Polley's personal, absorbing family documentary "Stories We Tell"
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| Filmmaker and actress Sarah Polley |
Wes's Grade: B
Friday, May 31, 2013
Stories We Tell - B
Rated PG-13, 108 minutes
Polley's personal, absorbing family documentary "Stories We Tell"
Canadian actress and filmmaker Sarah Polley ("Away from Her," "Dawn of the Dead") provides an insightful, very personal look at her family in the talky new documentary "Stories We Tell." Through interviews with family members and friends giving their version of events, Polley uncovers some family secrets while learning more of her mother, who died when Sarah was a young age. "Stories We Tell" is a revealing look at Polley's family, appealing to those with similar circumstances. Slow-moving and filled with an exceeding amount of conversations, reading of letters and staging of the events, it's poignant and often moving, particularly when Polley learns who her biological father is. Though a skillful look at uncovering truths and the memories we hold of our loved ones, "Stories" is also a tad self-absorbing, none too surprising given that Polley is the youngest of 5 siblings (and interesting since much of it is her interpretation of the events). Even with that, there are some memorable scenes, including the remarkable impassivity and humor her father who raised her has when he finally learns he isn't her biological father, and how little impact it has on he and his daughter's relationship; there's also the growing tension between daughter and biological father that eventually led to this film. Polley is a masterful director, and while "Stories We Tell" is flawed - it seems too concerned with telling different versions that reality seems a little lost at times - it's still a moving portrait and a unique perspective on family relationships. Definitely worth a look and playing at the Landmark Magnolia Theater in Dallas.
Wes's Grade: B
Polley's personal, absorbing family documentary "Stories We Tell"
Wes's Grade: B
Thursday, May 30, 2013
After Earth - C-
Rated PG-13, 100 minutes
"After Earth" a serviceable but slow, hokey sci-fi thriller
"After Earth" is an original sci-fi film with an unusual teaming of Will Smith and director M. Night Shyamalan. After some box-office and/or critical busts of late, Shyamalan is a bit of a liability and while "After Earth" is one of his better films of the last 5 years, it's still a conventional, sometimes silly and very talky sci-fi thriller helped by the dynamic Smith duo. A crash landing leaves teenager Kitai Raige (Jaden Smith) and his legendary father Cypher (Will Smith) stranded on Earth, 1,000 years after cataclysmic events forced humanity's escape. With Cypher critically injured, Kitai embarks on a perilous journey for help, facing uncharted terrain, evolved animal species that now rule the planet, and an unstoppable alien creature that escaped during the crash. The mildly entertaining but ultimately divisive "After Earth" is peppered with some decent visuals and a few engaging moments, but the banal dialogue, the underlying spiritual themes and the sluggish plotting don't help the film much. Shyamalan, on the rebound after the disaster known as "The Last Airbender," badly needs a big hit, and while "After Earth" may not provide that, it's an improvement over his recent films. The handsomely photographed, slick "After Earth" fails due to its seemingly different visions for the film at work; the vision from the Smith camp has it a ridiculous spiritual exercise heavily influenced by Scientology (if you know anything about that movement it's noticeable); the Shyamalan vision has it has as pure action-adventure fantasy, which taken as that works a little better. It's a mixed blessing, for "After Earth" is occasionally interesting sci-fi (Jaden's changing suit is a nice touch, their baffling dialect, not as much), otherwise it would've ended up a "Battlefield Earth"-esque disaster, which thankfully it isn't. The engaging Smith interplay, particularly from the winning Jaden, who carries the film, keeps it watchable even when little is going on, which is most of the film. The bland "After Earth" is a modestly intriguing but mostly unmemorable sci-fi thriller that finds director-for-hire Shyamalan improved, even if (or mainly because) he has to promote the Scientology brand.
Wes's Grade: C-
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| Jaden Smith |
"After Earth" a serviceable but slow, hokey sci-fi thriller
"After Earth" is an original sci-fi film with an unusual teaming of Will Smith and director M. Night Shyamalan. After some box-office and/or critical busts of late, Shyamalan is a bit of a liability and while "After Earth" is one of his better films of the last 5 years, it's still a conventional, sometimes silly and very talky sci-fi thriller helped by the dynamic Smith duo. A crash landing leaves teenager Kitai Raige (Jaden Smith) and his legendary father Cypher (Will Smith) stranded on Earth, 1,000 years after cataclysmic events forced humanity's escape. With Cypher critically injured, Kitai embarks on a perilous journey for help, facing uncharted terrain, evolved animal species that now rule the planet, and an unstoppable alien creature that escaped during the crash. The mildly entertaining but ultimately divisive "After Earth" is peppered with some decent visuals and a few engaging moments, but the banal dialogue, the underlying spiritual themes and the sluggish plotting don't help the film much. Shyamalan, on the rebound after the disaster known as "The Last Airbender," badly needs a big hit, and while "After Earth" may not provide that, it's an improvement over his recent films. The handsomely photographed, slick "After Earth" fails due to its seemingly different visions for the film at work; the vision from the Smith camp has it a ridiculous spiritual exercise heavily influenced by Scientology (if you know anything about that movement it's noticeable); the Shyamalan vision has it has as pure action-adventure fantasy, which taken as that works a little better. It's a mixed blessing, for "After Earth" is occasionally interesting sci-fi (Jaden's changing suit is a nice touch, their baffling dialect, not as much), otherwise it would've ended up a "Battlefield Earth"-esque disaster, which thankfully it isn't. The engaging Smith interplay, particularly from the winning Jaden, who carries the film, keeps it watchable even when little is going on, which is most of the film. The bland "After Earth" is a modestly intriguing but mostly unmemorable sci-fi thriller that finds director-for-hire Shyamalan improved, even if (or mainly because) he has to promote the Scientology brand.
