Noah Review

Rated PG-13 (Violence, Disturbing Images and Brief Suggestive Content)

Running Time: 2 Hours & 18 Minutes

Cast-

Russell Crowe-Noah

Jennifer Connelly-Naameh

Douglas Booth-Shem

Emma Watson-Ila

Logan Lerman-Ham

Leo McHugh Carroll-Japheth

Ray Winstone-Tubal-cain

Anthony Hopkins-Methuselah

Madison Davenport-Na'el

Marton Csokas-Lamech

Nick Nolte (voice)-Samyaza

Frank Langella (voice)-Og

Kevin Durand (voice)-Rameel

Mark Margolis (voice)-Magog

Dakota Goyo-Young Noah

Gavin Casalegno-Young Shem

Nolan Gross-Young Ham

Skylar Burke-Young Ila

Adam Marshall Griffith-Adam

Ariane Rinehart-Eve

Directed by Darren Aronofsky

I...AM...NOAH!!!

Note: Screened on Wednesday, March 26, 2014 at the Zeigfeld Theatre (Red Carpet Premiere). For those of you who want to read Aronofsky's poem, go here.

Darren Aronofsky certainly has one f*cked-up mind but that's precisely the reason why he's one of my favorite filmmakers. In his 1998 directorial debut "Pi," brilliant number theorist Maximillian 'Max' Cohen decides to put a power drill through his own brain. In 2000's "Requiem for a Dream," the four central characters become consumed by their drug addictions, with the film ending in a montage where each of them endures electroshock therapy, prison, amputation, and prostitution, respectively. In 2006's highly underrated "The Fountain," a man desperately tries to save his cancer-stricken wife in a story spanning both time and space. In 2008's "The Wrestler," a washed-up professional wrestler fights to reclaim his former glory in spite of his failing health. And finally, 2010's "Black Swan" saw Natalie Portman's Nina Sayers sprout wings and literally transform into the eponymous black swan. Oh, and did I mention that Winona Ryder's character repeatedly stabs herself in the face with a nail file? As you can see, this is a director that doesn't care about pleasing audiences, critics, or studio executives. For Aronofsky, there's only the story and whatever crazy voices that are screaming inside his head. Given the amount of controversy his work has received, plus the well-publicized box office failure of "The Fountain," I'm frankly amazed that Paramount Pictures willingly gave Aronofsky $125 million to shoot his interpretation of Noah's Ark, which comprises chapters six to nine in the Bible's Book of Genesis. So what do you get when you give a stubbornly independent-minded director a blockbuster-size budget and a script inspired by one of the most well-known stories of all time? The answer: one of the best films of 2014. Darren Aronofsky's "Noah" is ambitious, fascinating, and frequently challenging, a visually stunning and often intensely bleak picture that explores the nature of faith in ways that will both offend and inspire.

'In the beginning, there was nothing.' The Creator (substituting for the word 'God') breathed life into this formless void over the course of six days and formed in His own image, Adam (Adam Marshall Griffith) and Eve (Ariane Rinehart), the first man and woman. However, Eve is tricked by the Serpent into eating the forbidden fruit from the Tree of Knowledge of Good and Evil in the Garden of Eden. She shares the fruit with Adam, and when the Creator discovers what they've done, He casts them out of Eden as punishment. Following their expulsion, Eve gives birth to Cain and Abel, and eventually Seth. Unfortunately, Cain ends up being consumed with jealously due to the Creator's favoritism toward Abel and he subsequently murders his brother. Cain's descendants eventually spread across the Earth in great industrial cities, choking the planet with their waste and evil. Meanwhile, Seth and his descendants remain faithful to the Creator. One of those descendants is Noah (Russell Crowe), who leads a simple nomadic lifestyle with his wife Naameh (Jennifer Connelly) and their three children, Shem (Douglas Booth), Ham (Logan Lerman), and Japheth (Leo McHugh Carroll). Also amongst their group is Ila (Emma Watson), whom Noah and Naameh adopted when they found her barely alive as a little girl, her family killed by Cain's people. As a young boy, Noah witnessed his father Lamech (Marton Csokas) murdered at the hands of Tubal-cain (Ray Winstone). Plagued by apocalyptic visions of the world being drowned in water, Noah—along with his family—travels to confer with his grandfather Methuselah (Anthony Hopkins) and learns that he is to build a great ark that will serve as a refuge for all the animal species when the Creator floods the world in a great deluge, annihilating mankind for their evil ways. With the help of a group of fallen angels called the Watchers, Noah commences with his task while fending off Tubal-cain and his heathen followers. However, he becomes convinced that he and his family are just as wicked as the rest of humanity and decides that once the task is complete, they will let themselves die in order to free the Earth from sin.

The story of Noah's Ark has fascinated Darren Aronofsky since he was a boy. Prior to the screening of the film at Wednesday's star-studded New York premiere, he invited his seventh grade English teacher to the stage and asked her to read a poem he had written in class, titled The Dove. It was about how evil will always lurk in men's hearts but as long as there is good in the world, then hope remains. In an interview with The Atlantic, Aronofsky modestly remarks that the poem is 'not very good—it was written quickly at the beginning of…class.' However, I beg to differ. You ask any student today to write like that and they'll just as soon ask you what the heck a poem is! I'm not even exaggerating here; I have a friend who actually teaches English at a junior high school. The point is, even at age thirteen, Aronofsky was already showing signs of his talent as a writer and it seems he was destined to bring the Old Testament story to the big screen. Unfortunately, "Noah" has been hit with a wave of controversy as the film's release date drew near. If you've read the original text in the Bible, then you should know that what's there barely qualifies as a story. It's not even a summary, more like a loose skeletal framework. Of course, that hasn't stopped purists from complaining that Aronofsky and his frequent collaborator Ari Handel was taking too many liberties when the fact is, they haven't. Look, the Bible is not a historical text; the stories within are about as real as Grimm's Fairy Tales and are best viewed as a series of morality lessons. Like all myths that have been brought to life on the big screen, the story of Noah's Ark is subject to the interpretation of the director and writer. That's what Aronofsky has done with "Noah": bring his interpretation of the story to life. If that 'offends' you, don't go see the film. On the other end of the spectrum, if you are a hardcore atheist who bristles at the mere mention of the Bible, don't go see the film either. However, if you are open minded, then you'll find that not only is "Noah" entertaining, it's also a daring, ambitious picture that examines the nature of faith and what can happen when that faith turns into fanaticism. Of course, if that's not your cup of tea, there's also a bunch of rock monsters that participate in a huge "Lord of the Rings"-style battle. Do I have your attention now?

The first thing that struck me about "Noah" is the way the film envisions its setting. It could take place thousands of years in the past but also thousands of years in the future, where humanity has completely drained the planet of its natural resources, leaving in its place a barren landscape. It feels almost post-apocalyptic. Given how thread-bare the original text is, many of Aronofsky and Handel's embellishments are used to logically explain how these events took place while remaining as true to the source material as possible. For example, it's never explicitly revealed how Noah actually built the ark; the text just states he 'did this; he did all that God commanded him.' Hell, I don't even think the writers for the Bible even knew; apparently you just have to accept it on blind faith alone. The film shows that the ark was made possible thanks to the help of the Watchers. By far the picture's most fantastical element, the Watchers are taken from the Book of Enoch, an ancient Jewish religious work that dates back to 300 BC. It tells the tale of a group of angels who willingly gave up their divinity to help mankind after Adam and Eve were cast out of the Garden of Eden. However, this was against God's will and so He punished them by encasing their beautiful forms with mud and stone when they descended upon the Earth. Things didn't get any better as the Watchers quickly fall victim to the tyranny of Man after helping them and are only rescued from annihilation by Methuselah. Because of their persecution, they refuse to help Noah and only do so when a seed—given to him by his grandfather and said to have come from the Garden of Eden itself—grows into an entire forest within seconds before their eyes. This convinces the Watchers that Noah has been chosen by the Creator and they assist him in building the ark. For some viewers, the inclusion of these creatures (which resemble the Ents from the "Lord of the Rings") will prove to be too silly to take seriously but given the already mythic quality to the story, it really shouldn't be. If you can believe in an ark containing two of every animal, you can certainly believe this.

