The Fifth Estate Review

Rated R (Language and Some Violence)

Running Time: 2 Hours & 8 Minutes

Cast-

Benedict Cumberbatch-Julian Assange

Daniel Brühl-Daniel Domscheit-Berg

Alicia Vikander-Anke Domscheit-Berg

Carice van Houten-Birgitta Jónsdóttir

Moritz Bleibtreu-Marcus

Laura Linney-Sarah Shaw

Stanley Tucci-James Boswell

Anthony Mackie-Sam Coulson

David Thewlis-Nick Davies

Dan Stevens-Ian Katz

Peter Capaldi-Alan Rusbridger

Alexander Siddig-Dr. Tarek Haliseh

Directed by Bill Condon

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

Note: At AMC Empire 25.

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

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

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

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

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

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

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

Final Rating: 2 out of 5

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

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Runner, Runner Review

Rated R (Language and Some Sexual Content)

Running Time: 1 Hour & 31 Minutes

Cast-

Justin Timberlake-Richie Furst

Ben Affleck-Ivan Block

Gemma Arterton-Rebecca Shafran

Anthony Mackie-FBI Agent Shavers

John Heard-Harry Furst

Michael Esper-Billy 'Pet' Petricoff

Oliver Cooper-Andrew Cronin

Christian George-Wilson

Yul Vazquez-Delegate Herrera

James Molina-Esteban

Louis Lombardi-Archie

Vincent Laresca-Sergeant Barrancas

Sam Palladio-Shecky

Bob Gunton-Dean Alex Monroe

David Costabile-Professor Horstein

Directed by Brad Furman

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

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

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

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

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

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

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

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

Final Rating: 2 out of 5

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

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Jobs Review

Rated PG-13 (Some Drug Content and Brief Strong Language)

Running Time: 2 Hours & 2 Minutes

Cast-

Ashton Kutcher-Steve Jobs

Josh Gad-Steve 'Woz' Wozniak

Dermot Mulroney-Mike Markkula

Lukas Haas-Daniel Kottke

Victor Rasuk-Bill Fernandez

Eddie Hassell-Chris Espinosa

Ron Eldard-Rod Holt

Nelson Franklin-Bill Atkinson

Elden Henson-Andy Hertzfeld

Lenny Jacobson-Burrell Smith

Matthew Modine-John Sculley

J.K. Simmons-Arthur Rock

Kevin Dunn-Gil Amelio

Brad William Henke-Paul Terrell

Ahna O'Reilly-Chris-Ann Brennan

John Getz-Paul Jobs

Lesley Ann Warren-Clara Jobs

Abby Brammell-Laurene Powell Jobs

James Woods-Jack Dudman

Directed by Joshua Michael Stern

Steve Jobs has an idea because he thinks differently.

Note: Screened on Tuesday, August 13, 2013 at the NYIT Auditorium.

Calling Steve Jobs a 'complicated man' is one of those massive understatements that have become so overused, it's now a tired cliché. Whatever your opinion of him was, there's no denying that Jobs was ambitious and a pivotal driving force for the burgeoning computer industry during the mid-1970s. I still remember the first time I used a Mac, like it was yesterday. It was back in elementary school and if memory serves me right, the model was a Color Classic II and had the shareware version of id Software's seminal first-person shooter Wolfenstein 3D installed. Not every Mac in the classroom had the game so you pretty much had to beat the other kids to the punch in order to play it or you'd be stuck with some Space Invaders knock-off. I fondly recall that triumphant moment where I took down a mech-suit wearing Adolf Hitler using the chain gun while all my friends hovered around me like hawks, silently hoping for me to slip-up. Unfortunately, some uptight parent complained to the teacher about the violence and he promptly uninstalled the game from all the computers. Ironically, this would be the last time I touched a Mac and since then, I've stayed loyal to my one true love, the PC. Of course, I'm not here to debate the pros and cons of Macs and PCs (it would turn into a shouting match anyway) as the topic of this review is on Steve Jobs and the biographical film based on his life from director Joshua Michael Stern. Given the man's influence on computers and technology in general, a biopic focusing on Jobs was always inevitable but I'm surprised at how fast we're getting one considering he passed away only two years ago. There's no doubt that Steve Jobs was a fascinating individual but despite the best efforts of Ashton Kutcher, "Jobs" is ultimately a dull, overly hagiographic film that offers absolutely no insight into the man that taught millions to 'think differently.' You'd actually be better off reading the guy's Wikipedia page or waiting for the Aaron Sorkin version.