Wes's Grade: C-
Now You See Me - C+
Rated PG-13, 116 minutes
Fun, over-the-top "Now You See Me" is full of tricks, little else
The new heist film "Now You See Me" is full of elaborate tricks, though in fact its audience may be the one who feels fooled into thinking it's a truly great film. An FBI agent (Mark Ruffalo) and an Interpol detective (Melanie Laurent) follow a team of high profile illusionists (Jesse Eisenberg, Isla Fisher, Woody Harrelson and Dave Franco) whose magic tricks include bank heists in front of live audiences who are then rewarded with the money. A former magician and debunker (Morgan Freeman) also follows the team with ulterior motives, though they all soon realize the situation is bigger than all of them. Louis Leterrier ("Clash of the Titans") directs a slick caper film peppered with some energetically entertaining moments, though when the action slows down a bit you'll realize how thin the plotting and characters really are. Moreover, it's all so preposterously and elaborately unveiled that it becomes rather pointless, except to provide some escapism for its audience, which it does very well. There are too many characters whose backstories fade into the magician's hat quicker than you can say "shazam," with the biggest illusion is the take-the-money-and-run performances from Oscar-winners Freeman and a misused Michael Caine. Eisenberg, Fisher, Harrelson, Franco and Laurent are all serviceable, though the film is anchored by an exceedingly hammy Ruffalo, and once the twisty finale unfolds you'll end up rolling your eyes much more than saying "wow." "Now You See Me" provides some forgettable, fast-paced entertainment, but much like those magic tricks, it leaves you with nothing.
Wes's Grade: C+
Fun, over-the-top "Now You See Me" is full of tricks, little else
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| Jesse Eisenberg |
Wes's Grade: C+
Thursday, May 23, 2013
Epic - B
Rated PG, 102 minutes
Colorful, familiar "Epic" has an air of fun
The new animated film "Epic" is an engaging comical-fantasy tale, and while it treads familiar ground (think "Thumbelina" meets "Honey I Shrunk the Kids"), it's still pleasant family entertainment. A teenage girl named M.K. (Amanda Seyfried) finds herself magically transported into a secret
universe, where she teams up with an elite band of warriors (Josh Hutcherson, Colin Farrell and Beyonce) and a crew of
comical, larger-than-life figures (Chris O'Dowd, Aziz Ansari and yes, Steven Tyler), to save their world and ours in an epic battle of good versus evil. Based loosely on James Joyce's children's book "The Leaf Men and the Brave Good Bugs," "Epic" is directed by Chris Wedge, director of "Ice Age" and "Robots." The story is calculated, filled with too many characters and is sluggish at times, particularly in an uneven first act, but it picks up energy in the latter going, which should keep the kiddoes satisfied. The first-rate, standout visuals are handsome, clean and bright and make up for the script's weaknesses, and the voicing is nicely done by an all-star cast, most memorable Ansari and O'Dowd, providing comic relief as a couple of slugs, and recent Oscar-winner Christoph Waltz as the primary baddie. Those familiar with pop music will also notice the voice talents of Beyonce (whose role is much smaller than the trailers lead you to believe), Tyler and rapper Pitbull. "Epic," with a predictable ending still has a spry (if not slightly bland) energy and some decent laughs, providing a nice diversion for the kids during the holiday weekend. Serviceable family fun, even if you've seen it before.
Wes's Grade: B
Colorful, familiar "Epic" has an air of fun
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| Josh Hutcherson voices the character of Nod in "Epic" |
Wes's Grade: B
Fast & Furious 6 - B-
Rated PG-13, 123 minutes
Action-packed "Fast & Furious 6" more, mindless over-the-top fun
The summer movie season is officially in full-throttle with the latest, mindlessly entertaining installment of the "Fast and the Furious" franchise, "Fast & Furious 6." Ridiculously, almost preposterously over-the-top action sequences are the chief reason to see the film and impressive enough to carry an otherwise routine film. In this outing, professional criminals Dominic Toretto (Vin Diesel) and Brian O'Connor (Paul Walker), still wanted men in the U.S. but living overseas, are called back into action by special agent Luke Hobbs (The Rock) to bring down another dangerous criminal named Owen Shaw (Luke Evans), who has some formidable weapons of his own, namely Toretto's supposedly-dead lover Letty (Michelle Rodriguez). Directed by Justin Lin in his fourth "Fast and the Furious" film (and who has morphed the franchise from street racing to heist), "Fast 6" is the perfect summer blockbuster where you can leave your brain at the door for some sublime action-set pieces, fast cars and fun fight sequences which clearly and unsurprisingly highlight the film. It all speeds by at such a frenetic pace that you'll overlook everything else: the wooden acting, the bad dialogue, a rather milquetoast villain and some nonsense about computer weaponry, so it's best to just focus on the cars and action, executed with such a roll-your-eyes-over-the-top flare it's comical yet rarely dull. All of the main cast returns, including Diesel, The Rock, Walker, along with Ludacris, Tyrese Gibson, Jordana Brewster and a back-from-the-dead Letty, played by Rodriguez with her usual grit but who meets her match in the equally tough Gina Carano (and providing some great girl-on-girl fighting). As for its best asset, "Fast 6's" most memorable action sequence comes two-thirds of the way through and involves a lot of cars, a scenic highway and an enormous tank, all of which you've seen in the ubiquitous trailers for the film, with a fun but overlong climax a close second. Mindless, enjoyable summer entertainment, "Fast 6" passes as high-priced junk, but know it's still the Cadillac and not the Edsel, of car action films. Also, don't jump and leave too soon or you'll miss the bonus pre-credits scene that previews the 7th installment and features a big action-star as its newest villain.
Wes's Grade: B-
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| Vin Diesel and The Rock |
Action-packed "Fast & Furious 6" more, mindless over-the-top fun
The summer movie season is officially in full-throttle with the latest, mindlessly entertaining installment of the "Fast and the Furious" franchise, "Fast & Furious 6." Ridiculously, almost preposterously over-the-top action sequences are the chief reason to see the film and impressive enough to carry an otherwise routine film. In this outing, professional criminals Dominic Toretto (Vin Diesel) and Brian O'Connor (Paul Walker), still wanted men in the U.S. but living overseas, are called back into action by special agent Luke Hobbs (The Rock) to bring down another dangerous criminal named Owen Shaw (Luke Evans), who has some formidable weapons of his own, namely Toretto's supposedly-dead lover Letty (Michelle Rodriguez). Directed by Justin Lin in his fourth "Fast and the Furious" film (and who has morphed the franchise from street racing to heist), "Fast 6" is the perfect summer blockbuster where you can leave your brain at the door for some sublime action-set pieces, fast cars and fun fight sequences which clearly and unsurprisingly highlight the film. It all speeds by at such a frenetic pace that you'll overlook everything else: the wooden acting, the bad dialogue, a rather milquetoast villain and some nonsense about computer weaponry, so it's best to just focus on the cars and action, executed with such a roll-your-eyes-over-the-top flare it's comical yet rarely dull. All of the main cast returns, including Diesel, The Rock, Walker, along with Ludacris, Tyrese Gibson, Jordana Brewster and a back-from-the-dead Letty, played by Rodriguez with her usual grit but who meets her match in the equally tough Gina Carano (and providing some great girl-on-girl fighting). As for its best asset, "Fast 6's" most memorable action sequence comes two-thirds of the way through and involves a lot of cars, a scenic highway and an enormous tank, all of which you've seen in the ubiquitous trailers for the film, with a fun but overlong climax a close second. Mindless, enjoyable summer entertainment, "Fast 6" passes as high-priced junk, but know it's still the Cadillac and not the Edsel, of car action films. Also, don't jump and leave too soon or you'll miss the bonus pre-credits scene that previews the 7th installment and features a big action-star as its newest villain.
Wes's Grade: B-
What Maisie Knew - B
Rated R, 93 minutes
"What Maisie Knew" a thoughtful, affecting portrait of parenting
A contemporary reimagining of the Henry James' novel of the same name, the perceptive, heartbreaking and superbly acted "What Maisie Knew" tells the story of a captivating little girl's struggle for grace in the midst of her parents' bitter custody battle. Maisie (enchanting newcomer Onata Aprile) is the offspring two very selfish people, her unstable rock musician mother (Julianne Moore) and her disengaged art dealer father (Steve Coogan), both of whom become involved with people (Alexander Skarsgard, Joanna Vanderham) who may care for her more than her parents. Slow but thoughtful and discerning, "What Maisie Knew" is a powerful illustration of what happens to children from the child's point of view. Newcomer Aprile, in her debut feature film, is astonishing as the sullen, quietly precocious and mature Maisie who observes and knows everything that happens to her, but remains remarkably well-adjusted and resilient through it all. There are strong turns from the adults as well, particularly a scene-stealing Moore and Coogan as the bickering parents, as well as sensitive turns from Skarsgard and Scottish actress Vanderham. The narrative, a modern interpretation of James' novel, drifts and meanders episodically, but with each episode you will grow angrier at the inability of Maisie's parents to care for her, but its satisfying ending will have you hopeful for the people who do care for her. Co-directed and written by independent filmmakers Scott McGehee and David Siegel ("Bee Season"), the character-driven "What Maisie Knew" is affecting, painful but gratifying.
Wes's Grade: B
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| Alexander Skarsgard and Onata Aprile |
A contemporary reimagining of the Henry James' novel of the same name, the perceptive, heartbreaking and superbly acted "What Maisie Knew" tells the story of a captivating little girl's struggle for grace in the midst of her parents' bitter custody battle. Maisie (enchanting newcomer Onata Aprile) is the offspring two very selfish people, her unstable rock musician mother (Julianne Moore) and her disengaged art dealer father (Steve Coogan), both of whom become involved with people (Alexander Skarsgard, Joanna Vanderham) who may care for her more than her parents. Slow but thoughtful and discerning, "What Maisie Knew" is a powerful illustration of what happens to children from the child's point of view. Newcomer Aprile, in her debut feature film, is astonishing as the sullen, quietly precocious and mature Maisie who observes and knows everything that happens to her, but remains remarkably well-adjusted and resilient through it all. There are strong turns from the adults as well, particularly a scene-stealing Moore and Coogan as the bickering parents, as well as sensitive turns from Skarsgard and Scottish actress Vanderham. The narrative, a modern interpretation of James' novel, drifts and meanders episodically, but with each episode you will grow angrier at the inability of Maisie's parents to care for her, but its satisfying ending will have you hopeful for the people who do care for her. Co-directed and written by independent filmmakers Scott McGehee and David Siegel ("Bee Season"), the character-driven "What Maisie Knew" is affecting, painful but gratifying.
Wes's Grade: B
Tuesday, May 21, 2013
The Hangover Part III - D
Rated R, 110 minutes
Sporadically funny but disappointing "Hangover 3" is a mess
"The Hangover Part III," the third and (hopefully, thankfully) the last installment in the "The Hangover" franchise is mildly, scattershot funny at best, with a plot and jokes that are all over the place. A lousy excuse for a sequel, it's the worst of the three films but will likely still be a big hit. This time out the Wolf Pack, Phil (Bradley Cooper), Stu (Ed Helms) and Alan (Zach Galifianakis) are hired by a rich mob guy (John Goodman) to locate criminal Leslie Chow (Ken Jeong), who has escaped from a Thai prison and recover both Chow and some gold he took. The lame "The Hangover Part III" is a film without a hangover, and also without many hearty laughs. The first film had some fun, raunchy novelty, the second one ripped off the first film, and this one is just a poor attempt at any comedy. The biggest mistake with "Hangover 3" is the shrill annoyance of expanding the Chow character; Jeong is a talented comedian but Chow is a character that's meant to be memorably small, pop in and out, get a few laughs and disappear. The jokes revolving around Chow are meant to be low-brow and dark, but come across as just mean, offensive and most of the time, just plain digusting. The Wolf Pack ends up back in Vegas where it all started, but alas, it doesn't get any funnier. The bright spots include a Melissa McCarthy cameo that could've been expanded for more laughs, and the film's truly only hilarious scene, a post-credits scene that recalls the hilarious raunch of the original film. "The Hangover Part III" is a waste of talent, particularly Helms and Cooper (and only shows how overrated Galifianakis is) and an unfunny waste of time. A few laughs here and there, but largely unmemorable.
Wes's Grade: D
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| Bradley Cooper, Zach Galifianakis, Ed Helms |
Sporadically funny but disappointing "Hangover 3" is a mess
"The Hangover Part III," the third and (hopefully, thankfully) the last installment in the "The Hangover" franchise is mildly, scattershot funny at best, with a plot and jokes that are all over the place. A lousy excuse for a sequel, it's the worst of the three films but will likely still be a big hit. This time out the Wolf Pack, Phil (Bradley Cooper), Stu (Ed Helms) and Alan (Zach Galifianakis) are hired by a rich mob guy (John Goodman) to locate criminal Leslie Chow (Ken Jeong), who has escaped from a Thai prison and recover both Chow and some gold he took. The lame "The Hangover Part III" is a film without a hangover, and also without many hearty laughs. The first film had some fun, raunchy novelty, the second one ripped off the first film, and this one is just a poor attempt at any comedy. The biggest mistake with "Hangover 3" is the shrill annoyance of expanding the Chow character; Jeong is a talented comedian but Chow is a character that's meant to be memorably small, pop in and out, get a few laughs and disappear. The jokes revolving around Chow are meant to be low-brow and dark, but come across as just mean, offensive and most of the time, just plain digusting. The Wolf Pack ends up back in Vegas where it all started, but alas, it doesn't get any funnier. The bright spots include a Melissa McCarthy cameo that could've been expanded for more laughs, and the film's truly only hilarious scene, a post-credits scene that recalls the hilarious raunch of the original film. "The Hangover Part III" is a waste of talent, particularly Helms and Cooper (and only shows how overrated Galifianakis is) and an unfunny waste of time. A few laughs here and there, but largely unmemorable.
Wes's Grade: D
Thursday, May 16, 2013
Star Trek Into Darkness - B
Rated PG-13, 123 minutes
Lively and fun new "Star Trek"
The energetic, entertaining "Star Trek Into Darkness" is the newest entry in the storied science-fiction franchise and should please both Trekkies and non-Trekkies alike, though some of it will feel extremely familiar. Fanboys will be drooling while the rest of us can appreciate a lively, fun action-adventure film tailored specifically as a summer blockbuster, complete with 3D. This time out, U.S.S. Enterprise Captain James Kirk (Chris Pine) and his crew, including Spock (Zachary Quinto), Uhura (Zoe Saldana) and Bones (Karl Urban) are on a personal mission to hunt down an extremely powerful one-man weapon of destruction (Benedict Cumberbatch), who may end up permanently altering the state of the universe. New sci-fi point man J.J. Abrams follows up his 2009 highly successful relaunch of "Star Trek" with this satisfying, thrilling sequel that will have you on the edge of your seat most of the movie. The visuals from Industrial Light and Magic are first-rate, not to mention British actor Cumberbatch, best known as the current BBC version of Sherlock Holmes, nails the role of the ultra-villain, a younger version of Khan seen in "Star Trek II: The Wrath of Khan" over 30 years ago as Ricardo Montalban. The story and plotting seem pretty standard and routine, and having Khan back is nice (and admittedly very well-played), though it feels a little rehashed. On the other hand, the breathless action set pieces and the Kirk-Spock humorous interplay keep it moving along nicely, with plenty to keep Trekkies fulfilled throughout the film (yes, Nimoy cameos). While I'm not a huge fan of the blandish Pine, he has good chemistry with Quinto, though Cumberbatch's exceedingly memorable and delectably evil Khan is the standout and a great new/old villain, one of the best in this popular franchise. "Star Trek Into Darkness," from a non-Trekkie viewpoint, is a terrific action-adventure film that speeds along into warp speed, and expect plenty more of these where they come from. Live long and prosper, and add "Star Trek Into Darkness" to your list of must-see films this summer.
Wes's Grade: B
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| Benedict Cumberbatch |
Lively and fun new "Star Trek"
The energetic, entertaining "Star Trek Into Darkness" is the newest entry in the storied science-fiction franchise and should please both Trekkies and non-Trekkies alike, though some of it will feel extremely familiar. Fanboys will be drooling while the rest of us can appreciate a lively, fun action-adventure film tailored specifically as a summer blockbuster, complete with 3D. This time out, U.S.S. Enterprise Captain James Kirk (Chris Pine) and his crew, including Spock (Zachary Quinto), Uhura (Zoe Saldana) and Bones (Karl Urban) are on a personal mission to hunt down an extremely powerful one-man weapon of destruction (Benedict Cumberbatch), who may end up permanently altering the state of the universe. New sci-fi point man J.J. Abrams follows up his 2009 highly successful relaunch of "Star Trek" with this satisfying, thrilling sequel that will have you on the edge of your seat most of the movie. The visuals from Industrial Light and Magic are first-rate, not to mention British actor Cumberbatch, best known as the current BBC version of Sherlock Holmes, nails the role of the ultra-villain, a younger version of Khan seen in "Star Trek II: The Wrath of Khan" over 30 years ago as Ricardo Montalban. The story and plotting seem pretty standard and routine, and having Khan back is nice (and admittedly very well-played), though it feels a little rehashed. On the other hand, the breathless action set pieces and the Kirk-Spock humorous interplay keep it moving along nicely, with plenty to keep Trekkies fulfilled throughout the film (yes, Nimoy cameos). While I'm not a huge fan of the blandish Pine, he has good chemistry with Quinto, though Cumberbatch's exceedingly memorable and delectably evil Khan is the standout and a great new/old villain, one of the best in this popular franchise. "Star Trek Into Darkness," from a non-Trekkie viewpoint, is a terrific action-adventure film that speeds along into warp speed, and expect plenty more of these where they come from. Live long and prosper, and add "Star Trek Into Darkness" to your list of must-see films this summer.
Wes's Grade: B
Scatter My Ashes At Bergdorf's - B
Rated PG-13, 93 minutes
"Scatter My Ashes At Bergdorf's" an engaging look at a fashion icon
If you enjoyed "The Devil Wears Prada" you'll certainly enjoy the fascinating, fun new documentary "Scatter My Ashes at Bergdorf's," a rare peek behind the backroom doors and into the reality of the inner workings and untold stories from famed New York City department store Bergdorf Goodman's. Part historical look, part behind-the-scenes look, "Ashes" has an impressive array of designers and celebrities dishing on the impact the department store has had on fashion for the last century. You'll recognize many of the faces, everyone from Vera Wang to Joan Rivers to Marc Jacobs to Nicole Richie to Oscar de la Renta, though the most entertaining parts of the Matthew Miele-directed doc is the behind-the-scenes look at the store with the less-famous faces who actually help run the store. You'll get a kick out of seeing them construct the elaborate, iconic holiday window displays as well as some of the stories of the employees themselves; most memorable: a top Bergdorf's sales clerk named Betty whose no-nonsense honesty and wit is legendary ("What would you be doing if not working at Bergdorfs?" the filmmakers ask, and she retorts simply: "Drinking'). Admittedly, the source and the whole point of the documentary (the grand exclusivity of the department store) is a bit thin, and those non-fashionistas and/or modest folk (which is most of us) may find limited appeal in it. Even with that, the entertaining "Scatter My Ashes at Bergdorf's," the title coming from a New York Times cartoon, is brash but engaging enough to have you buying something, especially after seeing celebrity endorsements from the likes of Susan Lucci and Candice Bergen. Worth a look, especially for those with a taste or knowledge of fashion.
Wes's Grade: B
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| Famed department store Bergdorf's |
"Scatter My Ashes At Bergdorf's" an engaging look at a fashion icon
If you enjoyed "The Devil Wears Prada" you'll certainly enjoy the fascinating, fun new documentary "Scatter My Ashes at Bergdorf's," a rare peek behind the backroom doors and into the reality of the inner workings and untold stories from famed New York City department store Bergdorf Goodman's. Part historical look, part behind-the-scenes look, "Ashes" has an impressive array of designers and celebrities dishing on the impact the department store has had on fashion for the last century. You'll recognize many of the faces, everyone from Vera Wang to Joan Rivers to Marc Jacobs to Nicole Richie to Oscar de la Renta, though the most entertaining parts of the Matthew Miele-directed doc is the behind-the-scenes look at the store with the less-famous faces who actually help run the store. You'll get a kick out of seeing them construct the elaborate, iconic holiday window displays as well as some of the stories of the employees themselves; most memorable: a top Bergdorf's sales clerk named Betty whose no-nonsense honesty and wit is legendary ("What would you be doing if not working at Bergdorfs?" the filmmakers ask, and she retorts simply: "Drinking'). Admittedly, the source and the whole point of the documentary (the grand exclusivity of the department store) is a bit thin, and those non-fashionistas and/or modest folk (which is most of us) may find limited appeal in it. Even with that, the entertaining "Scatter My Ashes at Bergdorf's," the title coming from a New York Times cartoon, is brash but engaging enough to have you buying something, especially after seeing celebrity endorsements from the likes of Susan Lucci and Candice Bergen. Worth a look, especially for those with a taste or knowledge of fashion.
Wes's Grade: B
The Iceman - B+
Rated R, 93 minutes
"The Iceman" is a gripping, dark tale of a brutal serial killer and family man
The chilling new drama "The Iceman" is a mesmerizing, superbly acted film with a familiar "Sopranos" sheen to it. Inspired by actual events, the film follows notorious New Jersey mob contract killer
Richard Kuklinski (Michael Shannon), who was eventually arrested for the murder of more than 100
men. Kuklinski was a devoted family man with a wife and children and lived in the suburbs, though not even his own family knew what he did. Dark and frightening, even more so knowing that much of it is true, "The Iceman" is a fascinating look at a man who truly lived a double life. Directed and written by newcomer Ariel Vroman, this gripping true crime story seems too familiar and predictable at times (not to mention key details of the story changed), and we've seen this before many times in films like "Goodfellas" and on TV with "The Sopranos." Even with its familiarity, the film's violent undercurrent is helped by a talented, eclectic cast, including Winona Ryder (great as Kuklinski's wife), Chris Evans, David Schwimmer, Ray Liotta and in a brief cameo. James Franco. But the most memorable is Oscar nominee Shannon in the title role, who is quickly developing into one of cinema's most watchable character actors. Shannon's electric, intense performance as Kuklinksi is one of the strongest turns I've seen this year, and he reminds of a young DeNiro or Pacino. With this film, along with his upcoming turn as another bad guy in the heavily buzzed new Superman film "Man of Steel," I see only good things coming Shannon's way (who knows, maybe an Oscar). To prepare yourself for that film, check out his spellbound turn in the darkly entertaining, chilling and often violent "The Iceman," a nickname given to Kuklinski's for his penchant for storing dead bodies in freezers.
Wes's Grade: B+
"The Iceman" is a gripping, dark tale of a brutal serial killer and family man
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| Michael Shannon |
Wes's Grade: B+
Friday, May 10, 2013
The Great Gatsby - C+
Rated PG-13, 143 minutes
Stylish yet uneven, this flawed "Gatsby" is good but not great
The Good Gatsby. How about The Mediocre Gatsby or The OK Gatsby? With that said, the flawed new Baz Luhrmann version of the F. Scott Fitzgerald classic novel "The Great Gatsby" is an intriguing disappointment. Updated to appeal a new generation, the well-acted, handsome film is dripping with style and colorful visuals, yet it's also too long, uneven and dramatically hollow. Wide-eyed mid-westerner Nick
Carraway (Tobey Maguire) comes to the glittery New York City with big dreams. Nick's neighbor is the mysterious, party-giving millionaire,
Jay Gatsby (Leonardo DiCaprio), and across the bay from his cousin,
Daisy (Carey Mulligan), with whom Jay shares a deep connection, and her philandering husband, Tom Buchanan
(Joel Edgerton). With glittery disco balls, 3D, rap music and CG images galore, this mildly enjoyable but uneven version of "The Great Gatsby" is an interpretation to draw a younger crowd, and while some of Luhrmann's "Moulin Rouge"-esque contemporary touches work, it still fails to capture the depth and passion of Fitzgerald's literary magnum opus. Luhrmann has a fantastically lavish approach, perfectly capturing the essence of the 1920s with some peppy, first-rate visuals, costumes and sets, though his addition of some contemporary music is a minor distraction (particularly Beyonce's "Crazy in Love"), and will certainly cause Fitzgerald purists to cry foul. It is also well-cast, with DiCaprio and Mulligan making for a fine pair of tragic lovers, and Maguire also just as strong as Carraway (and some might even say this is more his film than DiCaprio's). While he has the style down perfectly, especially in the initial sections, Luhrmann's storytelling is dramatically weak and lacks the intensity of the visuals in a faithful but never-ending third act that goes on much too long. This opulently vapid version of "The Great Gatsby" is good but not as great as it could've been: entertaining and more accessible than its cinematic predecessors, but about 25 minutes too long and lacking a strong emotional core. The intriguing Luhrmann is always worth a look, though in this case style wins out over substance.
Wes's Grade: C+
Stylish yet uneven, this flawed "Gatsby" is good but not great
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| Carey Mulligan and Leonardo DiCaprio |
Wes's Grade: C+
Thursday, May 9, 2013
Tyler Perry Presents Peeples - C-
Rated PG-13, 95 minutes
Robinson is the best part of routine dysfunctional family comedy "Peeples"
Craig Robinson of TV's "The Office" is an underused, underrated and naturally likable comedian, so his transition to the big screen comes as no surprise. Without him, the predictable, thin and wildly unrealtistic (Kerry Washington with Craig Robinson? C'mon...) new comedy "Peeples," essentially a black "Meet the Parents," would be much worse than it is. Sparks fly in the Hamptons when "regular guy" Wade Walker (Robinson) crashes the preppy Peeples family reunion to ask his girlfriend Grace (Kerry Washington) to marry him. Little does he know that this dysfunctional family, led by Grace's stern father Virgil (David Alan Grier), have more secrets they can handle. The uneven but effusive "Peeples" is essentially a one-joke movie yet infused with a load of charm thanks to Robinson and a tremendously appealing cast. Directed and co-written by "ATL" and "Drumline" screenwriter Tina Gordon Chism and co-produced by Tyler Perry (thus the "Tyler Perry Presents" tagline) the best thing about it is that Robinson is so likable and Perry doesn't direct or write here, or we'd end up with "Madea-in-the-Hamptons." Though "Peeples" is a slight notch above Madea in terms of quality, its broad "Meet the Parents"-style premise is too familiar and the gags are just too easy, most falling flat and ending up with a messy, mildly entertaining movie. It also scratches the surface of some serious issues (such as substance abuse, sexuality, theft and more) which are made fun of but never really dealt with. Grier, inhabiting the DeNiro "Parents" role, is serviceable but underused, while Washington and S. Epatha Merkerson (of "Law & Order") are lovely as ever; most memorable are the fun cameos from the still beautiful Diahann Carroll and the still crotchety Melvin Van Peebles as the grandparents. The best moments of "Peeples" come from the few moments that Robinson is allowed to casually riff on the situation at hand, which doesn't happen near enough. I look forward to what the genuinely funny Robinson can do with better material than the incoherent, but sporadically (make that very sporadically) funny "Peeples." The Perry association may make this a modest hit with his audiences, but otherwise skip this lame effort.
Wes's Grade: C-
Robinson is the best part of routine dysfunctional family comedy "Peeples"
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| Kerry Washington, Craig Robinson and David Alan Grier |
Wes's Grade: C-
Friday, May 3, 2013
Renoir - B-
Rated R, 111 minutes
In French with English subtitles
"Renoir" is a lush but vapid romantic tale of two artists and their muse
If you're familiar with the works of Impressionist painter Pierre Auguste-Renoir, you know what a vibrancy the celebrated artist had in capturing much of the feminine sensuality. The lovely but thin new French drama "Renoir," based on a portion of the artist's life, lacks that same sense of vibrancy, though it does capture some beautiful, lush romantic images. It tells the true story of the painter Renoir (Michael Bouquet) who meets the ravishing lady who would be his final model, Andrée Heuschling (Christa Theret), not to mention his daughter-in-law, who falls in love with his son Jean (Vincent Rottiers) who himself would become a famous filmmaker. Heuschling would be not only a muse for them both but a link between two great artists who happened to be father and son. From director Gilles Bourdos, the slow-moving, character-driven drama has little insight into two great artists, but it does provide a sensuous (and little-known) portrait of their muse. The well-made, glossy "Renoir" is handsomely photographed and elegantly scored, which adds a lovely texture to the film, which isn't revelatory but much like the elder Renoir's paintings, gives us something lovely to gaze upon. If you're a fan of either Renoir, this alluring film would come as something you should see, but you'll leave with nothing more than when you entered the film. Worth a look even if it doesn't do much.
Wes's Grade: B-
In French with English subtitles
"Renoir" is a lush but vapid romantic tale of two artists and their muse
 |
| Michael Bouquet as Pierre-Auguste Renoir |
Wes's Grade: B-
Angels Share - B
Unrated, 106 minutes
Downbeat but engaging "Angels' Share" mines familiar working class theme
The crowd-pleasing British film "Angels' Share" won the Jury Prize at the 2012 Cannes Film Festival and it's easy to see why. The Ken Loach dramedy about some working class misfits with a knack for the flavor of pricey liquor, is engaging with a sheen of realism that pervades most of veteran filmmaker Loach's films. Though overly familiar and somewhat downbeat, "Angels' Share" has enough appeal for those who enjoy an underdog story. It tells the story of a young Glaswegian father and thug Robbie (Paul Brannigan), under the guidance of community-service leader Harry (John Henshaw), is introduced to the distribution and selling of high-priced whiskey, something that could lead to a new life for he and his new community-service payback friends. Veteran moviemaker Loach, best known for his 2006 war film "The Wind That Shakes the Barley," helms the likable yet routine film about the working class, something he's familiar with his other films such as "Sweet Sixteen" (2002) and "Bread and Roses" (2000). The working class theme is prevalent yet so familiar that it often seems predictable and at times depressing, but it's also peppered with a few affecting, poignant moments, and newcomer Brannigan, a young Scottish actor, grounds the film with warmth. The climax and ending is a bit calculated, you have a sense of where this will end up, but it's often fun getting there. Well-acted, directed though redundant, the appealing dramedy "Angels' Share" (named after a term that refers to the disappearing vapors of fermenting liquor) is worth a look.