The second thing that struck me about "Noah" is the way the film is structured. At its core, this is a disaster flick and these types of films tend to save said 'disaster' for the end. Not this one. The flood occurs around the forty minute mark and it left me wondering where Aronofsky was going with the story. Although there are themes of environmentalism, it's really more of a springboard toward an examination of faith. As the cataclysm draws near, Noah sneaks into Tubal-cain's camp to find wives for his three sons. Ila, whom Shem is in love with, unfortunately cannot bear children due to the wound she received when she was a child. What Noah sees in the camp horrifies him. With all the animals gone, Tubal-cain's followers have resorted to cannibalizing women and children and the sight of this leaves Noah completely disillusioned. He decides that humanity isn't worth saving and reveals to a shocked Naameh that once their task is done, they will let themselves die. This is the part that will likely offend viewers as Aronofsky and Handel goes to some very dark, very bleak places that I'm honestly surprised that they got away with a PG-13 rating. Noah believes that the Creator chose him because of his faith but what happens when that faith turns into fanaticism? What happens when that faith means going against every moral fiber of your being? These questions make for a fascinating character study and I really have to praise Aronofsky for having the guts to ask them regardless if they offend or not. Shouldn't good art ask questions and promote healthy discussion? This is why I think religious audiences are complaining; they don't want to ask questions because they feel it delegitimizes their faith.

Given all its philosophizing, it's easy to forget about the film's visuals. One breathtaking sequence shows the Seven Days of Creation via time-lapse photography and it makes for a strong case about how science and religion need not be mutually exclusive. The work from Industrial Light and Magic is amazing and on the whole, "Noah" is a beautiful film to look at thanks to Matthew Libatique's gorgeous cinematography, with Clint Mansell's score booming in power and urgency. The performances are impressive as well, with Russell Crowe delivering his best work since 2001's "A Beautiful Mind." Crowe's Noah is a hardened warrior and survivalist whose faith informs his every decision but even when his character takes a menacing turn, he remains sympathetic and you really feel the entire weight of his task on his shoulders. Jennifer Connelly is equally as strong in her role as Noah's wife Naameh. There's a particularly heart-wrenching moment where her character begs Noah to punish her over their children and the intensity that Connelly brings to that scene is incredible. Emma Watson is another standout as she's responsible for what is by far the toughest scene in the film and the way she handles it will leave you shaken. Logan Lerman is also good, although I feel that his character's conflict with his father could've been developed a little more. The great Ray Winstone turns in a scenery-chewing performance as Tubal-cain, a barbaric character for sure yet you can't completely hate him given his stance that humanity shouldn't be shackled to a higher being who doesn't even bother to answer back. Anthony Hopkins adds warmth and some welcome comic relief as Noah's grandfather Methuselah, which leaves poor Douglas Booth as the only cast member that feels wasted. He's not bad but it feels like he was included just so Watson wouldn't have to stand next to someone ugly.

Released on March 28, 2014, "Noah" has received largely positive reviews with 76% on Rotten Tomatoes. Critics praised Aronofsky for bringing 'the Bible epic into the twenty-first century' as well as the film's 'sweeping visuals [that were] grounded by strong performances in service of a timeless tale told on a human scale.' Although it's poised to earn over $40 million during opening weekend, audiences have not responded well to "Noah," which isn't at all surprising since Aronofsky's work often tends to invite polarizing reactions. Hardcore religious folks won't like it because the picture isn't exactly like the Bible while mainstream moviegoers will likely find the second half too dark and disturbing for them to enjoy. The only people that will respond well to the film, as Film School Rejects' Nathan Adams puts it, are those who 'regularly seek out risk-taking, emotionally authentic art in all of its forms.' Darren Aronofsky's "Noah" is truly unlike any big-budget blockbuster I've seen. It's daring and passionate in ways you wouldn't expect and I urge everyone to go see it and most importantly, keep in open mind. This is the kind of filmmaking that Hollywood should support more.

Final Rating: 4.5 out of 5

"Our family has a great task. A great flood is coming. It cannot be stopped but it can be survived."

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Divergent - The IMAX Experience Review

Rated PG-13 (Intense Violence and Action, Thematic Elements and Some Sensuality)

Running Time: 2 Hours & 19 Minutes

Cast-

Shailene Woodley-Beatrice 'Tris' Prior

Theo James-Four

Ansel Elgort-Caleb Prior

Zoë Kravitz-Christina

Miles Teller-Peter Hayes

Ben Lloyd-Hughes-Will

Christian Madsen-Albert

Jai Courtney-Eric

Mekhi Phifer-Max

Maggie Q-Tori Wu

Ashley Judd-Natalie Prior

Tony Goldwyn-Andrew Prior

Ray Stevenson-Marcus Eaton

Kate Winslet-Jeanine Matthews

Amy Newbold-Molly Atwood

Ben Lamb-Edward

Directed by Neil Burger

Shailene Woodley and Theo James shine in Neil Burger's film adaptation of "Divergent."

Note: Screened on Tuesday, March 18, 2014 at AMC Empire 25.

'Who am I?' Many a teenager has asked themselves that difficult question as they struggle to establish their own sense of identity. In fact, famed developmental psychologist Erik H. Erikson believed that the whole point of adolescence was to answer that very question in order to become secure in one's own identity. Failure to do so would leave a person 'confused about their values, relationships and what they want out of life.' (1) In the futuristic, sci-fi dystopian world depicted in Veronica Roth's best-selling young adult novels, you would be called…Divergent. Since the first book's debut back in 2011, the so-called Divergent Trilogy has sold over seventeen million copies worldwide and with Hollywood being, well…Hollywood, that meant a film adaptation wasn't too far behind. Hell, following the massive box office success of the "Twilight Saga," Summit Entertainment hungrily snatched up the rights to Roth's first book…before it even hit store shelves! That was three years ago, when films based on popular young adult novels seemed as sure a thing as superhero films. Well, superheroes—especially those based on Marvel characters—are now billion-dollar franchises while young adult properties have suffered one flop after another, with the sole exception being "The Hunger Games" series led by current America's Sweetheart Jennifer Lawrence. Issue #1301 of Entertainment Weekly had the tagline 'All Eyes on Divergent' and it's an apt one because if the Neil Burger-directed film adaptation were to also flop, that would be it for the young adult genre. However, Summit has been confident about the box office prospects for "Divergent" and has already set the release dates for the sequels, "Insurgent" and "Allegiant," for 2015 and 2016, respectively. The only question that remains to be answered is whether the film is any good. The pacing is a little on the slow side and its sci-fi dystopian setting is too familiar to stand out from the crowd but "Divergent" remains a compelling watch thanks to Shailene Woodley's impressive performance and offers a promising start to this would-be franchise.

Following a great war in the future that ravaged the United States, the city of Chicago rose from the ashes and built a seemingly utopian society where people are divided into five distinct factions: Abnegation, who govern the city and is meant for the selfless; Amity, meant for the peaceful; Candor, meant for the honest; Dauntless, who protect the city and is meant for the brave; and Erudite, meant for the knowledgeable. On a given day each year, all citizens who are sixteen-years-old must take an aptitude test that will reveal which faction suits them best. After receiving their results, they will then participate in a 'Choosing Ceremony' where they will either decide to stay with their family or transfer to a new faction. Beatrice Prior (Shailene Woodley), who lives with her parents—Natalie (Ashley Judd) and Andrew (Tony Goldwyn)—in Abnegation, has always felt like an outsider in the faction she was born into in comparison to her more selfless older brother Caleb (Ansel Elgort). When it comes time for her to take the aptitude test, Beatrice discovers that her results are inconclusive as she shows equal aptitude for Abnegation, Erudite, and Dauntless. This makes her the ultra-rare 'Divergent' and she is warned by test administrator Tori (Maggie Q) to never reveal this to anyone for fear of her life. During the Choosing Ceremony, Beatrice decides to go with her gut-feeling and picks Dauntless at the expense of losing her family. Caleb chooses to go with the inquisitive Erudite. Traveling to the Dauntless compound known as 'The Pit,' Beatrice renames herself as 'Tris' and is mentally and physically put through the gauntlet during an intensive training period. Success will earn her a permanent place in the warrior faction while failure will lead to her being cast out and rendered 'factionless.' As she trains, Tris finds solace in the arms of Dauntless instructor Four (Theo James) but trouble brews on the horizon when Erudite leader Jeanine Matthews (Kate Winslet) begins a hostile takeover in order to overthrow Abnegation.

