American Horror Story: Asylum - "Spilt Milk" (Jan. 9, 2013)

This week on FX Network's fantastic fright fest: Kit and Grace agree to name their child Thomas after Grace's grandfather. Lana is released from Briarcliff, with some assistance from Mother Claudia, and attempts to shine a light on Thredson's crimes once and for all.
AHS is never short of twists and turns, and that's never been more true than this week. "Spilt Milk" is probably one of the strangest episodes yet, both in story and presentation. The style of filmmaking here is one I haven't quite seen on the show before, thanks to director Alfonso Gomez-Rejon. SPOILER: There's a cool scene with Lana, Kit and Thredson that's presented in split-screen format. At other times the camera seems to be dancing a ballet around its performers, framing them from canted, disorienting angles or solely to the right and left. Some shots reminded me of the work of Tom Hooper and his director of photography Danny Cohen on The King's Speech and Les Miserables.
SPOILER: As far as story, there's plenty of the show's trademark psycho-sexual tension on display, both with Lana and her discussions with Thredson as well as in this week's prologue featuring series veteran Dylan McDermott, once again portraying the grown-up son of Lana and Thredson (or so we assume)...
SPOILER: Did anyone see the twist coming at Kit's house towards the end?? Mind-blowing!!!!! Can't wait for next week. Only 2 episodes left this season!

"Battleship" Review

I wonder who at Universal thought, "That board game with the little boats and the red and white pegs... I smell a Hollywood hit!"

Milton Bradley's Battleship game has been a staple of family game night for generations. In 2012, Hollywood decided it might be a neat idea to update the classic game for today's moviegoers by ramping up the spectacle and working in some semblance of a plot. In other words, they tried to make a board game into the biggest blockbuster of the summer.

That's problem number one, and probably the biggest mistake Battleship makes. It shouldn't have even been made. When screenwriters lack so much creativity that they turn to children's games for source material, it might be time to look for a new day job. But God forbid if it doesn't make a pile of cash as big as the sea vessels themselves. IMDb reports roughly $303 million grossed worldwide during the film's theatrical run, outperforming the budget by about $91 million, which means Battleship, the board game movie, my friends, is a hit. Now I hear talk of more properties being snatched up along with my childhood to be made into popcorn fare. Candy Land and Monopoly are both in the works.

Needless to say, I was not a fan of Battleship, and after watching it, I felt as puzzled as I probably would've playing the game anyway. Maybe that was the point, but the movie follows a Naval officer (Taylor Kitsch), his crew (Rihanna (making her celluloid debut), John Tui, Tadanobu Asano), and a fleet of ships as they attempt to discover and thwart the destructive goals of an alien armada (IMDb).
What puzzles me is that the film is actually really good for the first twenty or thirty minutes. It lays the foundation for what could've been a riveting story of human intrigue chronicling Lieutenant Hopper's (Kitsch) rocky relationship with his Commander brother (Alexander Skarsgard) and his courtship of Sam (the always striking Brooklyn Decker), the daughter of the boys' commanding officer Admiral Shane (Liam Neeson).
The first ten minutes feature my favorite scene with Hopper meeting Sam for the first time. He's drunk, and she doesn't want anything to do with him, but what she does want is a chicken burrito. The ensuing moment might actually be one of the funniest of any movie I've seen all year with a bumbling Hopper breaking into a gas station to get the burrito. It's set to the theme music of The Pink Panther and is presented as security camera footage. If you bring yourself to see Battleship, you'll enjoy that scene at the very least.

Then things get crappy when the aliens come to town, both for the characters and for the audience. Writers Jon and Erich Hoeber take that promising human story from the first twenty minutes and throw it overboard in favor of shiny special effects. All the intrigue of the opening moments is gone once the real action starts. That's how you know it's bad. A decent movie would maintain my belief in the characters and keep me invested on some emotional level as the action plays out. Battleship could've done that but doesn't. Once the aliens hit, I lost all sense of feeling for the characters. I often found myself twiddling my thumbs waiting for Brooklyn Decker to come onscreen again. She's not even a good actress, she just looks that good. No shiny alien spaceships or fiery explosions for me! Just show me Brooklyn!

Overall, poor writing is the most gaping hole in this Battleship's hull. Peter Berg's direction is actually fairly solid, as it's been with just about all his other work (Friday Night Lights, The Kingdom, Hancock). He does the best he can with what he's given, as do the actors. Everyone's performance is as good as acting needs to be for a board game movie. It's just cookie-cutter crap with occasional cheesy nods to the game. Lines such as "So they can't see us, and we can't see them?" and "They're not sinkin' this battleship!" had me shaking my head.

It's a lot to take in, and I could rant all day, but instead I'll just leave you with this thought: All three Transformers movies are better. Hope that puts it in perspective for you.

1 OF 4 STARS

"Looper" Review

This isn't quite your daddy's Blade Runner.

Looper is the latest sci-fi extravaganza from writer/director Rian Johnson (Brick). It's about a new brand of execution and how one character deals with a twist in his life. In the future when the mafia wants a target taken out, they send those targets thirty years back in time to be executed on the spot by hired guns like Joe (Joseph Gordon-Levitt). But one day, Joe learns that his employer wants to "close his loop" by sending back a very special target for Joe to kill: his future self (Bruce Willis).

This is the most original sci-fi tale in years. Looper isn't bogged down with an overload of special effects and really isn't all that corny for science fiction. I like the idea of time travel being instantly outlawed and used discreetly by the criminal underworld. It lends a different type of mystery to the idea of time travel that makes it seem like more of a "tool of the trade" rather than a bombastic, flamboyant, far-fetched plot point like in Back to the Future or H.G. Wells's The Time Machine. Looper reigns that old diatribe in, which is refreshing. Kudos to Rian Johnson for scaling this down and focusing on an intriguing story rather than overblown genre cliches and unnecessary visual effects.

The first forty-five minutes or so are a blast. We learn exactly what a looper is and what he does, we learn about what loopers do for fun, and we learn that our protagonist is confronted with an intense decision when his loop is sent back to him. SPOILER: Joe's loop escapes, prompting a manhunt by Joe's brutal employer (Jeff Daniels) to find both the young and old Joes so that the former can be punished and the latter executed. Things really slow down for about a half hour when young Joe takes refuge at the home of Sara (Emily Blunt). Just about the most intense thing that happens is seeing Joe on the opposite end of a gun for once. It's a bit of a crack in the vibe of the film, but it's not short on fascinating character development before picking back up for a taut climax that will knock your socks off.

As far as acting performances, Joseph Gordon-Levitt is given a bit of a makeover to look and sound like a young Bruce Willis, but he fits the bill excellently. Willis is riveting as old Joe and is exciting to watch as he goes on the run in search of "The Rainmaker", only a child in the year that the story is set, but a man who will eventually be responsible for lots of pain, suffering, and death in the future. Emily Blunt's accent is also spot-on as farm girl Sara. You'd hardly be able to tell she's from Britain.

After seeing Brick, I admit to being a fan of writer/director Rian Johnson, and this fan wasn't disappointed with Looper. Like Brick, Looper is very original for its genre and earns points for either scaling down or avoiding cliches altogether. It's a fresh approach that might be one of the first to make you believe in movies again. There are still wonderful original stories to be told, and Rian Johnson is one of the foremost filmmakers on that front. I'm very excited to see what he has in store for us next.

3.5 of 4 STARS

"Silver Linings Playbook" Review

Writer/director David O. Russell's (The Fighter, Three Kings) latest picture tells the story of former Philadelphia schoolteacher Pat Solitano, Jr. (Bradley Cooper) who has just wrapped up an eight-month stint at a Baltimore mental hospital. Upon his return to Philly, Pat moves back in with his parents (Robert De Niro, Jacki Weaver) in an effort to reconcile with his estranged wife. But he gets thrown a curveball by the name of Tiffany (Jennifer Lawrence), a girl with problems of her own who might just show Pat that no matter how down you are, if you really try, you've always got a shot at a "silver lining".

Equal parts romantic comedy, dramatic examination of mental illness, and love letter to the Philadelphia Eagles, Silver Linings Playbook is the most endearing, fascinating, and entertaining movie of the year. This is all thanks to David O. Russell's razor-sharp script and direction, as well as marvelous performances from its leads.
I've seen a lot of work from stars Bradley Cooper and Jennifer Lawrence, but this has gotta be my favorite movie from either of them. Cooper blew me away as Pat. He lives that character, effectively portraying all his quirky mannerisms. SPOILER: It's fascinating to watch the scenes in which Pat becomes involved in conflict, either with his parents or while tailgating at an Eagles game. Cooper makes us believe that Pat is striving to make a change but also makes clear to us that tension is rising within him, and it's only a matter of time before he reaches a breaking point. Seeing that balance play out is what makes Cooper's character so fun to watch and to root for. Very well-written and well-cast by Russell.
And not to sound cliche, but Jennifer Lawrence truly is the girl on fire in 2012. From a star-making role in last Spring's The Hunger Games to receiving awards attention for Silver Linings Playbook, this stunning young woman's had a huge year. As a proud boy of the Bluegrass myself, I've enjoyed seeing the Kentucky native's meteoric rise and have no doubt she'll one day become one of the greatest actresses of our generation. As Tiffany in SLP, Lawrence is a perfect counterbalance to Cooper's Pat. The madness of these two characters is part of what makes this film work. Seeing Pat and Tiffany react to one another is a delight because they aren't perfect. SPOILER: Pat is looking for his perfect "silver lining" with his wife Nikki, but instead finds a new friend in Tiffany, who might not be the "silver lining" he wants, but turns out to be the "silver lining" that's right for him. I know it sounds sappy, but it's an endearing character study that's a blast to watch. Seeing them work also makes me reflect on my own madness. Everyone has their quirks, and this film will remind you that you're not alone. It takes a very down-to-earth approach that I'm certain will resonate with audiences. I actually felt like the Solitanos could be my next-door neighbors. (And to be honest, I wouldn't mind living in the same neighborhood as Jennifer Lawrence!)

The supporting cast also turns in fine work here. The always-talented De Niro is wonderful as Pat Sr., Jacki Weaver is great as Pat's ever-concerned mother Dolores, and Chris Tucker (you remember him, the guy from the Rush Hour films) is a riot as Danny, Pat's friend from the mental hospital.

This movie deserves all the consideration in the world for any awards it may be eligible for. As it stands, Silver Linings Playbook has four Golden Globe nominations including Best Actor for Bradley Cooper, Best Actress for Jennifer Lawrence, Best Screenplay, and Best Motion Picture of the year. It certainly exceeded my expectations to become one of my favorite films of the year, if not for all time. I think Alynda Wheat of People Magazine said it best in her review: "Here's what David O. Russell's fiendishly witty, brash film isn't: boring, safe or willing to let any of us forget a deceptively simple truth: 'When life reaches out... it's a sin if you don't reach back.'" It's a sin to miss this movie, too. Find out if it's playing near you and see it.

4 OF 4 STARS

"The Campaign" Review

On New Year's night, I finally caught the latest from Will Ferrell and Zach Galifianakis: The Campaign, a political farce that attempts to take a stab at the guys on Capitol Hill. The movie follows fictional North Carolina congressman Cam Brady (Ferrell) as he prepares to run for another term in office. But in an attempt to gain more power over their district, two greedy CEOs (Dan Akroyd, John Lithgow) select inexperienced candidate Marty Huggins (Galifianakis) to run against Brady.

The Campaign is rude, crude, and as socially unacceptable as we've come to expect from Will Ferrell, but it's not nearly as funny or as edgy as it could have & should have been with Ferrell and Galifianakis running the show. With a trim eighty-five minute run time, the stars have little time to truly flex their comedic muscles. Getting an even shorter end of the stick are Dan Akroyd and John Lithgow as the two dastardly CEOs, as well as Brady's campaign manager Mitch (SNL's Jason Sudeikis). Those are three actors with tremendous comedic talent, and none of them made me laugh in The Campaign. Sure, the film has enough gags here and there to keep things moving, but I was sorely disappointed in the lack of room for Akroyd, Lithgow, and Sudeikis to shine.

In addition to the lack of jokes on their part, the subplot including the Motch Brother CEOs (Akroyd, Lithgow) is lost completely, save for the beginning when their characters are introduced and the end when they await the election results. I hardly even remembered they were a part of the story. Forgettable outings from both actors, which is a testament to poor writing rather than their lack of ability. We all know how riotously funny Lithgow and Akroyd can be (See 3rd Rock from the Sun, The Blues Brothers, Ghostbusters, classic SNL skits, etc).
Overall The Campaign is a disappointing picture that squanders its incredibly talented cast, despite one or two chuckles here and there from the two leading men. I'm so glad I didn't waste cash on this in the theater. Rent if you must see it.

