands a deal with Ferrari in 1974. Meanwhile, Hunt's professional fortunes are in decline as the reckless driver finds himself without a sponsor for the upcoming 1976 season. His marriage to supermodel Suzy Miller (Olivia Wilde) is also falling apart due to his infidelity and frequent mood swings stemming from heavy drinking. A stroke of luck leads to the Brit being signed on as a last-minute replacement with McLaren. As the new Formula One racing season kicks off in São Paulo with the Brazilian Grand Prix, Hunt and Lauda bitterly compete for the World Championship while pushing themselves (and their teams) to the limit.

Compared to NASCAR, Formula One racing remains more of a fringe sport in the United States but it's a totally different story for the rest the world as F1 competes in over nineteen countries, spread across four continents and numerous cities like Monaco and Abu Dhabi. Fortunately, you don't have to be well-versed in the motorsport to enjoy Ron Howard's "Rush." While the thunderous race sequences will literally leave you on the edge of your seat with sweaty palms, it's the riveting drama that elevates Howard's picture to one of this year's very best. The film opens to a rainy day on August 1, 1976 in Nürburgring, West Germany, mere minutes before the race is set to start. As rivals James Hunt and Niki Lauda rev their engines and prepare to take off, the scene cuts to six years earlier with the roguish Hunt stumbling into a hospital after being thrashed about by a jealous husband. Peter Morgan's script immediately establishes Hunt as a person who loves to live 'in-the-moment.' This is someone who treats life as one big party and of course, slept with every woman that laid eyes on him. On the opposite end of the spectrum was Lauda, who lacked Hunt's good looks due to his buck teeth. Morgan takes a few liberties and puts their first meeting at London's Crystal Palace, where the two were still up-and-comers in the Formula Three circuit. To say that they got off on the wrong foot would be a massive understatement as during the race, both of them spin out of the track but Hunt recovers first and wins. The Brit then brags to Lauda to remember his name and that it 'rhymes with c*nt,' sparking a rivalry that would soon capture the imagination of F1 racing fans around the world.

The first half-hour of the film is somewhat awkwardly structured as it chronicles the rise of both men in the racing circuit. Cutting off from his wealthy family of businessmen, Lauda forces his way to the big leagues by taking out huge bank loans but his risk pays off when he signs on with Ferrari after proving his worth with his design of a lighter, faster race car. The story doesn't sugarcoat the fact that Lauda was, by every definition of the word, a complete a**hole but behind the wheel, his only equal was Hunt. Unlike his Austrian rival, Hunt and his team eschewed the use of sponsors yet he was forced to practically beg McLaren to take him on when funds dried up. Once the 1976 Formula One season kicks off, "Rush" snaps into focus and becomes a tale of how two rivals came to define the other. While Hunt is the more likable one due to his out-going personality, it's really Lauda who emerges as the true hero of the film. His determination to win at all costs leaves him horribly disfigured after a near-fatal crash at Nürburgring and the painful recovery he goes through, which include vacuuming his lungs, is heart-breaking to watch. What differentiates "Rush" from similar sports biopics is in the way it treats its two lead characters. Howard and Morgan smartly avoid making one a hero over the other and while Hunt and Lauda's personalities couldn't be farther apart, each thrive on the other's competition as it pushes them to do better. For this film, it's not about one racer triumphing over the other; it's about what motivates men to risk life and limb for a sport as insane as Formula One racing.

Most of the races are shown as a montage but the ones depicted in detail, such as the finale set in the shadow of Japan's Mount Fuji, is nothing short of breathtaking. Howard's skill behind the camera is unparalleled here, as if he's operating on pure instinct. Combined with Anthony Dod Mantle's gorgeous cinematography, the race scenes will definitely get your heart pumping thanks to the brilliant editing from Daniel P. Hanley and Mike Hill. Hans Zimmer's dynamic score complements the film perfectly with its propulsive and nail-biting tunes. However, the most memorable aspect of "Rush" is the performances. In a word, they are excellent. Chris Hemsworth and Daniel Brühl don't just imitate James Hunt and Niki Lauda; they become them. Hemsworth supplies Hunt with just the right amount of swagger and bravado, and avoids turning his character into walking cartoon while Brühl's introspective and sympathetic turn as Lauda gives the film its heart and soul. There's no denying that these are awards-worthy performances but if I had to choose the better one, it would be Brühl. Despite sporting a pitch-perfect British accent, Olivia Wilde is somewhat wasted as Hunt's wife Suzy Miller. Her inclusion ultimately has little bearing on the overall story. In contrast, Alexandra Maria Lara's Marlene Knaus feels more integral to the film as her presence has a huge impact on Lauda's development.