On October 23, 2001, Apple Inc. CEO Steve Jobs (Ashton Kutcher) unveils the iPod to a rapturous audience at a special event in Cupertino, California but back in 1974, he was just another bored student at Portland, Oregon's Reed College. Dropping out after just one semester, Jobs spends the next eighteen months attending various creative classes such as calligraphy and eventually travels to India with his friend Daniel Kottke (Lukas Haas) in search of spiritual enlightenment. While working as a technician at Atari, Inc., Jobs is assigned to create a circuit board for the arcade video game Breakout using the least amount of chips possible. He enlists his high school friend Steve Wozniak (Josh Gad) to help on the project and their partnership leads to the invention of the Apple I computer in 1976. Born in the garage of Jobs' home in Los Altos, Apple Computer, Inc. quickly becomes a leading industry force in the home computer market thanks to some much-needed funding provided by semi-retired engineer Mike Markkula (Dermot Mulroney). Apple continues to grow throughout the early-1980s but Jobs soon becomes embroiled in an internal power struggle that sees him ousted from the company he built in 1985. As Apple slowly slipped into a decline, Jobs reluctantly returns as interim CEO in 1998 in order to forge a new path and bring the company back into the public consciousness.

'What makes this person great?' That is the question every biopic must answer and sadly, "Jobs" doesn't. Written by first-timer Matt Whiteley, the film makes the disastrous decision of shoehorning over twenty years of Apple history into a mere two hours, resulting in a scattershot, fragmented picture that's bereft of any nuance or drama. This is a lazy, pointless approach because one can simply read all about the company's milestones with just a simple Google search. Granted, the first hour isn't too bad as we witness the humble beginnings of Apple from Steve Jobs' garage. Watching Steve Wozniak diligently put together the circuit boards for the Apple I computer was actually fun since I spent much of my time in college doing the very same thing. However, Stern indulges in too much hero-worship in "Jobs" as the other contributors to the Apple I, Daniel Kottke, Bill Fernandez (Victor Rasuk), and Chris Espinosa (Eddie Hassell), are little more than set decoration. The opening scene where Jobs unveils the iPod even fudges the facts as initial reception to the device was mixed but here, the audience is shown to be literally standing on their hands and knees like it's the Second Coming of Jesus! Time and again, Jobs is shown to do no wrong. Whenever people doubt him or explain that something can't be done, he simply brushes off their concerns with a knowing smile. Even when the company was hemorrhaging money due to the failure of the Apple Lisa and the first Macintosh, the film places all the blame on then-CEO John Sculley (Matthew Modine) and investor Arthur Rock (J.K. Simmons), positioning them as one-dimensional, short-sighted executives who cared only about profit and not Jobs' 'vision.' When the subject of your biopic is presented as nearly infallible, it doesn't make for a very riveting film.

The second hour largely focuses on the internal power struggle between Sculley and Jobs but by then, the film had already lost me as it drudges through one tedious boardroom argument after another. However, my biggest issue with "Jobs" (besides its shallow exploration of the man) is that it fails to show exactly what his accomplishments were and mistakes his narcissistic arrogance as honorable. If you knew nothing about Steve Jobs and saw this film, you're going to come away with the impression that he's just a glorified salesman. There's scene after scene of him making inspirational speeches of how Apple will 'revolutionize' the computer industry yet that's all he does. The guy talks a big game, and then pawns the work off to someone else. It's no mystery that Jobs didn't suffer fools either and would gladly let them know about it but instead of trying to humanize the man and show why he behaves this way, Stern sweeps it all under the rug, forgiving his worst qualities because apparently, being ambitious allows you to bully everyone else. While Apple struggles to establish its identity, Jobs callously dismisses his pregnant girlfriend Chris-Ann Brennan (Ahna O'Reilly), kicking her to the curb and refusing to acknowledge that the child is his. It's frankly disturbing to watch yet ironically, this is as close to dramatic as the film gets as Jobs is shown to have some sort of mental breakdown afterwards. Strangely, Brennan's daughter is later shown to be living with her father, although how this happens is left completely unexplained. Too many blanks are left for the viewer to fill and when "Jobs" hits a brick wall, the film resorts to using montages.

