Gone Girl

Ah, hello film lovers. It feels good to be basking in the love of filmmaking again; forgive my absence, as I have been busy, but I thought I'd share with you some of my obsessive thoughts on a very recent film, Gone Girl. Something in this movie is so invigorating and genius that I couldn't avoid writing about it. Until next time, keep watching.

        Gone Girl

           If you're thinking about seeing Gone Girl, think big. Think really big. Think Kubrick meets Frigidaire (that's right, I'm talking about the appliance manufacturer). Think satire and think deep. Think well coached, because that's exactly what every actor in this movie is. Think disturbing beyond anything he's made before. Think scenes that hurt to watch, and think scenes that make you shiver in awe of what you're watching. Think brutally honest themes packed into one outlandish debauchery of human nature. Think modernism, and think beyond the surface. Most importantly: think, because if you don't, Gone Girl will rip you apart, and you'll hate every second of it.

          To answer your first question, is this Oscar Worthy material? You bet. I'm thinking a Best Screenplay nomination, and Best Actor nom for Ben Affleck, the man with the plan (from, you know, that one movie, Argo). The question is, is he playing another guy that contemplates what he's doing 100% of the time? The answer is no; no he's not. He's a guy whose wife goes missing. He's not a deep thinker. In so many instances, he is seen committing acts that a more composed, more intelligent man in his shoes would not. The problem is that we don't really see Ben Affleck as that guy. 

          On a sidenote, I was recently enlightened on behalf of the difference between a problem and a predicament; a predicament is something that you're forced to compensate for, and a problem is something you can do something about. Ben Affleck's presumptuous complexion, behavior patterns in preceding movies that all point to an intelligent individual is not a predicament, and genius and previously praised (by myself and others) David Fincher has got the skills to re-articulate his manners, and it's just that he does. He coaches Affleck's character so incredibly well that I can't decide who deserves the real credit here. One thing's for sure, Affleck's stellar acting and even better coaching gets attention, gets the job done, and does exactly what this movie was aiming to.

          What a vivid and beautiful movie Gone Girl is. It's a real pleasure to watch (or, in this respect, see); every other shot is a pan that captures seemingly perfect peoples' dazzling complexions or interior decorating that would knock the socks off of any decorator in the modern world.

          Speaking of the modern world, I better stop speaking. I'm not a fan of spoilers and neither are you, but I'll say this in regards to what this movie is saying about the today's society: it's unsettling. So while I'm going to shut up, the movie won't. And don't let it, because it's got a lot to say. Those of you looking for a literal film, go watch Zodiac or The Girl With The Dragon Tattoo (both Fincher films that I highly recommend). You won't find one here, and if you do, you should take another trip to the theater. Gone Girl is a seething satire that stings like a serrated blade when it clicks in.

          As for the star rating, which I've completely abandoned in regards to this movie, my enjoyment can be exemplified by a three star rating, and the brilliance can be exemplified by a four star rating. I guess, then, my official rating is somewhere in between. You decide.

Written by Cole Pollyea

EDGE OF TOMORROW

Cole's Rating: ★★★ ½

Jesse's Rating: ★★★ ½

Director: Doug Liman

Year: 2014

Cast: Tom Cruise, Emily Blunt, Bill Paxton

Genre: Action/Sci-Fi

MPAA Rating: PG-13

        Sci-Fi movies that I find myself wholeheartedly caring about, and investing in, the characters and what's on screen are far and few between, but there's something notable about Edge of Tomorrow that forced me to do so, and subsequently, enjoying. It could be the fact that it plays something like 1993's Groundhog Day and reminded me of something like 2005's War of the Worlds. It could also be the fact that it blends a multitude of unique, entertaining facets of filmmaking and compiles it into one explosive, exciting film that you shouldn't miss.

        This is Mr. Tom Cruise's fourth Sci-Fi entry in the past four years (next to Mission: Impossible - Ghost Protocol, Jack Reacher, and Oblivion) and I'm prepared to say that it's heads and tails above all three other above referenced films. It combines elements of each, but ultimately, it's a brand new, refreshing film that I, gratefully, caught a sneak peek of on a late Thursday night opening week. 

