Horrible Bosses 2 Review

Rated R (Strong Crude Sexual Content and Language Throughout)

Running Time: 1 Hour & 48 Minutes

Cast-

Jason Bateman-Nick Hendricks

Jason Sudeikis-Kurt Buckman

Charlie Day-Dale Arbus

Chris Pine-Rex Hanson

Christoph Waltz-Bert Hanson

Jennifer Aniston-Dr. Julia Harris

Jamie Foxx-Dean 'Motherf*cker' Jones

Kevin Spacey-David Harken

Lindsay Sloane-Stacy Arbus

Jonathan Banks-Detective Hatcher

Keegan-Michael Key-Mike

Kelly Stables-Rachel

Directed by Sean Anders

The guys are back and this time, they're the bosses!

Note: Screened on Thursday, November 20, 2014 at AMC Empire 25.

"Horrible Bosses 2" is another in a long line of comedy sequels that exist solely because the first one happened to be well-received and make a lot of money at the box office. Released back in 2011, the Seth Gordon-directed film earned $209.6 million worldwide on a modest $35 million production budget, making it the highest grossing dark comedy of all time, a distinction previously held by 1989's "The War of the Roses." New Line Cinema predictably greenlit a sequel because Hollywood logic dictates that if the original made a lot of money, then the follow-up will too. Granted, this has been predominantly true, especially when said original owes much of its success to positive word-of-mouth from moviegoers (2011's "The Hangover Part II" opened with a whopping $103.4 million over the Memorial Day weekend and took in over a $100 million more worldwide based on goodwill from its 2009 predecessor) but the sequel is almost always inferior from a quality standpoint, barring a few rare exceptions like 2013's "Anchorman 2: The Legend Continues" and this past summer's "22 Jump Street." Wiser filmmakers and actors tend to avoid doing comedy sequels altogether since they're so hard to pull off, which is the case here as Gordon dropped out of the "Horrible Bosses" follow-up due to a 'scheduling conflict.' Replacing him is Sean Anders. Yep, the same Sean Anders who helmed "That's My Boy," one of the worst films I have ever seen. Given the person directing the film and the less-than-stellar track record with comedy sequels, it should come as no surprise that "Horrible Bosses 2" is not very good. In fact, it's terrible.

Fed up with answering to abusive higher-ups, Nick Hendricks (Jason Bateman), Kurt Buckman (Jason Sudeikis), and Dale Arbus (Charlie Day) have quit their terrible jobs and gone into business for themselves. The three friends create a clever bathroom product dubbed 'The Shower Buddy,' which shoots out soap, shampoo, and conditioner as well as water. Their appearance on a morning talk show to promote their new product catches the attention of Boulder Stream, a massive retail company owned by Bert Hanson (Christoph Waltz). He offers the trio seven figures for exclusive distribution rights while allowing them to retain ownership of their business. Nick, Kurt, and Dale waste no time in buying out a warehouse to begin production on their first order—consisting of 100,000 units—but it all turns out to be a scam. Upon the order's completion, Bert reveals to the hapless trio that he has pulled out of the deal, leaving them with half a million dollars in debt. Since they're unable to pay back their bank loan, this means that Bert can simply buy all the manufactured units at below cost and rebrand them however he wants, essentially stealing their idea. With murder out of the question, the three desperate friends decide to kidnap Bert's smarmy son Rex (Chris Pine) and hold him for ransom. What they didn't anticipate is that Rex wants in on the scheme as well as a way to get back at his father and exhort $5 million from him.

There's no shortage of talent in "Horrible Bosses 2." Too bad it all goes to waste.

As I mentioned before, the original "Horrible Bosses" proved to be a surprise hit at the box office thanks to its edgy, high-concept premise—which captured the recession-era zeitgeist with aplomb—and ensemble cast. That same cast (sans Colin Farrell) has returned for Sean Anders' sequel but it's immediately clear that everyone has little to nothing to work with as they strain so hard for laughs that you're almost afraid that their heads are going to explode any second. The hilarious camaraderie that Nick, Kurt, and Dale shared in the first film has now been replaced with incessant yelling and imbecilic behavior. Whether it's arguing over codenames or debating how to pull off a kidnapping, almost every conversation between these three friends descends into loud bickering. It quickly grows exasperating and torturous to watch. The only time the sequel is funny is when it focuses on the titular horrible bosses from the first film, despite it being obvious that they've been shoehorned in and have no bearing on the main plot. It's always a delight to watch Kevin Spacey nastily chew the scenery as Nick's former tyrannical boss David Harken but his appearance amounts to a three-scene cameo. The same can be said for Jennifer Aniston as the foul-mouthed, sex-crazed dentist Dr. Julia Harris, with the actress providing the biggest laughs when Nick stumbles onto her late-night support group meeting for sex addicts, mistaking it for Alcoholics Anonymous. Jamie Foxx also returns as well as the colorfully named Dean 'Motherf*cker' Jones and while it's nice to see all these old characters again, it just goes to show that the sequel has nothing new to offer. The kidnapping plot wears out its welcome quickly, with the twists so predictable that you can see them coming lightyears away. In the words of Sam Woolf from We Got This Covered, "Horrible Bosses 2" is 'shriller, louder…longer,' and destroys whatever goodwill you had toward the original.