It's clear that "Jobs" suffers from many problems but Ashton Kutcher is surprisingly not one of them. Although the actor doesn't quite disappear into his role, he does succeed in capturing Steve Jobs' mannerisms, including the man's distinctive gait and hunched posture. It's more a mimicry than a real performance yet Stern's unusual choice paid off. You can accuse the rest of the film of being lazy and formulaic. Kutcher, however, is not and it's evident in every scene that he's taking the role seriously. The rest of the cast don't fare as well in comparison due to their underwritten roles. Josh Gad's portrayal of Steve Wozniak is both funny and engaging while Dermot Mulroney effectively conveys Markkula's personal crisis as the character finds himself torn between Sculley and Jobs but everyone else is either too underdeveloped or too one-dimensional to make much of an impression.

Premiering at the Sundance Film Festival back in January, "Jobs" was finally released into theaters on August 16, 2013 to largely negative reviews with 25% on Rotten Tomatoes. Critics found it to be a 'skin-deep portrait of an influential, complex figure' and that it 'often has the feel of an over-sentimentalized made-for-television biopic.' People may love their Apple products but that didn't translate into box office success as the film bombed over the weekend with only $6.7 million. Audience reception at the advance screening was also rather muted with only scattered applause. Although Steve Jobs strived for perfection with his products, this biopic settles for less and fails to offer anything remotely compelling about one of the most important figures in the tech industry. Apple fan or not, "Jobs" is a disappointment for everyone.

Final Rating: 2 out of 5

"Here's to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They're not fond of rules. And they have no respect for the status quo. You can quote them, disagree with them, glorify or vilify them. About the only thing you can't do is ignore them. Because they change things. They push the human race forward. And while some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do."

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The Lone Ranger Review

Rated PG-13 (Sequences of Intense Action and Violence, and Some Suggestive Material)

Running Time: 2 Hours & 29 Minutes

Cast-

Armie Hammer-John Reid/The Lone Ranger

Johnny Depp-Tonto

William Fichtner-Butch Cavendish

Ruth Wilson-Rebecca Reid

Tom Wilkinson-Latham Cole

James Badge Dale-Dan Reid

Barry Pepper-Captain Jay Fuller

Helena Bonham Carter-Red Harrington

Bryant Prince-Danny Reid

Mason Elston Cook-Will

Saginaw Grant-Chief Big Bear

Directed by Gore Verbinski

Ke-mo sah-bee, why this film so terrible?

Note: Screened on Monday, June 24, 2013 at Regal E-Walk Stadium 13.

There are some ideas that shouldn't have worked…but did. When Disney announced in 2000 that they were adapting the popular Pirates of the Caribbean theme park ride into a film, pretty much everyone and their mother scoffed at the idea. First off, the studio had already tried to translate one of their theme park attractions to film (Remember 2002's "The Country Bears"?) and the results were disastrous. Making matters worse was the fact that the pirate genre was, for all intents and purposes, dead due to 1995's "Cutthroat Island" flopping at the domestic box office with a paltry $10 million during its entire theatrical run (the production budget was $98 million). It's surprising that Disney still chose to move forward given all the risks involved. Widely expected to be a failure upon its release in 2003, "Pirates of the Caribbean: The Curse of the Black Pearl" managed to pull off a major Hollywood miracle, receiving not only positive reviews (79% on Rotten Tomatoes) but also grossing a whopping $654.3 million worldwide. Its huge success spawned one of the most lucrative franchises in recent memory. Disney is hoping to make lightning strike twice with "The Lone Ranger," based on the 1933 radio serial of the same name, and even reenlisted director Gore Verbinski and megastar Johnny Depp to breathe new life into the iconic character. Unfortunately, westerns haven't been popular in a while and the film almost got shut down due to its out-of-control production budget ($215 million?!). None of that would matter if the end result justified the massive costs but sadly, that's not the case. With its bloated running time, overly-convoluted story, and wildly erratic tone, "The Lone Ranger" is a serious misfire on every level.

