JOY

Cole's Rating: ★★★
Jesse's Rating (And Review): ★★★ ½

Director: David O. Russell

Year: 2015
Cast: Jennifer Lawrence, Bradley Cooper, Robert De Niro
Genre: Drama
MPAA Rating: PG-13

Over the last four years, Jennifer Lawrence has teamed with director David O. Russell and actors Robert De Niro and Bradley Cooper to produce three notable films. These are 2012’s Silver Linings Playbook, 2013’s American Hustle, and their latest, 2015’s Joy. All three have undeniable merit, for certain, but the result of their latest collaborative effort is Jennifer Lawrence’s finest performance to date and the initiation of a three way tie for O'Russell's second best film (behind I Heart Huckabees).

Yielding an unjustly low Tomatometer score of 58%, Joy follows the plight of an innovative and exceedingly capable young woman, Joy Mangano, who is burdened by her uncooperative, soap opera-addicted mother, her dim-witted father (De Niro), her broke ex-husband, two kids, and the sole responsibility of paying the bills. After years of working her hands to the bone to keep up with the livelihood of the family living under her roof, she comes to the realization that she has been spinning her wheels with no forward progress since she graduated from high school, and, with the slight support and cooperation of her father, controlling sister-in-law, and ex-husband, she embarks on an entrepreneurial journey in an effort to move up in the oppressive and capitalistic world and to redeem all of her lost time.

Joy is, without doubt, O’Russell’s most engrossing and straightforward piece yet. He doesn’t meander, and he doesn’t lose focus for a second. He successfully incorporates crushing themes of consumerism and bigotry, and lets said themes play out in the despair of the viewer’s eyes. He constructs the characters in Joy’s life very simply, but gets away with it. They are cardboard-cutouts in the best sense possible because they leave the viewers very sure about Joy’s family dynamics and the way that she feels about each person in the film. He leaves all of the film's complications to the obstacles that she faces along the journey, and this results in seamless and absorbing plot development.

Bradley Cooper comes in after a decent amount of screen time, and he plays the QVC rep through which Joy is able to advertise her product on television. His role, as her personal connection to the non-personal realm of business, is key and his performance is exactly what you’d expect from Cooper. From a wardrobe/makeup perspective, his appearance properly conveys the high stakes associated with his job along with the same level of anxiety that the audience experiences during the majority of his screen time. Despite being draped in professional clothes with his same, great haircut, he looks like he’s operating on three to four hours of sleep and his tie is loosely tied in every frame. De Niro performs on the same level; he delivers lines with gusto and adheres purposefully to the character of Joy’s father: a dim-witted, but good-hearted man who has accepted into his heart the same condemning ideology that threatens to corrupt Joy’s success: that successful business is done by only the elite male.

Make no mistake, however, it’s all about Lawrence here. From her first scene, it was clear that she was going to shine as the housewife-turned-entrepreneur who is tested on every level. She wears anguish on her face when duty calls and kicks butt when she has to. It seems as though this is the role she was meant to play, as her portrayal feels comfortable and just plain right every step of the way. I foresee strong Oscar consideration for her work here.

All merits aside, Joy does have two setbacks that keep it from being a near-perfect film, and those are its obligatory ending and its imprecise voiceover. Seen many times before in many different movies, this aggravating sort of ending didn’t hurt Joy but certainly didn’t send itself off effectively by any stretch of the imagination. It was an attempt by the filmmakers to encapsulate all of the movie’s ideals and the characters’ denouements in one extremely unsatisfying scene which was suppose to affirm our faith in what we had just seen for the last two hours. Furthermore, the movie is sort of narrated by Joy’s grandmother who, from an early age, was the only person in her life who voiced her support of Joy. Many times over, she is shown conveying her faith in Joy and telling her that she can be an amazing young entrepreneur or a great woman or a strong matriarch or a wonderful parent or a good person… Or something like that. And this is the problem; her presence in Joy’s life is too vague and her effect on Joy’s path and self-image is undefined if at all evident. Maybe her effect on Joy was more profound in real life, but based what we see in the movie, she was simply not influential enough to have the sole narration over the proceedings, which was sporadic at best.