        But without further ado, Edge of Tomorrow is a film that takes place over the course of a day, though it feels like a million. Why? Because Cage (Cruise) is trapped inside of a repetitive day-reset wherein every single time he dies, the day begins again. His mission, as he's, before actually facing combat in the military, forced into it by a higher power, is destroying the "omega" of the alien force that has threatened the front line (and beyond), which he is fighting in. Along the way, an abundance of crucial information to the story is revealed which makes the proceedings all the more fun.

       As far as the acting is concerned, it isn't first rate (Cruise doesn't give us a Charlie Babbitt, but something of a Jack—from Oblivion) but the special effects are! What fun it is to see Edge of Tomorrow; if—impossibly, you aren't engrossed in the screenplay, the visual stunners provide enough of a show to justify a trip to see this movie, the likes of which is, actually, worth seeing in 3D.

        Something I consider after every viewing of a Cruiser is how many times (if at all) I'm going to be revisiting the movie at hand. Based upon how unexpectedly I wound up enjoying Edge of Tomorrow, it's safe to say that it might find its way in front of my eyes again, and I await that day with anticipation of a great summer film.

-Written by Cole Pollyea

THE LEGO MOVIE

Cole's Rating: ★★★

Director: Phil Lord, Christopher Miller
Year: 2014
Cast: Will Arnett, Elizabeth Banks, Alison Brie
Genre: Animation/Adventure/Comedy
MPAA Rating: PG

It's obvious that a group of intelligent individuals sat down and came up with the idea for The Lego Movie. That shows in the screenplay. It's also obvious that moviegoers were very receptive to their style of filmmaking. That shows in the notably high Rotten Tomatoes score of 96%. And when you throw in cutting edge animation and notable voiceovers, the end result is a kids' movie that deserves a spot on the DVD shelf.

With that being said, it’s important to recognize the fact that I wasn’t blown out of my seat by this movie. Don’t get me wrong, it’s a good flick, but through my eyes, it wasn’t as great as it was cracked up to be. I suppose that I was predisposed to it’s alleged excellence, and in turn, I was let down at it’s, for lack of a better term, mediocracy.

We’re thrown into the life of Emmet, a guy who strives to be “normal” and no different than “average” because, as it’s taken, the society revolves around this expectation of people. When he’s mistaken for the “most extraordinary person in the world”, he sets out on the adventure of his life to “save the world” with a multitude of friends including the funniest character in the whole movie, Batman.

As it sounds, The Lego Movie is creative. It stretches boundaries of animation that make us think, and along the way, it incorporates some genuinely funny moments that make it a memorable (enough) moviegoing experience. It really isn’t a hilariously comedic film, to my dismay, but it delivers time after time and it, overall, is worthy of your family’s viewing. Something to consider too, is that even if you don’t love it, the kids will. It’s charisma is simply too much to shy away from at a young age.

-Written by Cole Pollyea

THE TOP 10 MOVIES OF 2013

The Top 10 Films of 2013

by Cole Pollyea

1. THE GREAT GATSBY

- Though it wasn't critically admired, I, as a film and classical tale enthusiast, was moved by this film on every level. With great performances, a unique soundtrack, astounding visuals, and an epic story that can't be dismissed, The Great Gatsby is, conclusively, the best film of the year.






2. AMERICAN HUSTLE

- American Hustle is a movie's movie. It's detailed, gritty, and incredibly well made. David O. Russell concocted yet another masterful piece of art that fuses groundbreaking performances with a juicy, mature story. 







3. DALLAS BUYERS CLUB

- Dallas Buyers Club is so many things. It's Matthew McConaughey's best performance of all time, Jared Leto's best performance of all time; it's one of the most hard-hitting, emotionally effective movies of the year, and it's, overall, a movie that I will revisit time and time again.

4. BLUE JASMINE

- Blue Jasmine is a mature, engaging, well made film that is about as real-life as anything this Oscar season. Cate Blanchett delivers a strong, noteworthy performance of the dynamic, well-created Jasmine. A powerful, thought provoking film, is what I'd call this movie.