The year is 1869 and idealistic, city-educated district attorney John Reid (Armie Hammer) is returning to his hometown of Colby, Texas to visit his older brother Dan (James Badge Dale), now a respected Texas Ranger and married to John's childhood sweetheart Rebecca (Ruth Wilson). Unbeknownst to John, the train he is on also happens to be carrying notorious outlaw Butch Cavendish (William Fichtner), who is set to be hanged as a way to celebrate the construction of Latham Cole's (Tom Wilkinson) new transcontinental railroad. Cavendish's gang of bandits, however, hijacks the train and free Butch before causing it to explosively derail off the tracks. Determined to recapture the ruthless Indian killer, Dan deputizes his brother and sets off out into the desert to find Butch. A sudden ambush leaves Dan and his Rangers dead, with only John as the sole survivor. The pacifist lawyer is later rescued by an eccentric Comanche outcast named Tonto (Johnny Depp). Eager to avenge his brother's death, John teams up with Tonto to bring Butch to justice as the masked vigilante known as the 'Lone Ranger.'

With a radio serial spanning 2,956 episodes between 1933 and 1954, and an equally popular television show that ran from 1949 to 1957, the Lone Ranger is one of the most enduring icons in American pop culture but let's be honest here, no one would've been interested in reviving the character if Johnny Depp and Gore Verbinski wasn't involved. This isn't the first time the Lone Ranger has graced the silver screen (no pun intended) as the television series spawned a pair of feature films in 1956 and 1958. His last appearance in theaters was 1981's "The Legend of the Lone Ranger," which bombed at the box office due to the negative publicity generated from producer Jack Wrather, who obtained a court order that required actor Clayton Moore to quit making public appearances as the Lone Ranger. Playing the titular character was Klinton Spilsbury. Not only was his dialogue completely dubbed over, this would also be his only role in his entire career. It's ironic that Verbinski's film is arriving with similarly negative buzz, albeit for different reasons. Besides its rampant budget issues, the biggest problem facing "The Lone Ranger" is whether audiences today even know who the character is. As such, this film is very much an origin story but it's a dreadfully dull one at that. The filmmakers clearly didn't have a unified vision in place before shooting began and just threw every idea they had in the hopes that something will stick. Written by "Pirates of the Caribbean" scribes Ted Elliott and Terry Rossio, with an assist from Justin Haythe, the film starts off on the wrong foot from the very first minute by opening with a framed narrative in 1933. Why was this even necessary? Sure, it gives Depp (who's plastered in old-age make-up similar to Dustin Hoffman in "Little Big Man") more screen-time but this makes an already-long film feel even longer as it kills the pacing with its abrupt time jumps.

It's certainly a well-shot picture, with dazzling vistas that pay tribute to the classic Westerns from the late John Ford but the script actively undermines your enjoyment of the film. It goes off on too many tangents and the tone often lurches from grim seriousness to slapstick comedy. At one point, Reid and Tonto arrive at a brothel run by Red Harrington (Helena Bonham Carter) to learn about Butch's whereabouts but they ask her in a roundabout way. The whole scene is entirely pointless and is little more than an excuse to show off Red's ivory prosthetic leg that also happens to contain a hidden shotgun because why not. And of course, it ends in an irrelevant chase involving an angry mob. One of the reasons the "Pirates of the Caribbean" sequels were less well-received was due to their overcomplicated stories. The same problem plagues "The Lone Ranger," with subplots piled on top of one another when it would've been best to keep it simple. Fake Indian attacks, hidden silver mines, and last-minute revelations all combine to create a film that's both messy and uninteresting. Although rated PG-13, the violence often leans toward the grotesque. Butch even consumes a man's heart! Now I'm far from being a squeamish person; the main issue I have is that the film is constantly at odds with itself, with violent acts followed by off-putting sight gags. One minute you're watching cannibalistic bunny rabbits hopping around (I'm not even kidding) and the next a whole Indian tribe gets massacred. By the time the last set-piece rolls around during the two hour mark, "The Lone Ranger" has already worn out its welcome but what do you know, it finally becomes the fun action-adventure film it was supposed to be. With Hans Zimmer's use of the triumphant finale from the William Tell Overture, the last twenty minutes are not only the most rousing but also captures the unerring heroism that defines the Lone Ranger. Unfortunately, this moment arrives too little too late.