Conclusively, Joy is a wonderful tale of a strong woman who made her way in a man’s world and, unlike the filmmakers’ and actors’ previous movies, it is suitable for a family viewing. From me, it garners a thre (out of four) star rating and ranks highly on the list of O’Russell’s works. In addition to serving as an inspirational biopic, it is also a film that harbors a moving performance and one that divulges formidable themes about society. It’s one that won’t be (completely) ignored by the Academy this year, and one that shouldn’t be ignored by anybody else either.

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

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

THE SECRET LIFE OF WALTER MITTY

Cole's Rating: ★★★ ½

Director: Ben Stiller
Year: 2013
Cast: Ben Stiller, Kristen Wiig
Genre: Adventure/Comedy/Drama
MPAA Rating: PG

I’ve endured years of watching Ben Stiller on the big screen. I’ve chuckled at his decent romantic comedies, I’ve enjoyed his voice work in animated films, and I’ve winced at the ones that needed work, but The Secret Life of Walter Mitty is his first movie that blew me out of my seat. To people who haven’t seen this motion picture, it is, understandably, nearly impossible to fathom the beauty of what inhabits the silver screen. Stiller made a movie that is utterly genuine. As an audience member, I haven’t been moved by the honesty of people and their actions as greatly as I was here since I saw Silver Linings Playbook. 

In The Secret Life of Walter Mitty, Walter is a humbled Life Magazine worker that faces a generational difficulty when a young hotshot comes in, takes control, and transforms the company into an online program. This results in the firing of many devoted, “old-fashioned” employees. Walter’s job, for the last print issue of Life, is to find a missing negative (photo) that would prevail as the cover photo. He embarks upon a journey, a real one, that allows him to break free of his obsessive daydreams (to which he has fallen subject to over the course of his life). 

Along with a simple, yet intricate screenplay and astounding visuals, Ben Stiller is what makes this film so candid. His character is so believable because it feels like he’s effortlessly playing himself on screen. In short, he comes off as a veteran actor here, capable of encasing any role and making it as personable as possible. As a director, The Secret Life of Walter Mitty is, for the most part, a job well done. Though there is a sense of unsteadiness in the mood of the film as it progresses, and it feels like he hasn’t quite identified what makes his style of shooting his own. In a 114 minute vehicle, there is a large amount of visionary techniques that aren’t exercised to their fullest potential.


       Moreover, despite this, The Secret Life of Walter Mitty clocks in as the third best movie of the year for me. Taking in all of what it has to offer: mesmerizing cinematography, an incredible story of self-discovery and real-world encounters, exceptional performances, and an overall highly thought-provoking film, it’s fair to say that this exquisite, brilliant piece of art is the strongest chapter in Stiller’s book thus far.

-Written by Cole Pollyea

AMERICAN HUSTLE

Cole's Rating: ★★★ ½

Jesse's Rating: ★★ ½

Director: David O. Russell
Year: 2013
Cast: Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence, Jeremy Renner
Genre: Crime/Drama
MPAA Rating: R

        Long before the widely praised American Hustle came out, I, as an unconditional lover of film, was infatuated with Christian Bale’s purported charisma in the sneak peeks (trailers) that detailed very little of the movie itself. And, long after seeing the movie, his performance had the same effect. Coherently, this is another one of David O. Russell’s crisp, accurate films that was anticipated before its arrival, and greatly commended afterwards. In short, American Hustle gave film lovers something to look forward to, and it didn’t let us down.