5. HER

- As creative, wise, and innovative as they come, Her gets a strong recommendation from me because of its undeniable intelligence and absorbing moviegoing experience. Spike Jonze hits it out of the park.





6. NEBRASKA

- Alexander Payne paints a portrait of small-time, unnoticed life in Nebraska, and couldn't have done it any more sensitively. He has an admirable awareness of every character that encompasses screen time in this movie, and the payoff is enormous. Nebraska may not win any Academy Awards (may), but it sure is a solid candidate.



7. THE SECRET LIFE OF WALTER MITTY

- Beautifully expressed and totally honest, The Secret Life of Walter Mitty is included on my list because of the vision and intent in the eye of director and main actor, Ben Stiller. Look out for an artistic cameo by Sean Penn.









8. MAN OF STEEL


- Man of Steel is an epic must-see. It's an accurate, engrossing moviegoing experience that re-creates the tale of Superman with a modern touch. My only complaint is how it turns into a Michael Bay picture in the second half of its running time. Nonetheless, the performances and screenplay (for the first half) are enough to call this an instant classic.





9. GRAVITY 

- Gravity is a well acted, well shot thriller that is a solid, justifiable ninety minutes of movie watching. In terms of it's impact, I wouldn't say it's as epic or revolutionary as something like Open Water. It's main flaw lies in the script, which is why I found myself rather irritated with what I invested my empathy into. However, it moves quite a bit in the considerably short time it runs for.




10. PRISONERS

- Prisoners is a well filmed, sharp, frightening look at a kidnapping case that shook worlds. It begs comparison to Zodiac because of its eerily similar style and feel, and I couldn't help but notice that it just doesn't live up to that. Nonetheless, Prisoners ensures an absorbing, scary experience, and it packs in a lot of clever irony in the screenplay.

NEBRASKA

Cole's Rating: ★★★ ½

Jesse's Rating: ★★★ ½

Director: Alexander Payne

Year: 2013

Cast: Bruce Dern, Will Forte, June Squibb

Genre: Adventure/Drama

MPAA Rating: R     

       Director Alexander Payne and writer Bob Nelson perched themselves on a stool and painted a beautiful portrait of small-scale, unnoticed life in their sensitive examination of old age called Nebraska. With what seems to be an infinite amount of insight and commendable artistic edge, it takes its premise and runs with it. Nebraska is a very, very well made film that will undoubtedly break the hearts of many moviegoers who come across this unique, heartfelt motion picture.

        Will Forte is David, who is, from scene one, burdened with the disorientation of his father, Woody, played by Bruce Dern. This relationship is, as we discover, not very deep, developed, or personal, and David feels obligated to do something about it. So, he humors his presumably silly, unaware father by taking him on a road trip to Lincoln, Nebraska to cash in what Woody believes to be a million dollar cash prize.

        The most mesmerizing attribute of this film is the obvious awareness and understanding that the filmmakers have for the characters that demand our attention and care. The screenplay that articulates everyone in the movie flawlessly defines the people that we grow to know and even understand. And what's more, it leaves us craving more of these people that up and leave when the movie ends; we yearn to hear the rest of their story, even if that's not completely necessary.

        But what really makes this movie shine is Bruce Dern and his considerable acting prowess. He's been in the industry since 1960 and, it seems like, after a lifetime of acting he's found his true role; he plays Woody honestly and wholeheartedly, and I couldn't help but savor every scene that he commanded. His overwhelming charisma and ability to become such a precious character is what earned him his Academy Award nomination.

        And it's those two factors that make this such an incredible movie. It's not a flawless road movie, as it's got its noticeable lags in storytelling. What it is, however, is a moving character study that, in nearly every respect of a movie driven by its characters, fails to let us down. Nebraska is a masterful movie that justifies not one, but multiple viewings.

-Written by Cole Pollyea

ROBOCOP

Cole's Rating: ★★★
Jesse's Rating: ★★★

Director: José Padilha 

Year: 2014

Cast: Joel Kinnaman, Gary Oldman, Micheal Keaton, Samuel L. Jackson

Genre: Action/Crime/Sci-Fi

MPAA Rating: PG-13

         The only possible way that you can enjoy Robocop (2014) is if you take everything for granted—and I mean everything. Assume it's possible for a company called Omnicorp to implant a "chip" in someone's head to simulate emotional control. Assume it's possible to just create a robot that is more efficient than the latest technology with no effort whatsoever. And also, assume it's possible for this to be legal. If not, you're not going to get much out of this viewing other than dissatisfaction. But if you turn off the realistic thought processes in your brain, Robocop is going to be one heck of a ride.

        The director of this reboot, José Padilha, shoots this flick at a fast, steady pace, refusing to slow down to elaborate or explain certain plot elements, and, as a result, winds up with a movie that is relatively hard to believe, but still the antithesis of boring. There’s a level of confidence that the screen emits as the movie progresses, and you can tell that the director had a lot of fun making it. From scene one, there’s a detectable sense of vision, and it makes this movie a real payoff. It begins, brilliantly, with the corrupt Samuel L. Jackson character speaking to the American public about the political battle over allowing the robots to rule the streets and serve as cops so that real humans don’t lose their lives. The flip side of this is that the robots have no human empathy and are illegitimate sources of reliability when it comes to dealing with a human life, he explains. As the movie progresses, a disfigured police officer becomes a candidate for a solution called “Robocop”, that comes with its own problems.

        This movie has a lot of veteran actors in it that treat it like serious material; I dug it. There's no Academy Awards that are going to be given here, but that doesn't mean that the actors don't give good performances, because they do. With just a few exceptions, it's true fun to watch this cast bring the story of Robocop to life.

And when it comes to describing the quality of the action scenes, forget about it. All I can say is this: I’ve never seen my uncle fist pump out of excitement before, and when the most intense battle sequence in the film hit the screen, his eyes widen, fist flew in the air, and voice escalated to “this movie’s awesome!”. The futuristic society is brought to life all too well; the effects blend with the fast-paced direction and character involvements. It wouldn't be a sin to call this movie a popcorn flick for the ages.

I feel that, as a critic, it’s my job to credibly persuade my readers whether or not to see a movie, and, with Robocop, I feel that it got a bad rep that it didn't deserve. So, I’ll end on this note: ignore it’s lack of believability. Embrace it’s well intended actors/actresses even though there is a handful of cringe-worthy moments. Love Robocop for the unabashed, high-quality level of entertainment and consider it a craft. I mean, after all, audiences ate up Transformers!

-Written by Cole Pollyea

LONE SURVIVOR

Cole's Rating: ★★★

Jesse's Rating: ★★★ ½

Director: Peter Berg
Year: 2013
Cast: Mark Wahlberg
Genre: Action/Biography/Drama/War
MPAA Rating: R

        Lone Survivor goes like this: talk-talk-bang-bang-bang-bang-boom-bang-boom-bang-boom-bang-bang-bang-bang-end. In short, if violence—and I mean intense violence—is up your moviegoing alley, then this is a must-see because Lone Survivor is all about the action. It daringly sheds its ability to be a character study and, in turn, becomes a violent, heavy-handed war film. I dug it, even though I grew tired of it after awhile.

        Wahlberg and company star in this exceptionally well shot movie about a group of special force marines who set out to capture, or even kill, Taliban figure Ahmad Shah. Little do they know that their intentions are about to be compromised by roaming members of the community whose lives lie in the hands of said marines. By choosing to spare their lives and let them go, they put themselves in a extremely vulnerable situation in the mountains of Afghanistan.

         First off, it's important to make note of the fact that Lone Survivor is not a movie that is powered by its performances. In fact, I'd say that, for a war film, its performances are just decent. The acting feels routine, and if anyone in this movie was even remotely attempting for an Academy Award nomination, that notion wasn't delivered in the slightest bit.

        But the thing about Lone Survivor is that it didn't feel like a movie that absolutely needed strong performances (though it, obviously, would've been nice to have them), and that's what gives the visceral scenes of war violence a sense of empowerment. The authority to go forward with such a confident style of filmmaking was also brought to life by the skillful camerawork, a craft of director Peter Berg.

        And what made up for the acting, emotionally, were the well-sewn-in minutes of real-life material that concerned not only pictures and videos of the actual people who are portrayed in the film, but also footage from the marines' training. These pivotal portions of the movie were completely effective, and didn't feel contrived whatsoever.