Although Armie Hammer is the one who plays the title character, Johnny Depp receives top billing and the actor is a big part of why "The Lone Ranger" is such a misfire. His interpretation of Tonto pretty much amounts to him channeling Captain Jack Sparrow as a Native American. Not surprisingly, Depp (whose make-up is inspired by the Kirby Sattler painting I Am Crow) gives the character a number of quirks, such as having him constantly feed the dead bird that he wears on his head but much of his behavior just comes off as bizarre rather than funny. Armie Hammer is hamstrung by the script and is reduced to being a whiny, bumbling pushover. It isn't until the last twenty minutes that Hammer starts to embody the confident daring-do of the Lone Ranger. The rest of the cast are saddled with one-note roles. William Fichtner is actually quite good as Butch Cavendish but the villain is way too over-the-top to take seriously. Tom Wilkinson plays the standard issue corrupt businessman while Ruth Wilson and Helena Bonham Carter are completely wasted. Carter seems to have stepped out of a Tim Burton film and her screen-time amounts to a glorified cameo. Also on hand is Barry Pepper, picking up a paycheck as a crooked U.S. cavalry officer.

Released on July 3, 2013, "The Lone Ranger" has received overwhelmingly negative reviews with 24% on Rotten Tomatoes. Critics noted that 'Armie Hammer and Johnny Depp make for an appealing pair of leads, but they're not enough to make up for [the film's] bland script, bloated length, and blaring action overkill.' Honestly, I can't say I'm surprised by this reaction. Many of the people I spoke to at the advance screening last Monday made similar complaints about the excessive running time and agreed that the last twenty minutes was the most exciting part of the film. Given the lack of interest in westerns with today's audiences, "The Lone Ranger" is going to have to make up its production budget through international grosses. Its opening debut was only a mere $9.7 million compared to the $34.3 million of "Despicable Me 2." Ultimately, what saddens me the most is the amount of money that was wasted on this film. That adventurous spirit that defined the character is entirely absent in "The Lone Ranger." In its place is a loud blockbuster that amounts to nothing. A.O. Scott, I agree with you, what on earth were they thinking?

Final Rating: 2 out of 5

"If these men represent the law, I'd rather be an outlaw."

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The Internship Review

Rated PG-13 (Sexuality, Some Crude Humor, Partying and Language)

Running Time: 1 Hour & 59 Minutes

Cast-

Vince Vaughn-Billy McMahon

Owen Wilson-Nick Campbell

Rose Byrne-Dana

Aasif Mandvi-Mr. Chetty

Josh Brener-Lyle

Dylan O'Brien-Stuart

Tiya Sircar-Neha

Tobit Raphael-Yo-Yo Santos

Max Minghella-Graham Hawtrey

Jessica Szohr-Marielena

Joanna Garcia Swisher-Megan

Rob Riggle-Randy

Gary Anthony Williams-Bob Williams

John Goodman-Sam

Will Ferrell-Kevin

Directed by Shawn Levy

Look at that blatant advertising!

Note: Screened on Thursday, June 6, 2013 at AMC Loews Lincoln Square 13.

 

Google. Every time I open my web browser (Mozilla Firefox for the win!), I am greeted by its primary-colored logo and that long, white rectangular box where a blinking cursor quietly awaits for me to type…something. It's hard to believe that Google didn't even exist seventeen years ago, so if a student needed to write a research paper, he or she would have to hit up the good 'ol encyclopedia. Yes, those massive tomes of knowledge that now sits at your local library collecting dust. Nowadays, the way we access information has completely changed; it is literally right at our fingertips thanks to the advent of smartphones. Growing beyond its simple search engine roots, the Google of today encompasses e-mail, social networking, productivity tools, mobile phones, and now it's the subject of a major motion picture. Shawn Levy's "The Internship" reunites Vince Vaughn and Owen Wilson eight years after "Wedding Crashers," the well-received R-rated comedy that became a surprise box office success, grossing $285 million on a modest $40 million production budget. Vaughn followed that film with a string of hits ("The Break-Up," "Four Christmases," and "Couples Retreat") but things were a bit tougher on Wilson, although he did earn critical acclaim for his role on Woody Allen's "Midnight in Paris." Unfortunately, both actors have been experiencing a dry spell in the last two years, with "The Dilemma," "The Watch," "Hall Pass," and "The Big Year" all tanking. The comedy landscape certainly has changed in the last eight years; just look at the poster for "This is the End" for proof. Trading R-rated raunchiness for PG-13 formula, "The Internship" manages to coast by on the genial charisma of its two leads but fails to deliver much in the way of laughs…or surprises.

