2014 Awards Season: Feature Film Highlights

The Academy Awards is tonight.  Trying to catch up on Oscar-quality films? Here are some of the highlights of several movies nominated for awards in various categories. Better yet, you still have a chance to see them at the theaters in the next few weeks!

http://www.sdentertainer.com/arts/movie-highlights-2014-awards-season/

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“Gravity”

Lost in space. Never before has it felt terrifyingly realistic. Dr. Ryan Stone (Sandra Bullock, "The Lake House"), a medical engineer on her first mission, is in the process of installing a scanning device. There's news that clouds of debris are brewing and heading at breakneck speed. Alone and adrift, she's low on oxygen and fuel, nauseous and dizzy, desperate and scared to death. She must let go of the past, find the will to survive, make the right trajectory to the space station and find a way back home. The destruction of the space station in the vast vacuum of space is eye-popping. The countdown toward earth in the end is one of the most distressing scenes. A visual masterpiece, there's a claustrophobic feel and realism to the scenes. When every second counts, every gasp and grasp, every jerk and hit could mean a chance for life or death. The 3-D is fully utilized, from sprays of flying debris to specks of floating tears or fires. The sound design goes for maximum impact, alternating between piercingly earthshaking and eerily quiet. A singular survival tale in space, “Gravity” is an experience that marvels and mesmerizes. It's probably the closest you'll ever be to being in space in this lifetime. Check out the full review and trailer here.

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“Captain Phillips”

A day that starts like any other... ends with a story of a lifetime. “Captain Phillips” is a ripped-from-the headlines story of a U.S. cargo ship getting hijacked by Somali pirates in 2009, the first in 200 years. The opening scenes offer a glimpse of the harsh life on the shores of impoverished Somalia and a normal American life. Tom Hanks (“Cloud Atlas”) is Richard Phillips, a family man from Vermont and commanding officer of Maerks Alabama. Soon he and his officers find themselves surrounded by four armed Somali pirates. Hanks shows one of the most outstanding acting during what could be the last stretch of Phillips' life. Your stomach will be tied in knots and you'll eventually exhale along with him. Abdi, an amateur actor, holds his own. His Muse's nickname may be “Skinny,” but he doesn't skimp on threats, even when he realizes he's running out of time and options. The nighttime standoff and sea rescue mission are grippingly well-orchestrated, a testament to one of the finest filmmaking. The cool coordination, negotiation and precise execution conducted by the rescuers contrast with the chaos and confusion inside the compact confinement of the lifeboat with Phillips and the pirates. The tension, underscored by a pulse-pounding soundtrack, skyrockets to an unbelievable level in the last third of the film. A riveting, real-life thriller. Check out the full review and trailer here.

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“Saving Mr. Banks”

There's a story behind every film. Who knew the makings of “Mary Poppins” was such a long rollercoaster ride? For 20 years, author P.L. Travers (Emma Thompson) has rebuffed Walt Disney's (Tom Hanks, “Captain Phillips”) efforts to make her beloved novel into a movie. Travers has a certain level of disdain for all-things Disney, which she views solely as a moneymaking empire. She insists on recording every session and proceeds to nitpick every single detail of the way the characters are portrayed, lyrics of music, colors of the set designs or costumes. As the present story unfolds, the film flashes back into Travers' tragic childhood in the Australian outback. There are heart-wrenching events that no child should experience. Eventually Disney realizes that even all the courting yield no result. The characters in “Mary Poppins” are dear and personal to Travers; they're like a family. During a heartfelt conversation, Disney shares a a childhood story. He relates to and sees where Travers is coming from. The moment that he 'gets it' and his unwavering commitment that finally compels her to willingly hand over the rights. The moral of the story rings true. Don't let the past dictate the present. If life disappoints, move forward. Life is meant to be lived, with new memories. Absorbing and affecting, “Saving Mr. Banks” is a wonderful film for the ages. Check out the full review and trailer here.

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“American Hustle”

Christian Bale (“The Dark Knight Rises”) and Amy Adams (“Man of Steel”), Bradley Cooper (“Limitless”) and Jennifer Lawrence (“The Hunger Games: Catching Fire”) reunite in “American Hustle,” a screwball 70s crime caper dramedy. Bale is Irving Rosenfeld, a con man, hitting off at first sight with a seductive grifter, Sydney Prosser (Adams). Irving is married to loose-lips and wildly opinionated Rosalyn (Lawrence). Irving and Sydney get caught by an unruly FBI agent, Richie DiMaso (Cooper). Richie plans to lure politicians to accept bribes and catch them in the act. The trap is set, which includes another FBI agent posing as an Arab Sheik looking to make an investment (inspired by the real Abscam sting in 1978). Entrapped is Carmine Polito (Jeremy Renner “The Bourne Legacy”), Mayor of Trenton, New Jersey. The stake is raised to a dicey level when Jersey's powerbrokers and mafia get involved. Carmine turns out to be pure in his intention to create new jobs for his people. He even considers Irving a friend. Irving develops a conscience, at the same time, he and Sydney must hold up the end of their bargain with the FBI. The plot starts off as simple, but alliance shifts and double-cross occurs. You think you know how it ends, yet it manages to churn out a twist. It's a treat to be in the flimflam or figure out what the swindle is or how the main characters would pull off the scheme. The con is on. Enjoy the game! Check out the full review and trailer here.