        Conclusively, Lone Survivor is a nicely edited, action packed war movie that, while it doesn't really feel like Academy Award worthy material, is still a legitimate, worthwhile movie to watch on a Saturday night with some pals. And on the big screen, the experience that this movie can provide is even better—and even more frighteningly realistic.

-Written by Cole Pollyea

BLUE JASMINE

Cole's Rating: ★★★ ½

Director: Woody Allen
Year: 2013
Cast: Cate Blanchett
Genre: Comedy/Drama
MPAA Rating: PG-13

        From scene one of Blue Jasmine, I got the notion that this movie was going to be a lot of talking. This dictated that I was going to have to conquer my viewing with a cup of coffee in hand; so I did. Here's the report: Blue Jasmine is a solid entry into this year's Academy Awards. It's an engrossing movie that harbors exceptional characters and an even better cast to bring these characters to life. With all this in mind, I also took note of the fact that it's probably the unhappiest film of the year.

        Jasmine—played by Cate Blanchett—is a total mess. She takes Xanax to prevent herself from having nervous breakdowns on a daily basis because she decided lithium wouldn't do the trick. She drinks vodka and martinis at two o'clock in the afternoon, she lies, and she takes advantage of everyone around her to support the image she builds for herself in her head. She comes to San Francisco to stay with her sister and her two kids for awhile until she "gets back on her feet", though she, nor her sister, are sure this will ever happen. But by the tone of the movie, it's clear that this is not all there is to the story, so, while the whole process of this is happening, the movie zooms in on her life years before, when she was married to Hal (played with exuberance by Alec Baldwin), a hotshot businessman whose credibility becomes a risk for his job and family.

        This story parallel that the screenplay creates makes for an engaging, worthwhile moviegoing experience. The scenes that depict her relationship with her husband seamlessly flow into present day, which creates a sense of understanding for the main character whose flaws and shortcomings are all a result of her shipwreck of a marriage. There's a gap of time between these linear tellings that are, brilliantly, left to the viewer to depict. We aren't spoon fed the exact happenings and circumstances that made her so unstable, but we have a clue, and, to be sure, sympathy is had. It's not that we like Jasmine, or root for her, but we have an understanding for her that we feel no one else does. That's what makes this motion picture so moving.

        On top of that, what comes with the well-crafted film is a cast of seemingly veteran actors that make this a believable, upsettingly realistic movie. Cate Blanchett isn't nominated for an Oscar because of her stand-out performance or ability to take control of the screen. She's nominated for Best Actress because of her mere ability to encompass the dynamic character that is Jasmine. To begin with, she looks the part. Moreover, she commits every small action with even the slightest detail to embrace this character for what she is. In part, this is what makes Blue Jasmine such a convincing movie.

        The wonderful thing is, she's not the only one carrying weight; we have Alec Baldwin who gives a lively, incredible performance as Hal. The smooth, quick-to-think nature of his character is brought to life all too well. We start to, as audience members, fall subject to his charisma, well aware of his wrongdoings that Jasmine fell victim to. Then we have Sally Hawkins (who is nominated for Best Supporting Actress), Andrew Dice Clay, Louis C.K., and Bobby Canavale who contribute their best efforts to spice up this film; that's exactly what they did.

        And throughout the proceedings there is a evocative, unique soundtrack that consists of songs like "Blue Moon" from 1934 and "Back O'Town Blues" from the same time. These vintage songs that play over what's happening benefit the screenplay greatly by helping make more vivid what we are feeling as we watch what happens to the characters on-screen. There were a lot of films that came out this Oscar season, and some used music notably well. Take, for example, The Wolf of Wall Street. Others, like Dallas Buyers Club, the opposite. I'm glad to report that this insightful, artistic film is in the former category.

        Conclusively, I'd honestly say that Blue Jasmine is one of the best films of the year. However, it's elongated, talkative style of storytelling will most likely turn some viewers off, which is one of the reasons I think it wasn't nominated for Best Picture. With that being said, I'd like to point out that this movie has an admirable maturity about it. There isn't the slightest bit of sugarcoating, and, as a result, this movie isn't superficial in the least bit. 

