Savages Review

Rated R (Strong Brutal and Grisly Violence, Some Graphic Sexuality, Nudity, Drug Use and Language Throughout)

Running Time: 2 Hours & 11 Minutes

Cast-

Blake Lively-Ophelia 'O' Sage

Aaron Taylor-Johnson-Ben

Taylor Kitsch-Chon

Salma Hayek-Elena Sánchez/Elena La Reina

Benicio del Toro-Miguel Arroyo/Lado

John Travolta-Dennis

Demián Bichir-Alex

Sandra Echeverría-Magda

Emile Hirsch-Spin

Joaquín Cosio-El Azul

Directed by Oliver Stone

Chon (Taylor Kitsch) and Ben (Aaron Taylor-Johnson) prepare to unleash their inner savage in Oliver Stone's latest film, "Savages."

Can an Academy Award-winning director lose his mojo? With a career spanning close to four decades, Oliver Stone's eclectic filmography has invited both critical acclaim and controversy. Graduating from film school at New York University in 1971 (under the mentorship of Martin Scorsese), Stone made his directorial debut in 1974 with surreal horror-thriller "Seizure" but success continued to elude him until 1979, when he won his first Academy Award for Best Adapted Screenplay for Alan Parker's "Midnight Express," based on Billy Hayes' 1977 novel which chronicled the author's five year imprisonment in Turkey for smuggling four pounds of hashish out of the country and his eventual escape. The 1980's proved to be a pivotal turning point for Stone as 1986's "Platoon," which explored the horror and meaninglessness of war in Vietnam, earned him another Academy Award, this time for Best Director. The next two years saw the release of "Wall Street," introducing audiences to Michael Douglas' Gordon Gecko (for which he won an Academy Award for Best Actor) and "Talk Radio," a drama that was partially inspired by the 1984 assassination of radio host Alan Berg. Stone won his third Academy Award for his 1989 adaptation of Ron Kovic's autobiography "Born on the Fourth of July" starring Tom Cruise. Despite the acclaim he has received over the years, Stone has made his fair share of duds but 2004 marked another turning point in his career with the release of "Alexander," a historical epic exploring the life and death of Macedonian conqueror Alexander the Great. The film ended up being a massive critical and commercial flop, grossing only $167 million worldwide (not enough to cover production and marketing costs) with a lowly 16% on Rotten Tomatoes. A three hour and thirty-four minute 'Final Cut' was released in 2007 on DVD/Blu-Ray but no amount of deletions or additions could fix the mess that was "Alexander." Since then, Stone's work has received a mixed reception at best, leaving critics and fans wondering if the director's best years were behind him. Does "Savages," based on Don Winslow's 2010 novel of the same name, mark a return to form for Stone? The answer is sadly no as "Savages" is a bloated, overlong film that suffers from lifeless characters, a needlessly convoluted plot that goes nowhere, and pointless scenes of graphic violence that contribute little except for shock value. Stone has clearly hit rock-bottom and while this isn't the worse flick I've seen this year, it's certainly the most boring. 

A young woman narrates: 'Just because I'm telling you this story doesn't mean that I'm alive at the end of it. It's that kind of a story, where things got so out of control...' The woman is named O, short for Ophelia (Blake Lively), who is in a ménage à trois relationship with two men, Ben (Aaron Taylor-Johnson) and Chon (Taylor Kitsch). A graduate of University of California, Berkeley with a degree in business and botany, Ben runs a lucrative marijuana empire in sunny Laguna Beach, California with his best friend Chon, a former U.S. Navy SEAL who serves as his enforcer, killing anyone that double-crosses them. Using a strain recovered by Chon during his tour of duty in Afghanistan, the marijuana that Ben grows has a THC (delta-9-tetrahydrocannabinol) content of 33%, making it extremely potent. Although sold to medical dispensaries, Ben and Chon make most of their money by illegally shipping the marijuana out of state. A pacifist who practices Buddhism, Ben has been seeking to get out of the drug business but matters soon take a turn for the worse. Interested in learning how they have cultivated such high-quality marijuana and seeking to expand their operation into California, the Mexican Baja Cartel, led by Elena Sánchez, a.k.a. 'Elena La Reina' (Salma Hayek), sends their lawyer, Alex (Demián Bichir), to negotiate a deal with Ben and Chon. After a short discussion with Chon, Ben decides to give away their whole operation to the cartel but reveals that they won't be joining them. Unwilling to take no for an answer, Elena sends her enforcer, Miguel Arroyo, a.k.a. 'Lado' (Benicio del Toro), to kidnap Ophelia in order to force Ben and Chon to comply with her demands. Faced with no choice, Ben and Chon do as Elena asks but secretly plan to turn the tables on her and rescue Ophelia. Meanwhile, a corrupt DEA agent named Dennis (John Travolta) uses the situation to his advantage by playing both sides against each other. "

Savages" is Oliver Stone's most mainstream film to date but it's also a career worst for the Academy Award-winning director. The first of many problems is the dull narration by Blake Lively's Ophelia that provides redundant exposition to what is already happening on-screen. It's liable to put you to sleep given how lifeless it is. In fact, the character of Ophelia is little more than a glorified MacGuffin. Second is the absolutely inane dialogue. During a furious sexual romp with Chon, Ophelia describes him as 'always trying to f*ck the war out of himself. I have orgasms; he has wargasms.' I do not know whether this is taken verbatim from Winslow's novel but I find it hard to believe that Stone would be the author of such garbage. Given that he wrote the screenplay for the atrocious "Aliens vs. Predator: Requiem" from 2007, I lay the blame on Shane Salerno. Finally, much of the suspense and tension is drained away due to the plodding nature of the film. Even though the running time is only two hours and eleven minutes, "Savages" feels bloated and drawn out with its thinly developed characters doing little to advance the story as they stand around scheming or making empty threats. The only time the film really comes alive is when Ben and Chon, wearing stylized Santa Muerte masks and aided by Chon's squad of ex-Navy SEALs, pull off daring heist where they steal $3 million right under Elena's nose from one of the cartel's stash houses in the middle of the desert. It's a stylishly edited sequence but it's just not enough to save the film. The script attempts to explore the hypocrisy that exists within human nature and how easy it is for people to give into their baser instincts but it lacks subtlety and ultimately devolves into a shallow, predictable tale of revenge and retribution. Themes of power and corruption play a role as well but all of this gets lost in a sea of graphic violence. At one point, a man suspected to be a mole within Elena's cartel is brutally whipped until one of his eyes is left dangling out of its socket and is subsequently burned alive but such scenes come off as gratuitous and serve no purpose other than to provide shock value. The ending will also leave audiences scratching their heads at what happened and comes off as a big 'screw you' from Stone in its attempt at misdirection. "Savages" could've been a great film but instead we're left with an empty, soulless affair that offers little in the way of actual substance. 

The film offers up a few memorable performances that keep it from fully sinking. The best of these is Salma Hayek, who chews up the scenery as the over-the-top leader of the Baja Cartel, Elena. However, her character's behavior is never consistent as she goes from making brutal threats to crying over her daughter, Magda (Sandra Echeverría) at the drop of a hat. Benicio del Toro also gives a similarly scenery-chewing performance as Elena's sadistic enforcer Lado but I could do without the constant mustache twirling. Making his first film appearance in two years, John Travolta is great as a fast-talking, corrupt DEA agent who only wants to survive and has no qualms about pitting those around him against each other. As for the leads, Aaron Taylor-Johnson and Taylor Kitsch are solid as two best friends caught in a desperate situation where they are forced to employ extreme methods in order to live. However, it's unlikely to recover Kitch's career given how badly "John Carter" and "Battleship" flopped. The worst performance comes from Blake Lively and it's not just her listless narration. I found myself unable to sympathize with Ophelia given how self-absorbed her character is. 