The irony here is that Nick, Kurt, and Dale have become the same 'horrible bosses' that they so despise through their bad decision-making. While obvious, this type of role reversal could've done wonders and give the sequel the freshness it desperately needed but Anders and co-writer John Morris often settle for the laziest route. They're content with treading the same ground, with the comedy now plumbing new depths into tastelessness. One very uncomfortable scene revolving around Rex and his housekeeper Kim (Suzy Nakamura) is so blatantly racist toward Asians that I'm frankly surprised that it made it through the editing room without anyone speaking up. The treatment of women here is also rather despicable. Look, I'm fine with Aniston playing an oversexed vixen because at least she's treated as an actual person. Unfortunately, the same can't be said for every other woman in the film as they function as little more than sex objects to be 'acquired.' Given the way American society normalizes 'rape culture,' it all feels rather irresponsible on the filmmakers' part. People will tell me to 'lighten up' but if you think it's funny to treat women as less than human, then you need to take a long, hard look at yourself in the mirror.

Jennifer Aniston's return as a sex-crazed vixen is one of the film's few highlights.

Despite the subpar and crass material, Jason Bateman, Jason Sudeikis, and Charlie Day try their best. In fact, they try so hard that you kind of start to feel sorry for them because all they want to do is make viewers laugh but what they're given here is just so beneath their talents. It ends up becoming a vicious cycle as the three simply resort to screaming and shouting to get a reaction. While their efforts are admirable, they can only do so much when everything around them is crap. The other returning cast members—Jennifer Aniston, Kevin Spacey, and Jamie Foxx—have what amounts to glorified cameos as the film's script struggles to concoct ways to keep them in the picture. Joining them are Christoph Waltz, who's completely wasted here in a go-nowhere role, and Chris Pine, whose wild enthusiasm unfortunately doesn't translate into genuine laughs.

Released on November 26, 2014, "Horrible Bosses 2" has received overwhelmingly negative reviews with 30% on Rotten Tomatoes, a far cry from the first film's 69%. Critics noted that it 'may trigger a few belly laughs among big fans of the original, but all in all, it's a waste of a strong cast that fails to justify its own existence.' Goodwill from its predecessor will likely turn Anders' sequel into a box office hit. However, word-of-mouth won't be good and I imagine that will put the kibosh on New Line's plans for a third installment of "Horrible Bosses," although truth be told, the negative reception for "The Hangover Part II" didn't stop Warner Brothers from making a "Part III." "Horrible Bosses 2" is the very definition of a lazy cash-in and it doesn't help that most of the jokes aren't funny and are often tasteless. This is what you get when studio executives only care about their bottom line and that right there is the horrible truth.

Final Rating: 2 out of 5

"Hello Nick. Guy who saved my life, guy who f*cked my wife."

Read More

Dumb and Dumber To Review

Rated PG-13 (Crude and Sexual Humor, Partial Nudity, Language and Some Drug References)

Running Time: 1 Hour & 50 Minutes

Cast-

Jim Carrey-Lloyd Christmas

Jeff Daniels-Harry Dunne

Kathleen Turner-Fraida Felcher

Rachel Melvin-Penny Pinchelow

Laurie Holden-Adele Pinchelow

Rob Riggle-Travis/Captain Lippincott

Steve Tom-Dr. Pinchelow

Tembi Locke-Dr. Walcott

Don Lake-Dr. Meldmann

Brady Bluhm-Billy

Directed by Peter and Bobby Farrelly

Harry and Lloyd are back in "Dumb and Dumber To," but they've been turned into complete dicks by the writers.

Note: Screened on Thursday, October 30, 2014 at AMC Loews 34th Street 14..

'Kick his ass, Sea Bass!' "Dumb and Dumber" is one of the stupidest movies I've ever seen. It's also one of the funniest comedies of the last twenty years. Marking the directorial debuts of Peter and Bobby Farrelly, the film was released back in 1994, which was a banner year for Jim Carrey. Following the box office successes of "Ace Ventura: Pet Detective" and "The Mask," "Dumb and Dumber" capped off a fantastic year for the "In Living Color" veteran and grossed over $247.3 million worldwide ($397.2 million when adjusted for inflation) on a $17 million production budget! Despite its mixed reception amongst critics (65% on Rotten Tomatoes), the film quickly became a cult classic and you'll be hard-pressed to find someone who hasn't seen it nowadays. Its popularity spawned a short-lived animated series from Hanna-Barbera in 1995 and an absolutely dreadful prequel—"Dumb and Dumberer: When Harry Met Lloyd"—in 2003. Carrey, co-star Jeff Daniels, and the Farrelly Brothers were fortunately not involved. Of course, fans kept clamoring for an official sequel, even though it didn't seem likely given Carrey's distaste for them following the critical drubbing he received for 1995's "Ace Ventura: When Nature Calls." Well, a lot can change in two decades. Daniels is currently starring in the third and final season of Aaron Sorkin's critically-acclaimed HBO series "The Newsroom" but Carrey and the Farrelly Brothers have been stuck in a career slump in recent years. Hoping to make lightning strike twice, we finally have "Dumb and Dumber To," the long-awaited follow-up to the 1994 hit. While I knew it wasn't going to top the original, I was still excited to see what new misadventures Harry and Lloyd would get up to. I really wanted to like "Dumb and Dumber To" but there's no use mincing words here: it's a disappointment. The endearing stupidity and charming innocence of the first film has been replaced with a creepy, mean-spirited attitude.

Ever since his ill-fated road trip to Aspen, Colorado, Lloyd Christmas (Jim Carrey) has been trapped in a seemingly catatonic state for the past twenty years. His best friend Harry Dunne (Jeff Daniels) has dutifully visited and taken care of his every need on a weekly basis but when Lloyd is suddenly roused from his stupor, he reveals that it's all been an elaborate prank. Finally reunited, the two dimwitted pals return to their old apartment, where Harry explains that he's in desperate need of a kidney transplant. While visiting his parents with Lloyd, he learns that a fling he had with Fraida Felcher (Kathleen Turner) back in 1991 has resulted in a pregnancy. After tracking down Fraida to her family-owned funeral parlor, the duo discover that she gave her daughter up for adoption. Now bearing the name of Penny Pinchelow (Rachel Melvin), Lloyd immediately becomes smitten with her upon seeing her photo. Driving down to Maryland, the two manage to locate the Pinchelow residence. However, her adopted father (Steve Tom) tells them that he sent her to El Paso, Texas for the KEN Conference. Unfortunately, she left behind an important package. Harry and Lloyd agree to take it to her but Penny's gold-digging adopted mother Adele (Laurie Holden) and her secret lover Travis (Rob Riggle) want to swipe the package as it contains an invention that is worth billions of dollars. 