To be released on September 20, 2013, "Rush" has received largely positive reviews so far with 89% on Rotten Tomatoes. Critics hailed it as a 'sleek, slick, well-oiled machine…a finely crafted sports drama with exhilarating race sequences and strong performances from Chris Hemsworth and Daniel Brühl.' Unfortunately, this film will really need strong word-of-mouth to succeed at the box office as Americans have no idea who James Hunt and Niki Lauda is due to Formula One's lack of popularity here. Putting Hemsworth's face front-and-center on the posters helps somewhat but I fear it'll fade away quickly since we all know that the masses aren't going to watch something they know nothing about. I sincerely hope I'm wrong though. Powered by two outstanding performances, "Rush" is without a doubt one of 2013's best films. Hell, it makes "Fast & Furious" look Slow & Incontinent!

Final Rating: 5 out of 5

"There's a lie that all drivers tell themselves. Death is something that happens to other people, and that's how you find the courage to get in the car in the first place. The closer you are to death the more alive you feel. But more powerful than fear itself, is the will to win."

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The Bling Ring Review

Rated R (Teen Drug and Alcohol Use, and for Language including Some Brief Sexual References)

Running Time: 1 Hour & 30 Minutes

Cast-

Israel Broussard-Marc Hall

Katie Chang-Rebecca Ahn

Emma Watson-Nicki Moore

Taissa Farmiga-Sam Moore

Claire Julien-Chloe Tainer

Leslie Mann-Laurie Moore

Georgia Rock-Emily Moore

Carlos Miranda-Rob

Gavin Rossdale-Ricky

Annie Fitzgerald-Kate from Vanity Fair

Paris Hilton-As Herself

Kirsten Dunst-As Herself

Directed by Sofia Coppola

Thieves have never looked so stylish.

Note: For those of you interested in the "Vanity Fair" article that inspired the film, you can go here.

'I'm a firm believer in Karma, and I think this situation was attracted into my life because it was supposed to be a huge learning lesson for me to grow and expand as a spiritual human being. I see myself being like an Angelina Jolie but even stronger, pushing even harder for the universe and for peace and for the health of our planet. God didn't give me these talents and looks to just sit around being a model or being famous. I want to lead a huge charity organization. I want to lead a country, for all I know.' This little sound-bite was provided by then-eighteen year old Alexis Neiers a week before her arraignment regarding her involvement with the 'Bling Ring,' a group of affluent teenagers who burglarized the homes of several celebrities in the Los Angeles county area in California between October 2008 through August 2009. I have to say, this is one of the most vapid statements I've ever heard out of somebody's mouth and what's worse is that Neiers wasn't even being the slightest bit ironic. She clearly meant every word and believes in every word she said! Now the infamous 'Hollywood Hills Burglars' are the subject of Sofia Coppola's latest film, the appropriately titled "The Bling Ring," based on the 2010 Vanity Fair article The Suspects Wore Louboutins by Nancy Jo Sales. Since her directorial debut in 1999 with "The Virgin Suicides," Coppola has built her career on exploring the ennui and corruption of the over-privileged, whether it'd be historical figures (2006's "Marie Antoinette") or actors who live out their lives in expensive luxury suites (2003's "Lost in Translation" and 2010's "Somewhere"). Flipping her gaze from the rich and famous to those who obsess over them, "The Bling Ring" doesn't offer much insight into its characters but the film remains a stylish picture that provocatively captures the zeitgeist of our current generation's empty-headed, selfie-snapping, celebrity-obsessed culture.