-Written by Cole Pollyea

ALL IS LOST

Cole's Rating: ★★
Jesse's Rating: ★★★ ½

Director: J.C. Chandor
Year: 2013
Cast: Robert Redford
Genre: Action/Adventure/Drama
MPAA Rating: PG-13

        Stop me where I'm wrong. Robert Redford is stuck on a boat. Did I hear stop? I shouldn't have, because that's absolutely right. Robert Redford is stuck on a boat in All is Lost. Now, stop me where I'm wrong once more. Robert Redford is stuck on a boat and I care enough to watch him for nearly two hours. Did I hear stop? I definitely should have, because that is completely inaccurate.

        Cinematic escapism is an important thing nowadays. Being able to turn on a movie—a thriller—and become concerned with, and immersed in, the world that it creates is a desirable thing. The fact that All is Lost purports to be a movie that can serve as such a piece is an insult to our expectations. This movie's writing and direction, while steady, is merely unconvincing—and unsatisfactory. The screenplay doesn't create nearly enough opportunities to get to know the main character, and as a result, I'm left wondering how exactly the audience is supposed to care what happens to this man during his plight that is, while uninteresting, still well captured.

        While All is Lost isn't nominated for Best Picture, two other movies that share similar attributes are, being Captain Phillips and Gravity. I'm not a huge fan of Captain Phillips, but I do like Gravity, and I can say this: both of those movies are far more involving, and both far more worthwhile to watch. The reason for that is the screenplay for each movie seamlessly develops the characters in distress, and adds psychological layers that make it a viewing that is, well, more fun.

        All is Lost is, however, nominated for Sound Editing in this year's Academy Awards. It's status in these awards represent what I consider to its exact quality. I don't consider it a poorly made film because I'm someone who needs to be stimulated to an incredible extent in order to enjoy a movie, as I'm not. I just think that, ultimately, while its visual and sound effects may garner some attention, this movie, otherwise, just isn't worth viewing. 

-Written by Cole Pollyea

HER

Cole's Rating: ★★★ ½

Director: Spike Jonze
Year: 2013
Cast: Joaquin Phoenix, Scarlett Johansson, Amy Adams, Rooney Mara
Genre: Drama/Romance/Sci-Fi
MPAA Rating: R

        It's important to have insightful, fearless, innovative, and intelligent filmmakers like Spike Jonze in today's cinematic industry. Many of our modernistic ways haven't yet been put into perspective on film, but director Jonze does just that and more in his 2014 Best Picture nominee, Her.

        Her confidently throws us into the life of Theodore Twombly, a lonely man who works at a company that composes personal letters for people that can't or won't. He spends his nights restless and empty, and his days stuck in reality. This all changes when he becomes infatuated with the newest, highly futuristic OS1, a technology that communicates like a human, and starts to—theoretically—become one.

        Theodore is flawlessly executed by Joaquin Phoenix, who fits the role like a glove. His facial expressions, gestures, and the way by which he delivers dialogue is quiet, genuine, heartfelt, and incredibly powerful. There are pivotal scenes in the movie that couldn't have been expressed through any other actor. It feels like Jonze is the painter and Phoenix is the brush; these two were meant to work together to bring this movie to life, and the result is something to marvel at.

        Amy Adams, in her third movie of the year, has proven that any director who dare cast her is going to get his/her money's worth. She has the admirable ability to embody any given role in the wide spectrum that is film. Earlier this year, she played Lois Lane in Man of Steel with exuberance. Later on, she took on the job of American Hustle—which I believe she is going to receive an Academy Award for—and here, she plays Amy, a documentary filmmaker whose relationship with Theodore isn't really divulged and made important until the last half hour or so of the movie comes around. This last portion of the movie is perhaps the most tender; it's about then when the writing, performances, cinematography, and score all come together like members of an ensemble to bring home the point that the filmmaker was attempting to make. It's at this point in the film that Adams kicks into high gear, and creates a character whose self-realization is both touching and awing. In short, I know for certain that her role in Her didn't consume as much screen time as her role in American Hustle did. I can't say for certain, though, for which performance I'd applaud the talented Ms. Adams for more.

        There's a level of appreciation that has to be had for a writer who incorporates fashion statements from the past to add a layer of intelligence to a futuristic tale. Part of the reason why this film works so well is because of what we, the audience, see on-screen. Considering that he wears high-waisted trousers and collarless shirts, Joaquin Phoenix looks as comfortable as can be on screen in front of the beautiful filming site of Los Angeles. Moreover, the gracefulness of the intimate camerawork benefits every other artistic characteristic of this movie (including the musical score). These aspects are a lot to take in at once. But as one will discover, this movie appeals to all senses, and it's obvious that Jonze has a good grasp on, and awareness of, all of this. It's an atmospheric movie, and I can honestly say that there were few times when the filmmaker didn't have the grip that he should have had on me.

        With all of that being said, it's important to put on the table that I don't believe Her is going to win Best Picture. It's not the Academy's type of film; it's a precocious, sensitive satire that doesn't beg for attention. It's not the meaty, historically rich film that 12 Years A Slave is. However, this is something that I, as a film lover and maturing human being, am going to revisit as the years go by, as it is a movie of incredible wisdom that offers insight into human emotion and capability. It is the most exquisite, beautiful motion picture that has come along in a long time.

-Written by Cole Pollyea

THE NUT JOB

Cole's Rating: ★★

Director: Peter Lepeniotis
Year: 2014
Cast: Will Arnett, Brendan Fraser, Liam Neeson
Genre: Animation/Adventure/Comedy
MPAA Rating: PG


       Before seeing The Nut Job, know this: it's been done before. Animals commit acts of theft in order to secure food for their survival during the winter. What's new? There isn't the slightest difference between this and the 2006 animated film, Over the Hedge, except maybe the voiceovers, which I found to below average here. Ultimately, The Nut Job doesn't have a lot of things going for it. I suppose its charisma may be on its side, but I wouldn't say that it's enough to justify a trip to the movies.

-Written by Cole Pollyea

25th ANNUAL NOTRE DAME FILM FESTIVAL

Article: Coverage of ND's 2014 Film Festival

By Cole Pollyea

        It's a privilege to have a local college, the successful and well known Notre Dame University, devoted to encouraging, motivating and exposing young, avid filmmakers and their productions. Their education, creativity, and passion for film are three elements that drove their short movies out of nowhere and onto the screen of the beautiful DeBartolo Performing Arts Center on the cold, wintry evenings of January 23rd, 24th, and 25th. 

        Before entering this building on Friday night, I had only been to the Performing Arts Center once, this being on that very same afternoon around 1:00. My film-loving uncle and I, so incredibly hyped to be covering our first major film event as critics, made the drive to the Notre Dame campus five hours early to observe where we'd be attending that night. We trekked through the blizzard-like weather and burst through the door, becoming instantly immersed in a clearly well kept, educational environment. But alas, there was a catch: no one was there. We looked around for awhile, eventually locating Browning Cinema, the theater in which the films were going to be shown. It was an odd thing to be in such a vast building alone in the middle of the day, and out of courtesy, we began to leave. On our way out, we were warmly greeted by a member of the Arts Center, who offered us a free tour of where this event was to be held. We were led through the spectacular, graciously funded, and masterfully designed building and introduced to the exquisite interior structure and state-of-the-art technology that made it such a well-functioning place.

        With the introduction of the venue out of the way, my uncle and I ventured into the Arts Center for the second time that day. We were eager to witness these student-made films, and possibly engage in a discussion with any other aficionado willing to converse about film (as we were looking for some exposure for our websites). After pictures and brief conversations were taken care of, the films began.

        Having fourteen projects in all (with each one ranging anywhere from three to sixteen minutes long), the program began with a seven minute film called "Chicks", a movie about a "poultry prank" on a farm that surely makes the antagonist regret the actions he took. This, along with five others being "Ash", "Lilith's Game", "Discordance", "Dinner For None", and "My Neighbor Ned", were all fictional projects that I saw to be very nicely edited. It was clear, though, that this was not all these talented filmmakers were capable of, as the program was not done. Shortly following "Ash" came an effective, thought provoking documentary-like film called "Gimp", based on Toronto writer Aaron Broverman, an individual with a disability who wants to change the world's perception of disabled persons. One of the films that followed was a delightful Coen Brother's spoof called "Rice Bag" wherein a man found in the middle of the dunes (shot in St. Joseph, Michigan) becomes the center of a very confusing—and very funny—debacle. 