I don't know if it's just me but each successive young adult film adaptation seems to have an even more complicated premise than the last. It's like the authors are trying to one up each other! Fortunately, writers Evan Daugherty and Vanessa Taylor have done a pretty good job in adapting Veronica Roth's debut novel for the big screen, streamlining its premise down to its bare essentials for those unfamiliar with the source material. Like "The Hunger Games," "Divergent" is set in a post-apocalyptic future that has been ravaged by war and from those ashes rose a new society. However, Suzanne Collins definitively established Panem as a totalitarian nation while the crumbling city of Chicago in Roth's book is outwardly utopian. Instead of having districts focusing on a particular industry, Roth opted to divide the city's inhabitants by personality type, which in itself is interesting even if it's not a terribly original idea (Philip K. Dick's Clans of the Alphane Moon and Rupert Thomson's Divided Kingdom have similar set-ups). For some viewers, that lack of originality will keep them from enjoying "Divergent." Even I have to admit that too many aspects of Roth's world feel overly familiar, with the Choosing Ceremony recalling the Sorting Hat from "Harry Potter" to the Dauntless faction being a co-ed teen version of the Night's Watch from "Game of Thrones." Hell, they even wear black and patrol the city's walls! In spite of the source material's derivative nature, director Neil Burger and his production team does manage to do a fine job in bringing Roth's dystopian vision of Chicago to life. Although the technology shown in the film is more advanced than what we have today, it stands in stark contrast with the city's deteriorating skyline and is reminiscent of the 'retrofitted' future popularized by Ridley Scott's "Blade Runner." The former Windy City is high-tech and gleaming in one way but old and decaying in another. IMAX certainly adds to the picture's sense of scope but besides that and the improved sound quality, there's not much reason to shell out for the premium format.  

Efficient world-building and solid production values aside, the pacing in "Divergent" can be a bit sluggish as the film enters a protracted second act where Beatrice, now going by the name 'Tris,' is put through the gauntlet in order to prove that she's worthy of being in the Dauntless faction (similar to Battle School in "Ender's Game" but less high-tech). This is where the casting becomes important because if your lead is not engaging, you can kiss your franchise dreams good-bye. It is to the casting team's great credit that they managed to snag the enormously appealing Shailene Woodley. There's not a shred of artifice in her performance, with the twenty-two year old actress perfectly capturing Tris' constant uncertainty while also adding a sense of urgency to the film's bloated mid-section (since discovery of her character's non-conformist status effectively means the end of her life). Without her presence, the story would've been a fancy yet empty metaphor of a teen trying to find her place in the world but Woodley adds meaning to it by not overplaying Tris' status as a Divergent. In her eyes, the character is just a normal, honest girl who finds herself thrust into an extraordinary situation and it allows the viewer to sympathize with her pain as she endures one physical hardship after another in her training as well as cheer her on when she finally triumphs. It is also to Burger's credit that he managed to make the various simulations feel dangerous as they form the bulk of Tris's emotional journey. Of course, this being based on a young adult novel, a romance subplot is pretty much a must-have at this point. Fortunately, it doesn't overwhelm and become the story (like in "Twilight") and in a refreshing change of pace, there's no love triangle! It helps that relative newcomer Theo James avoids reducing the stoic Four into a hunk of meat. He brings an intensity to the role yet also a simmering vulnerability.

Where "Divergent" stumbles is in its third act. Early on, we learn that Abnegation is in the midst of a political scandal as there are rumors that one of their council members, Marcus Eaton (Ray Stevenson), had been physically abusing his son. Although it is hinted that Erudite is the one spreading these rumors, so little attention is paid to it due to the majority of the film being focused on Tris' training. Sure, there are scenes of her growing suspicious about Jeanine Matthews' intentions yet it feels oddly disconnected with everything else that's going on. When the ruthless Erudite leader finally launches her hostile takeover, it seems like it came out of nowhere. Granted, the last twenty or so minutes is action-packed but there's no hiding the fact that the third act is rushed as it tries to provide a sense of closure while also setting up all the necessary plot threads for the sequels. It also doesn't help that the script reduces Matthews to another cookie-cutter villain with a penchant for monologues, just to make sure that the film's themes of choice vs. conformity are loud and clear enough for viewers.

Shailene Woodley and Theo James' fierce commitment to the material elevates "Divergent" from mediocre territory but the rest of the supporting cast doesn't fare quite as well. Jai Courtney seems to have carved out a niche for himself playing douchebag-type characters as cruel Dauntless instructor Eric while Zoë Kravitz, Miles Teller, Ben Lloyd-Hughes, and Christian Madsen are given one-note roles that fail to go beyond simplistic labels such as 'Tris' best friend' or 'Tris' bully.' Despite getting their own character posters, Maggie Q and Mekhi Phifer have what amounts to glorified cameos. Ray Stevenson is in the film as well but you wouldn't know it given his bland performance. I actually mistook him for Vincent Regan! At least Kate Winslet and Ashley Judd put some effort into their roles as Erudite leader Jeanine Matthews' and Tris' mother Natalie, respectively. Unfortunately, they too don't have much in the way of screen-time.

Released on March 21, 2014, "Divergent" has received mixed reviews with 40% on Rotten Tomatoes. Critics found its 'adherence to YA formula…undercut [the film's] individualistic message' and opens this 'planned trilogy in disappointingly predictable fashion.' I have to say, I'm somewhat surprised at this reaction as it seems like they're using their reviews to vent their frustration at the whole YA-movie phenomenon. Of course, this is far from being a great film but it's definitely not bad. Audiences seemed to agree as well as "Divergent" grossed a solid $56 million over opening weekend. You can practically hear the big-wigs at Summit breathe a collective sigh of relief, although they really had nothing to worry about. No, there's not much in the way of originality in "Divergent" but Neil Burger and his committed leads do enough to make this film worth a watch.

Final Rating: 3.5 out of 5

"The future belongs to those who know where they belong." 

1. Stamoulis, Kathryn. "The New Teen Age." Who Am I? Psychology Today, 11 July 2010. Web. 22 Mar. 2014. <http://www.psychologytoday.com/blog/the-new-teen-age/201007/who-am-i>.

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Captain America: The Winter Soldier Review

Rated PG-13 (Intense Sequences of Violence, Gunplay and Action Throughout)

Running Time: 2 Hours & 16 Minutes

Cast-

Chris Evans-Steve Rogers/Captain America

Scarlett Johansson-Natasha Romanoff/Black Widow

Anthony Mackie-Samuel Wilson/The Falcon

Sebastian Stan-The Winter Soldier

Samuel L. Jackson-Colonel Nick Fury

Robert Redford-Alexander Pierce

Cobie Smulders-Maria Hill

Emily VanCamp-Agent 13/Sharon Carter

Hayley Atwell-Peggy Carter

Frank Grillo-Brock Rumlow/Crossbones

Toby Jones-Arnim Zola

Georges St-Pierre-Georges Batroc/Batroc the Leaper

Maximiliano Hernández-Jasper Sitwell

Garry Shandling-Senator Stern

Alan Dale-World Security Council Member

Directed by Anthony and Joe Russo

The Winter Soldier--one of the most terrifying and relentless Marvel villains to grace the big screen.

Note: Screened on Thursday, March 20, 2014 at AMC Loews Lincoln Square 13. The film was not shown in 3D at the advance screening I attended.

'The price of freedom is high...and it's a price I'm willing to pay.' For over seventy years, Captain America has remained a staunch defender of the American Dream, a comic book character that transcended its jingoistic roots and has come to represent not only the highest principles of the American spirit but also what we as a nation should and can aspire to. With Hollywood seemingly afraid to even approach the subject, comic books was one of the first visual mediums to directly acknowledge 9/11 and I remember reading the first issue of John Ney Reiber and John Cassaday's Captain America Vol. 4 where the eponymous character witnessed an Arab teen about to be stabbed by an angry, grief-stricken father who lost his daughter in the terrorist attack. Quickly switching into his costume, Captain America manages to save the teen and then confronts the father, explaining that he understands his grief but what he's doing 'isn't justice.' 'Save your anger for the enemy,' he says to him.