Expelled from his previous academy due to having excessive absences, Marc Hall (Israel Broussard) is sent to a remedial high school in Calabasas, California where his parents hope he will have a fresh start. Although he isn't the sociable type, Marc manages to capture the attention of Rebecca Ahn (Katie Chang) on his first day of class. The two immediately hit it off and become close friends as they indulge in their love of celebrity fashion and hang out at the trendiest Hollywood nightclubs. Marc is introduced to a world of crime as his new pal spends her nights brazenly swiping wallets and purses from those who are foolish enough to leave them in their unlocked cars. When Marc reveals to Rebecca that Paris Hilton will be out of town, she decides to up her game and pay a visit to the wealthy socialite's house. Armed with the hotel heiress' address thanks to a simple Google search, the two easily waltz into Hilton's home and start helping themselves to whatever money, clothing, and jewelry they can get their hands on. Flaunting their ill-gotten gains through social media, Marc and Rebecca invite Chloe Tainer (Claire Julien), as well as her homeschooled acquaintance Nicki Moore (Emma Watson) and her adopted sister Sam (Taissa Farmiga), on their next incursion to Hilton's house. As the group widens their net and begin targeting other celebrities—from Audrina Patridge to Lindsay Lohan—they quickly become caught up in their own material excess, with their burgeoning notoriety blinding them from their impending arrests.

Many of the complaints surrounding "The Bling Ring" have centered on the story's 'shallow' and 'skin-deep' exploration of its characters but isn't that the point of the film—for art to imitate life? To call this group of people 'repulsive' would be a massive understatement and what's worse is that there's no redemption waiting for them at the end of the road. Coppola has always had an affinity for wayward individuals, whether they'd be teenagers or adults, and here she skillfully meshes the insecurities of adolescence with a culture that obsessively worships fame and materialism. She even throws in a subtle jab at how kids today are often hopped up on drugs like Adderall, in addition to cocaine and Oxycodone. The very idea of 'success' is now defined by how many 'things' you have, with how you get them disconnected from any sense of morality whatsoever. In fact, bad behavior is even celebrated, as Marc points out late in the film when he comments on the irony of people creating a fan page of him, putting the teen on a pedestal for stealing. "The Bling Ring" also accurately captures the ubiquity of social media as everyone constantly take pictures of themselves (they're called 'selfies') and upload them online in an attempt to one-up their peers. The thought of fingering themselves in their own crimes doesn't even occur to them. There's a curious dichotomy at play here where the characters hold the celebrities they burglarize from in contempt but they don't steal out of hate; they steal because, as Rebecca so eloquently puts it, 'it's Chanel.' The scene that really best represents the film as a whole is when Rebecca steps into Lindsay Lohan's bedroom and sprays the actress' perfume on her neck in a slow-motion shot. You quickly sense a creepy vibe. After all, these people are invading their victim's privacy, casually rifling through their belongings and even wearing them. It turns "The Bling Ring" into a nightmare as it shows the ugly side of upper and middle-class teenage life through the lens of a morally bankrupt culture.

Impeccably shot by the late Harris Savides and Christopher Blauvelt, Coppola doesn't render any judgment on this group of thieves and even empathizes with them somewhat. Each of the robberies are depicted in a matter-of-fact manner, with the director utilizing lengthy takes and some interesting visual flourishes like a single-shot sequence where Marc and Rebecca break into Audrina Patridge's home and begin stuffing their bags full of valuables as they move from room to room, the lights dimming as they leave. The eclectic soundtrack also deserves attention, with the immersive opening credits set to a montage of close-ups showing designer clothing and jewelry while Sleigh Bells' blaring Crown on the Ground plays in the background. It isn't billed as a comedy but there are several laughs to be had such as Nicki's airheaded mom Laurie (Leslie Mann) home-schooling her children with lessons based on Rhonda Byrne's 2006 self-help film "The Secret," back when it was still in vogue. The robbery scenes themselves are rather fascinating—in the same way train-wrecks are fascinating. These characters walk into other people's homes and behave like they're in a shopping mall. Nicki and Sam even fight over a dress! Moments such as these have a hypnotic, intoxicating quality to them, and probably explain why reality shows like "Here Comes Honey Boo Boo" are so compelling to some people.

The cast, largely composed of newcomers, do a great job in their individual roles. Israel Broussard is sympathetic as Marc, a gay teen who desperately wants to belong, although it still doesn't absolve him of his actions. Katie Chang's Rebecca is bit of cipher in regards to her motivations but the actress is convincing as the manipulative ringleader. Seeing her fall apart when the authorities discover all the valuables she stole was certainly priceless. Emma Watson, who has been a major focus in the film's marketing campaign, is given smaller role than what the advertisements would have you believe yet she's the one who makes the most memorable impression. For ninety minutes, I was completely convinced that Watson really was some slack-jawed, glassy-eyed bimbo. Notice the way she says 'I want to rob.' It is without any irony at all and her imitation of Neiers' vacuous 'Valley Girl' accent is dead-on. Rounding out the cast is Taissa Farmiga and Claire Julien, both of whom feel somewhat underserved by the film's story.

Released on June 14, 2013, "The Bling Ring" has received lukewarm reviews with 60% on Rotten Tomatoes. Critics noted that it was 'certainly timely and beautifully filmed, [but it] suffers from director Sofia Coppola's failure to delve beneath the surface of its shallow protagonists' real-life crimes.' I don't really agree with that last part because there isn't any profound reason as to why these characters chose to steal. They did what they did out of boredom and entitlement. Compared to her previous film, "The Bling Ring" is definitely a vast improvement and while its subject matter isn't for everyone, Sofia Coppola has crafted a provocative and fascinating picture that holds a mirror to our own cultural decay.

Final Rating: 4 out of 5

"Come on. Let's go to Paris'. I want to rob!"

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The Family Review

Rated R (Violence, Language and Brief Sexuality)

Running Time: 1 Hour & 50 Minutes

Cast-

Robert De Niro-Giovanni Manzoni/Fred Blake

Michelle Pfeiffer-Maggie Blake

Dianna Agron-Belle Blake

John D'Leo-Warren Blake

Tommy Lee Jones-FBI Agent Robert Stansfield

Jimmy Palumbo-Di Cicco

Domenick Lombardozzi-Caputo

Stan Carp-Don Luchese

Vincent Pastore-Fat Willy

Jon Freda-Rocco

Michael J. Panichelli Jr.-Billy the Bug

Paul Borghese-Albert

Anthony Desio-Bernie

Ted Arcidi-Tommy

David Belle-Mezzo

Raymond Franza-Paulo

Directed by Luc Besson

"Yes, this baseball bat will do fine."

Note: Screened on Wednesday, September 11, 2013 at AMC Loews Lincoln Square 13.

Luc Besson's latest film, "The Family," gives new meaning to the age old adage 'old habits die hard.' It's a little strange to see the 54-year-old French director back in the saddle considering his last live-action film to receive a wide release was 1999's critically-reviled "The Messenger: The Story of Joan of Arc" (30% on Rotten Tomatoes). Since then, Besson has been spending his time writing and/or producing an endless stream of disposable Euro-action thrillers like "The Transporter" and "Taken" while occasionally returning to the director's chair, specifically to adapt his "Arthur" series of fantasy novels into a trilogy of animated films. Last year, he branched out into more dramatic territory for the first time with "The Lady," a biopic based on the life of former Burmese political prisoner Aung San Suu Kyi starring Michelle Yeoh and David Thewlis but the film failed to find an audience and received largely negative reviews with 33% on Rotten Tomatoes. Unfortunately, Besson's losing streak is set to continue as "The Family," based on the 2004 French novel Malavita by Tonino Benacquista, fails to offer much in the way of laughs despite its impeccable cast, with the film suffering from jarring tonal shifts and a meandering narrative that goes absolutely nowhere until the last twenty minutes.

Former New York City Mafia boss Giovanni Manzoni (Robert De Niro) is placed into the witness protection program when he rats out his former comrades to the FBI, resulting in a $20 million bounty being placed on his head by the incarcerated dons. Robert Stansfield (Tommy Lee Jones), the agent assigned to the case, decides to relocate Giovanni, his wife Maggie (Michelle Pfeiffer), and their two teenage children Belle (Dianna Agron) and Warren (John D'Leo) to a small, quiet village in Normandy, France. Living under the fake name 'Fred Blake,' the restless don settles into his new home and diverts attention from inquisitive neighbors by disguising himself as a vacationing author. With her husband hard at work on his memoirs, Maggie busies herself by attending church in an attempt to make a positive impression on the community and cleanse her family of sin. At the local high school, Warren turns the tables on his bullies by conning his way through the student body while Belle falls in love with her math tutor and is swept up in a wave of romance. However, old habits never die as the Manzonis find themselves once again resolving their problems the 'family' way, which puts their cover at risk and alerts brutal Mafia hitman Rocco (Jon Freda) of their location.