        Along the lines of channeling famous feature films from the past was an extremely short, metaphoric (?) film called "A Quiet Day At The Park". It chronicles a woman's horror-filled, yet seemingly playful afternoon in the park. As it comes off feeling like a theater piece and also has a wildly frolicsome theme song playing over, I could see its resemblance to something that Charlie Chaplin would have made. Moreover, near the end of the program was a student film called "The Wormhole", a movie that, in some minor respects, channels 2001: A Space Odyssey.

         Near the end of the program was a silent, hauntingly powerful slice of life concerning two parents whose worst fear became a reality. Without being cliche, overdramatic, or dull, "Unearthed" moved me without trying too hard. It kept me guessing, and exercised its lack of dialogue to its best interest. I was left clapping heartily and saying, "well done".

        However, the two longest and possibly most memorable short films were the documentaries entitled "The Suicide Disease" and "The Last Free Place". "The Suicide Disease" is the heart-wrenching real-life story of Frances Shavers, a woman who is victim to a horrifying disease, one that impaired her ability to continue her profession at Notre Dame. Having personally known her as a wonderful woman, I was completely engrossed with what was on screen (though I would have been even without knowing her). As far as my level of involvement goes, the same is true of the other remaining documentary, "The Last Free Place",  a film that exposed a small, dirty, unnoticed aspect of life—in "Slab City". Considering that both movies felt professionally filmed, I wasn't shocked to hear that "The Suicide Disease" won the festival's award for best student movie. 

        Having witnessed a good amount of well filmed, sharp-looking student movies in a pristine, top-notch theater, I can wholeheartedly state that I am looking forward to coming back next year. I'm not sure what I thought of Notre Dame's film program before venturing out on the frigid evening of the festival, but after viewing how solid their film department is, I can honestly say that my eyes are far more open than they previously were.

DRUGSTORE COWBOY

Cole's Rating: ★★ ½

Director: Gus Van Sant
Year: 1989
Cast: Matt Dillon, Kelly Lynch, James Le Gros
Genre: Crime/Drama
MPAA Rating: R

I applaud Gus Van Sant, Jr. I really do. Over the course of his lifetime, he’s made a multitude of thought-provoking, inspiring films that manage to capture and expose seemingly unnoticed aspects of reality (a classic example in Goodwill Hunting). In his most potent movies (Milk at the top of the charts), he effortlessly moves the audience in a way that only those who have experienced it can fathom. I didn’t get this feeling when I saw Drugstore Cowboy. Instead, I felt particularly unaffected.

However, my hopes were considerably high when the film started. Beginning with what I took to be a sound, promising structure, Drugstore Cowboy zooms in on the lives of pathetic (right?) druggies that get by by their drugstore raids. Following their intricate schemes, they proceed to retreat to their apartment and shoot, literally, whatever substance they managed to accumulate on their pillage into their veins. Thereafter, bickering, and serious self-examination follows. This is the tired route that the movie takes over and over again and, before long, it becomes quite purposeless.  

The problem lies in the narrative; what were the filmmakers trying to tell us? Were they exposing the desperation that people can be succumbed by in this world? Were they trying to incorporate a theme about physical abuse? Or, did this movie even have a narrative? All of these thoughts occurred to me as I sat and watched the ongoing (yet well captured) display of these peoples’ day to day lives. At the end, I was left wondering what it was I just saw.

In conclusion, it’s safe to say that Drugstore Cowboy’s screenplay took us nowhere. It isn’t a movie with a clear intention. It’s sort of just existent. What started as an ambitious, exciting slice of life headed downhill, becoming more and more meaningless as it went along. Among the film’s few assets are Matt Dillon and Kelly Lynch. While they really stand out, I do wish I could name more.

-Written by Cole Pollyea