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“The Wolf of Wall Street”

A fifth collaboration between director Martin Scorsese (“The Departed,” “Shutter Island,” “Hugo”) and Leonardo DiCaprio (“Catch Me If You Can,” “Inception,” “J. Edgar"), “The Wolf of Wall Street” is based on a true story of the rise and fall of a hedonistic stockbroker in 1980s and 1990s, Jordan Belfort. Belfort pulls together a bunch of hometown boys and operates his own company out of a garage. The misfits can sell. As the company expands exponentially, Belfort and team are living high, large and loose, even as the SEC and FBI come sniffing. Life is a never-ending party and debauchery. Drunken with greed, swimming with cash, drowning in drugs and addicted to prostitutes. Eventually, sordid deeds are catching up with Belfort. None of the characters are likeable. Their actions are beyond reckless and abhorrent. Their language is profanity-laced at every turn. But execution, script, acting are sensationally top-shelf. Scorsese directs it with revelry. Terence Winter (screenwriter) writes it unbridledly. DiCaprio lives it up like the king of the world and swaggers into a staggering performance. Deplorable, hysterical, phenomenal. The abyss of excess takes entertaining to the extreme. “The Wolf of Wall Street” spirals with sins and sizzles with exuberance. Check out the full review and trailer here.

***

“Her”

A man falling in love and having a relationship with his operating system. Theodore (Joaquin Phoenix) is a letter-writer for hire. He writes letters for a living, for those who aren't capable or willing to write them to their loved ones. A lonely soul, he pours his heart into and loves vicariously through these letters. One day he sees a commercial for an artificial intelligence, an operating system (OS) with “consciousness,” and he decides to get one. Meet Samantha (voiceover by Scarlett Johansson, "The Avengers," “Iron Man 2”). A machine with a hyper-level of awareness, Samantha is intuitive and perceptive. She grows and matures, and continues to adapt based on what she experiences with Theodore. Theodore and Samantha talk about anything and everything. And share intimacy, just like a real couple does, with the obvious limitation of Samantha having no physical body. The relationship, as weird as it sounds, is surprisingly organic. But a relationship with an OS is not without challenges either, especially when the OS starts taking human characteristics, yet its non-human capability continues to evolve rapidly. Conceptually unusual with the sci-fi element, “Her” is a story about humans' fundamental need to connect and love. Bizarre and the beautiful, it works. Check out the full review and trailer here.

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Academy Awards 2014

[Originally posted on 3/02/14]

2013 was a year where futuristic drama, adrenaline rush and con-games reached critical heights (“Her,” “Gravity,” “American Hustle,” “The Wolf of Wall Street”), those typically reserved for survival stories (“Captain Phillips,” “Dallas Buyers Club”), socio-political dramas (“Argo,” “ZeroDark Thirty,” “Ides of March”) or race relations (“12 Years a Slave”).

The 86^th Academy Awards opened with the stage filled with dozens and dozens of blown-up Oscar statues, and Ellen DeGeneres took center stage as host. In her pre-show interview, she mentioned that her goal was to give a great performance, but not overshadow the stars, and to make them feel relaxed and happy. She seemed to accomplish that without venturing into jokes that are borderline offensive, as dished out by last year's host, Seth MacFarlane. She was also self-aware and recognized that a host typically went though a number of costume changes. At one point, she pointed out that she added a scarf to her white pantsuit and pulled a stunt, appearing in a Glinda the Good Witch costume (from “The Wizard of Oz”).

DeGeneres pointed about a serious issue Hollywood had in the last couple of days, the rain, and thanked everyone around the world for praying and that they're all right. She picked up the latest trend, 'selfie,' took a picture of herself and tweeted to the world. It's a fine opening, although I must say I missed a more dramatic entry of years past, such as mocked montages, creative skits or musical numbers.

DeGeneres made a point to make the show interactive and relatable for those in the audience. In one funny moment, she went out to the audience and started pulling stars from their seats to take pictures with her in an effort to break the record of the most re-tweeted tweet. In another, she brought a pizza delivery guy with her, offered slices of pizza to presumably starving stars, and collected cash here and there for payment.

The theme of the show is “celebrating heroes.” DeGeneres took a jab at Hollywood right off the bat.  The important things in life are love, family and friends, and those without, would typically go into show business. The theme was celebrated through clips of movies in the last few decades based on true events where the protagonists are real-life heroes, as well as superheroes and fantasy heroes. Select actors and actresses were shown receiving humanitarian awards for their work that deal with human causes. Special guests for the evening include the real Captain Phillips and Philomena.

Musical performances provide a good mix, which include upbeat “Happy” from “Despicable Me,” melancholic piece “The Moon Song” from “Her,” tribute to Mandela “Ordinary Love” from “Mandela: Long Walk to Freedom,” Disney's “Let It Go” from “Frozen.” There's a tribute to the 75^th anniversary of “The Wizard of Oz,” a song sung by Pink, who was introduced by Whoopi Goldberg. The former Oscar host was wearing striped tights and glittering red shoes under her dress. Hollywood honored those who passed away with “Wind Beneath My Wings,” a special performance by Bette Midler.

As expected, Jared Leto won best supporting actor, followed by his co-star Matthew McConaughey as best actor, for their transformative roles in “Dallas Buyers Club.” Leto shared a story from the past about his mother and thanked her for teaching him to dream. He dedicated the statue for those people who have died of AIDS. McConaughey thanked the people in his life and touched on the hero theme, having someone or something to look up to and look forward to.

Newcomer Lupita Nyong'o gave a tearful and grateful speech after winning best supporting actress for her dramatic role in “12 Years a Slave.” The film also earned best adapted screenplay. