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
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