Released on July 6, 2012, "Savages" has received mixed reviews with 53% on Rotten Tomatoes. Critics found it ' undeniably messy, but [the film] finds Oliver Stone returning to dark, fearlessly lurid form.' Opening against "The Amazing Spider-Man" and "Katy Perry: Part of Me," Stone's film was never expected to do big business given its hard R-rating and debuted in fourth place with an unremarkable $16.2 million. The production budget was only $45 million but it'll likely struggle to make back that modest amount given the rough competition ahead and poor word-of-mouth. The audience I saw the film with was surprisingly quiet so it was somewhat hard to gauge their reaction but there were some exclamations of confusion during the ending. Oliver Stone has made quite a few masterpieces, which leaves me puzzled as to how a director of such high caliber would make a film as terrible as "Savages." Eric Eisenberg of CinemaBlend sums up the film perfectly: 'In the making of this movie Stone had his head completely on backwards and the result is an absolute mess that will not only lead you to leaving the theater disappointed, but possibly even furious.' I wouldn't say furious, more like sad at how low Stone's career has sunk to.

Final Rating: 2 out of 5

"I like talking to you, Ophelia, but let me remind you that if I had to, I wouldn't have a problem cutting both their throats."

Read More

The Amazing Spider-Man - An IMAX 3D Experience Review

Rated PG-13 (Sequences of Action and Violence)

Running Time: 2 Hours & 16 Minutes

Cast-

Andrew Garfield-Peter Parker/Spider-Man

Emma Stone-Gwen Stacy

Rhys Ifans-Dr. Curtis 'Curt' Connors/The Lizard

Denis Leary-NYPD Captain George Stacy

Martin Sheen-Uncle Ben

Sally Field-Aunt May

Irrfan Khan-Dr. Rajit Ratha

Chris Zylka-Eugene 'Flash' Thompson

Campbell Scott-Richard Parker

Embeth Davidtz-Mary Parker

Michael Massee-Gustav Fiers/The Gentleman

Directed by Marc Webb

Marvel's iconic hero swings back into action once more in the reboot "The Amazing Spider-Man."

It's amazing (no pun intended!) how one bad apple can ruin the whole bunch. Trapped in development hell for close to twenty-five years, pre-production work finally began for the original "Spider-Man" in April 1999 when Columbia Pictures/Sony acquired the film rights to the Marvel character from MGM in a complex trade-off where Columbia agreed to relinquish its rights to create a competing 007 series if MGM gave up its claim to Spider-Man. Sam Raimi, who was primarily known for his horror-comedy trilogy "The Evil Dead," signed on as director in January 2000. A fan of the comics in his youth, Raimi's passion for the character earned him the job. Tobey Maguire was cast six months later in the iconic role thanks to his performance in 1999's "The Cider House Rules." Riding a wave of massive hype, "Spider-Man" was released on May 3, 2002 to critical acclaim (89% on Rotten Tomatoes) and massive box office success, grossing a gargantuan $822 million worldwide, which was unheard of at the time. "Spider-Man 2" arrived two years later in 2004 and received glowing praise (93% on Rotten Tomatoes), with many ranking it as one of the best comic book films of all time. Unfortunately, franchise fatigue set in when "Spider-Man 3" was released in 2007 and although its hype resulted in a then-record breaking $151 million opening weekend debut, the film was viewed as a disappointment from both critics and fans, with 63% on Rotten Tomatoes. Raimi was under pressure to top his own film but studio interference played a role as well as fan-favorite villain Venom was shoe-horned into the script in an already over-stuffed story. Despite the mixed reception, Raimi had every intention to make "Spider-Man 4" but after going through four script revisions, he (along with Maguire) withdrew from the film as the director felt that he could not meet its summer 2011 release date and maintain his creative integrity at the same time. In other words, he didn't want to do a half-assed sequel and while I was sad to see Raimi go, I understood his stance. Almost immediately, Columbia Pictures/Sony announced a reboot of the franchise for 2012 but the news was negatively received by fans, as it would've only been ten years since the release of the original film, which was still fresh in moviegoers' minds. Even I was skeptical of its 'gritty, contemporary' approach as it felt like the studio was courting the "Twilight" crowd. Having director Marc Webb (what an ironic last name) didn't inspire much confidence either. While I loved 2009's "(500) Days of Summer," Webb had absolutely no experience in directing a big-budget blockbuster. Fortunately, my doubts began to melt away as the more previews I saw, the more I came away impressed and it became clear that this wasn't just a cash-grab, but a serious attempt at re-interpreting a pop culture icon. "The Amazing Spider-Man" finally swings into theaters but does it do the character justice? Although it does not tread any significant new ground and will invite some feelings of déjà vu, "The Amazing Spider-Man" remains a triumphant return to form for the franchise as the film not only benefits from its impressive cast, especially Andrew Garfield, but also from Webb's perfect blend of drama and action. 

Four-year-old Peter Parker is enjoying a game of hide-and-seek when he discovers that his father's study has been broken into. A concerned Richard Parker (Campbell Scott) enters the study and quickly gathers up his documents. He and his wife Mary (Embeth Davidtz) take their son to the home of his Aunt May (Sally Field) and Uncle Ben (Martin Sheen). After a tearful good-bye, they leave but Richard promises Peter that he will be back soon. Years later, Peter Parker (Andrew Garfield) grows into an awkward teenager and attends Midtown Science High School, where he is often bullied by the more popular Eugene 'Flash' Thompson (Chris Zylka). Peter also has a secret crush on Gwen Stacy (Emma Stone), the daughter of NYPD Captain George Stacy (Denis Leary). While helping his uncle fix a flood in the basement, Peter finds a leather briefcase that belonged to his father. Inside he finds a folder containing his father's equations, which includes a mysterious 'decay rate algorithm,' and a picture of Richard with his colleague, Dr. Curtis 'Curt' Connors (Rhys Ifans). Connors is a biologist working on cross-species genetics at Oscorp, led by its mysterious CEO, Norman Osborn. Peter sneaks into Oscorp by posing as an intern and runs into Gwen, who is Connors' lab assistant. He follows a scientist named Dr. Rajit Ratha (Irrfan Khan) into a locked lab where hundreds of genetically modified spiders are spinning a super strong 'bio-cable.' A dozen spiders drop on Peter when he touches one of the strands but he brushes them off and leaves the lab. Unbeknownst to him, one of the spiders hid in the collar of his jacket and bites him on the neck. Peter begins developing strange spider-like abilities and uses them to get revenge on Flash. He also introduces himself to Connors as Richard Parker's son. Connors and Peter's father were working on cross-species genetics in order to find a way to regenerate his missing right arm but before a breakthrough could be made, Richard and Mary were killed in a mysterious plane crash. Peter gives Connors the decay rate algorithm and works with him to test the limb-regeneration serum. When he arrives home, Uncle Ben scolds Peter for neglecting to pick up Aunt May at the train station. A heated argument ensues and Peter storms out of the house, shattering the door's window. He witnesses a convenience store robbery but does nothing as the cashier had slighted him before. Uncle Ben, who had been out looking for Peter, tries to stop the thief and is shot dead. Overcome with grief, Peter adopts a masked identity to find his uncle's murderer. Meanwhile, Connors tests the limb-regeneration serum on himself and although it works, there is a side effect as he is transformed into an extremely powerful, superhuman hybrid of man and lizard. Now known as Spider-Man, Peter is forced to stop Connors as he tries to balance his personal and superhero lives. 

It's almost impossible to talk about "The Amazing Spider-Man" without mentioning Raimi's “Spider-Man" trilogy so let's get the comparisons out the way first. As much as I love the Raimi films (even the third one but to a lesser extent), I admit that there's a certain cheesiness to them, especially when viewed in the context of Christopher Nolan's "The Dark Knight." Raimi grew up with and was inspired by Stan Lee and Steve Ditko's stories from the 1960's, which is apparent in his choice of villains (Green Goblin, Dr. Octopus, and Sandman). In contrast, "The Amazing Spider-Man" uses Brian Michael Bendis and Mark Bagley's Ultimate Spider-Man as its point of reference. While not necessarily darker, the tone is definitely more mature and there's an emphasis on grounding the film in a sleeker, modern setting. Although it does not tread any significant new ground in its first hour, the difference in tone and the subtle changes in the origin story keep "The Amazing Spider-Man" emotionally engaging and owe much to Webb's skillful handling of the drama. Peter Parker is more angst-ridden with a bit of a snarky personality but deep down he's still just a timid nerd trying to find his place in the world. Having experienced so much tragedy, his initial exploits as Spider-Man are concerned with only finding his uncle's killer but he is soon led away from this path of vengeance toward a larger world of responsibility when he realizes what his uncle was trying to teach him. This is what the film really boils down to and it works because Peter is such a fully-realized individual. Webb and his writers (James Vanderbilt, Alvin Sargent, and Steve Kloves) understand that much of what defines Spider-Man as a character often revolves around death and they use this to create a roadmap of his journey from awkward nerd to vengeful vigilante to finally self-sacrificing hero. The romance element is also a lot stronger compared to the Raimi trilogy thanks to the likable chemistry between Andrew Garfield and Emma Stone. Their awkward yet flirtatious exchanges are amusing but I like the fact that Gwen Stacy isn't just some damsel-in-distress and proves herself to be every bit the intellectual equal to Peter Parker, whose aptitude in science is emphasized just as much as his combat prowess. Similar to "Batman Begins," you'll see Peter slowly develop his costume and more importantly, his trademark web-shooters. 

As great as the film is, it's not perfect and one of the problems is with the pacing. The first hour is slow as the origin story plays out but the second hour is where the bulk of the action takes place as it quickly segues from one set-piece to another, creating a film that is not as cohesive as it hopes to be pacing-wise. Another issue is that many of the plot lines introduced, such as the disappearance of Peter's parents, what his father was really working on, and Norman Osborn's connection to all this, are left deliberately unresolved so there's a lack of closure but I understand that Webb wants to create a series with an overarching story-line. It's just frustrating because we will have to potentially wait two to three years before a sequel is released, and one will be made. Finally, there's the choice of villain. I was excited to see the Lizard make his appearance on the big-screen but Curt Connors never comes across as particularly sympathetic, something that the Raimi films handled extremely well. Yes, Connors is first shown to be an optimistic scientist who wants to genuinely make the world a better place but once he becomes the Lizard, he devolves into another 'mad scientist' villain bent on executing a rather cartoonish plan—which is to turn everyone in New York City like him. In the comics, there was a tragic quality to Connors as he had a wife and son. Including them would've not only created a stronger sense of urgency in stopping him but also much better drama between him and Peter as one who has faced the death of a loved one now seeks to prevent that for another family. 

One of my biggest worries is how Webb would handle the action scenes due to his novice status but to my surprise, "The Amazing Spider-Man" has some of the best fight sequences in the franchise. Spider-Man has a greater sense of speed and agility as he pummels on the Lizard but with the exception of the climax, the battles are certainly smaller in scope. Many of them take place in enclosed locations such as an underground sewer or Peter's high school. I also appreciated Peter taking his superhero namesake to heart by creating a large web and waiting for his prey to approach. Humorously, he passes the time by playing a game on his cell phone, one of the ways in which technology and social media are incorporated into the film's tone. The CG is definitely an improvement but that's almost a given. There's a great sense of exhilaration as Spider-Man swings around New York City. However, as hyped up as the 3D was, I admit coming away disappointed. While it was filmed natively in 3D using the RED Epic Camera, Webb does not utilize the effect to his advantage. Many scenes come off as flat and when taking off the glasses, there's barely any blur, which means the image has no depth. The only instance where the 3D really comes alive is when Spider-Man is swinging through the city and shooting his web but beyond that, there's little here to justify the extra surcharge. Thankfully, the image remains bright despite the many nighttime scenes. All of the Marvel films have lacked a memorable music theme compared to Superman and Batman but while this isn't James Horner's best work, his score is more cinematic and rousing compared to Danny Elfman's. 

The performances in "The Amazing Spider-Man" are excellent and it is clear that Webb chose his actors and actresses well. I'm not going to debate whether Tobey Maguire or Andrew Garfield is better but Garfield really captures every nuance of Peter Parker from his feelings of abandonment to his snarky sense of humor while catching common crooks. His chemistry with his co-stars such as Denis Leary and Martin Sheen makes the film more engaging, whether it'd be a tense argument about Spider-Man's vigilante status or when Peter angrily blasts Uncle Ben for speaking of responsibility when his father abandoned his. The beautiful Emma Stone is great as Gwen Stacy, creating a much more rounded individual who is feisty, intelligent and not always in need to be rescued. Martin Sheen and Sally Field embody Uncle Ben and Aunt May very well but the latter is sadly pushed to the sidelines in the second hour. Rhys Ifans is fine as Curt Connors even if he comes across as a little cold and finally there's Denis Leary as NYPD Captain George Stacy, who makes the most of his role even if his screen-time is somewhat limited. 

"The Amazing Spider-Man" was released on July 3, 2012 and has received positive reviews with 72% on Rotten Tomatoes. Critics praised the film for its 'well-chosen cast and sure-handed direction [that] allows The Amazing Spider-Man to thrill despite revisiting many of the same plot points from 2002's Spider-Man.' I saw it at an advanced screening on Monday night and while the majority seemed to enjoy it, I overheard some people complain that it was a 'chick flick.' First off, there is nothing wrong with chick flicks and second, romance has always been a central ingredient in the soap opera of Spider-Man. If this person was turned off by the drama, perhaps he should've saw "Battleship." The film should do well at the box office given the enormous popularity of Spider-Man and has earned a record-breaking $35 million, surpassing Michael Bay's "Transformers" five years ago but the higher ticket prices for 3D and IMAX surely played a role. Columbia Pictures/Sony is estimating a conservative $110 to $120 million debut across its first six days but $150 million is reachable. However, given that "The Dark Knight Rises" is opening two weeks from now, Webb's film will likely tail off at $250 million domestically, which isn't bad for a reboot that many were skeptical about but international grosses should make up for marketing costs. The idea for a Spider-Man reboot may have been born from the mind of a greedy studio executive but "The Amazing Spider-Man" is anything but half-assed as it is obvious the film was made with a clear vision in mind. It is by no means perfect but I think even the most jaded comic book fan will come away impressed with what Webb accomplished.

Final Rating: 4 out of 5

"Your father lived by a simple philosophy. If you have the ability to do good things then you have a moral obligation to do those things. Not a choice—a responsibility.

Note: There is an extra scene during the end credits so do not leave the theater!

Read More

Seeking a Friend for the End of the World Review

Rated R (Language including Sexual References, Some Drug Use and Brief Violence)

Running Time: 1 Hour & 41 Minutes

Cast-

Steve Carell-Dodge Peterson

Keira Knightley-Penelope 'Penny' Lockhart

Rob Corddry-Warren

Connie Britton-Diane

Patton Oswalt-Roache

Melanie Lynskey-Karen

Adam Brody-Owen

Derek Luke-Speck

Martin Sheen-Frank

William Petersen-Trucker

Bob Stephenson-Officer Wally Johnson

T.J. Miller-Chipper Host/Darcy

Gillian Jacobs-Waitress/Katie

Nancy Carell-Linda Peterson

Directed by Lorene Scafaria

It may be the end of the world but there's always time for one more road trip!

What would you do if you found out that the world was ending three weeks from now? Some people will spend their last moments with family and friends while others will just lose whatever self-control they have but for me, I honestly do not know how I would react to such news. The only way I can properly answer this question is when the end of the world is actually upon us. Last year Christian radio host Harold Camping of Family Radio falsely predicted that Judgment Day would occur on May 21, 2011. Numerous advertisements were plastered all over the subway but of course, nothing happened. Camping later revised his prediction, saying that May 21st was a 'spiritual day of judgment' and that the actual end of the world will take place on October 21, 2011. Once again, nothing happened and Camping became something of a laughingstock. What's worse is that there are people who actually believe him. Films dealing with apocalyptic, end-of-the-world scenarios are nothing new but there's been a renewed interest in them due to the hubbub surrounding the Mayan calendar where a cataclysmic event is supposed to take place on December 21, 2012. Director Roland Emmerich used this as inspiration for his 2009 effects-driven disaster flick "2012" but recent attempts at exploring the apocalypse has been focused on intimate character drama such as Lars von Trier's "Melancholia" from 2011 and Zal Batmanglij's "Sound of My Voice." Making her directorial debut is Lorene Scafaria with "Seeking a Friend for the End of the World," an apocalyptic comedy/drama starring Steve Carell and Keira Knightley. Despite its decidedly bleak premise, "Seeking a Friend for the End of the World" is a whimsical, funny, and often touching look at the human need to connect in the face of their inevitable doom. 

A news segment on the radio announces that the space shuttle Deliverance has failed in its mission of stopping a seventy-mile wide asteroid named Matilda from colliding with Earth and that the end of the world will occur in three weeks. Listening to the broadcast in their car is Dodge Peterson (Steve Carell) and his wife Linda (Nancy Carell), who promptly leaves her husband after hearing the shocking news. Unsure of how to cope with the impending apocalypse, Dodge continues his day-to-day routine of selling insurance. He visits his friends Warren (Rob Corddry) and his wife Diane (Connie Britton), who wants to set Dodge up with someone so that he wouldn't die alone. However, Warren couldn't care less and is spending his last days getting drunk and not giving a sh*t about anything. Later that night at a party, Dodge reunites with another friend named Roache (Patton Oswalt), who explains that he has slept with a different woman every night since the news made the announcement that the end is coming. Back at home, Dodge looks through his belongings and finds a picture of him and his ex-girlfriend Olivia, along with a harmonica. He begins playing but stops when he sees his neighbor, Penny Lockhart (Keira Knightley), sobbing uncontrollably. Inviting her in, Penny reveals that before she dies she would like to see her parents in the UK one last time but is unable to due to all flights being grounded. The next day, Penny gives Dodge three years of mail that had been delivered to the wrong person. Among them is a letter from Olivia, where she reveals that she recently went through a divorce and that Dodge has always been the love of her life. Dodge realizes that he must find her before the end comes and enlists the aid of Penny, telling her that he knows someone with a plane that can fly her back to the UK. They meet a number of quirky characters along their trip, all the while falling for each other despite the looming apocalypse. 

"Seeking a Friend for the End of the World" is essentially a road trip film and while there are some laughs to be had, there is a depressing vibe to the comedy given its premise. Scafaria does not trivialize the film's serious subject matter and provides a nice balance with its more lighthearted elements, humorously examining how various people would cope with the coming apocalypse. Some commit suicide or spend their last moments with friends and family members but others throw an end-of-the-world bash where everyone just doesn't give a damn anymore, throwing their morals/inhibitions out the window. Dodge's friend Warren tells his teenage son to go f*ck himself and gives vodka to all his children while heroin gets passed around to all the partygoers. The world is ending; might as well die while hopped up on drugs! Of course, what the film is really about is our innate fear of dying alone and the need to find someone, anyone, to spend time with when faced with an inevitable cataclysm. Despite the age difference between them, Steve Carell and Keira Knightley make for a convincing couple because the film takes its time building up their relationship in an organic way. Their characters are so different from each other but Dodge's introverted personality is perfectly complemented by Penny's flighty, overly emotional demeanor. How the film ends isn't a surprise (hint: it's not happy) so the main focus is the journey of how these two people who are polar opposites come to realize that they are soul-mates. During their road trip, Dodge and Penny meet a trucker who hires an assassin to kill him, a police officer in total denial of what is happening, and later they come upon a TGI Friday's-like restaurant called Friendsies where a happy birthday song suddenly descends into a full-blown orgy. Though episodic, these scenes are fun in a bleak way but it's really the drama that stands out, with Dodge reuniting with his father Frank (Martin Sheen), whom he hasn't spoken to for twenty-five years, and sharing a much needed cathartic moment with him. "Seeking a Friend for the End of the World" begins to lose steam toward the end but thankfully, it doesn't overstay its welcome more than it should. What began as a dark and cynical comedy evolves into an oddly bittersweet film despite its fatalistic premise. 

The performances are all uniformly excellent thanks to the emotional honesty behind them. Steve Carell isn't exactly doing anything new here as Dodge is similar to his roles in 2006's "Little Miss Sunshine" and 2007's "Dan in Real Life." It's the type of role he can play in his sleep but Carell manages to find the right amount of pathos to make you care about what his character is going through. Keira Knightley hasn't been in the spotlight since her appearance in the "Pirates of the Caribbean" trilogy but she's kept herself busy with a number of smaller productions such as 2010's "Never Let Me Go" and last year's "A Dangerous Method." Later this year, she will star in Joe Wright's "Anna Karenina," based upon Leo Tolstoy's 1877 novel of the same name. The actress has dabbled in comedy before (2002's "Bend It Like Beckham" and 2003's "Love Actually") but very rarely. Her filmography is largely dominated by period dramas. Knightley is appealing given her character's bubbly personality and although understated, there's a palpable chemistry between her and Carell that will allow audiences to believe that the two can be soul-mates. The rest of the cast only pop up for cameos but they make the most of their small roles, such as Rob Corddry's Warren with his 'don't give a sh*t' attitude to Patton Oswalt's hedonistic Roache. 

Released on June 22, 2012, "Seeking a Friend for the End of the World" has received mixed reviews with 51% on Rotten Tomatoes. Critics found it 'tender, charming, and well-acted, [but the film] is unfortunately hamstrung by jarring tonal shifts and a disappointing final act.' This is something I do not agree with as I felt Scafaria handled the tone perfectly fine and the ending was what I expected, unless the critics were expecting a more uplifting conclusion. Unfortunately, no one saw the film as it debuted in tenth place with a shockingly low $3.8 million, although the production budget was only $10 million so it's not a huge loss for Focus Features. Still, I find it puzzling that the studio would release an indie comedy/drama in the middle of summer. Given that "People Like Us" also flopped, it's clear that audiences are just not interested in watching characters facing an existential crisis and would rather go for whatever easily digestible product that Hollywood releases every week. "Seeking a Friend for the End of the World" makes for a successful debut for Lorene Scafaria and I look forward to seeing more of her work in the future. Funny, touching, and featuring two likable leads, this is the type of film that should be made more often so if you're turned off by the latest blockbuster, go see this one before it quickly disappears from theaters.

Final Rating: 4 out of 5

"I promise not to steal anything if you promise not to rape me."

Read More

Abraham Lincoln: Vampire Hunter 3D Review

Rated R (Violence Throughout and Brief Sexuality)

Running Time: 1 Hour & 45 Minutes

Cast-

Benjamin Walker-Abraham Lincoln

Mary Elizabeth Winstead-Mary Todd Lincoln

Anthony Mackie-Will Johnson

Dominic Cooper-Henry Sturgess

Jimmi Simpson-Joshua Speed

Rufus Sewell-Adam

Marton Csokas-Jack Barts

Erin Wasson-Vadoma

Robin McLeavy-Nancy Lincoln

Joseph Mawle-Thomas Lincoln

Jaqueline Fleming-Harriet Tubman

John Rothman-Jefferson Davis

Cameron M. Brown-William Wallace Lincoln

Alan Tudyk-Stephen A. Douglas

Directed by Timur Bekmambetov

He freed the slaves and reunited a fractured nation but what you didn't know is that Abraham Lincoln (Benjamin Walker) is a vampire hunter!

'Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this. But, in a larger sense, we cannot dedicate—we cannot consecrate—we cannot hallow—this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us—that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion—that we here highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish from the earth.' Amazing how a speech consisting of only ten sentences has withstood the test of time, which is ironic since the speaker notes that 'the world will little note, nor long remember what we say here.' Those who paid attention in history class should know that the above speech is the famous Gettysburg Address, made by sixteenth President of the United States Abraham Lincoln on November 19, 1863, four and a half months after the decisive Battle of Gettysburg where Union armies defeated those of the Confederacy after three days of fierce fighting. Here comes the real shock: many of the Confederate soldiers were actually vampires! Looks like historians left out that little detail in our textbooks. Of course, that last part isn't really true but Hollywood—in addition to the endless barrage of sequels, prequels, and remakes—has currently taken to re-imagining historical figures as amateur detectives or axe-wielding superheroes in their infinite chase for the almighty dollar. The first of these was April's "The Raven" and now we have "Abraham Lincoln: Vampire Hunter," based upon Seth Grahame-Smith's novel of the same name published in 2010. Smith is also the author of 2009's "Pride and Prejudice and Zombies," whose film adaptation is languishing in development hell. From director Timur Bekmambetov, "Abraham Lincoln: Vampire Hunter" treats its silly premise with a straight face but much of its potential ends up being wasted or underutilized, leaving a dull action film with little to offer to audiences. 

Young Abraham Lincoln lives in Pigeon Creek, Indiana with his parents Nancy (Robin McLeavy) and Thomas (Joseph Mawle), who works at a plantation owned by the ruthless Jack Barts (Marton Csokas) in 1818. One day, Lincoln sees his best friend, William Johnson, being brutally whipped by a slaver and leaps to his rescue but his father ends up being fired by Barts when he is forced to intervene. Barts demands that Thomas pays the debt he owes in full immediately but is rebuffed, prompting him to threaten that 'there’s more than one way to collect a debt.' That night, Lincoln hears someone breaking in and sees Barts about to attack his mother. Nancy falls ill the next morning and dies shortly afterward. His father passes away nine years later, leaving an adult Abraham Lincoln (Benjamin Walker) free to pursue his vengeance against Barts. He finds him at the docks and shoots him in the eye at point-blank range but Barts, his mouth full of fangs, quickly recovers and is about to kill Lincoln when a strange man attacks him from behind. Lincoln wakes up in the home of Henry Sturgess (Dominic Cooper), who reveals that Barts is actually a vampire and that he hunts them. Eager to get revenge on Barts and avenge his mother's death, Lincoln asks Henry to train him to become a vampire hunter like him and agrees to do whatever is needed. Henry agrees and teaches Lincoln how to skillfully wield an axe and exploit a vampire's various weaknesses. His training complete, Lincoln moves to Springfield, Illinois in 1837 to pursue a career in law. He works as a shopkeeper's assistant by day with Joshua Speed (Jimmi Simpson) but spends his nights hunting vampires. Lincoln also meets a beautiful woman named Mary Todd (Mary Elizabeth Winstead) and falls in love with her. After reuniting with his friend William (Anthony Mackie), Lincoln is inspired to enter into politics and speaks out against slavery but Henry reveals that vampires are kept in check by using slaves as a food source. Tired of his meddling, a vampire lord named Adam (Rufus Sewell) vows to kill Lincoln, even if it plunges the United States into a civil war. 

Despite its absurd premise, "Abraham Lincoln: Vampire Hunter" is a surprisingly generic affair. Seth Grahame-Smith adapted his own novel to film but while there's some fun to be had with its mash-up of history and supernatural fantasy, the story is a thinly plotted, nonsensical mess. Lincoln's entire life is reduced to a series of CG action scenes loosely connected by scenes of exposition, leaving the characters with absolutely no development besides the simplest of motivations. In fact, the pacing feels rushed, glossing over many of the major events in Lincoln's life. There are also numerous inconsistencies that detract from the film as they pile up, such as how vampires can seemingly walk around in broad daylight without catching fire (no, sunscreen can't be that powerful) to Lincoln's sudden superhuman abilities that allows him to knock a tree down with one hit simply because he confronted his own fears and doubts. Smith's attempts to combine historical events with its more fantastical elements often come off as forced or awkward, especially when it tries to explain that the American Civil War was waged all because of vampires. In contrast to his gleefully violent "Wanted" from 2008, Bekmambetov keeps the tone serious—too serious—making for a rather dull viewing experience. The only time that the film really comes alive is a preposterous sequence where Lincoln battles Barts during a horse stampede. The two leap from horse to horse and defy all manner of physics but sadly, the rest of the action suffers from an overabundance of obvious CG, giving it a cartoonish quality. Sure, all the set-pieces are slickly edited, well-choreographed, and appropriately bloody but it’s very by-the-numbers and looks like it came out of a video game. Ultimately, the title is the only unique feature about the film as the execution leaves much to be desired, with little that differentiates from all the other B-movie schlock that Hollywood often releases. The only way you're going to enjoy "Abraham Lincoln: Vampire Hunter" is if you have no knowledge of our sixteenth president's life and the American Civil War. Instead of filming in 3D, Bekmambetov opted to do a post-conversation and while the image compensates for the dimming effect from the glasses by upping the brightness, there's no sense of depth. The 3D is little more than a gimmick and is only noticeable when objects, such as bullets, are flying toward the screen. However, there's a nice effect applied to the vampire's eyes, giving them an eerie quality. This is a competent post-conversation but you're better off seeing it in 2D as Bekmambetov does not take advantage of the 3D despite his over-the-top directorial style. 

One of the few highpoints of the film is the earnest performances. Looking like a young Liam Neeson, Benjamin Walker makes for a credible action hero and really sells the premise that Abraham Lincoln might actually be an axe-wielding vampire hunter. The old-age make-up in the latter half is quite impressive and was done by Greg Cannom, who won an Academy Award for his work in "The Curious Case of Benjamin Button" in 2009. Anthony Mackie, Jimmi Simpson, and Dominic Cooper play one-note characters but they make the most with what they're given. Mary Elizabeth Winstead looks nothing like the real Mary Todd but that's actually a good thing. Finally, there's Marton Csokas and Rufus Sewell, hamming it up as the villains.

 Released on June 22, 2012, "Abraham Lincoln: Vampire Hunter" has received largely negative reviews with 35% on Rotten Tomatoes. Critics praised the visual style but found 'its overly serious tone doesn't jibe with its decidedly silly central premise, leaving filmgoers with an unfulfilling blend of clashing ingredients.' The film opened against Pixar's "Brave" and comedy-drama "Seeking a Friend for the End of the World" and while it was predicted to be a flop, it managed a solid, if unremarkable, $16.3 million debut but it'll likely struggle to make back its $69 million production budget given the rough competition in July. I ended up paying out my own pocket to see the film and there were only five to six people during the morning matinee at the theater. There's some mild enjoyment to be had with "Abraham Lincoln: Vampire Hunter" but the film ends up being a mediocre affair, which is a damn shame given the promise afforded by its premise.

Final Rating: 2.5 out of 5

"History prefers legends to men, nobility to brutality, soaring speeches to quiet deeds. History remembers the battles, but forgets the blood. If history remembers me at all, it will only be a fraction of the truth."

Read More

Ted Review

Rated R (Crude and Sexual Content, Pervasive Language, and some Drug Use)

Running Time: 1 Hour & 46 Minutes

Cast-

Mark Wahlberg-John Bennett

Mila Kunis-Lori Collins

Seth MacFarlane (voice)-Ted

Giovanni Ribisi-Donny

Joel McHale-Rex

Patrick Warburton-Guy

Laura Vandervoort-Tanya Terry

Matt Walsh-Thomas

Bill Smitrovich-Frank

Jessica Barth-Tami-Lynn

Aedin Mincks-Robert

Alex Borstein-Gina Bennett

Ralph Garman-Joe Bennett

Sam J. Jones-As Himself

Patrick Stewart (voice)-Narrator

Directed by Seth MacFarlane

Best Friends Forever: John Bennett (Mark Wahlberg) and Ted (voice of Seth MacFarlane) in Seth MacFarlane's directorial debut "Ted."

Growing up in the Bronx, I remember having numerous teddy bears where I would often use tissue paper as capes and pretend that they were superheroes. I didn't bring them along with me when I moved to Brooklyn but my mother eventually brought me a large teddy bear (complete with a rainbow-colored bow tie) despite the fact that I was already eight-years-old and in third grade. Although I was primarily interested in action figures (and still am) at that particular age, I still loved the bear and displayed him prominently on my bed. However, my grandmother forced me to toss him out when I entered fifth grade as she didn't want a 'dirty stuffed animal' in the house but I suspect her real reason was that she felt it was un-masculine for a boy my age to still have teddy bears. This imaginary friendship of a boy and his stuffed animal forms the premise for "Ted," which marks the directorial film debut for Seth MacFarlane, the creator of animated sitcoms "Family Guy," "American Dad," and "The Cleveland Show." Premiering after Super Bowl XXXIII in 1999 on Fox, "Family Guy" garnered controversy with its adult content but the show was cancelled after its third season in 2002 due to heavy competition from other networks and low ratings as a result of being shuffled around different timeslots with little to no notice. Fox's interest was rekindled after syndicated reruns airing on Cartoon Network's Adult Swim boasted a 239% increase in viewership. Combined with lucrative DVD sales, "Family Guy" returned in 2004 (making it the first television show to be revived based on DVD sales) and is still going strong after recently wrapping up its tenth season. Given Seth MacFarlane's current popularity, it's not a surprise that he would try his hand at directing a feature film. "Ted" is without a doubt the best R-rated comedy of summer 2012 thanks to its irreverent, politically incorrect humor, gleeful pop culture references, and a surprisingly poignant tale of a man struggling to literally let go of his childhood. 

Narrated by Patrick Stewart, eight-year-old John Bennett is a social outcast living in suburban Boston who receives a cuddly, oversized teddy bear from his parents on Christmas Day in 1985. He immediately becomes attached to the stuffed animal and affectionately names the bear 'Teddy.' Before going to sleep one night, John wishes for Teddy to come to life so that the two can be best friends forever. As nothing is more powerful than a young boy's wish with the exception of an Apache helicopter, John awakens to discover that his wish has actually come true. Teddy becomes an instant celebrity but twenty-seven years later, John (Mark Wahlberg) is now thirty-five and stuck at a dead-end job at a car rental agency. He spends much of his free time smoking marijuana with Ted (voice of Seth MacFarlane), his stuffed animal who has become a foul-mouthed, irresponsible slacker. For the past four years, John has been in a relationship with Lori Collins (Mila Kunis), a businesswoman at a successful PR firm who demands that Ted move out as she believes that he is keeping John from embracing adulthood. John is reluctant but agrees as he does not want to lose Lori. He promises to visit Ted everyday but trouble soon rears its head when a creepy stalker named Donny (Giovanni Ribisi) covets the bear for his son. 

"Ted" is essentially a live-action version of "Family Guy" so those who are not fans of Seth MacFarlane's brand of comedy will more than likely be offended by the film's humor. Written by MacFarlane with frequent "Family Guy" collaborators Alec Sulkin and Wellesley Wild, the script is fairly standard and at worse, predictable, but the sincere depiction of John and Ted's unusual friendship makes up for its shortcomings. A common theme in many comedies today is the 'man-child' struggling to embrace adulthood and the film surprisingly explores this in a sweet and even poignant manner despite all the raunchiness on display. "Ted" isn't free from flaws as the subplots feel largely extraneous and tacked on to pad out the running time. One involves Lori's lecherous boss Rex played by Joel McHale that adds little besides a few easy laughs and the other with Giovanni Ribisi's Donny attempting to kidnap Ted for his overweight, Mary Bell-like son that is introduced but is seemingly forgotten until the last half hour. The car chase and the subsequent climactic showdown at Fenway Park are also edited in a pedestrian way and lack tension but that's more a fault of MacFarlane's novice status with working in live-action. 

These issues are not enough to bring down the experience as "Ted" is jam-packed with hilarious set-pieces and punch lines that will leave you doubled over in a fit of laughter. MacFarlane retains the irreverent, politically incorrect, satirical, and slapstick humor characterized by his animated sitcoms to gleeful effect as Patrick Stewart warmly narrates that Christmas is 'that special season when Boston children get together and beat up the Jewish kids.' Taking place in Wahlberg's hometown, MacFarlane pokes a lot of fun at the city as Ted mocks the women for screaming 'haaaardah' during sex and calls the people from nearby Quincy nothing but Catholic hooligans. Even the fish at the New England Aquarium aren't safe from him! Being a fan of science fiction, MacFarlane includes numerous pop culture references (some are obvious), all leading up to the film's high point where John and Ted meet face-to-face with their idol Sam J. Jones—the star of 1980's campy flick "Flash Gordon," based upon the 1934 comic strip of the same name created by Alex Raymond. The fifty-seven-year-old Jones does cocaine with John and Ted before getting into a fistfight with Ted's Asian neighbor Ming, whom he mistakes for Emperor Ming the Merciless. From Jews to Muslims, MacFarlane stereotypes all but the context and more importantly, the timing of the joke makes it funny rather than offensive. John and Ted also come to blows late in the film that ends with Ted whipping John's bare buttocks with an antenna and a television crashing onto John's crotch. Rest assured "Ted" will definitely leave you laughing hysterically as you exit the theater. Praise must also be given to Tippet Studio, who brought Ted to life via CG motion capture provided by MacFarlane himself. By all appearances, Ted looks like a generic teddy bear worn by age yet lovingly cared for but he is so seamlessly integrated into every scene that the FX team seriously deserves an Academy Award-nomination at the very least. 

The cast all deliver great performances, especially Mark Wahlberg who shares such a natural chemistry with Ted that you quickly forget that he's basically interacting with a CG construct made up of nothing but pixels. Wahlberg's John is instantly relatable because we've all struggled to balance our adult responsibilities with our inner child. Mila Kunis isn't given much to do except look attractive as John's girlfriend Lori but in a nice change of pace, her character is written in a sympathetic manner when MacFarlane could've easily made her out to be a b*tch. Of course, it is Seth MacFarlane's enthusiastic voice-work that makes the film so memorable and it's similarity to Peter Griffin's voice is humorously acknowledged. As Ted-obsessed Donny, Giovanni Ribisi has this priceless scene which recalls Buffalo Bill from 1991's "The Silence of the Lambs." Finally, there's Joel McHale from NBC's "Community" and while his screen-time is limited, he excels at playing a sleazy slime-ball. A number of veterans from "Family Guy" also pop up such as Alex Borstein and Patrick Warburton, including a few surprise celebrity cameos which I will leave you to discover yourself. 

"Ted" will be released on June 29, 2012 and has received positive reviews with 66% on Rotten Tomatoes. Critics noted that the 'romance versus bromance plot is familiar, but the film's held aloft by the high-concept central premise and a very funny (albeit inconsistent) script.' The entire audience enjoyed every minute during an advanced screening held on Wednesday and the theater was filled with so much laughter that I missed out on some of the dialogue. Some people really need to tone it down and be mindful of others sitting around them as the experience reminded my friend of why he hated going to the movie theater. "Ted" faces competition from three competing films: Steven Soderbergh's "Magic Mike," Alex Kurtzman also making his directorial debut with "People Like Us," and Tyler Perry's latest comedy, "Madea's Witness Protection." MacFarlane has a sizable fan-base but whether that will translate into box office success remains to be seen. However, a debut of $25 to $30 million is enough to be in good shape. Much of what happens in "Ted" won't be a surprise but thanks to a highly original premise, MacFarlane has crafted one of the best R-rated comedies of the year. Now I want to run out and get my own Ted!

Final Rating: 4 out of 5

"When you hear the sound of thunder / Don't you get too scared / Just grab your thunder buddy / And say these magic words: / F*ck you, thunder! / You can suck my dick! / You can't get me thunder / 'Cause you're just God's farts!"

Read More

Magic Mike Review

Rated R (Pervasive Sexual Content, Brief Graphic Nudity, Language and some Drug Use)

Running Time: 1 Hour & 50 Minutes

Cast-

Channing Tatum-Michael Lane/Magic Mike

Alex Pettyfer-Adam/The Kid

Matthew McConaughey-Dallas

Cody Horn-Brooke

Olivia Munn-Joanna

Matt Bomer-Ken

Joe Manganiello-Big Dick Richie

Adam Rodriguez-Tito

Kevin Nash-Tarzan

Gabriel Iglesias-Tobias

Directed by Steven Soderbergh

Channing Tatum bares it all in Steven Soderbergh's latest film, "Magic Mike."

Although I often joke around with my friends about going to a strip club one day, I honestly feel uncomfortable and even somewhat embarrassed to have a strange woman gyrate around me in exchange for money. I have nothing against strippers and other exotic dancers but such places are meant for raucous social gatherings and aren't really suited for an introverted person like me. Do women have similar feelings about male strip clubs? The reason I ask this question is that director Steven Soderbergh's latest film, "Magic Mike," explores the world of male strip clubs with Channing Tatum (whose experiences as a stripper served as inspiration) starring as the titular character. Soderbergh is one of the most versatile directors working in Hollywood today with his filmography reflecting a variety of genres that includes science fiction (2002's "Solaris"), action (2012's "Haywire"), experimental (2009's "The Girlfriend Experience"), drama (1989's " Sex, Lies, and Videotape") and even crime/heist flicks such as the popular "Ocean's Trilogy." Every film that he has worked on, no matter how predictable or clichéd the script has always had a unique style as Soderbergh not only directs but also serves as editor and cinematographer under a pseudonym. As much as I am a fan of Soderbergh, the announcement of him doing a film on male strippers caught me by surprise and I felt it could've been a major bomb with critics. While "Magic Mike" is certainly one of Soderbergh's lesser efforts due to the script's lack of focus, the film is still worth a look thanks to some solid comedy and drama that offers a new viewpoint on sex as a commodity through a male perspective. 

Thirty-year-old Michael Lane (Channing Tatum) is a struggling entrepreneur living in Tampa, Florida who enjoys a casual fling with psychology student Joanna (Olivia Munn) and spends his day working at a number of low-paying odd jobs. He hopes to one day open his own business designing unique, custom-made furniture and saves up as much money as he possibly can for such a venture. During a routine roofing job, Michael meets nineteen-year-old Adam (Alex Pettyfer), a wayward teenager on the cusp of adulthood who gave up a promising football career in college and now lives with his older sister Brooke (Cody Horn), who works as a nurse. During a chance encounter outside a nightclub, Adam learns that Michael is a veteran stripper under the nickname 'Magic Mike' for Club Xquisite, run by the sleazy but business-savvy Dallas (Matthew McConaughey). Also working at the club is Ken (Matt Bomer), Big Dick Richie (Joe Manganiello), Tito (Adam Rodriguez), and Tarzan (Kevin Nash). Michael convinces Dallas to give Adam a job and is assigned to handle the props but when Tarzan suffers an overdose and falls unconscious, Adam is sent out onstage to take his place. Seeing potential in him, Michael takes Adam under his wing despite the disapproval of Brooke. Michael promises her that he will take care of him but Adam soon descends into a seedy underground world of sex and drugs. Meanwhile, Michael struggles with his growing feelings for Brooke and finds himself wanting to do more with his life rather than spend it as a stripper. 

The idea for "Magic Mike" had long gestated in Channing Tatum's mind, who worked as stripper for close to a year when he was eighteen as he desperately needed the money. When he revealed his intention to make a film using his experiences as a stripper for inspiration back in 2010, Tatum planned on having Nicolas Winding Refn (who helmed the critically-acclaimed "Drive") to direct but the project eventually went to Steven Soderbergh, who expressed his interest during the filming of "Haywire." At first glance, "Magic Mike" seems like an excuse to throw a couple of good-looking, well-proportioned men on-screen but such an assumption does the film and Soderbergh a disservice. While it may not exactly break any new ground, the script from Reid Carolin (which divides the story over a three-month period using title-cards) explores the duality of Michael and Adam as well as how sex is used as both a fantasy and a commodity, which was also a central theme in another Soderbergh-directed film, 2009's "The Girlfriend Experience." Tatum's Michael has dreams of opening up his own business and finding someone that he can spend time with but his lifestyle and profession comes under scrutiny, especially from Horn's Brooke. He not only has to convince others that he's not Magic Mike but also has to convince himself as well because it is clear he enjoys being a stripper but there's also a fear of moving into unfamiliar territory, so he sticks with what he knows. Michael is also trapped by forces beyond his control and there's a scene where he tries to take a loan from a local bank but is refused due to his low credit score, a subtle indictment at the state of the economy, which was again central to "The Girlfriend Experience." Adam is a mirror to Michael and not only does he eventually replace him as the star of Club Xquisite, he succumbs to the lure of easy money and runs afoul of several drug dealers. Seeing how Adam becomes 'corrupted' spurs Michael to make a difficult decision at the end of the film. Nothing is resolved but it leaves you with a sense of hope. 

The problem with Carolin's script is its lack of focus as the subplots do not come together until late into the film where its intentions become clearer—giving the first ninety or so minutes a rambling quality. Although primarily a drama, I was surprised at how funny "Magic Mike" was. The opening scene has Dallas gleefully telling the audience (composed of women) that 'the law says you cannot touch' before cutting to two months earlier where Michael wakes up from a ménage à trios with two other women. He shares a humorous exchange with Joanna as both cannot remember the name of the person they slept with the night before. The on-stage antics will provide plenty of delicious eye-candy for women (and gay men) and it's clear that the cast was fully committed as they skillfully pull-off some elaborate maneuvers while wearing all manner of crazy costumes. There's even a Raining Men routine that will leave ladies giggling in their seats. At one point Bomer's Ken walks out of an adult-sized toy box (befitting his namesake) while Manganiello's Big Dick Richie sprains his back after holding a slightly-oversized woman in a standing 69 position. Unless you really are that insecure about your own sexuality, straight men will find it hard not to laugh at how ridiculously cheesy and over-the-top some of the dance routines are. As always, Soderbergh infuses the film with a very particular aesthetic, shooting with a double straw camera filter that gives every scene a warm, yellow hue. Odd angles and lingering close-ups, such as when Brooke watches Michael dance, lends a certain intimacy to the proceedings. 

The cast all give solid performances and it's really amazing how much Channing Tatum has improved as an actor. His range can still be limited but in "Magic Mike," he's funny, charismatic, and handles the drama well. Tatum knows he's not the best actor around but I admire how he chooses his projects that allow him to step outside his comfort zone rather than just being a hunk of meat for women to stare. Alex Pettyfer is another actor whose known more for his looks but the character of Adam feels like it was written for him and he handles the role better than I had expected. However, it is Matthew McConaughey who gives the most memorable performance as the sleazy Dallas. With his Southern drawl, McConaughey is clearly enjoying himself and he ends the film with a wild dance routine that has the crowd fawning all over him like he's some sort of sex god (maybe he is to some women). Finally, there's Cody Horn as Brooke but I found her to be rather bland as Michael's potential love interest with her sullen expression. 

"Magic Mike" will be released on June 29, 2012 and while there are no official reviews out yet besides some positive early Twitter reactions, I have a feeling that this film will garner a mixed reception. I saw the film at an advanced screening last Thursday where the audience was primarily made up of women and gay men with the occasional couple. Of course, the women clearly enjoyed it and let out whoops and cheers when Channing Tatum's rear flashed on-screen for all to see. Whether it will appeal to straight men is another question and I doubt it will if the IMDB forums are any indication, with people hurling insults that women are 'shallow' for wanting to see it. Honestly, it makes me ashamed for my own gender because these people are already judging without having seen the film. The only advice I can give is to keep an open-mind. Box office wise, "Magic Mike" was independently financed for approximately $5 million so any amount above that is already a success. Plus Steven Soderbergh never really cares if his films make money or not because he receives his funding one way or another. Although the story is told from a male perspective, "Magic Mike" does not explore any new territory. It won't rank among Soderbergh's best due to the rambling, unfocused script but it is better film than what its trailers initially made it out to be.

Final Rating: 3.5 out of 5

"You are the husband they never had! You are that dreamboat guy that never came along!"

Read More

Brave 3D Review

Rated PG (Some Scary Action and Rude Humor)

Running Time: 1 Hour & 33 Minutes

Cast (voice):

Kelly Macdonald-Princess Mérida

Emma Thompson-Queen Elinor

Billy Connolly-King Fergus

Kevin McKidd-Lord MacGuffin/Young MacGuffin

Craig Ferguson-Lord Macintosh

Robbie Coltrane-Lord Dingwall

Julie Walters-The Witch

Steven Cree-Young Macintosh

Callum O'Neill-Wee Dingwall

Sally Kinghorn & Eilidh Fraser- Maudie

John Ratzenberger-Gordon

Patrick Doyle-Martin

Directed by Mark Andrews, Brenda Chapman, and Steve Purcell

Princess Mérida (Kelly Macdonald) confronts her destiny in Pixar's latest, "Brave."

It's hard to believe that sixteen years have passed since I saw my first Pixar film, "Toy Story." Since then I've been a fan of the stalwart animation studio, whose name alone stood as a rock-solid guarantee that their film would achieve widespread critical acclaim and commercial success but this all changed with "Cars 2" last summer, which earned a shockingly low 38% on Rotten Tomatoes, breaking Pixar's consecutive winning streak after eleven films spanning fifteen years. The original "Cars" from 2006 has always been viewed as the black sheep of the family despite receiving generally good reviews but while its 2011 sequel was never expected to reach the high standards set by Pixar's previous films, the overwhelmingly negative reception from critics still came as a total surprise to fans. Audiences, however, still flocked to see "Cars 2" in droves, to the tune of $560 million at the worldwide box office and selling countless merchandise to children that left Disney with a big smile on their face. Pixar's thirteenth production "Brave," originally titled "The Bear and the Bow" and the studio's first to feature a female protagonist, was viewed with cautious optimism after the debut of its teaser trailer last year but is it a return to form for the animation studio that could formerly do no wrong? "Brave" is definitely a better film compared to "Cars 2" but it still does not quite reach the heights of Pixar's earlier work due to a predictable storyline, uneven pacing, and hit-and-miss humor. Despite these problems, the film remains engaging throughout and once again sets the bar even higher for CG animation.  

"Brave" is preceded by a charming seven-minute short titled "La Luna." During a prologue set in the Scottish kingdom of DunBroch, a young princess named Mérida is happily playing hide-and-seek with her mother, Queen Elinor (Emma Thompson). Mérida receives a bow and arrow on her birthday from her father, King Fergus (Billy Connolly), and begins to practice immediately despite the objections of Elinor. While retrieving one of her arrows that has landed in the woods, a strange blue light called a 'will o' the wisp' appears before the princess. Her mother explains that wisps are said to 'lead you to your fate.' However, an ancient demonic bear called Mor'du leaps from the woods and attacks Mérida's family. King Fergus jumps to his wife and daughter's defense, driving the bear away but losing his left leg in the process. Fast forward to the present day, where Princess Mérida (Kelly Macdonald) has grown into a fiery-haired woman whose archery skills are unmatched throughout the kingdom but her relationship with her mother has soured in the intervening years. Queen Elinor tries to teach her daughter about being a proper princess and the responsibilities she has to DunBroch but these lessons often leave Mérida exasperated, who wants nothing more than to ride her horse Angus and hone her archery skills in the woods. One day, a pile of letters arrives for Queen Elinor from the other Scottish lords: MacGuffin (Kevin McKidd), Macintosh (Craig Ferguson), and Dingwall (Robbie Coltrane), who have agreed to present their firstborn sons to compete for Mérida's hand in marriage. Mérida is extremely upset at the news but has no choice in the matter. The lords arrive and Mérida chooses an archery challenge to determine the best suitor. Dingwall's dimwitted son wins by pure accident but Mérida instead shoots all three targets herself as an act of defiance against her mother. The two have a huge argument and Mérida leaves the castle grounds with her horse in anger. She comes upon a Stonehenge circle in the woods, where a group of will o' the wisps leads her to a witch's (Julie Walters) cottage. Mérida asks the witch to create a spell that would change her mother's mind and thus change her fate. However, the spell proves to have disastrous consequences for not only Queen Elinor but also for the kingdom of DunBroch as well, forcing Mérida to desperately try and undo her mistake. 

"Brave" is an original fairy tale from Pixar that breaks away from the clichéd tropes of evil stepmothers and charming princes to focus on one overlooked aspect—the complexities of mother-daughter relationships. Queen Elinor wants her daughter to learn that being responsible often means putting aside your own wants and needs but Mérida does not want to be someone that she is not and finds herself trapped by her mother's stodgy adherence to tradition. Neither one is wrong in their position but both suffer from a failure to communicate and most importantly, do not listen to each other. Such a relationship will resonate strongly with mothers who have faced similar predicaments but "Brave" feels dramatically lightweight and worse, predictable. Much of what happens in the film won't come as a total surprise to adult audiences and the second half suffers from a rushed pace as Mérida tries to undo the spell she cast on her mother. I won't spoil what happens to Queen Elinor but the film's original title already provides a major clue. Although Mérida is destined (no pun intended) to become popular among young girls, the character inspires little sympathy and comes off as a whiny, petulant brat who needs to be smacked upside the head (that's how we Asians discipline our children), not the independent, strong-willed warrior woman that the initial previews made her out to be. When she finally realizes the error of her ways, it rings hollow and feels as if Queen Elinor is conceding to her daughter's demands. The humor also clashes with the story's darker elements, creating an uneven tone. Much of the comedy is derived from the mischievous antics of Mérida's three adorable triplet brothers, Harris, Hubert and Hamish, and the boorish behavior of King Fergus and the other Scottish lords but while there are some chuckles to be had, none of it is particularly sharp or creative. "Brave" is flawed and is definitely 'lesser Pixar' but the film remains enjoyable while the story, largely the brainchild of Brenda Chapman, is solidly written and offers a new perspective from your run-of-the-mill fairy tale; it just lacks that special spark that was present in the studio's first eleven productions. Chapman was reportedly fired and replaced with Mark Andrews following 'creative disagreements,' which may be the reason for the film's uneven quality. 

What really saves the film is the stunning CG animation and enthusiastic voice acting. Each individual strand of Mérida's hair is realized and it is clear the animators went to great lengths to create an authentic Scottish setting, which extends to Patrick Doyle's impressive score as well. Unfortunately, all this effort is marred by the 3D, which is shocking considering Pixar's technological pedigree. The vibrancy and brightness of the film has been lost and there is jarring motion blur during chase scenes. The image lacks depth and appears flat for most of its running time. Compared to DreamWorks Animations' "Madagascar 3: Europe's Most Wanted," there is no competition; "Brave" really dropped the ball when it comes to its 3D. The voice cast is uniformly excellent with convincing Scottish accents. Kelly Macdonald makes up for Mérida's character shortcomings while Emma Thompson lends a subtle wisdom to Queen Elinor. The rest of the all-male supporting cast play one-note characters and are largely there to provide laughs. 

Released on June 22, 2012, "Brave" has received positive reviews with 73% on Rotten Tomatoes, on par with 2006's "Cars." Critics admitted that it 'may not live up to the lofty standards of the Pixar brand, but [the film] offers young audiences and fairy tale fans a rousing, funny fantasy adventure with a distaff twist—and surprising depth.' I saw the film at a packed screening this past Wednesday and the audience responded enthusiastically but it was clear that certain scenes were too intense as I overheard some children crying, much to my annoyance. Box office wise, this will be Pixar's thirteenth number one debut and early projections are at $55 to $60 million, although $65 million is feasibly possible. The other competing films, "Abraham Lincoln: Vampire Hunter" and "Seeking a Friend for the End of the World," appeal to specific audiences and are unlikely to breakout during the weekend baring some unexpected surprise. It has its problems but "Brave" is an entertaining and competently-made animated film. However, Pixar has never settled for such modest standards. Yes, it is a return to form for the studio but it’s clear that there is still work to be done if they are to reclaim their former status among critics and fans.

Final Rating: 3.5 out of 5

"Some say fate is beyond our command, but I know better.  Our destiny is within us.  You just have to be brave enough to see it."

Read More