That sense of idealism, of a nation proudly rising above its shared tragedy and becoming better for it has now been replaced with a pervading sense of cynicism where the lines between good and evil aren't so cut and dry anymore. That cynicism is what dominates Marvel Studios' latest film "Captain America: The Winter Soldier," the highly-anticipated sequel to 2011's "Captain America: The First Avenger" and 2012's critically-acclaimed billion-dollar hit "The Avengers." This time, the 'enemy' isn't Nazis, terrorists, or even aliens masquerading as gods; it's the American military-industrial complex. Up till now, the various characters in the Marvel cinematic universe have faced clear-cut threats that they can usually punch their way out of (Iron Monger, Abomination, Whiplash, Loki, Red Skull, and Malekith) but "The Winter Soldier" finds the Star-Spangled Avenger going up against a 21st century America that has become more jaded and more willing to employ extreme measures in the name of 'safety and security.' It's harder to punch the enemy when they happen to wear the same symbol as you do. This is Marvel at their most daring and it's that risk-taking that allows "The Winter Soldier" to become not only one of the studio's best films since "The Avengers" but also one of the best superhero films of all time.

It has been two years since the Avengers saved New York City from Loki and his army of Chitauri. Steve Rogers (Chris Evans) now resides in Washington, D.C., where he struggles to adapt to a contemporary society while also serving as an agent of S.H.I.E.L.D alongside his fellow Avenger Natasha Romanoff (Scarlett Johansson), aka the Black Widow. During a routine mission to liberate a S.H.I.E.L.D cargo ship from French pirate Georges Batroc (Georges St-Pierre), Steve discovers that Colonel Nick Fury (Samuel L. Jackson) had assigned Natasha to retrieve valuable S.H.I.E.L.D intel from the ship's computer instead of helping to rescue the hostages, which includes Jasper Sitwell (Maximiliano Hernández). The fact that Fury deliberately withheld this information doesn't sit well with Steve and following the successful completion of the mission, he goes to confront the Colonel. With the world now a more dangerous place since Loki's devastating attack on New York, Fury reveals to Steve that he commissioned 'Project Insight', where he plans to launch three state-of-the-art S.H.I.E.L.D helicarriers that can safely neutralize any threat from the air. These airborne ships can also analyze data from personal and public records in order to spot potential hostiles before they even materialize. These revelations leave Steve uneasy and he voices that 'this isn't freedom…this is fear.' However, Project Insight hits a roadblock when Fury is unable to access the intel that Natasha retrieved. He asks Alexander Pierce (Robert Redford), his old friend and comrade on the World Security Council, to convince the other members to delay the launch while he investigates but this attracts the attention of a mysterious assassin known only as the 'Winter Soldier' (Sebastian Stan). A critically-wounded Fury warns Steve to 'trust no one,' putting the Avenger at odds with Pierce and forcing him to go on the run with Natasha. To get to the bottom of this conspiracy, Steve turns to army veteran Samuel Wilson (Anthony Mackie) for help but not far behind is the Winter Soldier.

Marvel Studios set a high bar when they released "Iron Man" back in 2008 and then they raised it even higher with 2012's "The Avengers." Well, get ready for that bar to be raised again as "Captain America: The Winter Soldier" is by far Marvel's most mature work to date. Ostensibly, this is a superhero film/sequel but it's also so much more than that. This is a seventies-styled espionage thriller, a spy movie, an action-adventure, and a serious drama that examines the sociological and political implications of our nation's increasingly pervasive surveillance culture. In fact, "The Winter Soldier" practically feels overstuffed with the amount of genres it tackles yet despite its two hour and sixteen minute running time, there's not one ounce of fat in the film. Christopher Markus and Stephen McFeely's script is tautly paced, with the central mystery gradually unfolding while scenes that don't directly relate to the plot serve to add depth to the characters. The first few minutes of the film is a perfect example of the latter and finds Steve enjoying an early morning jog with Sam Wilson. It's a funny little scene as we watch the Avenger literally run laps around the frustrated army veteran. Later, a very out-of-breath Sam tells Steve that Marvin Gaye's 1972 album Trouble Man should be on his list of things to catch up on. Now, people nowadays keep lists or reminders on their smartphones but Steve is an analog dinosaur living in a digital world and so he takes out a notepad and writes it down instead. The audience is treated to a glimpse of what he has on his list so far, which includes Steve Jobs, Thai food, "Star Wars" and "Star Trek," and "Rocky," with "Rocky II" in a question mark. It humorously reminds us that Steve is a 'man out of time' but the story also doesn't ignore how huge a burden this is during an emotional moment he shares with an elderly Peggy Carter (Hayley Atwell), now a sickly invalid suffering from Alzheimer's. Chris Evans pulls off an amazing performance that captures his character's inner turmoil of being a constant outsider. The world may have changed but Steve's sense of what is morally right and what is morally wrong remains the same and he will fight for what he believes in even if it means going against his own country. Captain America has always been a shining ideal of America's heart and soul and to see the film wholeheartedly embrace that image is refreshing. Sometimes, patriotism doesn't mean blindly following orders.

The amount of ground the script covers is impressive as it doesn't just build off of "The First Avenger" but also from previous Marvel Studios films. Maximiliano Hernández's Jasper Sitwell and Garry Shandling's Senator Stern return and the revelations about their characters force us to re-examine every supporting player we've encountered so far. What side are they on? What are their true motivations? What is their endgame? This sense of paranoia adds to the thriller aspects of the film as well as heightening the drama and emotional stakes. Without giving away any spoilers, the ending of "The Winter Soldier" has lasting consequences for the entire Marvel cinematic universe, consequences that will even affect the ABC television series "Agents of S.H.I.E.L.D." This is one of the few instances where 'nothing will remain the same' actually means something and I can't wait to see how all this plays out in future Marvel projects.

When it was announced at San Diego Comic Con 2012 that brothers Anthony and Joe Russo would be directing the sequel to "The First Avenger," I was skeptical. After all, these two came from the world of television comedies (like "Community" and "Happy Endings") and while Marvel films have always had their fair share of laughs, the Russos just didn't seem equipped to handle a big-budget blockbuster of this size. Hell, their last feature was 2006's "You, Me and Dupree," which received largely negative reviews from critics with a paltry 21% on Rotten Tomatoes. Well, color me surprised as "The Winter Soldier" currently stands as the most action-packed Marvel film to date. There are thrilling car chases and epic set-pieces galore but it's the visceral fight sequences that shine as the Russos' camera captures every punch and kick with an intensity that will leave you breathless. In fact, I was somewhat amazed at how much violence the filmmakers were able to get away with. The majority of the CGI is set aside for the final set-piece, which actually manages to achieve the difficult feat of topping the citywide battle in "The Avengers." Joss Whedon certainly has his work cut out for him for next summer's "Age of Ultron."

As I've already mentioned before, Chris Evans delivers a great performance as Captain America and he leaves a definitive mark on the character in the same way Christopher Reeve, Hugh Jackman, Christian Bale, and Robert Downey Jr. left on their respective superhero portrayals. He's backed up by a strong supporting cast, one of the best ever for a Marvel feature. Both Scarlett Johansson and Samuel L. Jackson get to delve into the moral grey area that their characters occupy while Anthony Mackie brings an immensely likable charisma to Samuel Wilson. Sebastian Stan's the Winter Soldier leans more toward the physical side but he cuts a formidable presence and is by far Marvel's strongest villain since Loki. While he only has a handful of lines, Stan's sheer intensity makes the brainwashed assassin 'the Terminator of the superhero world' as IGN aptly describes him and the actor is both legitimately frightening and heartbreaking in the role. Finally, there's Robert Redford, whose role as Alexander Pierce is no mere paycheck cameo. Although his view of superheroes as little more than cartoon characters is disappointingly simplistic, Redford treats the material as if it was a prestige picture and the weight of his cinematic legacy is on full display here, lending his performance both power and authority. The only cast member that is shortchanged is Emily VanCamp, who only makes a cursory appearance, with her character's first name not even revealed until the very end.

To be released on April 4, 2014, "Captain America: The Winter Soldier" has received overwhelmingly positive reviews so far with 90% on Rotten Tomatoes. I don't see the picture straying too far from that number once release day approaches and judging from the audience's overly enthusiastic reaction at the advance screening, it's bound to be a huge hit at the box office. How much could it potentially earn on opening weekend? Well, if the film received a similar bump as last year's "Thor: The Dark World," then an $85 to $90 million opening isn't out of the question. That number could go up to $100 million if critical reception remains extremely positive, which it most certainly will. At this point, Marvel is such a strong brand name that they're pretty much unstoppable. "Captain America: The Winter Soldier" is an incredible film, one that proves that the studio isn't lazily resting on their laurels with the way the story boldly shakes up the entire Marvel cinematic universe. With great performances, spectacular action scenes, and a timely script, it's hard not say MAKE MINE MARVEL!

Final Rating: 5 out of 5

"Captain, in order to build a better world, sometimes it means tearing the old one down—and that makes enemies." 

Make sure to stick around during the end credits for two extra scenes, with one setting up next summer's "Avengers: Age of Ultron"! 

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Veronica Mars Review

Rated PG-13 (Sexuality including References, Drug Content, Violence and Some Strong Language)

Running Time: 1 Hour & 47 Minutes

Cast-

Kristen Bell-Veronica Mars

Jason Dohring-Logan Echolls

Chris Lowell-Stosh 'Piz' Piznarski

Enrico Colantoni-Keith Mars

Percy Daggs III-Wallace Fennel

Tina Majorino-Cindy 'Mac' Mackenzie

Ryan Hansen-Dick Casablancas

Krysten Ritter-Gia Goodman

Martin Starr-Lou 'Cobb' Cobbler

Francis Capra-Eli 'Weevil' Navarro

Ken Marino-Vinnie Van Lowe

Amanda Noret-Madison Sinclair

Sam Huntington-Luke Haldeman

Daran Norris-Cliff McCormack

Max Greenfield-Leo D'Amato

Andrea Estella-Carrie Bishop/Bonnie DeVille

Duane Daniels-Van Clemmons

Jerry O'Connell-Sheriff Daniel 'Dan' Lamb

Brandon Hillock-Deputy Sacks

Lisa Thornhill-Celeste Kane

Jamie Lee Curtis-Gayle Buckley

James Franco-As Himself

Directed by Rob Thomas

Kristen Bell reprises her role as Veronica Mars in Rob Thomas' film of the same name, which continues from the third season finale before it was cancelled in 2007.

Note: Screened on Wednesday, March 12, 2014 at AMC Loews Lincoln Square 13.

'That might play with the masses, but underneath that angry young woman shell, there's a slightly less angry young woman who's just dying to bake me something. You're a marshmallow, Veronica Mars…a twinkie!' Created by writer/producer Rob Thomas, "Veronica Mars" premiered on September 22, 2004 on UPN (two years prior to the television network's closure) but despite its critical acclaim and fervent fan-base, the series was abruptly cancelled after three seasons due to low ratings—with the final twenty episodes airing on the newly-formed CW. It's always hard to see your favorite television shows cut down in their prime and although writers are often given advance notice so that they can craft a fitting series finale (i.e. the sudden six-year time-jump in the final episode of "Star Trek: Enterprise"), Thomas decided that he didn't want to do that and deliberately wrote a downbeat, unsatisfactory ending that once again found its plucky protagonist as a social pariah. In an interview, the showrunner remarked that he did what he did because he 'wanted to go down swinging. I did not want to make it easy for them to cancel it. I wanted to make it hard.'

Thomas hoped to continue the series in one form or another and even shot a twelve-minute trailer of sorts for a potential fourth season that removed Mars from her high school/college setting and positioned her as a rookie FBI agent but the CW's higher-ups didn't bite. However, that's not the end of the story. In a miraculous turn of events, Neptune, California's own Nancy Drew has survived…on the big screen! With Warner Brothers unwilling to put up the cash, Thomas and Kristen Bell turned to the fans themselves and launched a Kickstarter campaign last March to raise the necessary $2 million in production costs. Not only did it achieve that goal in less than ten hours, it received a record-breaking $5.7 million when the campaign finally ended a month later. Of course, that's when Warner Brothers decided to swoop in and 'save the day' by picking up the tab for marketing, promotion, and distribution. The only question that remains is whether the "Veronica Mars" film is any good...for both fans and non-fans. Fortunately, the answer is a resounding 'YES!' Diehard fans will be delighted to see the amateur sleuth 'falling right back into [her] old rhythms' but "Veronica Mars" also provides a well-written mystery that'll not only engage new viewers, it might also turn them into Marshmallows.

'A teenaged private eye. Trust me; I know how dumb that sounds. But it's not like I found a decoder ring at the bottom of a cereal box and thought, "That sounds like fun." I wish. That would have been adorable. Nope. My best friend was murdered when I was fifteen. Trying to figure out who did it was how I coped. My dad was sheriff at the time, and when he went after the most powerful man in town, he turned us both into pariahs. Dad lost his job, and I lost my friends. Kids can be cruel, after all. The cruelest was Logan Echolls, my dead friend's boyfriend. Like me, Logan was fueled by rage and distrust. He wanted to make someone pay. It's likely those qualities are what drew us together. They're absolutely what tore us apart. After my dad was run out of office, he got his PI license and opened an agency. I hung out there to learn the tricks of the trade. There was plenty of work for both of us in the seedy beach town of Neptune, California. People might think of Neptune as glamorous, home to movie stars and captains of industry. But when the class war comes, Neptune will be ground zero. It's a Springsteen song, "Get out while you're young." I got out when I was nineteen, leaving a trail of destruction in my wake. I've grown up, though. That was the old me. Angry me. Vengeful me. New me? People say I'm a marshmallow.' It's been nine years since Veronica Mars (Kristen Bell) had anything to do with her hometown, with the former teenage sleuth transferring from Hearst College to Stanford University and then moving to New York to pursue a law degree at Columbia. Now in a stable relationship with Stosh 'Piz' Piznarski (Chris Lowell), Veronica's life has never been better, with the law school graduate due to take the bar exam in six weeks. While waiting to be interviewed at the prestigious law firm Truman-Mann and Associates, her old boyfriend Logan Echolls (Jason Dohring) calls her out of the blue asking for help. Logan, now a Lieutenant in the United States Navy, has been accused of murdering Carrie Bishop (Andrea Estella), a fellow Neptune High student who became a successful but self-destructive pop star under the stage name 'Bonnie DeVille.' Although reluctant, Veronica decides to return to the seedy beach town of Neptune, California and help out her former flame by providing legal counsel. However, she can't help but fall back into her old sleuthing ways as she works to prove Logan's innocence. Along the way, Veronica reunites with her father Keith (Enrico Colantoni), and her two best friends, Wallace Fennel (Percy Daggs III) and Cindy 'Mac' Mackenzie (Tina Majorino).

There's an early scene in "Veronica Mars" where the eponymous character, having just arrived in her old hometown, makes a surprise visit to her dad at his PI agency, Mars Investigations. He's in a meeting with a client but when the phone at the reception desk rings, Veronica goes to take a message and that's when dear old dad exits his office to walk his client out the door. Upon hearing his daughter's voice, Keith turns around sporting this humongous smile. It's a look of pure, unadulterated joy that just can't be faked and it perfectly encapsulates the feelings of every Marshmallow when they heard that a "Veronica Mars" film, which had long since been a pipe dream, was now finally a reality.

However, I must admit that I'm a semi-newcomer to the television show. I caught bits and pieces back when it was on the air seven years ago but never watched an episode in its entirety. It's hard to follow a television series week after week when you have a truckload of homework to do. Now, I don't like going in half-cocked so a few days before the advance screening, I made sure to at least familiarize myself with the show's characters and three seasons by reading up on it online. Most newcomers are probably too lazy to do this but the opening two-and-a-half minute voiceover does a pretty good job in bringing these viewers up to speed and explains the motivation behind Veronica becoming a teenage amateur PI as well as her subsequent reasons for abandoning it. During a job interview with Truman-Mann's Gayle Buckley (Jamie Lee Curtis), she explains that 'the price was too high' and that 'it ruined friendships and relationships.' Of course, twenty minutes later, Veronica's digging through her old box of 'accessories' and doing what she always does best: exposing the seedy underbelly of Neptune while cracking a well-timed quip. In fact, I was surprised at how funny the film is and right from the first scene, I can see why the show developed such a devoted cult following. Veronica Mars is an instantly likable character, not because she's played by the always-adorable Kristen Bell, but because she defies convention and is brutally honest with her faults. She's both a rebel and a woman-of-the-people.

While the central mystery yarn spun by writers Rob Thomas and Diane Ruggiero doesn't exactly reinvent the wheel nor does it quite escape its television trappings," it's fortunately engaging and fits in with the show's hard-boiled, neo-noir tone where almost everyone in Neptune seems to be hiding skeletons in their closet, sometimes literally! At its core, the film is pure fan-service as it throws out Easter Eggs—i.e. the aborted season four concept where Mars is a newly minted FBI agent—and cameos at regular intervals (the return of Celeste Kane!) yet it never feels like straight-up pandering, with Thomas keeping a tight leash on the proceedings and making sure that the story he's telling is an organic continuation of the television series. The wanton excess of Neptune's filthy rich elite versus the downtrodden who are forced to turn to crime to survive, the blatant corruption of the local authorities, the epic 'LoVe' story between Logan and Veronica, it's all here in movie-form but most importantly, it's about Veronica coming to terms with who she is and finally embracing it. She could've had a comfortable life as a lawyer. However, she'd be living a boring lie. Veronica is destined to get her hands dirty, to roll around in the mud as she says, and her fellow Marshmallows wouldn't have it any other way.

Almost the entire cast from the show (minus Leighton Meester, who was unable to reprise her role as Carrie Bishop due to a scheduling conflict) has returned for the film. Kristen Bell hasn't physically changed much in the past seven years and she returns to her breakout role like she never even left it in the first place. Still, it's immediately clear that Veronica Mars is now older and wiser yet the character still retains her clever wit for one-liners from her teenage years. The chemistry the actress shares with Enrico Colantoni and Jason Dohring lends the film heart while her back-and-forth banter with Percy Daggs III and Tina Majorino crackle with energy and bring about so many laughs that I actually lost count. Although they're not delivering revelatory performances, the cast's love and passion for the television show is plain as day and they understand how important the fans are as the film's existence is owed entirely to them. For a profit-driven business like Hollywood, that's a breath of fresh air.

Premiering at South by Southwest (SXSW) on March 8, 2014, "Veronica Mars" was given a limited theatrical release on the 14th as well as being made available to rent and buy through video on demand and various online platforms. Reviews have been largely positive with a 76% on Rotten Tomatoes, with critics hailing Rob Thomas' picture for offering 'enough sharp writing and solid performances to entertain viewers in the mood for a character-driven thriller' while also admitting 'it might be a more entertaining watch for diehard fans of the show.' Although the advance screening was a sparsely-attended, fans-only affair, their visible enjoyment of the film added to my enjoyment as I fully understand what it means to be a fan. Box office-wise, "Veronica Mars" managed to gross $1.99 million during its weekend debut, an impressive number considering it's already available on VOD. "Veronica Mars" delivers on everything the fans wanted while also remaining accessible enough for newcomers. It's a fitting send-off to the show that leaves the door open just enough for a future sequel. In fact, I'm hoping the whole Neptune gang returns!

Final Rating: 4 out of 5

"Dad always said this town could wreck a person. It's what happens when you're playing a rigged game. I convinced myself winning meant getting out. But in what world do you get to leave the ring and declare victory? This is where I belong…in the fight. It's who I am. I've rolled around in the mud for so long. Wash me clean and I don't recognize myself. So how about I just accept the mud and the tendency I have to find myself rolling in it. My name is Veronica…and I'm an addict." 

Make sure to stick around during the end credits for a funny scene as well as listen to one of Logan's famous inspirational voice messages!

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Need for Speed Review

Rated PG-13 (Sequences of Reckless Street Racing, Disturbing Crash Scenes, Nudity and Crude Language)

Running Time: 2 Hours & 10 Minutes

Cast-

Aaron Paul-Tobey Marshall

Imogen Poots-Julia Maddon

Dominic Cooper-Dino Brewster

Scott Mescudi-Benny

Rami Malek-Finn

Ramon Rodriguez-Joe Peck

Harrison Gilbertson-Little Pete

Dakota Johnson-Anita Brewster

Michael Keaton-Monarch

Stevie Ray Dallimore-Bill Ingram

Directed by Scott Waugh

Did someone call me a bitch?!

Note: Screened on Wednesday, January 29, 2014 at AMC Loews Lincoln Square 13. The film was not shown in 3D at the advance screening I attended. If you want to learn more about whether the 3D version is worth your money, go here.

There's a certain irony to watching Aaron Paul drive around in very fast cars in his first leading film role given that the last time audiences saw the actor was on the series finale of AMC's critically-acclaimed crime drama "Breaking Bad," where his character Jesse Pinkman drove away from a mortally wounded Walter White while laughing and crying hysterically over his sudden newfound freedom. It looks like Jesse really did go clean and give up his meth-producing ways after everything he's been through but now the former junkie has developed a new addiction, a new need…a NEED for SPEED (sorry, I just couldn't resist). Unlike comic books, films based on video games have not enjoyed the most sterling of reputations in Hollywood yet that didn't deter DreamWorks Pictures from acquiring the feature film rights to Electronic Arts' popular Need for Speed franchise. With over 150 million copies sold worldwide since its humble debut in 1994 on the 3DO, Need for Speed is not only one of the longest-running video game franchises (with twenty installments, and that's not counting the various spin-offs), it's also the most successful racing video game series ever. I'm more of a role-playing game kind of guy but I do own several Need for Speed games on PC, specifically Undercover, Shift, Shift 2: Unleashed, and the 2010 version of Hot Pursuit. While I've enjoyed playing them for the most part, I only touch these games on a lazy Sunday afternoon. Given the series' lack of story, I was initially very skeptical about a "Need for Speed" film and feared that it would be little more than a rip-off of Universal's highly-successful "Fast and Furious" franchise. Despite eschewing the winking self-awareness of its more popular competitor, Scott Waugh's "Need for Speed" remains a reasonably entertaining diversion so long as you don't focus too much on its nonsensical plot and instead sit back and enjoy all the spectacularly-choreographed car chases as well as Aaron Paul's magnetic presence.

Following the death of his father, gifted mechanic Tobey Marshall (Aaron Paul) tries to keep his family's auto shop in Mount Kisco, New York afloat with the help of his friends—Benny (Scott Mescudi), Finn (Rami Malek), Joe Peck (Ramon Rodriguez), and Little Pete (Harrison Gilbertson)—but when he's unable to make the bank payments on time, he's forced to participate in illegal street races in order to make ends meet. After winning one such race, Tobey and his friends celebrate at a local drive-in, where they run into Dino Brewster (Dominic Cooper) and his girlfriend Anita (Dakota Johnson), who is Little Pete's sister and Tobey's former flame. A long-time rival of Tobey's, Dino has since made it big and now owns a highly successful car dealership after a brief stint in the Indy 500. He proposes a deal to Tobey: he and his crew will finish building the Ford Mustang Carroll Shelby was working on before he passed away and once Dino sells it, he'll give Tobey 25% of the estimated $2 million selling price. The crew tries to convince their friend not to take on the project but Tobey accepts as he is in desperate need of money. He and his crew complete the job and later attend a glitzy party where the car is put up for auction. It is eventually sold to Julia Maddon (Imogen Poots), who represents a wealthy British high-end car dealer named Bill Ingram (Stevie Ray Dallimore), for $2.7 million after Tobey proves it can go more than 230 miles per hour. Feeling slighted, Dino challenges Tobey and Little Pete to a race where if they win, they get the remaining 75% from the Mustang deal but if they lose, then they have to give up their 25%. When Tobey is close to winning, a frustrated Dino deliberately tags Little Pete's car, causing him to flip down a ravine and crash. Tobey goes back to help him yet is too late. Dino flees the scene, leaving Tobey to take the blame, with the police charging him with vehicular manslaughter and jailing him for two years. Upon release, he reunites with his old crew and sets out toward California in order to enter the mother of all illegal street races called the 'DeLeon,' organized by the reclusive 'Monarch' (Michael Keaton). Tobey knows Dino will be there and that is where he will avenge the life of his friend.

In an article examining the top-grossing video game films of all-time, frequent Forbes contributor Scott Mendelson asks, 'What does it say about a sub-genre when your biggest grossing entry is still a major flop?' The film he's referring to is 2010's "Prince of Persia: The Sands of Time." The Mike Newell-directed action-adventure flick—based on the popular Ubisoft video game of the same name—failed to break even despite earning over $336 million worldwide. It could've been a solid hit if it didn't stall in America and cost $200 million to make. "Need for Speed" carries a comparatively modest $66 million budget and while I still feel that Newell's film is the 'best' big-screen, live-action video game adaptation we've had so far, director Scott Waugh does manage to craft an entertaining—if frivolous—affair that captures the racing spirit of the Electronic Arts series. Unfortunately, the script from George and John Gatins (the latter also wrote the Academy Award-nominated 2012 film "Flight") has the unique problem of having too much story and too little story. There's no reason for a racing picture like this to be two hours and ten minutes long, with the first forty minutes devoted entirely to setting up Tobey's reasons for revenge when it should take only half that. Even worse are the absurd logic gaps, with Tobey, Dino, and Little Pete's race taking place in broad daylight in full view of onlookers but Dino gets away scot-free because apparently there were no witnesses? I guess traffic cams don't exist in Mount Kisco. As if that wasn't enough, Dino doesn't even bother getting rid of his car, aka the murder weapon, and even leaves details of his crimes on his computer—all in one handy folder on his desktop. He might as well wear an 'Arrest Me' sign.

The bulk of "Need for Speed" centers on getting from New York to San Francisco just to learn the location of where the DeLeon is being held. However, it's at this point where the film starts to feel padded. In order to get there fast, Tobey borrows the Ford Mustang that he and his crew worked on for Dino but is forced to take Julia along, whose job is to make sure nothing happens to the car. What follows is a lot of silly, eye-rolling dialogue yet it's offset by some funny comic relief provided by the supporting characters, such as when Finn quits his job by stripping down to his socks and walking out of the building butt-naked. There's also a running gag with Scott Mescudi's Benny, who helps Tobey by informing him of any obstacles and maps out the best routes for him. He's a skilled pilot that can seemingly conjure up whatever aircraft he needs out of thin air, with the film poking fun at how he's able to do this. Some critics have complained that it's an attempt by the writers to cover up the script's contrivances with a joke but unlike the aforementioned logic gaps, Benny's knack for procuring all manner of aircraft is meant to be taken at face value, even if it is hard to swallow at times. Not hard to swallow is the fact that all the racing scenes in the film were accomplished through the use of good-old fashioned stunt-work instead of relying on CGI. Hell, it's what pretty much saves the entire film! Waugh comes from a stunt background so it shouldn't be a surprise when I say that the vehicular mayhem on-screen looks outstanding and what's great is that the camera always provides a clear shot of the action with plenty of wide shots. In the hands of anyone else, it probably would've look like a choppy, over-edited mess…like last year's god-awful "Getaway."  One particularly noteworthy stunt is when Tobey's Mustang makes a gravity-defying, 160-foot leap across multiple lanes of downtown Detroit traffic. In the words of Variety's Scott Foundas, this was 'a stunt so dazzling it helped to compensate for some of the movie's even more death-defying leaps in logic'—in addition to making you desperately want to pick up and play a Need for Speed game.

The performances are a bit better than what you would expect out of a standard video game film adaptation. It won't earn him the same critical acclaim he received while starring on "Breaking Bad" but Aaron Paul manages to elevate what could've been a one-note role by lending his character Tobey Marshall a bit of gravitas while also adding to the film's sense of fun with his charismatic screen presence. As love interest Julia Maddon, Imogen Poots brings a spunky feistiness to her character, although she's unceremoniously pushed to the sidelines once the DeLeon finally kicks off during the last fifteen or so minutes of the film. Scott Mescudi, Rami Malek, and Ramon Rodriguez aren't given much to do but at least they provide some decent comic relief as well as some nice tongue-in-cheek gags. Dominic Cooper largely hams it up as the cocky and overconfident Dino Brewster while Michael Keaton is enjoyable as he blisters away with his over-the-top portrayal of mysterious DeLeon organizer Monarch. As for Dakota Johnson, she's pretty much wasted in a go-nowhere supporting role.

Released on March 14, 2014, "Need for Speed" has received dismal reviews with 23% on Rotten Tomatoes. Pointing to its 'stock characters and…preposterous plot,' critics wrote off the film as a 'noisily diverting video game adaptation [that] fulfills a Need for Speed and little else.' Honestly, I don't really blame them for having that kind of reaction. This is, for all intents and purposes, a 'bad' film with its nonsensical story and yet I still enjoyed watching it, relatively speaking of course. DreamWorks has been quite aggressive in marketing the picture, with hundreds of advance screenings going as far back as December of last year. To capitalize on his "Breaking Bad" fame, the studio had Aaron Paul go on a massive publicity tour as well, with the actor personally showing up at screenings to introduce the film and greet fans. Whether gamers and more casual audiences will flock to theaters to see it is still up in the air (early box office estimates haven't been all that rosy) but "Need for Speed" has no other pretensions besides offering a rollicking good time and in that sense, it's a success.

Final Rating: 3 out of 5

"You're going to have to answer for what you've done. We'll settle this behind the wheel."

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Labor Day Review

Rated PG-13 (Thematic Material, Brief Violence and Sexuality)

Running Time: 1 Hour & 51 Minutes

Cast-

Kate Winslet-Adele Wheeler

Josh Brolin-Frank Chambers

Gattlin Griffith-Henry Wheeler

Clark Gregg-Gerald

Brooke Smith-Evelyn

J.K. Simmons-Mr. Jervis

James Van Der Beek-Officer Treadwell

Brighid Fleming-Eleanor

Alexie Gilmore-Marjorie

Lucas Hedges-Richard

Micah Fowler-Barry

Tom Lipinski-Young Frank Chambers

Maika Monroe-Mandy

Tobey Maguire-Adult Henry Wheeler

Directed by Jason Reitman

Adele: I can't give you a family. Frank: You already have. Cue tears.

Note: Screened on Tuesday, January 28, 2014 at AMC Loews Lincoln Square 13.

Even critically-acclaimed directors have their off days too. Prior to 2005, Jason Reitman was primarily known as 'the son of the guy who made Ghostbusters' (that's Ivan Reitman, for those of you wondering) but everything changed when he premiered his directorial debut film, "Thank You for Smoking," at the 30th Toronto International Film Festival. Based on Christopher Buckley's 1994 satirical novel of the same name, the picture was a wryly humorous and insightful look at the multi-billion dollar tobacco industry through the eyes of a smooth-talking lobbyist, played by a devilishly charming Aaron Eckhart. It received positive reviews from critics (86% on Rotten Tomatoes) but Reitman was only getting started. Teaming up with stripper-turned-writer Diablo Cody, 2007's "Juno" once again found the up-and-coming director mixing clever humor with heartfelt drama. Featuring a career-defining performance from Ellen Page, this coming-of-age film—about a sharp-tongued, independent-minded teenager forced to confront her own unplanned pregnancy—went on to achieve critical acclaim (94% on Rotten Tomatoes) and won an Academy Award for Best Original Screenplay. Refusing to rest on his laurels, Reitman continued to impress critics with 2009's "Up in the Air" and re-teamed with Cody for 2011's "Young Adult." In just six years, he established himself as a unique voice in Hollywood that was far removed from the shadow of his father's cinematic legacy. Given his amazing track record so far, it's doubly disappointing to see him make a rare misstep with his fifth feature, "Labor Day." Kate Winslet and Josh Brolin deliver solid performances but even their considerable talents are unable to salvage "Labor Day," with Reitman's adaptation of Joyce Maynard's 2009 best-selling novel easily ranking as his worst film yet due to the way he drowns the material in mawkish sentimentalism and cheesy, soap opera-like melodrama.

