Thor: The Dark World 3D Review

Rated PG-13 (Sequences of Intense Sci-Fi Action and Violence, and Some Suggestive Content)

Running Time: 1 Hour & 52 Minutes

Cast-

Chris Hemsworth-Thor

Natalie Portman-Jane Foster

Tom Hiddleston-Loki

Christopher Eccleston-Malekith the Accursed

Anthony Hopkins-Odin

Rene Russo-Frigga

Jaimie Alexander-Sif

Idris Elba-Heimdall

Ray Stevenson-Volstagg

Zachary Levi-Fandral

Tadanobu Asano-Hogun

Kat Dennings-Darcy Lewis

Stellan Skarsgård-Dr. Erik Selvig

Jonathan Howard-Ian Boothby

Adewale Akinnuoye-Agbaje-Algrim the Strong/Kurse

Alice Krige-Eir

Clive Russell-Tyr

Chris O'Dowd-Richard

Tony Curran-Bor

Directed by Alan Taylor

"Do I look heroic enough?"

Note: Screened on Wednesday, November 6, 2013 at AMC Empire 25.

When Bryan Singer's "X-Men" was released back in 2000 and reignited Hollywood's interest in comic book superheroes, the idea of a film featuring 'Earth's Mightiest Heroes' was just a pipe dream that largely existed in the minds of fan-boys (like me) but Marvel sought to turn this dream into a reality and knew that only they themselves could accomplish such a daunting task. Thirteen years later, we've entered into a renewed comic book film renaissance led almost exclusively by Marvel Studios. Grossing over $1.5 billion at the worldwide box office, 2012's "The Avengers" ended 'Phase One' with a bang but Marvel wasn't about to become complacent and rest on their laurels as the studio moved full steam ahead into 'Phase Two' with Shane Black's "Iron Man 3." That film kicked off summer 2013 on a high note and defied expectations by overcoming the box office decline that plagues most three-quels, putting another $1.2 billion into the House of Ideas' coffers. Phase Two continues unabated with "Thor: The Dark World," the first of Marvel's films outside of Iron Man to receive a sequel. It's occasionally silly and derivative, and there's an inescapable feeling that the film is little more than a hole-filler for 2015's "The Avengers: Age of Ultron" but "Thor: The Dark World" remains another rousing entry in Marvel's résumé thanks to its charismatic performances, witty humor, and thrilling action scenes.

Following the destruction of the Bifröst (in 2011's "Thor") and Loki's subsequent invasion of New York (in 2012's "The Avengers"), Thor (Chris Hemsworth) battles to restore peace across the Nine Realms alongside his comrades, Sif (Jaimie Alexander), Volstagg (Ray Stevenson), Fandral (Zachary Levi), and Hogun (Tadanobu Asano). For his actions against Midgard, Loki (Tom Hiddleston) is sentenced to imprisonment in the dungeons by his adoptive father Odin (Anthony Hopkins). In the two years since Thor returned to Asgard, astrophysicist Jane Foster (Natalie Portman) struggles to move on but when she accidentally uncovers a cataclysmic force known as the Aether, a contingent of Dark Elves led by Malekith the Accursed (Christopher Eccleston) are awakened from suspended animation onboard their ship. Eons ago, Malekith sought to use the Aether to plunge the universe into an eternal darkness. However, an army of Asgardians led by Odin's father Bor (Tony Curran) drove the Dark Elves back on Svartalfheim and contained the Aether within a stone column. Jane's discovery of the Aether allows it to physically bind with her, forcing Thor to abandon his responsibilities and return to Earth via the newly-repaired Bifröst. He whisks her away to Asgard for protection but this proves to be a costly mistake as Malekith soon arrives, determined to retrieve the Aether at all costs and fulfill his apocalyptic plans. As a celestial event called 'The Convergence' draws closer, Thor defies his father and turns to his imprisoned brother Loki for help in spite of his strong chance of betrayal.

Kenneth Branagh's "Thor" was something of a minor miracle when it was released in 2011. With his crimson cape and magical hammer, the Norse god was seen as the least likely to successfully translate to the big screen without coming across as ridiculous. Fortunately, the strength of the Marvel brand allowed the film to overcome its inherent silliness, with Branagh even bringing a touch of Shakespeare to Thor and Loki's famous sibling rivalry. Critical reception was largely positive (77% on Rotten Tomatoes) and its worldwide gross was a solid if unremarkable $449.3 million, at least when compared to more popular Marvel characters like Spider-Man, X-Men, and Iron Man. Although he was enthusiastic about a sequel, Branagh opted not to return due to the long-term commitment it required. Switching directors is almost never a good idea for a burgeoning film series but Marvel has always had a knack for choosing the right creative minds to shepherd their characters to the big screen. Right away, it's apparent that "Thor: The Dark World" is a different sort of bilgesnipe in comparison to its predecessor and it's all because of director Alan Taylor. A veteran on HBO's wildly popular "Game of Thrones," Taylor sets the sequel on a noticeably bigger scale and the gorgeous production design from Charles Wood reflects this. If Branagh's "Thor" was a fish-out-of-water tale by way of Shakespeare, than Taylor's "The Dark World" is a war film that draws inspiration from "The Lord of the Rings" and "Star Wars" with its blend of fantasy, sci-fi, and even period aesthetics. The Dark Elves travel in a spaceship that vaguely resembles Sauron's tower Barad-dûr if it were constructed by the Borg while Asgard has been given a more weathered, lived-in appearance. Not only does this flesh out the Nine Realms but it enhances the authenticity of "The Dark World" by giving each area its own unique feel.

The action quotient has been increased as well, with the film's opening set against a large battle scene on Vanaheim, where Thor, Sif, and the Warriors Three repel a band of marauders, who have a Kronan (the rock-like creature that our blonde-haired hero defeats in one hit) among their ranks. Taylor's penchant to position his camera in the heart of battle gives "The Dark World" a muscular grittiness and once you throw in the Dark Elves with their 'pew-pew' scepters and black hole grenades, it results in some of the best action sequences yet for a superhero film. The director may be more at home when shooting armies clashing with each other but he handles the bigger set-pieces with the same careful finesse. Malekith's attack on Asgard is thrilling and eye-popping in a way that recalls the classic "Star Wars" films, especially when the city starts bringing out automatic turrets to combat the Accursed's TIE Fighter-like ships. The final confrontation between Thor and Malekith is rather inventive as well. Instead of having the two punch each other and smashing into buildings (à la Zack Snyder's "Man of Steel"), their blows send them flying across the Nine Realms as the barriers between them grow weaker while the Convergence (a celestial alignment among the Realms) occurs. For those who felt that the action was a little too low-key in "Thor," Taylor definitely ups the ante in the sequel. Some of the green-screen effects aren't quite up to par and the 3D, while competently post-converted, is largely just window dressing but "The Dark World" remains an exciting visual feast for the eyes.

If there's one area that the film is weak in, it's the overall narrative. Actually, 'weak' is the wrong word to use. 'Average' and 'pedestrian' is more appropriate. Written by Christopher Yost, Christopher Markus, and Stephen McFeely (based on a story by Don Payne and Robert Rodat), it doesn't break from the formula of previous Marvel Studios films and once again revolves around the retrieval of a MacGuffin (the Aether). This gives "The Dark World" a slightly derivative feel and the dialogue at times can get too caught up in its own technobabble. Malekith is also rather one-note as a villain. He talks a big game but ultimately becomes just another punching bag for Thor. Character development has been curtailed as well, with Thor's reluctance to succeed his father as king of Asgard not as interesting compared to his to path to maturity in the original film. There are still some strong emotional moments, such as when Asgard holds a mass funeral to mourn their dead after Malekith's attack. However, the story only picks up once Loki enters the picture an hour in. Finding himself backed into a corner, Thor is forced to break his treacherous sibling out in order to locate Malekith. The two immediately start bickering, with the Norse trickster taunting his brother, which leads to a hilarious cameo that I won't spoil. In fact, it's really the humor that keeps "The Dark World" consistently engaging in spite of its run-of-the-mill tale. Its fun seeing Jane Foster completely beside herself when introduced to Thor's parents but one bit that left me with a big smile is when the god of thunder casually hangs his hammer on Jane's coat rack in her apartment. Sure, the world may be in danger but Taylor and his writers never take things too seriously, and it's that playful levity that allows this sequel to overcome its weaker aspects.

In addition to finding the right people that share their creative vision, Marvel also has a knack for choosing the right actors to bring their beloved characters to life. Chris Hemsworth continues to shine as Thor and while the story may not give him much to chew on, the Australian actor lends the role power and charm, with a dash of quiet nobility. Natalie Portman's Jane Foster is more active here and her chemistry with Hemsworth is nice but nonetheless feels wasted, spending most of her time looking longingly at her co-star. Once again, Tom Hiddleston completely steals the film as Loki with his magnetic performance. After being defeated twice in a row, "The Dark World" finds the character at his lowest point when he's imprisoned in the dungeons by Odin. His actions are without a doubt despicable but it comes from his need to be loved and adored due to being a bastard son. Hiddleston mines a fair bit of dramatic potential from this fact, with the British actor bringing a smart mix of humor, charisma, menace, and moral ambiguity to the role. Some of the strongest scenes in the film are the ones he shares with Hemsworth as the two succinctly capture the siblings' pent-up rage and anger at each other. Christopher Eccleston is fine as Malekith but the story never really fleshes him out, leaving the character as a bland villain with a cool voice. Idris Elba's Heimdall enjoys an expanded role similar to Portman. However, I can't say the same for Jaimie Alexander, Ray Stevenson, Zachary Levi, and Tadanobu Asano. Although they get their moments to shine, it seemed like Taylor missed a perfect opportunity to further develop their characters beyond being 'Thor's comrades.' Anthony Hopkins brings a sense of gravitas to Odin, while Rene Russo gets to engage in a bit of badassery herself in one scene. Finally, Stellan Skarsgård (sans pants), Kat Dennings, and newcomer Jonathan Howard provide plenty of laughs, even if their inclusion isn't all that essential to the story.

Released on November 8, 2013, "Thor: The Dark World" has received lukewarm reviews with 66% on Rotten Tomatoes. Critics noted that 'it may not be the finest film to come from the Marvel Universe, but it still offers plenty of the humor and high-stakes action that fans have come to expect.' Audience reception at the advance screening was much more enthusiastic, with the entire theater erupting into applause when Loki appeared on-screen. Given the extreme good-will that "The Avengers" garnered, it's pretty obvious that "Thor: The Dark World" will be a box office success. The film has already grossed $109.4 million internationally and analysts are predicting a domestic weekend debut of $85 million. There are problems as always but "Thor: The Dark World" continues Marvel's winning streak and will leave audiences salivating at what the House of Ideas has to offer in the near future.

Final Rating: 4 out of 5

"Thor, your bravery will not ease your pain. Your family, your world will be extinguished!"

P.S. DO NOT leave the theater during the end credits as there are two extra scenes, with one of them setting up a certain film with a gun-toting, talking raccoon...

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Last Vegas Review

Rated PG-13 (Sexual Content and Language)

Running Time: 1 Hour & 45 Minutes

Cast-

Michael Douglas-Billy

Robert De Niro-Paddy

Morgan Freeman-Archie

Kevin Kline-Sam

Mary Steenburgen-Diana

Romany Malco-Lonnie

Jerry Ferrara-Dean

Michael Ealy-Ezra

Joanna Gleason-Miriam

Bre Blair-Lisa

Noah Harden-Young Billy

RJ Fattori-Young Paddy

Aaron Bantum-Young Archie

Phillip Wampler-Young Sam

Olivia Stuck-Young Sophie

Directed by Jon Turteltaub

Nothing like watching old dudes get their freak on.

Note: Screened on Tuesday, October 29, 2013 at the Ziegfeld Theater (Red Carpet Premiere).

In Jon Turteltaub's latest film "Last Vegas," the four main characters, played by Michael Douglas, Robert De Niro, Morgan Freeman, and Kevin Kline, find themselves as judges for a poolside bikini contest but once all the contestants are presented, the host (rapper 'Redfoo' in a cameo) decides to remove his pants and thrusts his Speedo-wrapped crotch in De Niro's face. The Oscar winner's expression is ironically not of disgust but of wearisome defeat; it's the look of an actor who just doesn't really care anymore. With six Academy Awards between the four of them (two for Douglas and De Niro, one each for Freeman and Kline), in addition to nine nominations, these men have come to a point in their careers where they can pretty much star in any crappy film and get away with it. Unlike their younger peers, they have nothing to lose because they've already proven countless times to be great actors. That being said, it still doesn't excuse them for appearing in tripe like "Last Vegas." The distinguished cast is obviously having fun, with their amiable presence keeping the picture afloat but the story is utterly predictable right from the first minute and the comedy is too cringe-inducing to be funny. While the dramatic bits prevent "Last Vegas" from becoming one of the worst films of the year, its appeal will likely be limited to the AARP crowd.

Calling themselves the 'Flatbush Four,' childhood friends Billy (Michael Douglas), Paddy (Robert De Niro), Archie (Morgan Freeman), and Sam (Kevin Kline) were once thick as thieves while growing up in Brooklyn during the mid-1950's but fifty-eight years later, the quartet have all drifted apart. A married Sam is now residing in Florida, surrounded by seniors and bored out of his mind. Archie is monitored incessantly by his son Ezra (Michael Ealy) after suffering a mild stroke. Paddy has become a recluse since the death of his wife Sophie one year ago. The only one still enjoying the high life is Billy, who currently lives in a Malibu beach house with his thirty-one year old girlfriend Lisa (Bre Blair). While giving a eulogy at his mentor's funeral, Billy abruptly decides to propose and Lisa, although embarrassed at the attention, happily accepts. Billy immediately shares the good news with Sam and Archie, informing them that the wedding will be held in Las Vegas. Seeing this as a golden opportunity to reunite, Sam and Archie decide to throw the best bachelor party ever for their old friend. Despite Paddy's estrangement from Billy since Sophie's death, the 'Flatbush Four' are quickly brought back together and eager to storm Sin City for a night of drinking, gambling, and sex (with the aid of Viagra of course). However, Billy and Paddy reopen old wounds when they begin developing feelings for lounge singer Diana (Mary Steenburgen), in spite of the former's impending marriage.

If you've ever wondered what would happen if the Wolf Pack from Todd Phillips' "The Hangover" trilogy returned to Las Vegas while pushing seventy, complete with fanny packs and titanium hips, then Jon Turteltaub's latest film is custom-made for you. Written by Dan Fogelman (whose previous credits include 2011's "Crazy, Stupid, Love" and 2012's "The Guilt Trip"), "Last Vegas" is a relatively harmless comedy that's eager to please but the problem is that it just isn't very funny and certain plot elements are disconcerting to say the least. The film opens in 1955 and introduces us to pre-teen versions of the 'Flatbush Four' before jumping ahead fifty-eight years later, where we're greeted with a shot of female cellulite jiggling beneath the surface of a Florida community pool. Within a span of five minutes, 'Are you dead?' gags and jokes about sagging breasts are being thrown about and it doesn't take long for the little blue pill to enter the picture as Kevin Kline's Sam is given a free pass at infidelity from his wife (Joanna Gleason). He responds by jumping for joy once she drives away. Are we supposed to find it hilarious that he's been given permission to cheat on his spouse? Naturally, this leads to Sam flirting with a woman that's decades younger than him and its unsettling to watch when she tries to seduce him late in the film. In fact, the women in "Last Vegas" are only used to give these lecherous old men erections. Any female who's over sixty is pushed aside. By the time our quartet is judging a poolside bikini contest, the comedy has already reached cringe-inducing proportions.

The drama fares a bit better but not by much due to the story being utterly predictable. "Last Vegas" is ultimately a tale of friendship, which is put to the test when Paddy refuses to forgive Billy for missing his wife's funeral. The script does take a few twists and turns in resolving this conflict but there's never any doubt that the two will put it all behind them by the end and return to being best friends. Just as formulaic is the romance. It's telegraphed well in advance that Billy will eventually change his mind regarding his marriage to Lisa, especially once Diana enters the picture. In between these dramatic bits are a series of lamely comedic set-ups that at best will produce an occasional chuckle. When Archie rakes in over a hundred grand at the blackjack table, he and his friends are upgraded to a penthouse suite at the Aria (a fact that the film is keen to constantly remind you of), complete with their own personal concierge (Romany Malco). Of course, since these guys are old, they don't even know how to pull back the window curtains. Pretty much every joke is at the expense of the characters' ages and it just gets tiresome when the punch-line is 'Because they're old!' for the umpteenth time.

The sole bright spot in "Last Vegas" is the cast, whose interactions at least provide a modicum of entertainment value. Most of the heavy lifting is provided by Michael Douglas and Robert De Niro, with the two actors managing to deliver serviceable performances in spite of the weak material they're given here. Douglas' Billy, complete with a spray-on tan, is a veritable ladies man who finds himself struggling with the reality of his own age while De Niro's Paddy is unable to move on from his wife's passing. The way each character handles their issues and tries to rebuild a fractured friendship lends the film honesty and helps ground the story amidst all the creaky hijinks. Supplying much of the comedy is Morgan Freeman and Kevin Kline. Both have their own individual arcs but they're largely inconsequential. Watching their characters enjoy all the debauchery that Las Vegas has to offer provides a nice counterbalance to Billy and Paddy's subplot and it's obvious that Freeman and Kline are having a ton of fun, even though the laughs they garner feel strained. Playing the love interest is Mary Steenburgen, whose character is a bit one-note but the actress is just so charming in the role and has a great singing voice. Although Steenburgen is sixty, she's still quite fetching. Rounding out the cast is Romany Malco and Jerry Ferrara (from HBO's "Entourage"). Their presence doesn't really add much to the film and both could've been excised without any harm to the script whatsoever.

Released on November 1, 2013, "Last Vegas" has received largely mixed reviews with 43% on Rotten Tomatoes. Critics noted that 'the cast…keep things amiably watchable, but the film is mostly a mellower Hangover retread for the older set.' Despite being screened rather heavily prior to its release (as far back as June), the film still managed to pull in a solid $16.3 million during its opening weekend and was greeted warmly by audiences. A final tally of $50 to $55 million is possible at this point given the lack of crowd-pleasing material for older moviegoers. You'll get a few chuckles out of "Last Vegas" and the cast seem to be enjoying themselves but the film just plays it too safe while it strains for laughs. Considering that it boasts four Oscar winners, I expected a lot better.

Final Rating: 2.5 out of 5

"Boy, these Red Bull vodkas are strange…I feel like I'm getting drunk and electrocuted at the same time!"

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Free Birds 3D Review

Rated PG (Some Action/Peril and Rude Humor)

Running Time: 1 Hour & 31 Minutes

Cast (voice)-

Owen Wilson-Reggie

Woody Harrelson-Jake

Amy Poehler-Jenny

Keith David-Chief Broadbeak

Jimmy Hayward-Ranger/President of the United States/Hazmats/Additional Voice Talent

Colm Meaney-Captain Myles Standish

George Takei-S.T.E.V.E.

Dan Fogler-Governor Bradford

Kaitlyn Maher-President's Daughter

Carlos Alazraqui-Amos

Robert Beltran-Chief Massasoit

Jeff Biancalana-General Sagan/Hazmats/Additional Voice Talent

Danny Carey-Danny

Carlos Ponce-Narrator/Alejandro

Directed by Jimmy Hayward

Owen Wilson and Woody Harrelson voice Reggie and Jake, two turkeys determined to change history and keep their kind off the menu on Thanksgiving.

Note: Screened on Saturday, October 26, 2013 at Regal E-Walk Stadium 13.

Pixar, DreamWorks Animation, Sony Pictures Animation, Illumination Entertainment, Blue Sky…the list of animation studios competing at the box office continues to grow and now we have REEL FX entering the fray with "Free Birds," their first feature-length animated film to be released in theaters. Founded in 1993 by former ad man Dale Carman and currently based in Dallas, Texas (previously Fort Worth), REEL FX's body of work has largely been focused on commercials. In fact, you may have seen one of them without even realizing it. The award-winning AMC/Coca-Cola commercial "Magic Chairs," which plays before every film at all AMC theaters, was created by them. As for feature film work, REEL FX was strictly an effects-for-hire studio, assisting in direct-to-video fare like the "Open Season" sequels but they're starting to branch out into theatrical releases (such as last year's "Cirque du Soleil: Worlds Away" from director Andrew Adamson) and create original content rather than depend on licensed material. One of the projects the studio is currently working on is "Book of Life," which is set to be released in late-2014 and has Guillermo del Toro serving as one of the producers. With "Cloudy with a Chance of Meatballs 2" having already run its course, "Free Birds" is effectively the only choice for family audiences until Disney's "Frozen" arrives on the 27th. Directed by Jimmy Hayward (who also helmed 2008's "Horton Hears a Who!"), "Free Birds" isn't particularly inspired despite its oddball premise and is utterly predictable in regards to the story department but it remains an amusing ninety-minute diversion, with the animated film benefitting from solid voice acting and some decent slapstick scenes.

Burdened with the knowledge that his kind serves as the main course every November on Thanksgiving, Reggie (Owen Wilson) tries to convince his fellow turkeys that they're being fattened up just to be eaten but his warnings sadly fall on deaf ears. Ostracized from the coop, Reggie finds himself rescued by the President of the United States (Jimmy Hayward), who has arrived to pardon a single turkey from being turned into a cooked meal and chooses him at the behest of his demanding daughter (Kaitlyn Maher). Taken to Camp David, Reggie quickly discovers the joys of trashy telenovelas and delivery pizza but his days of lazily lounging about grind to a halt when he is kidnapped by Jake (Woody Harrelson), a crackpot turkey that leads the so-called 'Turkey Freedom Front,' of which he is the only member. Armed with the 'Sacred Time Knob' (really just a regular door knob), Jake's plan is to take turkeys off the menu forever by traveling back in time to the first Thanksgiving. Infiltrating a secret government facility, Reggie and Jake board an egg-shaped time machine dubbed S.T.E.V.E. (George Takei) and travel back to Plymouth Colony circa 1621. Their mission immediately hits a snag when they become targets for turkey hunter Captain Myles Standish (Colm Meaney). If Reggie and Jake are to succeed in changing the course of history, they'll have to rally the seventeenth century turkeys, led by Chief Broadbeak (Keith David) and the brother-sister team Jenny (Amy Poehler) and Ranger (also Jimmy Hayward), to their cause.

As their first animated feature film to be released in theaters, REEL FX's "Free Birds" never rises above the level of a Saturday Morning Cartoon and the script, written by Hayward and Scott Mosier (from a story by David I. Stern and John J. Strauss), seems to be cobbled together by committee. The concept of time-traveling turkeys is novel in and of itself and has echoes of 1984's "The Terminator" and 1989's "Bill & Ted's Excellent Adventure" but the rest of the film isn't as inventive as its premise suggests and quickly falls into predictable banality. Reggie is, of course, our archetypal reluctant hero who would rather sit around and stuff his face with pizza than help Jake, who is hinted to be just a little bit mentally unstable with his talk of how his mission was given to him by 'The Great Turkey' (i.e. God). The episodic plot has a clearly defined three-act structure and despite dealing with time travel, the stakes feel low-key and is more befitting of a television animated special. Also baffling and somewhat disconcerting is the way Reggie and Jake's ancestors are depicted, with them dressed in Native American garb…just because. Even its themes are confused, as the film closes with a pro-vegetarian, pro-fast food message, proudly sponsored by Chuck E. Cheese's.

There are attempts to pull at our emotional heartstrings but the moment feels unearned and stands in stark contrast to the film's zany slapstick shenanigans and non sequiturs. The reliance on silly behavior is what saves "Free Birds" from being a total disaster, providing some measure of amusement against the bland and generic story. Most of the humor comes at the expense of Jake, whose intense need to one-up Ranger offered some chuckles and led to a bit where the two end up dancing with each other. However, a few of the jokes are terribly dated. The President is clearly modeled after Bill Clinton and it's strongly hinted that he's having an affair with his intern. This jab is about fifteen years too late, Hayward. As for the CG animation and 3D, it's workmanlike. There's nothing particularly distinctive or visually exciting about the picture but it gets the job done, considering its $55 million production budget.

The voice acting is solid and stands as one of the film's stronger aspects, with Owen Wilson bringing an amiable presence to reluctant hero Reggie through his laidback line delivery. Woody Harrelson appears to be having a ball as Jake. His sheer enthusiasm when voicing the dim-witted turkey single-handedly elevates the picture from being a total waste of time. Amy Poehler is charming as always, although there's a slight hint of boredom in her voice-work. Keith David brings his usual brand of gravitas in what is inherently a silly film while director Jimmy Hayward has some fun with a cavalcade of bit roles that include Ranger and the President of the United States. Finally, there's George Takei as the egg-shaped time machine S.T.E.V.E. and yes, he does get to say his famous catchphrase. Ironically, "Free Birds" also stars Colm Meaney, another "Star Trek" veteran.

Released on November 1, 2013, "Free Birds" has received overwhelmingly negative reviews with 21% on Rotten Tomatoes. Critics found it to be 'creatively moribund,' with the film begging 'unfortunate comparisons with the dim-witted fowl that inspired it.' Although it played in the most theaters and faced little competition amongst family audiences, "Free Birds" only managed to earn a middling $16.2 million and will likely get lost in the shuffle once "Frozen" is released. The advance screening didn't exactly draw a huge crowd either. Is this 'the greatest turkey movie of all time' as one of the posters proudly claims it to be? The answer is 'absolutely not' but "Free Birds" packs in enough laughs to please the kiddies for ninety minutes while parents won't feel like they need to cover their ears or gouge out their eyes. As mentioned in the beginning of this review, it's an amusing diversion, no more and no less.

Final Rating: 3 out of 5

Jake: We're going back in time to the first Thanksgiving to get turkeys off the menu!

Reggie: Who are you talking to?

Jake: This guy right here. He totally gets it. See how he's nodding?

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Ender's Game - The IMAX Experience Review

Rated PG-13 (Some Violence, Sci-Fi Action and Thematic Material)

Running Time: 1 Hour & 54 Minutes

Cast-

Asa Butterfield-Andrew 'Ender' Wiggin

Harrison Ford-Colonel Hyrum Graff

Viola Davis-Major Gwen Anderson

Hailee Steinfeld-Petra Arkanian

Ben Kingsley-Mazer Rackham

Aramis Knight-Julian 'Bean' Delphiki

Moises Arias-Bonzo Madrid

Conor Carroll-Bernard

Abigail Breslin-Valentine Wiggin

Jimmy 'Jax' Pinchak-Peter Wiggin

Nonso Anozie-Sergeant Dap

Tony Mirrcandani-Admiral Jawaharlal Chamrajnagar

Directed by Gavin Hood

I believe I can fly...

Note: Screened on Wednesday, October 30, 2013 at AMC Loews 34th Street 14.

When director Gavin Hood told Orson Scott Card that he was planning to bring Ender's Game to the big screen, the author wished him good luck but warned that his novel was 'utterly un-filmable.' Hood, however, remained undeterred. Mired in development hell for the past twenty-eight years, the film adaptation of Ender's Game is finally arriving in theaters amidst a wave of controversy. Card is well-known for his vocal opposition against homosexuality and same-sex marriage, and while I am in complete disagreement with his beliefs, boycotting the film makes little sense. 'Movies have to be judged by their content, not by who created them,' as written by Cinema Blend's Mack Rawden. If you're still on the fence, it's already been established that Card won't be seeing a single dime from whatever amount the film takes in at the box office, although sales of the book have recently spiked. Ultimately, I can't force you to see Hood's film but what I can do is tell you if it's good or not so that you can make an informed decision. The pacing is uneven and rushed, the supporting characters are undeveloped, and the ending is somewhat anticlimactic but "Ender's Game" remains an above-average, if workmanlike, sci-fi action-adventure that's boasted by strong performances, stunning visual effects, and a timely coming-of-age story that's brimming with social commentary.

In the year 2086, an insect-like alien species called the 'Formics' attack Earth, wiping out tens of millions before their massive fleet was finally defeated when pilot Mazer Rackham (Ben Kingsley) heroically rammed his fighter jet into the hive queen's ship. Fearing another invasion in the future, the International Fleet puts together a rigorous training program where the best and brightest children are taught in the art of tactical warfare at an advanced, orbiting space station dubbed 'Battle School.' Fifty years following the program's inception, twelve-year-old Andrew 'Ender' Wiggin (Asa Butterfield) is personally invited by Colonel Hyrum Graff (Harrison Ford) and his colleague Major Gwen Anderson (Viola Davis) to join Battle School as his strategic processes are far more advanced compared to the other recruits. Socially isolated by Graff, Ender struggles to fit in while the other cadets make it clear that they would like nothing more than to see him fail. Still, he manages to form a fast friendship with Julian 'Bean' Delphiki (Aramis Knight) and Petra Arkanian (Hailee Steinfeld) but the constant pressure from the Colonel soon gets to him. Although Ender quickly rises through the ranks and graduates to Command School, he begins to wonder if he is losing his humanity as the Formic invasion draws near.

Orson Scott Card's Ender's Game originated as a short story in the August 1977 issue of Analog Science Fiction and Fact and was subsequently expanded into a full-length, 384-page novel eight years later. Critically lauded upon its release, the book won the prestigious Nebula and Hugo Awards in 1985 and 1986 but a film adaptation remained out of reach for almost three decades despite its popularity. Part of the problem was the technology. It just wasn't advanced enough to believably bring all the zero-gravity war games in the Battle Room to life but the bigger issue was that at the time, films based on young adult novels were largely untested at the box office. The fact that the project managed to even escape development hell is due to the recent successes of "Harry Potter," "Twilight," and "The Hunger Games."

Personally, I haven't read the book before going into the advance screening but it's immediately clear that Gavin Hood, who wrote the script in addition to directing, took a chainsaw to the source material in order to condense it into an audience-friendly two hours. As a result, the pacing often feels clumsily uneven and hurried, especially in the second half where it feels like Ender is advancing to Command School in a matter of days rather than months (the time-frame that the story takes place in has been reduced from six years to one). With the exception of the main character and Ford's Colonel Hyrum Graff, most of the supporting players have been marginalized. Certain concepts, such as the 'mind game' that Ender plays in his free time, don't translate all that well on the big screen and the way Hood ties into it in the film's final scenes come off as awkward and might even confuse those who haven't read the novel. These flaws, however, fade away when the story begins focusing on the 'win at all costs' mentality exemplified by Graff and the ethics regarding the use of children in war, even though they're not directly fighting the enemy. The way 'the enemy' is defined in the film is also surprisingly relevant to the post-9/11 world that we now live in. Graff wants to completely eradicate the Formics and thereby prevent any future attack but an adult will blink twice when asked to commit what is essentially genocide. Children are a different matter. They can be easily manipulated (as Graff does with Ender) and less likely to question the morality they're given. It all goes back to the age-old question: does the end justify the means? Does the concept of right and wrong go out the window when the entire world is threatened? When "Ender's Game" tackles these questions, the film is at its most compelling and the climactic moment where the truth is revealed regarding Ender's final test, and the moral and emotional fallout it entails, is a particularly strong one.

Also strong are the visual effects from Digital Domain. They look absolutely stunning, especially on an IMAX screen and even better, it's all presented in pristine 2D. Contrary to most big-budget blockbusters released this year, the film largely avoids reveling in explosion-driven spectacle, with the exception of the opening battle scene and Ender's final exam. These two scenes nicely bookend the picture and are created with a palpable sense of energy and scope. The production design from Sean Haworth and Ben Procter successfully brings the sci-fi world in Card's novel to life with its sleek and utilitarian look. Of course, the highlight is the spherical 'Battle Room' where the various cadets engage in 'war games' in zero-gravity. While some of the green-screen and wire-work don't hold up well to close scrutiny when compared to the likes of "Gravity," these are minor issues at best. There aren't any scenes filmed specifically in IMAX but this is definitely the preferred format to view "Ender's Game" as the larger screen and rumbling surround sound add to the immersion factor.

The talented lead cast really goes a long way in smoothing out the script's rough patches. Asa Butterfield (last seen in 2011's "Hugo") is outstanding as the titular Ender Wiggin. The sixteen-year-old actor is sympathetic and vulnerable in the role but he also exhibits a subtle darkness within his performance. The way he mixes fragility with a hardened, at times violent, demeanor is captivating to watch and when the character finally grows into the commander that Graff wanted him to be, Butterfield ceases to exist and literally becomes Ender. Some of the most emotionally-charged moments are the ones where Butterfield goes toe-to-toe with veteran actors like Harrison Ford and Viola Davis. Ford appropriately growls with intensity while Davis lends the picture a quiet gravitas. The rest of the supporting cast are fine but are saddled with underwritten roles. Hailee Steinfeld in particular suffers from this, leaving her character's quasi-romance with Ender feeling tacked on. As main bully Bonzo, Moises Arias (from May's "The Kings of Summer") is comically miscast. Abigail Breslin unfortunately fades into the background as Ender's compassionate sister Valentine and finally, a tattooed Ben Kingsley is encumbered with a New Zealand accent that makes most of his dialogue all but indecipherable.

Released on November 1, 2013, "Ender's Game" has received lukewarm reviews with 63% on Rotten Tomatoes. Critics noted that 'it isn't quite as thought-provoking as the book [but the film] still manages to offer a commendable number of well-acted, solidly written sci-fi thrills.' Despite the aggressive marketing campaign from Summit Entertainment, the film is expected to only earn $25 to $27 million over opening weekend. That's not bad but the studio is certainly hoping for more considering this is to be a potential franchise (the Ender's Game series comprises thirteen novels, including spin-offs). I can't help feeling that Card's extreme stance against homosexuality and same-sex marriage marred its release, at least partially. Gavin Hood's big screen adaptation of "Ender's Game" definitely has its fair share of problems but for the most part, it successfully captures the spirit of the novel and most importantly, its themes. Hopefully, the film will perform well enough at the box office to warrant a sequel.

Final Rating: 3.5 out of 5

"In the moment when I truly understand my enemy, understand him well enough to defeat him, then in that very moment I also love him."

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About Time Review

Rated R (Language and Some Sexual Content)

Running Time: 2 Hours & 3 Minutes

Cast-

Domhnall Gleeson-Tim Lake

Rachel McAdams-Mary

Bill Nighy-Tim's Father

Lindsay Duncan-Tim's Mother

Lydia Wilson-Katherine/Kit Kat

Richard Cordery-Uncle Desmond

Tom Hollander-Harry Chapman

Joshua McGuire-Rory

Will Merrick-Jay

Margot Robbie-Charlotte

Vanessa Kirby-Joanna

Tom Hughes-Jimmy Kincade

Directed by Richard Curtis

Now to photoshop my face over Domhnall Gleeson's...

Note: Screened on Thursday, October 17, 2013 at AMC Loews Orpheum 7.

In Richard Curtis' latest film "About Time," twenty-one year old Tim Lake learns from his father that he has the ability to travel back in time, a seemingly genetic trait that all the men in the family have possessed. Tim initially believes that he's being told a very bad joke but when he successfully travels back to the New Year's Eve party the night before, the young man resolves to use his newly-discovered gift to find his 'one true love.' Well, he doesn't put it quite that eloquently. Instead, he bluntly says, 'To get a girlfriend,' prompting his amused father to respond, 'Wow…massive.' His third and supposedly last feature where he serves as director, "About Time" doesn't stray too far from Curtis' wheelhouse, whose work has always existed in the realm of romantic fantasy. Although his stories have been criticized for being nothing more than insufferable, greeting card schmaltz, there's no denying that Curtis is in a league of his own when it comes to scripting movies about love. The way he blends sentimentality with unabashed sincerity allowed 1994's "Four Weddings and a Funeral" and 1999's "Notting Hill" to become huge successes at the worldwide box office. While it likely won't receive the same critical and commercial acclaim of Curtis' earlier efforts, "About Time" remains an irresistibly charming, funny, and earnest film that overcomes its plot-hole ridden time-traveling tale with a winsome cast led by Domhnall Gleeson and Rachel McAdams.

A hopeless romantic who's always been 'too tall, too skinny, and too orange,' twenty-one year old Tim Lake (Domhnall Gleeson) has otherwise had a pretty normal childhood, growing up in a seaside abode at Cornwall, where he is surrounded by his loving parents (Bill Nighy and Lindsay Duncan), his ditzy, free-spirited younger sister 'Kit Kat' (Lydia Wilson), and his sweet but forgetful Uncle Desmond (Richard Cordery). Summoned to his father's study one morning, Tim is informed of a long-held family secret that's been passed down from father to son for generations: the men in the family have the ability to travel back in time. Although Tim believes his father is joking, he decides to humor him and asks how it is done. First he must go to a dark place (i.e. a closet) and with his eyes closed and fists clenched, visualize in his mind the exact moment he wants to go to. Tim follows these instructions in an attempt to prove his father wrong but is dumbfounded when he actually succeeds in traveling back to the New Year's Eve party the night before. His father asks an astounded Tim about his plans regarding his wondrous gift and he responds that he will use it to find the love of his life. This is easier said than done and soon Tim, still single, is moving away from Cornwall to pursue a career as a lawyer in London. His friend Jay (Will Merrick) comes by for a visit one evening and drags him to a restaurant where its customers eat in total darkness. While there, Tim meets Mary (Rachel McAdams) and he immediately becomes enchanted by her beauty, even though she doesn't see herself as very attractive. Working hard to win her heart with the aid of his time-traveling abilities, Tim comes to realize that not even his unique gift can prevent all the tragedies that can occur in one's life.

At first glance, "About Time" looks like a sappier repeat of 2009's "The Time Traveler's Wife," which ironically also starred Rachel McAdams, but besides having a male protagonist who has the inexplicable ability to travel in time, both films are very different, especially in tone. Curtis' picture has an optimistic, whimsical feel, even when it delves into more dramatic territory and its sci-fi conceit is simply used as a not-so-subtle metaphor for the story's themes. While Curtis establishes early on that Tim can only time travel backwards and revisit events in his own life (you can't 'kill Hitler or shag Helen of Troy' as his father humorously explains), it's best not to think about the rules too much because frankly, it's rife with logic holes. This is one of those times where you're going to have to just 'go along with it' and suspend disbelief for two hours. If you can do that, you'll find "About Time" to be a surprisingly good film that's unafraid to wear its heart on its sleeve. A big part of its appeal is the characterization of Domhnall Gleeson's Tim, who reminded me of myself. Skinny, awkward, and a hopeless romantic, he's desperate to connect with the opposite sex but is too shy to do so. During a New Year's Eve party hosted by Tim's parents, a pretty blonde woman leans in for a kiss when the clock approaches midnight but he nervously shakes her hand instead. Tim rectifies this mistake upon learning of his time traveling abilities and resolves to use his gift to find the one girl that he will spend the rest of his life with. Yes, it's all romantic make-believe yet Curtis brings an irresistible earnestness to the material.

'The girl' turns out to be Mary, played by Rachel McAdams. Their 'meet cute' moment is absolutely adorable as the two are initially unaware of what the other looks like. It's literally a 'blind' date since the restaurant they're in (London's Dans le Noir) requires its customers to dine in total darkness. When they finally meet face-to-face outside, Tim knows at that instant that she's 'the one' and of course, Mary just happens to be American like in all of Curtis' previous films. Admittedly, she's not a particularly well-developed character, with the story constantly putting her on a pedestal. Tim achieves marital happiness just when his and Mary's plotline begins to lose steam, allowing the writer/director to shift the focus toward Tim's relationships with his sister and father. This is where the film's larger themes begin to emerge and things take on a darker note as Tim desperately tries to prevent a car accident that leaves Kit Kat hospitalized but he comes to realize that even his time traveling abilities cannot erase all of life's tragedies. Curtis, who made a name for himself by scripting light-hearted romantic comedies, wants to reach the same philosophical depth along the lines of Michel Gondry's "Eternal Sunshine of the Spotless Mind" and while he doesn't quite pull it off with the same finesse, the final coda in "About Time," that every moment in life should be savored regardless if you can time travel or not, is delivered with beautiful sincerity and yes, I freely admit feeling a tear well up in my eye during the film's final scenes.

The delightful cast adds to the picture's charm, with Domhnall Gleeson (last seen in "Anna Karenina") delivering a terrific performance as our lanky time-traveling hero Tim. The character matures from a hormonal-driven dork to responsible, working adult over the course of the film's running time but even as Tim grows older, Gleeson always maintains a bumbling awkwardness that's both sweet and endearing. Although her character is lacking in complexity, Rachel McAdams instantly wins us over as the cute and affable Mary. In the words of Empire's Mark Dinning, the beautiful actress turns in 'another you'd-marry-her-in-a-heartbeat performance.' The two leads are enormously appealing as a couple thanks to their easy chemistry with each other but the real heart of the film doesn't lie with the lovers, it lies with the father-son relationship that's wonderfully brought to life by Gleeson and Bill Nighy. Understanding and affectionate, Nighy plays one of the coolest dads to ever grace the big screen this year, with the veteran actor effortlessly bringing a warm authenticity to Tim's relationship with his father. The rest of the supporting cast are outstanding as well and includes Lindsay Duncan as Tim's terse mother, Lydia Wilson as the quirky Kit Kat, Richard Cordery as the eternally befuddled Uncle Desmond, and Tom Hollander as Tim's curmudgeonly roommate/playwright Harry.

Already out in the UK since September 4, "About Time" is set for a limited release in the US on November 1 before going wide a week later. Reviews have been mildly positive with 62% on Rotten Tomatoes. Whether the film will do well at the domestic box office is still up in the air but it should turn a small profit given that it's a low-budget affair. So far, it has grossed $30.4 million in foreign receipts. If this is truly the last film that Richard Curtis will direct, he certainly goes out on a strong note. The time travel premise is nothing more than a plot device used to espouse the story's themes and yes, it does get too sentimental at times but if you're willing to keep an open-mind, you'll find "About Time" to be a funny and charming film whose endless optimism might just make you appreciate the smaller details in life a little more.

Final Rating: 4 out of 5

"I try to live everyday as if it was the final day of my extraordinary, ordinary life."

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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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Escape Plan Review

Rated R (Violence and Language Throughout)

Running Time: 1 Hour & 56 Minutes

Cast-

Sylvester Stallone-Ray Breslin

Arnold Schwarzenegger-Emil Rottmayer

Jim Caviezel-Warden Willard Hobbes

Faran Tahir-Javed

Vinnie Jones-Drake

Amy Ryan-Abigail Ross

Curtis '50 Cent' Jackson-Hush

Vincent D'Onofrio-Lester Clark

Sam Neill-Dr. Emil Kyrie

Caitriona Balfe-CIA Agent Jessica Miller

David Joseph Martinez-Captain Newal Beradah

Directed by Mikael Håfström

These guys may be a few years shy of seventy but they can still pummel your ass.

Note: Screened on Wednesday, October 16, 2013 at AMC Empire 25.

Is it time for Sylvester Stallone and Arnold Schwarzenegger to retire? Back in the good ol' days (the 1980s and early 1990s), both stars were action movie gods who raked in millions of dollars at the box office just on their names alone but much has changed in the past thirty-something years. The muscle-bound, gun-toting heroes they played have now been replaced with the likes of Iron Man, Katniss Everdeen, and Liam Neeson. With the exception of "The Expendables" series, Stallone and Schwarzenegger's recent films have all flopped (badly) at multiplexes. I enjoyed January's "The Last Stand" very much but it wound up in ninth place during opening weekend and grossed a disappointing $37.2 million worldwide. February's "Bullet to the Head" fared even worse with only a pathetic domestic total of $9.5 million. Now the two aging action stars are finally teaming up (for real this time) in Mikael Håfström's "Escape Plan." If this film was released during the 1980s, it would've been the cinematic event of the decade. Hell, seeing Stallone and Schwarzenegger share the big screen together would've resulted in the universe literally imploding in on itself due to its sheer awesomeness. Unfortunately, it's not the 1980s anymore as Summit Entertainment is dumping the action thriller in the middle of October with little to no fanfare. Does that mean Håfström's film is terrible? The answer is no, far from it in fact. It definitely has some very big flaws but "Escape Plan" remains a fun, nostalgically cheesy throwback to the action movies of yesteryear thanks to the larger-than-life presence of its lead actors.

Ray Breslin (Sylvester Stallone) is a former prosecutor-turned-security expert/consultant who infiltrates and breaks out of prisons in order to expose their weaknesses. Following a successful escape from a federal penitentiary in Colorado, Ray is approached by CIA agent Jessica Miller (Caitriona Balfe) with the following multimillion dollar deal: enter a maximum security prison codenamed 'The Tomb' and see if it is escape-proof. Due to the dangerous inmates housed within, its location cannot be disclosed. However, if he can successfully escape, he gets $5 million payday, which is double his usual fee. Ray's associates, Abigail Ross (Amy Ryan) and Hush (Curtis '50 Cent' Jackson) are reluctant to take the job under these conditions but business partner Lester Clark (Vincent D'Onofrio) doesn't see any problem with it. Despite all the risks involved, Ray accepts and flies down to New Orleans, Louisiana, where he is to be picked up by the CIA and transported to the prison. Unfortunately, the plan goes awry and Ray finds himself being set-up and violently tossed into a glass cell in the Tomb. With no idea where he is and no back-up arriving, Ray is forced to team-up with fellow inmate Emil Rottmayer (Arnold Schwarzenegger) if he is to escape the prison and its sadistic warden, Willard Hobbs (Jim Caviezel).

Like its two lead actors, "Escape Plan" is a dinosaur, a relic from a bygone era that's best viewed through the rose-tinted glasses of 1980s nostalgia. Surprisingly, there is an actual plot here (credited to Miles Chapman and Jason Keller) but it's silly and fails to make a lick of sense, with Håfström mistakenly believing his film to be more clever than it actually is. One nagging issue is Ray Breslin's chosen occupation. I don't imagine the taxpayers being all that happy about a man who regularly gets himself in jail just to later escape and lead the guards on a wild goose chase. However, that's beside the point as the real problem is the script's lack of logic. The opening scene finds Ray trapped in a federal penitentiary in Colorado and the way he breaks out is completely absurd. Apparently this prison doesn't even bother changing its lock codes every few hours, is coincidentally understaffed, and allows a suspiciously-dressed woman to blow up a car right outside without anyone noticing how suspicious she looks with her fake wig and shady trench-coat. The writers try hard to make Breslin's escape strategies sound plausible yet the flaws he (and later Rottmayer) exploits feel forced. There are definitely a few smart ideas at work here, such as having all the guards wear masks so their movements can't be easily tracked but somehow, they never frisk the inmates for any contraband. Even more puzzling is that the prisoners from all blocks have recreation at the same time. I'm surprised a riot didn't happen sooner. The pacing is also problematic, with the film suffering from a too-long second act that could've been a good twenty minutes shorter.

In spite of all those issues that I just listed, "Escape Plan" still manages to be a fun ride and it's all because of Sylvester Stallone and Arnold Schwarzenegger. Stallone seems to take his role a tad too seriously, not to mention his line delivery is still as garbled as ever, but the man still looks like a credible action star even though he's three years shy from hitting age seventy. Although he plays second fiddle, Schwarzenegger is the one who steals the show as he throws himself into his role with a twinkle in his eye and an infectious enthusiasm. The former governor gets all the best laughs and one-liners ('You hit like a vegetarian!'), and the audience was cheering on their feet when he ripped a giant machine gun from a helicopter and began mowing down wave after wave of bad guys. Arnold wielding big guns—now that's classic. He even gets to go crazy in one scene in his native German. Jim Caviezel does a fair amount of scenery chewing with his slightly effeminate turn as the sadistic Warden Hobbes while Vinnie Jones is appropriately growly as prison guard Drake. The rest of the cast are largely wasted; Academy Award nominee Amy Ryan is stranded in a one-note role with Curtis '50 Cent' Jackson. Faran Tahir gets one good 'last stand' moment and Sam Neill is quickly done away with once his character serves its purpose. Finally, there's Vincent D'Onofrio as the smarmy Lester, who's only memorable trait is that he's a germaphobe.

Released on October 18, 2013, "Escape Plan" has received mixed reviews with 47% on Rotten Tomatoes. Critics admitted that it was fun 'to see Sylvester Stallone and Arnold Schwarzenegger team up onscreen… [but the film] fails to offer much more than a pale imitation of 1980s popcorn thrills.' Although the audience response at the advance screening was highly enthusiastic, that didn't translate to box office success as it came in fourth over its debut weekend with $9.9 million. That's at least better than both their solo outings earlier this year but that isn't saying much. It's clear that the only people seeing these films are those who grew up during the 1980s or nostalgic folks like me. Stallone and Schwarzenegger are obviously way past their prime yet I'm glad that they're still making old-school action movies. "Escape Plan" doesn't even bother with proper storytelling or character development and while that would be a huge detriment in any other film, it's actually an advantage here. When you have two of the biggest action stars of the 1980s, such things are for sissies.

Final Rating: 3.5 out of 5

"You tell whoever put me here; I'm going to burn this place to the ground."

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