There are laughs but they're few and far between in this long-awaited sequel.

'Would you like an atomic pepper, Mr. Mentalino?' One of my favorite scenes in "Dumb and Dumber" is when Harry and Lloyd are at a roadside diner and are double-dared into eating super-hot 'atomic' peppers by Mike Starr's Joe 'Mental' Mentalino, a hired thug posing as a hitchhiker. Of course, the two nitwits can't handle the heat and start choking loudly, forcing them to spray copious amounts of ketchup and mustard into their mouths. Mental goes outside while this happens, calling up his boss and assuring him that his new travel companions won't make it to Aspen alive. Hoping to get even with Mental, Harry and Lloyd dump a bunch of atomic peppers into the thug's burger when his back is turned. Now the guy doesn't immediately eat the burger when he returns to the table as the Farrelly Brothers want to build up to that moment. It's not enough for the joke to be funny; it needs to be well-timed as well. Once Mental takes that first bite and the peppers kick in, that's when the punchline arrives! For those of you who've seen the film, you know what happens next: Mental's stomach ulcer flares up and when the duo gives him his medication, they accidentally give him rat poison, the same rat poison the thug was going to kill them with! This hilarious scene illustrates two things. One: the Farrelly Brothers know how to execute a joke for maximum laughs, even one as predictable as someone unknowingly eating hot peppers, and two: although their actions lead to the death of Mental, you don't blame Harry and Lloyd because they had no malicious intent; they're essentially children trapped in adult bodies. These two elements are nowhere to be found in the sequel. Not only are the laughs few and far between in "Dumb and Dumber To," the characters—especially Lloyd—have been turned from dunces into total dicks.

A.A. Dowd from A.V. Club perfectly sums up the film in his own review: 'Dumb and Dumber To is crueler, crasser, grosser, lazier, creepier, and, yes, dumber than the [original].' Over the course of its overlong two-hour running time, Lloyd mocks and belittles a Chinese family for speaking a different language, tells another family that he was basically responsible for their son's death and laughs about it in front of them, makes fun of a female doctor solely because she is female, and shouts at a woman on stage to 'show her tits.' The last two is particularly damning considering the rampant misogyny and sexism that women have experienced recently on the internet. I haven't even touched on how creepy it is to watch a man in his early fifties lust after a woman who's twenty years his junior. The film tries to laugh it off but Lloyd is a sexual predator here, not a guy with a schoolboy crush like in the original pic. Although I spent an entire paragraph summarizing the sequel's plot, it essentially boils down to being a carbon-copy of its predecessor and the only surprising thing about it is the fact that it took six writers—including the Farrelly Brothers—to come up with it. Yes, "Dumb and Dumber To" required six people to write a story that is literally the exact same as the original. This means that there a lot of callbacks and references to the first film (Billy the Blind Kid, the Mutt Cutts van) but all it does is remind you how much funnier the 1994 hit was. There are some inspired gags, particularly one involving Harry and Lloyd's confusion over a return address and another where the two talk about farts. A scene where Harry is invited to judge a young inventors' competition at the KEN Conference is pretty funny as well. However, I can count on one hand the amount of times I laughed. Not only have the directors lost their comedic touch, they've also completely forgotten what made "Dumb and Dumber" so popular in the first place.

Nobody found it creepy that a subplot involves a man in his fifties lusting after a woman twenty years his junior? Nobody?!

Donning Lloyd's famous bowl haircut once more, Jim Carrey's comedic prowess is still in tip-top shape as he wildly bounces from scene to scene but he tries too hard here with his constant mugging in front of the camera. It doesn't help that his character has been turned into a complete jerk by the writers. Jeff Daniels fares much better, effortlessly sliding back into his old role as Harry and delivering an enthusiastic performance. While Kathleen Turner is unfortunately made the butt of too many 'old lady' jokes, it's mitigated by her amusingly blasé turn as former flame Fraida Felcher. Rachel Melvin is surprisingly charming, delightful, and dare I say, adorable, as Harry's long-lost daughter Penny Pinchelow, who's also dumb as a rock. I actually wouldn't mind a future "Dumb and Dumber" film focusing on Melvin's character. Rounding out the cast is Laurie Holden (who previously starred with Carrey in 2001's "The Majestic") as Penny's gold-digging adopted mother Adele and Rob Riggle in a dual role as Travis and his twin brother, the chameleon-like marine Captain Lippincott. There are also a couple of cameos, such as Bill Murray (I'm not going to spoil the scene he appears in but you can Google it if you must know) and inexplicably June Shannon, aka Mama June. I have to ask what possessed the Farrelly Brothers to include her. Hell, even TLC has cut ties with her and her family, and for good reason!

Released on November 14, 2014, "Dumb and Dumber To" has received largely negative reviews with 27% on Rotten Tomatoes. Critics noted that the film 'does have its moments, but not enough of them—and the Farrelly Brothers' brand of humor is nowhere near as refreshingly transgressive as it once seemed.' It's still poised to do big business at the domestic box office this weekend despite the unfavorable critical reception, with the long-awaited sequel currently tracking for a $36 million debut. That's actually quite impressive considering the first film opened with only $16.4 million and is a testament to its continued popularity. Fans have been clamoring for a sequel for twenty years and now that one has arrived, I'm betting a lot of those fans wish they hadn't. Largely bereft of laughs, "Dumb and Dumber To" exists solely to cash in on the nostalgia of moviegoers, sullying the name of the original. Just pop a DVD or Blu-Ray copy of "Dumb and Dumber" and forget this one exists, like that horrible prequel.

Final Rating: 2 out of 5 (My love of the original kept the score from falling lower)

"Want to hear the second most annoying sound in the world?"

Read More

Ouija Review

Rated PG-13 (Disturbing Violent Content, Frightening Horror Images, and Thematic Material)

Running Time: 1 Hour & 29 Minutes

Cast-

Olivia Cooke-Laine Morris

Ana Coto-Sarah Morris

Daren Kagasoff-Trevor

Bianca Santos-Isabelle

Douglas Smith-Pete

Shelley Hennig-Debbie Galardi

Lin Shaye-Paulina Zander

Sierra Heuermann-Doris Zander

Claudia Katz-Mother

Vivis Colombetti-Nona

Directed by Stiles White

"Ouija," another watered-down, PG-13 horror movie released just in time for Halloween.

A product born out of America's obsession with spiritualism during the nineteenth century, the so-called 'Ouija board'—patented by businessman/inventor Elijah J. Bond in 1890—was viewed as nothing more than a harmless parlor game when the Kennard Novelty Company began exclusively manufacturing them that same year. The supposedly supernatural board game—which is now owned by Hasbro, and before being bought out, Parker Brothers—existed on the fringes of American pop culture for over eighty years since its inception but everything changed when William Friedkin's "The Exorcist" arrived in theaters in 1973. The Ouija board, once viewed as something silly and hokey, was transformed almost overnight into a sinister tool of the Devil. Now it's an oft-used element in the horror genre. With Hasbro intent on turning all their properties into feature films, it was only a matter of time before a big-screen adaptation of the board game was made. Following in the footsteps of Peter Berg's much-maligned "Battleship" from 2012, the appropriately-titled "Ouija" is another in a long line of watered-down, PG-13 horror movies that undiscerning audiences (read: teenagers) just love to eat up during Halloween. In other words, it's a piece of crap…and I'm already being too kind here.

High school seniors Laine Morris (Olivia Cooke) and Debbie Galardi (Shelley Hennig) have been the best of friends since childhood but tragedy strikes when Debbie is found dead in her own home, the victim of an apparent suicide. A devastated Laine is left baffled as to why her close friend would just suddenly take her own life. While housesitting for Debbie's grieving parents, Laine stumbles upon an Ouija board in her bedroom. Recalling her fond memories playing the board game with Debbie as children, Laine decides to use it to contact her friend's spirit, unable to shake the feeling that her presence is still in the house. Indulging her need for closure, Laine's circle of pals—her sister Sarah (Ana Coto), her boyfriend Trevor (Daren Kagasoff), diner waitress Isabelle (Bianca Santos), and Debbie's boyfriend Pete (Douglas Smith)—join Laine for a séance at their late friend's home. They are successful in making contact but it soon becomes clear that the spirit is not Debbie, and once it latches onto them, it won't let go. Laine begins investigating the residents that previously lived in Debbie's house, leading her to a strange old woman (Lin Shaye) who may hold the key to stopping this malevolent entity.

Olivia Cooke is an appealing actress but she looks completely disinterested here.

Dull, lazy, and thoroughly generic, "Ouija" not only represents everything that's wrong with mainstream horror movies today but it's also a symptom of a larger problem plaguing Hollywood. You see, many films—especially the big budget ones—are either based on or part of a larger brand. Now I take no issue with this practice. 'There's a healthy balance between art and [commerce] that can be met somewhere in the middle,' as Jeremy Kirk from First Showing writes in his own review. Take "The LEGO Movie" for instance. Yes, it's basically a one-hundred minute toy commercial but the resulting film from directors Phil Lord and Christopher Miller came from a place of genuine creative passion. It was funny, imaginative, heartfelt, and reminded viewers what made the brand so popular and enduring in the first place. On the opposite end of the spectrum, we have "Transformers: Age of Extinction" from Michael Bay, who ironically also serves as one of the many producers on "Ouija." Like "The LEGO Movie," the fourth "Transformers" pic is a toy commercial too. However, it's a cynical cash-grab of the highest order as well, one that's not content until it bludgeons its viewers into complete and utter submission during its bloated three-hour running time. While the offenses that "Ouija" commits aren't quite as egregious, the film never quite escapes the feeling that it was made to fulfill some contractual obligation. That's not surprising considering it's been in development on-and-off since 2008. Originally conceived as a big budget affair, what we get here has been significantly downsized and reshot (half the scenes shown in the trailer are not even in the film). Sure, it's professionally-made but if it weren't for the brand recognition, "Ouija" would've been banished to VOD-land and quickly forgotten.

Yes, let's walk down an empty, dark corridor for no good reason.