1.5 of 4 STARS

American Horror Story: Asylum - "The Name Game" (Jan. 2, 2013)

American Horror Story: Asylum is back this week after taking a holiday hiatus, and boy, does it return with a vengeance! Highlighted in the new episode are Monsignor Howard's confrontation with the devil as well as Kit's reunion with Grace at the hands of Dr. Thredson. 

This week was so thrilling thanks to Lily Rabe's stellar performance as the possessed Sister Mary Eunice. I love the way she toys with the Monsignor, proving that she truly is a formidable foe. I've also  been interested in her relationship with Dr. Arden. The two of them have an air of sexual tension between them so thick, you could cut it with a knife. I won't ruin the surprise, but some of that tension is released in a sense. Believe me, if you're a fan like I am, the ending will make your jaw drop.

SPOILER: As for next week, it seems that things might be different with the apparent departure of two characters in this week's episode. I'm excited to see how things might turn out.

"Les Miserables" Review

The latest from director Tom Hooper (The King's Speech) is an adaptation of the famous Broadway musical Les Miserables by Boublil and Schonberg. For those who don't know, it chronicles a criminal named Jean Valjean (Hugh Jackman) as he rebuilds his life over roughly twenty years, climaxing at the dawn of the French Revolution. Along the way, Valjean dodges multiple confrontations with the French policeman Javert (Russell Crowe), a man determined to see him locked up again. Valjean also becomes the benefactor of young Cosette (Isabelle Allen / Amanda Seyfried) whose mother (Anne Hathaway) dies from what can be assumed as complications from HIV/AIDS.

It's a much bigger film than Hooper's King's Speech, but he's able to pull it off magnificently. At first I had some second thoughts. I didn't realize going in that literally every line in the film, save maybe seven, is presented in song. That's two and a half hours of nonstop singing. The stage adaptation must be the same way, because I was expecting a typical musical (scenes of dialogue culminating in song). Boy, was I off the mark, but that's not so much the film's fault as my own. I didn't dislike Les Miserables for straying from my expectations. In fact, it turned out to be one of the grandest, most magnificent pictures of the year.

I became truly hooked after the first forty-five minutes when Anne Hathaway sang "I Dreamed A Dream". Positively incredible. I had no idea she had such talent. Her rendition knocked me flat and got me emotionally invested for the next two hours. That five minutes alone, to me, was worth the price of admission.

Suffice it to say, that's probably my favorite scene. I also enjoyed Javert and Valjean's confrontation in the hospital, as well as just about any scene with the revolutionaries at the barricade. Young Daniel Huttlestone is marvelously entertaining as Gavroche. 

I can't say I was surprised to see Helena Bonham Carter, essentially reprising her role from Tim Burton's Sweeney Todd, as the wife of the innkeeper Thenardier (Sacha Baron Cohen). The duo seem to play such similar characters all the time, and things really aren't different here. Bonham Carter and Baron Cohen are up to their usual demented hilarity once again, complete with shoddy makeup and tattered, flamboyant 19th century clothing.

As I mentioned, I wish there had been more dialogue instead of constant singing. For me, it started to get a little annoying and seemed to make an already intimidating 2.5 hours seem like well over three. Such an approach would have kept Les Miserables fresh, but again, this is an adaptation of the classic stage musical. I won't discredit the filmmakers for not satisfying my own ignorant expectations. In fact, I thank them for showing me just how brilliant a musical this is. It also confirmed my belief that 2012 has been an incredible year for movies, and I hope for more of the same in 2013.

See Les Miz on the big screen soon. It's nominated for numerous awards, including 4 Golden Globes.

3.5 OF 4 STARS

(P.S. I forgot to mention that Hooper's style is certainly on display here. Anyone who's seen The King's Speech might remember the cinematography. Hooper chooses to frame his shots in ways that present a fascinating contrast to the viewer. For example he will place a medium shot of an actor who is situated to the right or left of the frame against a background of solid color (in Les Miz it's often white or blue). His close-ups are often framed in a similar manner.)