        Within seconds of the opening shot, awe plastered itself upon the width of my face. “Who starts a movie off with some guy fixing his fake combover?”. The quiet brilliance was nearly too much to handle, so when very next shot displayed a trio of some of the finest living actors throwing around potent lines of dialogue, I knew I was going to love it; I don’t stand corrected.

        Often times, people use the phrase “before its time” as a complement, and understandably so. For film, when a large quantity of it (stylistically speaking) has gone downhill since the 90’s, it would be more than appropriate to say that American Hustle is after its time. Truly, that’s what I enjoyed so much about it. I’m not sure if it was his intention, but David O. Russell modeled his newest film’s structure after that of Martin Scorsese’s Goodfellas (though it was far from derivative), opening with a shot in need of explanation from a linear structure, starting from the beginning. Then it took us back through that scene again, and continued the story. It was, quite honestly, the best way this movie could have been written, and it was presented very well.

        But it did feel like I was sitting in the theater for a long time. Admittedly, it’s not as engaging as his other works (specifically Silver Linings Playbook), a result of the inability to identify a protagonist or main conflict in the story until about an hour or so into the picture. However, it kept me entertained (for the most part), and it was so well made that whatever lags that may have occurred in the development of the plot can and should be dismissed.

        Of course, it’s not just the steady, evocative direction that makes it among the best films of the year, though. Probably the two most evident aspects of this motion picture that qualifies it as such are the powerful performances and the artistic costume design. Not a scene went by when I wasn’t in awe at the beauty of the wardrobes and the craft of the hair styles, or, on another note, swept away by the accuracy of the time period captured.

        So, will it win Best Picture? To answer with words said by the movie’s own (Bale), “people believe what they want to believe, but the guy who made this, was so good...” that it sure has a solid chance.

-Written by Cole Pollyea

THE HUNGER GAMES: CATCHING FIRE

Cole's Rating: ★★★

Director: Francis Lawrence

Year: 2013

Cast: Jennifer Lawrence

Genre: Action/Adventure/Sci-Fi

MPAA Rating: PG-13

       Before teen dystopian novels became dull and redundant (yes, I’m talking about Divergent), there came a trilogy of teen novels called The Hunger Games. As they caught publicity and the eye of certain filmmakers, it seized its opportunity upon the silver screen. For a follow up to a good film (The Hunger Games, 2007), Catching Fire isn’t bad. It showcases a lot of the same stylistics used in it’s predecessor, and offers new insight, too. What’s more, it’s also very entertaining.

        To begin, after a performance beyond anyone’s wildest expectations in the 2012 masterpiece, Silver Linings Playbook, everything Jennifer Lawrence stars in is worth seeing. Her talent continues to be displayed as she sustains the character of Katniss Everdeen, “Girl on Fire”, who, here, is re-entered into the Hunger Games, a 75th anniversary that supposedly would solve all of the governments revolutionary problems. But things are not what it seems, and Katniss, yet again, is put against the odds.

        But it is a sequel, so it can’t just get off scott-free (haha). While this element was more evident in the first film of the series, it still irked viewers including myself here, that being the lack of adult material. Of course, it was put out to attract a teen audience (job well done), but the way it avoids the intimacy and violence is a clear indication that reigns were applied. However, it is important for there to be some films that earn that PG-13 rating, but it is one thing that held Catching Fire, and The Hunger Games for that matter, back from being better.

        As I sat with my class of students on a field trip we attended to see this movie, I heard whoops and cheers all the way throughout the duration of the movie. Some of those whoops and cheers came from kids who had seen the film multiple times before. It is a movie that is, by no means, a masterpiece. For example, it’s structured rather awkwardly in some portions of the film. Nonetheless, it’s a successful chapter in the creation of Suzanne Collin’s dystopia. To conclude, I would say that it caught fire with the fans, and spread like mad.

-Written by Cole Pollyea

LAST VEGAS

Jesse's Rating: ★★ ½

Director: Jon Turteltaub

Year: 2013

Cast: Michael Douglas, Robert De Niro, Kevin Kline, Morgan Freeman

Genre: Comedy

MPAA Rating: PG-13

        About a week before viewing this uneven flick concerning the exploitation of senior citizens hosting a bachelor party (in Las Vegas, where else), I saw its four stars (check that, four Oscar winners) promoting their film on a high end news station (The TODAY Show I believe). They looked grumpy and didn't really want to be there. But I thought to myself, maybe these guys aren't too confident about the product they are selling and they're just you know, going through the motions. I don't blame them. Besides the fact that this exercise becomes a tad darker and deeper emotionally toward its conclusion (the trailer is misleading), it's still disposable and somewhat hard to sit through. Last Vegas (the film I'm reviewing and talking about) brings together actors Robert De Niro, Kevin Kline, Morgan Freeman, and Michael Douglas. These guys are all screen legends and there are two reasons why they might have decided to appear in this individualistic cringe fest. One reason could be that they had never been on screen before and the opportunity although mediocre, presented itself. Another reason could be that they got paid handsomely. Anyway you slice it, they dent their reputations as actors ever so slightly. In the end, I think that, considering each of their track records, it's commonplace that they'll probably recover. I did, as a critic, but only after "Vegas" was almost saved by a solemn, feasible second half. There is some moral cleansing between a father and son along with a believable love triangle that lends itself to a 58 year friendship. Yes, this movie boasts itself as a comedy. However, it fails as one with jokes that are bland, lightweight, and familiar. And the overall theme got annoying as well (they're old, we get it). The fact that Last Vegas changes gears (by becoming mildly dramatic) almost makes it recommendable. I heavily stress the "almost" part.

        Containing a scene which almost caused me to walk out of the multiplex (the four 70+ plus year olds judge a bikini contest poolside) and directed by a guy who furthered Nicolas Cage's action star career with the National Treasure movies, Last Vegas examines four best friends (since childhood) who have somewhat grown apart and live in different parts of the country. When Malibu hotshot Billy (played by slickster Michael Douglas who in almost everything he's in, has to get with a woman half his age) decides to get engaged, he calls his buddies to get together in Las Vegas for the typical male debauchery. Paddy (played by Robert De Niro who is in just about every movie out in 2013) is a widower who lives alone in New Jersey. Then there's Morgan Freeman's character Archie, who had a mild stroke and is being taken care of by his overbearing son. Finally, we have Florida resident Sam. He's played by Kevin Kline who with shades of his comedic brilliance in the past, gives the flick's strongest performance. Kline's character has been given the OK to cheat on his wife (by his wife) so he enthusiastically tags along.

  

        Last Vegas, despite what you might have heard from other critics, didn't remind me of The Hangover (not in the slightest expect for the whole location aspect). That film was outrageously funny and edgy. Plus, there isn't much of a sense of danger going on here like there was with the characters in The Hangover. "Vegas," with its automated sense of situational comedy, made me chuckle a couple of times here and there. But in a way, it wasn't that amusing because the jokes were constantly aimed at the adage of old age. The filmmakers seemed to want to shovel this notion down my throat. After a while, I was a little put off and felt internally bloated (no pun intended).

  

        Honestly, I can name a ton of films that are worse than Last Vegas. But there's gotta be something more challenging or more rewarding than this considering the talent involved. Its strong points: the title (Last Vegas just roles off the tongue, why not), the cast, and the somewhat interesting premise taken to task. Its weak points: the way this vehicle stereotypes people of a certain age, the jokes that fall flat more than 50% of the time, and the fact that all the funny parts happen to be in the trailer (I'm sure it was a blatant marketing tool to get people into the theater). So to end this review, I'll leave you, the moviegoer, with this piece of sage advice: if you choose to attend a showing of Last Vegas, make sure that it's not the "last" time you'll hit the theater in 2013 (that's a nice way of saying that there are other, better films out there).

-Written by Jesse Burleson