During a voiceover narration, an adult Henry Wheeler (Tobey Maguire) recalls how his mother Adele (Kate Winslet) fell into a crippling depression after his father Gerald (Clark Gregg) walked out on them. However, it wasn't losing her husband that broke her heart but rather 'losing love itself.' While reminiscing about his youth in his former hometown of Holton Mills, New Hampshire, Henry recounts a particularly hot Labor Day weekend in 1987 where his thirteen-year-old self (Gattlin Griffith) accompanied his mother—who is now struggling with severe agoraphobia—on her monthly pilgrimage to the local discount store. As Adele nervously shops for clothes and supplies, Henry peruses a nearby comic book rack but he is soon interrupted when an imposing stranger bleeding from his abdomen approaches him. Gesturing toward the boy's mother, the stranger remarks that 'she looks like the kind of person that can help me' and asks if she can give him a ride. Although Adele is resistant, she is forced to relent when the stranger—revealing his name to be Frank Chambers (Josh Brolin)—makes a veiled threat toward her son. Arriving at the Wheeler home, Frank discloses that he's a convict who escaped from the prison hospital while recovering from an appendectomy. He assures the family that he only wants to hide for a few hours and has no intention of hurting them. With the media and local cops on the hunt for Frank, the imposing yet handsome stranger quickly makes himself useful by performing various chores around the house and even begins cooking for the Wheelers. Having been alone for so long, Adele gradually falls in love with Frank while Henry begins to look up to him as a father figure. Knowing that their makeshift family cannot last if they remain in Holton Mills, Adele decides to take her son and run away with Frank to Canada but fate unfortunately, has other plans for them.

Jason Reitman's résumé may not be as extensive as his father's (who, to be frank, has mellowed out in recent years) but the thirty-six year old filmmaker has already proven himself to be one of Hollywood's top directors with four critically-acclaimed features. While there's no doubt about his talents behind the camera, it still doesn't change the fact that Reitman's latest effort, "Labor Day," is a misfire all around. Given its positive reception, I'm not surprised that Paramount Pictures wanted to adapt Joyce Maynard's 2009 novel for the big-screen but they hired the wrong man for the job. Although Reitman's previous films had a dark dramatic edge to them, it's often balanced out by a quirky sense of humor. I understand he wanted to branch out and helm a more serious-minded drama. Unfortunately, he falls flat on his face here with a hokey premise that seems like it was lifted from the daydreams of a lonely housewife. In fact, the story here isn't that far removed from the cheap 'bodice ripper' novels that line the shelves of your local supermarket. At first glance, "Labor Day" appears to be a psychological thriller where Adele and her son Henry Wheeler suffer a serious case of Stockholm syndrome and comes to care for their captor, who presents a façade of being 'a good man.' The opening scenes seem to support this as Frank ominously warns Adele that 'this needs to happen' while gripping her son's neck. Once he arrives at their house, he assures the family that he means no harm. However, if someone were to come by, it'll have to look like he kidnapped them and so he ties Adele to a chair, which Reitman shoots in an oddly sensual manner. This is where the film takes a strange turn as Frank starts rummaging through the kitchen to make chili. Grabbing a small bowl, he gently blows on each spoonful before slowly slipping it into Adele's mouth. Man, you can smell the sexual metaphors from miles away. Once it becomes apparent that Frank really is just an escaped convict with a heart of gold, "Labor Day" settles into Nicholas Sparks territory and reaches its nadir when he teaches the Wheelers how to bake a peach cobbler pie. As Christy Lemire humorously describes it in her review, 'he insists that all three of them get in there, plunge their hands inside, let their fingers intertwine, squish it all around.' It's pretty much, as Slate's Dana Stevens notes, the 'culinary equivalent of the iconic pottery-wheel scene in Ghost.' I'm sure the women in the audience got all hot and bothered as Frank's manly hands dug deep into that ooey-gooey pie mix but it was at this point where I just couldn't take the film seriously anymore.

To be fair, "Labor Day" isn't a complete disaster as there are some tender moments that touch on the fleeting nature of love and how the loss of it can emotionally destroy a person. Rather than explore that further, Reitman instead drowns his script with soapy melodrama as Frank transforms from a convict on the run to literally the perfect husband. In addition to cooking, he replaces the oil in Adele's car, changes the filter on the furnace, gets the squeak out of the kitchen door, and even teaches Henry and the disabled kid next door how to throw a baseball. There are flashbacks scattered throughout the film that slowly reveal Frank's tragic past but they feel disconnected from the main story. Other than saying that he's never intentionally hurt anyone in his life, he never directly addresses to Adele why he was jailed in the first place. Likewise, Henry's coming-of-age is little more than an afterthought. We're shown that he's starting to have sexual thoughts and there are subtle Oedipal undertones with the way he behaves around his mother but all of it is quickly swept aside. There's also a wayward girl named Eleanor (Brighid Fleming) that catches Henry's eye yet their scenes feel like they belong in an entirely different film. I will admit that thanks to Rolfe Ken's score, the last fifteen or so minutes of "Labor Day" are rather tense as Adele is forced to divert the attentions of a too-helpful cop (played by James Van Der Beek) and is later stonewalled by the bank's staff when she tries to withdraw all her money from her account. The cinematography from longtime Reitman collaborator Eric Steelberg is gorgeous as well and on the whole, this is a handsomely-mounted production. It's just a shame that it's wasted on a film that favors treacly Nicholas Sparks-level sappiness over honest poignancy.

In spite of its misguided plot, Kate Winslet and Josh Brolin manage to deliver compelling performances. Winslet in particular radiates sadness as the long-suffering Adele and you really do sympathize with her character as she slowly comes out of her shell. There's one scene in particular where Adele is about to drive to the pharmacy to get Frank medicine as his wound had become infected but she freezes in the car, unable to move. Pulling the key out of the ignition, Frank asks her what's wrong and Winslet just pours her heart out as Adele reveals why she become depressed and that she can't give him the family he wants. It's an emotionally-charged moment that belongs in a much better film. Brolin isn't quite up to the level of Winslet since he's basically pigeon-holed into playing a sensitive hunk but the actor takes his role seriously and manages to give Frank some measure of depth even though Reitman's script actively works against him. His rugged features are also an advantage, allowing Brolin to come across as dangerous yet sensual at the same time. Former child actor Gattlin Griffith (from 2008's "Changeling") is solid as Henry and succeeds in holding his own against two very accomplished actors. However, his character recedes into the background a little too often despite the story being ostensibly told from his point-of-view. Rounding out the rest of the cast is Clark Gregg as Adele's former husband, J.K. Simmons as a friendly yet nosy neighbor, James Van Der Beek as an overly-helpful police officer, and Tobey Maguire as an adult Henry Wheeler who provides voiceover narration for the film.

Released on January 31, 2014, "Labor Day" has received largely negative reviews with 32% on Rotten Tomatoes, which is a far cry from Reitman's previous work. Critics noted that 'Kate Winslet and Josh Brolin make for an undeniably compelling pair, but they can't quite rescue [the film] from the pallid melodrama of its exceedingly ill-advised plot.' Although initial marketing campaigns positioned it as a possible contender at this year's Academy Awards, tepid reception at the Telluride and Toronto International Film Festivals led to Paramount Pictures quietly moving the film to the January graveyard. Winslet, however, did garner an out-of-the-blue Golden Globe nomination for Best Actress but it seemed more like an attempt by the Hollywood Foreign Press Association to have another famous face on their awards show. Box office-wise, "Labor Day" bombed and has only grossed a paltry $14.4 million worldwide so far. Look, it's a given that Jason Reitman, Kate Winslet, and Josh Brolin will go on to make better films in the future, meaning that by the end of the year, "Labor Day" will be nothing more than a vaguely-remembered footnote in their careers.

Final Rating: 2.5 out of 5

Adele Wheeler: I can't give you a family.

Frank Chambers: You already have.

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