Of course, that's not what happened. Now in its third week of release, "Ouija" has grossed over $58.2 million worldwide. That's almost twelve times its production budget! It really boggles the mind considering the story—co-written by Juliet Snowden and director Stiles White—is so derivative and predictable. A group of teenagers get their hands on an Ouija board. They use it and make contact with what they believe is a friendly spirit. Said spirit turns out to be evil and starts terrorizing the teenagers, picking them off one by one. Studio makes a profit at the box office. The only thing that's surprising is how much it fails as both a horror movie and a toy commercial. It's not scary, unless you enjoy cheap bait-and-switch jump scares (Oh, it's just your boyfriend behind the door!) and for a film that's designed to sell board games, it does a poor job getting people to rush out and buy one. Why would someone spend money on an object that could potentially lead to them being killed by evil spirits? In addition to being overly formulaic, the plot doesn't even make much sense as events often happening out of narrative convenience (Debbi's penguin keychain just happens to be a USB drive). The characters fare even worse. Hell, I've seen more character development in a thirty-second commercial about the Olive Garden. Olivia Cooke (from A&E's "Bates Motel") is an appealing actress but her line readings here are devoid of any emotion. When her character says 'I never got to say goodbye,' she might as well add 'or whatever.' The rest of the blandly attractive cast is completely forgettable. Well, Ana Coto does have a cute haircut and a pair of gorgeous eyebrows. Lin Shaye from James Wan's "Insidious" films pops up briefly for a cameo and manages to make a memorable impression with her charming, menacing turn.

Released on October 24, 2014, "Ouija" has received overwhelmingly negative reviews with a paltry 7% on Rotten Tomatoes. The consensus cheekily says, 'Slowly, steadily, although no one seems to be moving it in that direction, the Ouija planchette points to NO.' Despite its poor critical reception, teenagers rushed out to see the film thanks to Universal's targeted marketing campaign that focused heavily on social media like Snapchat. It topped the domestic box office for two straight weeks and both times, it faced off with well-received and even critically-acclaimed films ("John Wick" and "Nightcrawler")! This is why we keep getting dumbed-down trash like this from Hollywood. Why bother even trying when you know people will pay to go see crap like this? The final scene in "Ouija" seems to promise a sequel and given how well it's done financially already, we're probably going to get one thanks to those damn teenagers.

Final Rating: 1.5 out of 5

"You can buy one of these at your local toy store." *face-palm*

Read More

Interstellar Review

Rated PG-13 (Some Intense Perilous Action and Brief Strong Language)

Running Time: 2 Hours & 49 Minutes

Cast-

Matthew McConaughey-Joseph Cooper

Anne Hathaway-Amelia Brand

Jessica Chastain-Murphy Cooper

Michael Caine-Professor John Brand

David Gyasi-Romilly

Wes Bentley-Doyle

Bill Irwin (voice)-TARS

Josh Stewart (voice)-CASE

John Lithgow-Donald

Mackenzie Foy-Young Murphy Cooper

Ellen Burstyn-Old Murphy Cooper

Timothée Chalamet-Young Tom Cooper

Casey Affleck-Tom Cooper

Leah Cairns-Lois Cooper

Topher Grace-Getty

Collette Wolfe-Ms. Kelly

David Oyelowo-School Principal

William Devane-NASA Board Member

Directed by Christopher Nolan

Director Christopher Nolan reaches for the stars and beyond in his latest film, "Interstellar."

Note: Screened on Monday, October 3, 2014 at AMC Loews Lincoln Square 13 (Red Carpet Premiere).

What is out there? What does the future hold? How will it reshape us? And what lies not just on the horizon but beyond it, in the places we cannot see and have yet to even fathom? Director Christopher Nolan is never one to shy away from a challenge. Ever since 2008's "The Dark Knight" grossed a billion dollars at the worldwide box office, the release of a new Nolan film has become a major cinematic event unto itself. The British auteur has built quite an impressive body of work over the past sixteen years, from sophisticated, mind-bending contortions ("Following," "Memento," and "Inception"), intricate stories exploring the nature of obsession—whether it'd be in the form of dueling magicians ("The Prestige") or a guilt-ridden detective ("Insomnia")—to finally redefining the superhero genre into a serious art form ("The Dark Knight" trilogy). For his ninth feature, Nolan is taking audiences into uncharted territory in the farthest reaches of outer space. "Interstellar" is by far the director's biggest, boldest, and most sentimental work to date. Hell, calling it 'ambitious' doesn't even begin to do it justice! But is it his best film? The answer is sadly no. However, I do want to make one thing absolutely clear: "Interstellar" is not terrible—far from it, in fact. It simply comes up short when compared to the high bar that Nolan has set for himself. Despite its narrative flaws, "Interstellar" remains a visually breathtaking, out-of-this-world experience, an audacious piece of blockbuster filmmaking that demands to be seen on the biggest screen possible.

The Earth is dying in the not-too-distant future. Hazardous dust storms are now a daily occurrence. A devastating blight has also destroyed crops like wheat and okra, leaving corn as the only viable food source that can still be grown. Faced with an ever-dwindling food supply, humanity has turned away from innovation and discovery in order to focus on basic survival. Spurred by his inquisitive daughter Murphy (Mackenzie Foy), former NASA test pilot-turned-corn farmer Joseph Cooper (Matthew McConaughey) investigates a series of gravitational anomalies in the ramshackle home that he also shares with his teenage son Tom (Timothée Chalamet) and father-in-law Donald (John Lithgow). Centered in his daughter's room, these anomalies reveal a set of coordinates during a severe dust storm. Cooper follows them to a hidden facility out in the desert, where he encounters the tattered remnants of NASA led by his old mentor Professor John Brand (Michael Caine) and his daughter Amelia (Anne Hathaway). They explain that since the Earth cannot be saved, the only solution is to travel beyond their solar system and into outer space. Fortunately, a wormhole has been discovered near Saturn, presumably placed there by beings of higher intelligence that want to lend humanity a helping hand. Ten years ago, several astronauts went through the wormhole, with the data they sent back indicating three worlds that are potentially habitable. Brand wants Cooper to lead a new mission that will determine humanity's new home. Although he is reluctant to leave his family behind, Cooper knows that his children's generation will be the Earth's last if he doesn't go and agrees. His decision leaves Murphy devastated and resentful. As the years fly by and conditions worsen, she (Jessica Chastain) begins to lose faith that her father will ever return.