Veteran watch salesmen Billy McMahon (Vince Vaughn) and Nick Campbell (Owen Wilson) find themselves out of a job when their boss Sam (John Goodman) announces that his company is shutting down due to being made obsolete by smartphones. To pay the bills, Nick accepts a job selling mattresses from his sister's lecherous boyfriend Kevin (Will Ferrell) while Billy's world is turned upside down, with his house facing foreclosure and his girlfriend (Joanna Garcia Swisher) leaving him. As he searches for a new job, Billy gets a crazy idea and enrolls himself and his friend for online college courses in order to qualify for a summer internship at Google. Nick is at first reluctant but Billy's enthusiasm soon convinces him to take a leap of faith. Arriving at Google's headquarters in San Francisco, Billy and Nick are quickly overwhelmed by this technological wonderland as they vie for a limited number of coveted positions against a sea of tech-savvy twenty-somethings. Nick also becomes enamored with a high-powered Google executive named Dana (Rose Byrne). The head of the internship program, Mr. Chetty (Aasif Mandvi), breaks up all the interns into small groups and reveals that the team who wins the most challenges will be offered permanent positions at Google. Billy and Nick are joined with a nerdy band of misfits that includes the ever-cynical Stuart (Dylan O'Brien), the sex-obsessed Neha (Tiya Sircar), home-schooled Yo-Yo Santos (Tobit Raphael), and their cheerful team leader Lyle (Josh Brener). Directly competing with the mean-spirited Graham Hawtrey (Max Minghella), Billy and Nick discover that they're out of their depth but they soldier on as they try to prove that a couple of analog dinosaurs like themselves can still be relevant in a digital world.

Thoroughly mediocre, "The Internship" nonetheless exhibits a pleasant enough charm but don't expect much in the way of laughs or originality. Written by Vince Vaughn himself (with an assist from Jared Stern), the Shawn Levy-directed feature is inoffensive to a fault and desperate to please. A scene where the characters relate to each other with their shared struggle for employment is quickly swept under the rug lest the tone get too dour. Equal parts buddy comedy, a fish-out-of-water tale, and an underdog story, the film is just one cliché after another and is completely formulaic, making for a rather bland viewing experience. Many of the jokes poke fun at Billy and Nick's inexperience with those 'newfangled compooters,' such as missaying 'online' as 'on the line' and how out-of-touch they are with modern pop culture. In an attempt to come off as 'geeky,' a number of references to "Harry Potter" (there's a game of Quidditch), "X-Men," "Game of Thrones," "Star Wars," cosplay, and even hentai are haphazardly thrown in but none of it is particularly clever nor funny. The only time where the film manages to earn a few chuckles is when Billy and Nick take the team out to a strip club, where Yo-Yo (who makes these names up?!) repeatedly ejaculates in his pants during lap dances. Unfortunately, even this scene is problematic due to the sloppy editing in order to preserve the PG-13 rating.

The characters themselves are little more than stereotypes. Lyle is supposed to be awkward and endearing but instead comes off as unbearably annoying in his desperate attempts to sound 'cool.' Stuart is the typical introverted hipster who thinks he's above 'everything' while Neha, to quote fellow critic James Berardinelli, is 'every geek's dream girl; I'm not sure someone like her really exists.' Finally, there's Yo-Yo and thanks to people like Amy Chua, Hollywood continues to cling to the tired belief that every Asian child grows up in an authoritarian household. Making matters worse is the story's staleness and its rote adherence to formula. There is no drama or tension to be found because the team's eventual victory is never in any doubt, even when it tries otherwise. You know they'll win and you know that Nick will get the girl. This is not even a spoiler! Of course, Billy and Nick impart some life lessons to their young cohorts, instilling them with confidence with a gaggle of "Flashdance" references. These moments are admittedly charming and it's hard to completely hate "The Internship" when it's so earnestly optimistic despite the lazy screenplay. A major point of contention among critics has been Google's prominence in the film, with many accusing it of being a glorified two-hour commercial for the corporation. I actually disagree on this area as I found the use of Google's headquarters as the main setting to be rather clever and grounded the story with the real-world. Yes, it's treated as some technological Shangri-La but the only real disappointment is Vaughn and Stern's failure to fully capitalize on their unique location.