Those hoping for "The Family" to be a return to form for Luc Besson will have to keep on hoping as this Mafia-focused black comedy represents another misfire for the French writer/director. It's not a complete disaster but the film's tone is all over the place, with the narrative coming off as both paper-thin and over-stuffed at the same time. Despite the story insisting otherwise, the Manzonis never really gel together as a close-knit family due to the way Besson and co-writer Michael Caleo pull each of the four characters into their own individual subplots that have little to do with each other. While this approach might have been fine in Benacquista's novel, it instead results in a film that feels fragmented and scattershot. The only member of the family that has more or less a complete arc is Giovanni, who finds himself in a reflective mood and decides to take his current cover as a writer to heart by beginning to chronicle his memoirs. He continuously insists via voiceover that he's a 'decent guy' even though flashbacks showing him dumping people into corrosive acid says otherwise. There's a winking self-awareness to the former mobster's prose as Besson uses his words as a way to comment on how criminal behavior is often excused and even celebrated by audiences in both film and literature. However, the director gets a little too 'meta' for his own good when he has Giovanni attend a local screening of…wait for it…"Goodfellas." It's by far the biggest laugh you'll get in the film but it also serves to illustrate how lacking in wit the picture is.

The rest of "The Family" is your typical fish-out-of-water tale. Upon moving in, Maggie immediately draws attention to herself by blowing up the local supermarket when its owner makes disparaging comments about the eating habits of Americans. The idea of 'conflict-resolution' for the Manzonis lead to some amusing highlights, such as Belle repeatedly smashing a tennis racket over a male student's head after he gets a little too touchy-feely for his own good but these gleefully amoral moments are contrasted with scenes of depraved violence, including an attempted rape. Also problematic is the way Besson resolves each of the family member's subplots, with the aforementioned Belle bizarrely contemplating suicide when the math tutor she falls for rejects her while Warren decides to just haul ass once the school discovers his illicit activities. Even Giovanni isn't immune to this issue as the already messy story has him shaking down crooked plumbers and snooty politicians in order to fix his water problem. Most of the action is self-contained to the last fifteen minutes yet the lead-up to it hinges on a ridiculous set of groan-inducing coincidences. Suspension of disbelief is a given in most films but Besson is simply asking for too much here as all it does is invite scrutiny to the film's more puzzling aspects, like how the Manzonis managed to survive for six years in the witness protection program despite all the trouble they cause. In addition, the French setting is completely wasted; you can interchange it with any other foreign country that's rife with cultural stereotypes and the film wouldn't be any different.

The performances are generally fine in spite of the middling material, with Robert De Niro and Michelle Pfeiffer having a ball as they riff on their mobster film legacies while lending their respective characters a small measure of depth. Dianna Agron's line readings tend to lean toward the bland side but the way Besson takes advantage of her virginal 'girl-next-door' image makes up for it, with her character Belle lashing out at anyone who so much as looks at her wrong...or steals her pencil case. A late scene where she lets out a scream of relief and frustration after narrowly escaping a vicious Mafia hitman stands as the film's sole honest moment. John D'Leo delivers a charming performance as smart-aleck Warren, although his screen-time feels curiously limited compared to his co-stars. Clearly not enjoying himself is Tommy Lee Jones as Giovanni's exasperated FBI handler. The actor's curmudgeonly demeanor betrays the fact that he'd rather be somewhere else and wants to cash in his paycheck as soon as possible.

Released on September 13, 2013, "The Family" has received largely negative reviews with 33% on Rotten Tomatoes. Critics noted that it was 'fitfully funny and impeccably cast, but Luc Besson's [latest film] suffers from an overly familiar setup and a number of jarring tonal shifts.' There was a relative lack of buzz as the release date neared yet its performing moderately well at the box office considering its production budget was only $30 million. Its final weekend gross is expected to come in at around $15 million. While "The Family" isn't a terrible film by any stretch of the imagination, it does represent a missed opportunity for Besson as he squanders his talented cast with a script that has no idea what it wants to be and goes nowhere for much of its running time. Maybe Martin Scorsese should've exercised some quality-control before stamping his name on it as executive producer.

Final Rating: 2.5 out of 5

"There was a time when I had it all. People would ask me, what was it like being untouchable? The question they really should have asked was: What happens when it's all over?"

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