"Interstellar" is set in a dying Earth ravaged by dust storms and an ever-dwindling food supply.

"Interstellar" left me utterly speechless. This is an epic science fiction film filled with grand themes and even grander visuals but it's also a very old-fashioned picture, one that wears its heart on its sleeve and evokes an unabashed sentimentalism that is almost Spielberg-esque, for lack of a better term. Ironically, Steven Spielberg was previously attached to direct when the project was announced by Paramount back in 2006. Christopher Nolan's younger brother Jonathon was hired to write the screenplay a year later but Spielberg eventually dropped out, paving the way for Christopher to take over the reins as director in 2013 and bringing Warner Brothers with him as a co-financier and co-distributor. He rewrote his brother's script, incorporating an original idea of his own within the existing sci-fi narrative based around wormholes. The end result is somewhat messy and bloated—the film's running time is a butt-numbing two hours and forty-nine minutes—yet "Interstellar" is never less than awe-inspiring. It's the type of big-budget, risk-taking blockbuster that has become all too rare in today's franchise-driven Hollywood.

Opening somewhere in the American farm belt, Nolan's vision of the future in "Interstellar" feels like something out of John Steinbeck's The Grapes of Wrath. The dust-covered cars and farmhouses evoke the Dust Bowl of the 1930s. However, the odd personal computer and long-lost surveillance drone remind viewers that the people in this film are at a technological advantage compared to the Okies in Steinbeck's 1939 novel. The problem is that any technology that is still usable is geared toward one purpose: to grow food. When Cooper sees the aforementioned surveillance drone while driving his kids to school, he chases after it, smashing through a cornfield despite having a flat tire. 'Solar cells could power an entire farm,' he remarks. Due to the severe dust storms and food shortage, the world has forsaken innovation and discovery in favor of basic survival. After all, what's the point of going to outer space when you're struggling to put food on the table? One character even says at one point, 'The world doesn't need any more engineers. We didn't run out of planes and television sets. We ran out of food.' Given the many budget cuts that NASA has faced in recent years, the scenario in Nolan's film isn't too far removed from reality despite its apocalyptic undertones but the director takes it one step further. When Cooper attends a parent-teacher conference, it's revealed that things have gotten so bad that textbooks have now written off the Apollo missions as fake and were designed to bankrupt the Soviet Union! A series of admittedly hokey events (we'll get back to them later) leads to Cooper and Murphy stumbling upon a hidden facility out in the middle of the desert. This facility is revealed to be the home of what remains of NASA, who is desperately searching the universe for a habitable world that can sustain the human race. However, this is only Plan A. Plan B involves using thousands of fertilized human embryos to ensure humanity's survival once the Earth is dead. Michael Caine's Professor Brand wants Cooper to make Plan A happen and even though the former test pilot can't bear the thought of leaving his children behind, he wants to ensure that there is an actual future for them. Cooper agrees to lead the mission. His decision destroys Murphy because it means that she might not see her father again. 

From a visual and audio standpoint, "Interstellar" is unforgettable and unmatched. 

"Interstellar" prides itself on scientific accuracy (renowned theoretical physicist Kip Thorne served as a consultant and even has an executive producer credit) but for all its talk about quantum mechanics and the theory of relativity, Nolan's film basically boils down to the 'Power of Love.' Anne Hathaway's Amelia even remarks at one point that 'love is the one thing we're capable of perceiving that transcends dimensions of time and space.' It's the kind of line that feels profound and cheesy all at the same time but the theme works because it's anchored by a very sincere and often heartbreaking performance from Matthew McConaughey. Relegated to the world of clichéd rom-coms for almost a decade, McConaughey has completely reinvented himself over the past three years. Hell, the mere suggestion that he would win an Academy Award four years ago would've prompted massive laughter from me! But this is a different McConaughey now and even as "Interstellar" threatens to go off the rails in the third act, his performance keeps the film grounded and gives it the beating heart that some critics have complained that was missing in Nolan's previous work. There's a scene where Cooper returns from one of the potentially habitable planets and discovers that twenty-three years have passed due to time dilation resulting from being in close proximity to a massive black hole. He views a series of video messages and the shock of seeing his children as adults hits him hard. Cooper starts weeping and I have to admit, I felt emotional as well. I may not be a parent yet but I understand the sacrifices they make. If there's one thing that Nolan successfully captures, it's the unbreakable bond between parent and child. The rest of the cast—which includes Anne Hathaway, Jessica Chastain, Michael Caine, and a big-name cameo—deliver fine performances as well. However, they're shackled by the film's lumbering narrative, pigeon-holing their characters into mouthpieces of exposition that are either used to advance the plot or themes. Two of the more memorable characters aren't even human; they're actually robots. Voiced by Bill Irwin and Josh Stewart, the quadrilateral-shaped TARS and CASE provide much of the film's humor, with both recalling HAL 9000 from Stanley Kubrick's 1968 magnum-opus "2001: A Space Odyssey.".

'Wow' is a frequent word you'll be uttering while watching "Interstellar." The film was unfortunately not shown in 70mm IMAX at the advance screening I attended but even so, the images of space are some of the most beautiful I've seen since…well, Kubrick's "2001: A Space Odyssey"! Working with Swiss cinematographer Hoyte van Hoytema, Nolan really drives home the vastness of outer space and humanity's insignificance in the face of it all. The slowly-spinning mother ship Endurance is often relegated to a tiny corner of the screen or lost in the radiating swirl of a black hole. Speaking of black holes, the one depicted in the film—dubbed 'Gargantua' by the characters—is not only scientifically accurate but also a dazzling visual highlight that looms ominously over every scene in the second act. Although wormholes (or Einstein–Rosen bridges) have long been a staple of the sci-fi genre, no film has ever attempted to capture the tense, almost hypnotic experience of going through one. Nolan has, and as we watch space-time bend and warp, it really does feel like we're literally going down the rabbit hole despite the fact that the existence of wormholes remains theoretical. Of course, "Interstellar" isn't just composed of tiny spacecraft languorously drifting through the cosmos. There are several heart-pounding set-pieces, from a perilous escape from a watery planet with tsunamis that can block out the sun to a terrifying docking sequence that left me on the edge of my seat. Hans Zimmer's rousing score is also absolutely fantastic. From a visual and audio standpoint, Nolan's latest is unforgettable and unmatched.

The ensemble cast deliver fine performances, even if some of them only serve as mouthpieces for exposition.

But "Interstellar" is not Nolan's best film. It's certainly ambitious, a quality that is noticeably lacking in big-budget blockbusters today. However, there's a feeling of 'hokiness' that you're never quite able to shake off. Take the first act for instance. The events that lead to Cooper and Murphy discovering the remnants of NASA are initially attributed to a 'ghost,' so there's already a metaphysical element at play here. The revelation of whom or what the 'ghost' is and why it was doing what it was doing is shown in the third act. It's here that Nolan somewhat exceeds his grasp as he tries to turn a chaotic, unpredictable force such as love into something that can be quantified, something that can hold galaxies together like gravity. It threatens to derail the film and as mentioned previously, only McConaughey's sincere performance holds it all together. Still, I have to admire Nolan for thinking outside the box and going 'out there,' critical or audience reception be damned. It's better to take a risk and not succeed then take no risk at all. I suppose that speaks for the film's overall message since it's essentially about taking a huge leap of faith.

Following a two-day limited engagement, "Interstellar" opens in wide release on November 7, 2014. Although reception has been largely positive with 71% on Rotten Tomatoes, this is Nolan's worst-reviewed film by far. Critics noted that it 'represents more of the thrilling, thought-provoking, and visually resplendent filmmaking moviegoers have come to expect from writer-director Christopher Nolan, even if its intellectual reach somewhat exceeds its grasp.' This type of polarizing reaction doesn't come as a surprise to me and I suppose it doesn't come as a surprise to Nolan either. His work inspires endless debate and whether you thought the film was good or bad, people will be talking about "Interstellar" for quite a while. There's too much exposition, its mixture of hard science and metaphysical philosophy doesn't entirely gel together, and it's definitely too long at almost three hours but "Interstellar" is one of the most unforgettable cinematic experiences I've ever had. It's a passionate ode to human discovery and that's something I greatly admire. What is out there? Hope, love, and endless possibilities.

Final Rating: 4.5 out of 5

"Love is the one thing we're capable of perceiving that transcends dimensions of time and space."

Read More

Big Hero 6 3D Review

Rated PG (Action and Peril, Some Rude Humor, and Thematic Elements)

Running Time: 1 Hour & 48 Minutes

Cast (voice)-

Ryan Potter-Hiro Hamada

Scott Adsit-Baymax

Jamie Chung-GoGo Tomago

Genesis Rodriguez-Honey Lemon

Damon Wayans Jr.- Wasabi

T.J. Miller-Fred

Daniel Henney-Tadashi Hamada

Maya Rudolph-Aunt Cass

James Cromwell-Professor Robert Callaghan

Alan Tudyk-Alistair Krei

Charles Adler-Yokai

David Shaughnessy-Heathcliff

Katie Lowes-Abigail Callaghan

Directed by Don Hall and Chris Williams

Last year, it was "Let It Go," this year, it's Baymax!

Note: Screened on Saturday, November 1, 2014 at Regal E-Walk Stadium 13.

Four billion dollars—that's how much The Walt Disney Company paid to acquire Marvel Entertainment back in 2009, which was operating independently up to that point. It was a shocking deal that no one could've foreseen in a million years and it set the internet ablaze with talk. Reactions to the new acquisition ran the gamut from cautious optimism to outright disapproval. Fortunately, Marvel has greatly benefitted from Disney's leadership for the past five years, with current CEO Bob Iger taking a hands-off approach. Shepherded by producer Kevin Feige, Marvel's film division has become a powerhouse at the worldwide box office while their publishing arm has remained unchanged despite initial fears that the market would be flooded with "Hannah Montana" comics. Of course, it was only a matter of time before Disney began to utilize their acquisition for potential ideas for new animated films, which has arrived in the form of "Big Hero 6." The follow-up to last year's critically-acclaimed and wildly popular "Frozen" from Walt Disney Animation Studios, "Big Hero 6" is loosely inspired by the 1998 Marvel mini-series of the same name, which featured one-time X-Men member Sunfire and former Wolverine villain Silver Samurai. Obviously, those two characters don't appear in the film since 20th Century Fox owns the rights to them. Kevin Feige and Marvel Studios were also not involved in the production, which I feel is a missed opportunity. Who wouldn't want to see an animated Robert Downey Jr. in a cameo voice role? It's disappointing that "Big Hero 6" plays it so safe with its superhero origin story but Disney's latest remains a big-hearted and visually exciting animated film that's packed with plenty of action, memorable characters, and one of the most adorable robots since Pixar's Wall-E.

"Big Hero 6" is preceded by "Feast," a short film that proves that dogs really are Man's best friend. Living in the futuristic city of San Fransokyo with his Aunt Cass (Maya Rudolph), fourteen-year-old high school graduate Hiro Hamada (Ryan Potter) is a tech prodigy who spends his free time hustling in underground robot-fighting competitions in the city's dirty back alleys. Not wanting to see his little brother waste his potential, Tadashi (Daniel Henney) takes Hiro on an impromptu tour of his university's advanced robotics lab. While there, he introduces him to his friends and fellow lab partners: tough-as-nails engineer GoGo Tomago (Jamie Chung), neurotic laser specialist Wasabi (Damon Wayans Jr.), easily excited chemist Honey Lemon (Genesis Rodriguez), and laid-back school mascot/science enthusiast Fred (T.J. Miller). Amazed at all the cool inventions they're making—which include a cuddly, robotic 'Healthcare Companion' named Baymax (Scott Adsit) created by Tadashi—Hiro decides he wants to attend 'Nerd School' with his older brother. In order to be accepted, he has to create something that will impress Tadashi's professor, Robert Callaghan (James Cromwell). After a lengthy brainstorming process, Hiro invents a new form of nanotechnology dubbed 'microbots,' which can take any shape or form with the use of a neurotransmitter headband. At a tech fair held by the university, Hiro demonstrates his invention to an impressed audience and is immediately accepted into the school, but his triumph is short-lived. A large fire breaks out in the lab and Tadashi, who rushes in to save Callaghan, is killed in the resulting explosion. As he mourns the loss of his brother, Hiro takes comfort in the companionship provided by Baymax. He soon learns that the fire was no accident, leading him into a deadly confrontation with a mysterious, kabuki-masked villain named Yokai (Charles Adler).

"Big Hero 6" represents gender and racial diversity done right.

There's a scene where Hiro excitedly puts a newly armored Baymax through his paces, whose programming has just been upgraded with a new martial arts protocol. A satisfied Hiro asks Baymax for a fist bump but the robot remarks that such a move doesn't exist in his fighting database. Hiro then attempts to show him a cool handshake followed by an exploding fist bump. However, Baymax gives it his own little twist. Instead of doing the explosion sound effect that Hiro makes, he goes, 'Tralalalala!' Its charming moments like these that make "Big Hero 6" so enjoyable to watch. Directed by Don Hall (2011's "Winnie the Pooh") and Chris Williams (2008's "Bolt"), "Big Hero 6" is a superhero origin story and as such, the overall narrative isn't terribly ambitious. However, the film makes up for it with its rich visuals, thrilling action sequences, and silly, eccentric characters. The shimmering, high-tech neon city of San Fransokyo may just be the product of the animators' imagination but on-screen, it feels like a place that can actually exist. The mixture of Western and Eastern architecture never comes across as haphazard at all. It's a brilliantly conceived and perfectly cohesive world, one the film is proud to show off in a fantastic flying sequence. The aforementioned action sequences are indeed impressive and one of the highlights is a second act-car chase that deftly blends a sense of escalating danger with slapstick humor. Unfortunately, the 3D diminishes the picture's vibrant cinematography. While it could've been a projector issue, I still suggest sticking with good ol' 2D.

The supporting characters—GoGo Tomago, Wasabi, Honey Lemon, and Fred—aren't given as much screen-time as I would've liked but their chemistry is infectious thanks to the top-notch voice cast. Everyone, especially T.J. Miller, seems to genuinely enjoy the work they're doing here and that enthusiasm carries over to their vocal performances. Of course, the one character that will leave the biggest impression on the audience is Baymax. Inspired by Carnegie Mellon University's pioneering work in 'soft robotics' in Pittsburgh, Pennsylvania, Baymax is an inflatable medical robot that watches over Hiro when his older brother tragically dies. Wonderfully voiced by Scott Adsit (from NBC's "30 Rock"), the sweet, gentle automaton is immediately endearing and flat-out hilarious. Watching him carefully navigate around furniture or waddle after Hiro brought a smile to my face. In fact, just the mere presence of him would make me smile and it made me wish that I had my own cuddly, robot companion. Baymax is guaranteed to be a big icon this coming holiday season so parents, better save up that cash!

He's a bit one-note but Yokai remains a visually dynamic villain.

"Big Hero 6" delivers plenty of laughs but it does find time to explore some pretty heavy themes about overcoming grief and the futility of vengeance. There's a scene where Hiro, consumed with rage, removes Baymax's medical protocol (thereby turning the robot into an emotionless killing machine) and orders him to kill Yokai. It's actually upsetting to watch and I applaud the film for not sugarcoating the anger that Hiro feels in regards to his older brother's death. The way he eventually overcomes his loss will strike a chord with children and pre-teens that have unfortunately experienced something similar. Another great aspect about "Big Hero 6" is its celebration of being a nerd and it's embracement of diversity without overdoing it or being self-congratulatory. It makes me proud to see not only a positive representation of Asians but also female characters that are treated as equals and not love interests or damsels-in-distress. All of this is accomplished so matter-of-factly. This is the type of gender/racial diversity that all Hollywood films should strive for.

To be released on November 7, 2014, the early reviews for "Big Hero 6" have been overwhelmingly positive and it currently stands at 100% on Rotten Tomatoes. Given the audience's enthusiastic response at the advance screening, the film is pretty much a guaranteed box office hit despite competition from Christopher Nolan's highly-anticipated "Interstellar." Fortunately, both films are being marketed toward different audiences so I don't see them cannibalizing each other on opening weekend. Conventional storytelling aside, "Big Hero 6" represents another animated triumph for Walt Disney but what makes it such a great film is encapsulated in the following scene: after flying through the streets of San Fransokyo, Hiro and Baymax sit atop a hot-air balloon to watch the sunset together. Hiro twists his feet back and forth in the breeze and Baymax, noticing this, starts twisting his feet as well. It's a beautiful moment that captures the power of friendships, whether it's between two people or a person and his robot.

Final Rating: 4 out of 5

"This may undermine my non-threatening, huggable design."

Make sure to stay after the end credits for a very special scene featuring a very special cameo!

Read More