Vince Vaughn and Owen Wilson almost single-handedly save the film, the keyword being 'almost.' The weak material handicaps them and they're typecast into their roles but the two continue to make for a fun and charismatic duo, with Vaughn's loud-mouthed, fast-talking persona complementing Wilson's laid back, aw-shucks demeanor. The younger cast members, which includes Josh Brener, Dylan O'Brien, Tiya Sircar, Tobit Raphael, and Max Minghella, don't fare as well and are trapped in one-note, thinly-written roles. The beautiful Rose Byrne is fine as the token love interest while Aasif Mandvi plays one of the few consistently amusing characters (the other being Josh Gad). His continued doubt with Billy and Nick's abilities manages to muster up a couple of laughs.

Released on June 7, 2013, "The Internship" has received largely negative reviews with 32% on Rotten Tomatoes. Critics found the film to be weighed down by its 'formulaic script and padded running time that leans heavily on its stars' easygoing interplay.' Curiously, the reaction at Thursday's advance screening was the complete opposite. While I was sitting there stone-faced, almost everyone around me was laughing their butts off. It honestly left me puzzled. 20th Century Fox has been screening the film quite aggressively but it's unlikely to be a box office hit. Early estimates are pegging it for a low-$20 million weekend debut, which exceeds initial studio expectations. The film is harmless fluff but it doesn't change the fact that "The Internship" is a mediocre, bland, and tepid comedy bereft of laughs. You're better off skipping it and waiting for "Man of Steel."

Final Rating: 2 out of 5

"We're looking at some sort of mental Hunger Games against a bunch of genius kids for just like a handful of jobs."

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The Last Exorcism Part II Review

Rated PG-13 (Horror Violence, Terror and Brief Language)

Running Time: 1 Hour & 28 Minutes

Cast-

Ashley Bell-Nell Sweetzer

Julia Garner-Gwen

Spencer Treat Clark-Chris

Muse Watson-Frank Merle

Tarra Riggs-Cecile

David Jensen-Calder

E. Roger Mitchell-Jeffrey

Erica Michelle-Daphne

Sharice Angelle Williams-Mo

Louis Herthum-Louis Sweetzer

Directed by Ed Gass-Donnelly

Ashley Bell reprises her role as Nell Sweetzer in "The Last Exorcism Part II."

Note: At AMC Loews 34th Street 14.

Have you ever noticed how every film dealing with demonic possession has always centered on a female being the possessed? Off the top of my head, the only one to involve a male is 2011's "The Rite" starring Anthony Hopkins. Of course, you can't talk about such films without at least mentioning "The Exorcist" and despite being released almost forty years ago, William Friedkin's horror classic continues to cast a large shadow over the exorcism subgenre. No other film has yet come close to matching it but that hasn't stopped Hollywood from trying. Three years ago, Lionsgate released "The Last Exorcism" and while it was obviously an attempt to cash-in on the success of "Paranormal Activity," the film managed to receive surprisingly positive reviews (73% on Rotten Tomatoes). Shot as a mockumentary by German director Daniel Stamm, the film's story focused on a disillusioned reverend who wants to expose exorcism as a fraud. With a small film crew in tow, the reverend drives out to a remote farm in Louisiana to perform his last 'exorcism' on a young girl but instead finds out that she is truly possessed. Although bereft of any actual scares, what put "The Last Exorcism" above the usual cookie-cutter fare was its focus on the characters, particularly Patrick Fabian's Cotton Marcus. His charismatic performance allowed you to remain invested even when the ending completely goes off the rails. Since the film made almost forty times its $1.8 million production budget ($67.7 million worldwide), a sequel was green-lit even though nobody asked for one. Unfortunately, "The Last Exorcism Part II" jettisons everything that made the original a success. Ashley Bell remains the sole bright spot in a film that bores more than it thrills…and don't even get me started on what's wrong with the title! 

Picking up immediately after the events of the first film, a couple wakes up to find a feral Nell Sweetzer (Ashley Bell) inhabiting their kitchen. Catatonic and with barely any memory of what happened in Ivanwood, she is soon placed into the care of Frank Merle (Muse Watson), who runs a halfway house for troubled teenage girls in New Orleans. Convinced that her ordeal was nothing more than a delusion brought about by cult abuse, Nell resolves to put her past behind her and slowly begins to build a new life for herself. She makes significant progress over the next several months, quickly acclimating to the outside world that was previously unknown to her. There's even a potential boyfriend, Chris (Spencer Treat Clark), whom she meets at her new job as a hotel housekeeper. However, Nell's newfound bliss is short-lived as she starts having nightmares and waking hallucinations of her dead father, Louis (Louis Herthum). The demon Abalam has returned to haunt her and this time, it won't let her go that easily. 