Wes's Grade: B
Downbeat but engaging "Angels' Share" mines familiar working class theme
The crowd-pleasing British film "Angels' Share" won the Jury Prize at the 2012 Cannes Film Festival and it's easy to see why. The Ken Loach dramedy about some working class misfits with a knack for the flavor of pricey liquor, is engaging with a sheen of realism that pervades most of veteran filmmaker Loach's films. Though overly familiar and somewhat downbeat, "Angels' Share" has enough appeal for those who enjoy an underdog story. It tells the story of a young Glaswegian father and thug Robbie (Paul Brannigan), under the guidance of community-service leader Harry (John Henshaw), is introduced to the distribution and selling of high-priced whiskey, something that could lead to a new life for he and his new community-service payback friends. Veteran moviemaker Loach, best known for his 2006 war film "The Wind That Shakes the Barley," helms the likable yet routine film about the working class, something he's familiar with his other films such as "Sweet Sixteen" (2002) and "Bread and Roses" (2000). The working class theme is prevalent yet so familiar that it often seems predictable and at times depressing, but it's also peppered with a few affecting, poignant moments, and newcomer Brannigan, a young Scottish actor, grounds the film with warmth. The climax and ending is a bit calculated, you have a sense of where this will end up, but it's often fun getting there. Well-acted, directed though redundant, the appealing dramedy "Angels' Share" (named after a term that refers to the disappearing vapors of fermenting liquor) is worth a look.
Wes's Grade: B
Wednesday, May 1, 2013
Kon-Tiki - A-
Rated PG-13, 105 minutes
Handsome "Kon-Tiki" a sublime look at a remarkable, true journey
The Norwegian-made "Kon-Tiki" is one of those rare, impeccably made, handsome photographed action adventure stories that really is true. Based on the landmark Kon-Tiki exploration, it's a beautiful, though often harrowing look at a trip that made waves at the time. Norwegian explorer Thor Heyerdahl (played by Norwegian actor Pål Sverre Valheim Hagen) crossed the Pacific ocean in a balsa wood raft in 1947, together with five men, to prove that South Americans already back in pre-Columbian times could have crossed the sea and settle on Polynesian islands; their epic 101 day-long journey across 5,000 miles set the standard for trips such as this. Nominated for the Best Foreign Film Oscar this year and filmed on location in the Pacific Ocean, "Kon-Tiki" is an authentic, though dramatized look at the groundbreaking 1947 Kon-Tiki exploration. Masterfully directed by Norway's Joachim Rønning ("Bandidas"), with sublime photography, visuals, sound and a nice level of intensity, "Kon-Tiki" is a must-see film, not only for historians but for those who love a good (and true) yarn such as this. Though some dramatic liberties have been taken with the story, "Kon-Tiki" is still a sharp look at how the crew was affected by their elements from day one. Their scary run-ins with sharks may remind of "Jaws," but "Kon-Tiki" isn't a horror film (though certainly some of their situations were horrific), but a triumph of the human spirit. On that level, it can seem awfully familiar and even anti-climactic especially for those who know how it turned out, but the enjoyable "Kon-Tiki" is a satisfying adventure, its poignancy underscored by the fact it's a true story. Interestingly, while this film version did not win an Oscar (and it probably should've), the same-named 1951 documentary did win for Best Documentary. Definitely worth seeing.
NOTE: This is the review for the dubbed, re-edited English version and not the original Norwegian version.
Wes's Grade: A-
Handsome "Kon-Tiki" a sublime look at a remarkable, true journey
 |
| Kon-Tiki |
The Norwegian-made "Kon-Tiki" is one of those rare, impeccably made, handsome photographed action adventure stories that really is true. Based on the landmark Kon-Tiki exploration, it's a beautiful, though often harrowing look at a trip that made waves at the time. Norwegian explorer Thor Heyerdahl (played by Norwegian actor Pål Sverre Valheim Hagen) crossed the Pacific ocean in a balsa wood raft in 1947, together with five men, to prove that South Americans already back in pre-Columbian times could have crossed the sea and settle on Polynesian islands; their epic 101 day-long journey across 5,000 miles set the standard for trips such as this. Nominated for the Best Foreign Film Oscar this year and filmed on location in the Pacific Ocean, "Kon-Tiki" is an authentic, though dramatized look at the groundbreaking 1947 Kon-Tiki exploration. Masterfully directed by Norway's Joachim Rønning ("Bandidas"), with sublime photography, visuals, sound and a nice level of intensity, "Kon-Tiki" is a must-see film, not only for historians but for those who love a good (and true) yarn such as this. Though some dramatic liberties have been taken with the story, "Kon-Tiki" is still a sharp look at how the crew was affected by their elements from day one. Their scary run-ins with sharks may remind of "Jaws," but "Kon-Tiki" isn't a horror film (though certainly some of their situations were horrific), but a triumph of the human spirit. On that level, it can seem awfully familiar and even anti-climactic especially for those who know how it turned out, but the enjoyable "Kon-Tiki" is a satisfying adventure, its poignancy underscored by the fact it's a true story. Interestingly, while this film version did not win an Oscar (and it probably should've), the same-named 1951 documentary did win for Best Documentary. Definitely worth seeing.
NOTE: This is the review for the dubbed, re-edited English version and not the original Norwegian version.
Wes's Grade: A-
Iron Man 3 - B
Rated PG-13, 130 minutes
Action highlights the muddled but slick "Iron Man 3"
Without giving away any spoilers for the latest superhero installment "Iron Man 3" I will say it doesn't disappoint. Robert Downey Jr. is in great, cheeky-cool form, there's loads of action and special effects galore. It's certainly better than the lackluster second installment though not all of it works perfectly and some of it even seems very ho-hum routine and just another day at the superhero office. The entertaining "Iron Man 3" is a sure-fire crowd-pleaser, with the man in the iron suit back in fine, if not predictable and routine, form. Arguably the coolest, most likable and the most human of the superheroes, mainly due to the brash confidence of Downey, "Iron Man 3" is directed and co-written by Shane Black, who directed Downey in "Kiss Kiss Bang Bang" years ago and taking over for Jon Favreau (who produces and co-stars this time out), is actually more of a follow-up to last summer's giant blockbuster "The Avengers," which featured Iron Man, in that it picks up in the months following that film. In this outing, he faces a couple of powerful enemies, the Mandarin (Ben Kingsley) and scientist Aldrich Killian (Guy Pearce), both of whom could be behind a dastardly terrorist plot involving former U.S. soldiers. Back for the action are his trusted assistant and lover Pepper Potts (the always lovely Gwyneth Paltrow), pal Rhodey (Don Cheadle) and his bodyguard/head of security, Happy (Favreau). The first act is a little slow as it works through some Stark backstory, until it picks up some pep in the second act and doesn't let go with the thrilling climax involving more than one Iron Man. On the downside, the storytelling and script are a bit messy, but Downey can throw out some brilliant one-liners, usually in the midst of battle, and I like some added human elements (such as panic attacks) to the Stark persona. Kingsley plays a comic foil well (if I told you why that would give away too much) and Pearce is a serviceable villain, though in playing with plot calculations, his fate seems pre-ordained in the first few frames. "Iron Man 3," even with its flaws, won't disappoint fan boys and the rest of us who enjoy a decent action adventure/fantasy film. Slick, well-made, entertaining, with Downey and Paltrow in great form, you can overlook the film's slow points and the somewhat muddled story. Definitely worth a look if you enjoy this type of thing, and yes, stay over a humorous end-of-credits scene involving another Avenger.
Wes's Grade: B
 |
| Robert Downey Jr. and Don Cheadle |
Action highlights the muddled but slick "Iron Man 3"
Without giving away any spoilers for the latest superhero installment "Iron Man 3" I will say it doesn't disappoint. Robert Downey Jr. is in great, cheeky-cool form, there's loads of action and special effects galore. It's certainly better than the lackluster second installment though not all of it works perfectly and some of it even seems very ho-hum routine and just another day at the superhero office. The entertaining "Iron Man 3" is a sure-fire crowd-pleaser, with the man in the iron suit back in fine, if not predictable and routine, form. Arguably the coolest, most likable and the most human of the superheroes, mainly due to the brash confidence of Downey, "Iron Man 3" is directed and co-written by Shane Black, who directed Downey in "Kiss Kiss Bang Bang" years ago and taking over for Jon Favreau (who produces and co-stars this time out), is actually more of a follow-up to last summer's giant blockbuster "The Avengers," which featured Iron Man, in that it picks up in the months following that film. In this outing, he faces a couple of powerful enemies, the Mandarin (Ben Kingsley) and scientist Aldrich Killian (Guy Pearce), both of whom could be behind a dastardly terrorist plot involving former U.S. soldiers. Back for the action are his trusted assistant and lover Pepper Potts (the always lovely Gwyneth Paltrow), pal Rhodey (Don Cheadle) and his bodyguard/head of security, Happy (Favreau). The first act is a little slow as it works through some Stark backstory, until it picks up some pep in the second act and doesn't let go with the thrilling climax involving more than one Iron Man. On the downside, the storytelling and script are a bit messy, but Downey can throw out some brilliant one-liners, usually in the midst of battle, and I like some added human elements (such as panic attacks) to the Stark persona. Kingsley plays a comic foil well (if I told you why that would give away too much) and Pearce is a serviceable villain, though in playing with plot calculations, his fate seems pre-ordained in the first few frames. "Iron Man 3," even with its flaws, won't disappoint fan boys and the rest of us who enjoy a decent action adventure/fantasy film. Slick, well-made, entertaining, with Downey and Paltrow in great form, you can overlook the film's slow points and the somewhat muddled story. Definitely worth a look if you enjoy this type of thing, and yes, stay over a humorous end-of-credits scene involving another Avenger.
Wes's Grade: B
The Reluctant Fundamentalist - B
Rated R, 128 minutes
"The Reluctant Fundamentalist" a plodding, intriguing look at changing ideologies
The new film "The Reluctant Fundamentalist" is an absorbing, well-acted drama from Mira Nair ("Vanity Fair") with a slow pace that provides a different look at how our world has changed in recent years. A young Pakistani man named Changez (British actor Riz Ahmed), graduates from Princeton, and climbs the Wall Street corporate ladder. After 9/11, views and perceptions change considerably for Changez, even though he still has a great job and a beautiful girlfriend (Kate Hudson), and as his life takes him back to Pakistan, he finds himself in a dangerous, life-threatening situation with a colleague (Liev Schreiber). Based on the 2007 Mohsin Hamid novel of the same name, Nair's slow-moving but captivating drama is more character piece than action film, though its climax certainly veers toward the tense side; it'd an otherwise alluring portrait of having the best of two worlds. Nair is an accomplished director of character-driven pieces such as this, and it shows in the engaging performances from British rapper Ahmed, who grounds the film well, and Hudson, in smaller but pivotal role that provides her strongest turn in years and something much different than the dreadful romantic comedies she's been pegged to. Schreiber and Kiefer Sutherland are also memorable in supporting roles. As with some of Nair's previous films, the plotting tends to meander at times, and it's about 15 minutes too long, not to mention considerable changes have been made from the novel. Even with its flaws, "The Reluctant Fundamentalist" is a handsome, thoughtful drama with a mesmerizing Indian-flavored score that compliments Nair's assured direction. Worth a look.
Wes's Grade: B
"The Reluctant Fundamentalist" a plodding, intriguing look at changing ideologies
 |
| Kate Hudson and Riz Ahmed |
Wes's Grade: B
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