The original "Last Exorcism" didn't exactly reinvent the wheel when it came to found-footage films but its story was told from a unique point-of-view and had characters that were grounded in reality. For some inexplicable reason, the sequel abandons this in favor of a more conventional approach. That wouldn't be so bad if it actually had a story to tell. "The Last Exorcism Part II" is very much a tacked-on follow-up as the film goes nowhere for much of the first hour, recycling the same jump-scares and lame fake-outs that plague the horror genre today, especially the PG-13 ones. It's just so bland to the point where I almost dozed off. Even worse is that the characters from the original are swept under the rug as if they've never existed. Sure, their footage shows up on YouTube but why does it contain all the dramatic bits? As this is an 'exorcism' film, one is awkwardly shoehorned in where a voodoo priestess named Cecile (Tarra Riggs) just seemingly pops out of nowhere and starts speaking of prophecies and the 'end of days.' Not surprisingly, the film ends on a cliffhanger but it does leave Nell at an interesting place. It'll likely invite mixed reactions yet I feel it was an improvement compared to how the first one ended. What's really disappointing is that "Part II" had the potential to be a decent horror film. Ed Gass-Donnelly's direction is competent, the drama isn't half-bad and the script from newcomer Damien Chazelle has a few good ideas. Unfortunately, all this is undone by the film's failure to follow its own logic. The demon Abalam is revealed to be 'in love' with Nell but can only be free if she only gives herself to him by choice. Considering that Abalam is pleasuring her while she's asleep, consent seems to be the least of his worries.  It's supposed to represent Nell's sexual awakening but none of it makes any sense the more you try to connect the dots. This is just further proof that "The Last Exorcism Part II" has no reason existing in the first place and was only made to cash-in on the first film. 

The one thing I can praise without reservation is Ashley Bell's performance. Bringing a sense of vulnerability and innocent naiveté to her character, Bell truly deserves a much better film to showcase her talents. Also returning from the first film is Louis Herthum as her father but his inclusion is largely perfunctory. The rest of the supporting cast includes Julia Garner (from " Martha Marcy May Marlene"), Spencer Treat Clark and Muse Watson. They're all fine in their roles yet the story gives them little to do. Faring even worse are the exorcists as Tarra Riggs, David Jensen, and E. Roger Mitchell are squandered in the worst way possible. 

Released on March 1, 2013, "The Last Exorcism Part II" was not screened for critics in advance, so its 13% rating on Rotten Tomatoes should come as no surprise. It grossed only $8 million over opening weekend, a fraction of the original but the film should still turn a small profit for CBS Films since this is a micro-budget production (around $5 million). During an afternoon showing, the theater sat virtually empty. Competent direction aside, "The Last Exorcism Part II" is ultimately a lumbering bore even at 88 minutes and not only does the film waste Ashley Bell's talents but it's also an unnecessary sequel that's neither needed not wanted. Let's hope that this is truly the "Last Exorcism" because I have zero interest in seeing a third one, no matter how funny the titles may be.

Final Rating: 2 out of 5

"He's still out there…the demon…Abalam." 

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Dark Skies Review

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

Running Time: 1 Hour & 37 Minutes

Cast-

Keri Russell-Lacy Barrett

Josh Hamilton-Daniel Barrett

Dakota Goyo-Jesse Barrett

Kadan Rockett-Sam Barrett

J.K. Simmons-Edwin Pollard

L.J. Benet-Kevin Ratner

Rich Hutchman-Mike Jessop

Myndy Crist-Karen Jessop

Annie Thurman-Shelly Jessop

Jake Washburn-Bobby Jessop

Ron Ostrow-Richard Klein

Judith Moreland-Janice Rhodes

Kenneth Meseroll-Pete

Trevor St. John-Alex Holcombe

Andy Umberger-Doctor Jonathan Kooper

Directed by Scott Stewart

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

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

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

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

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

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

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

Final Rating: 2 out of 5

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

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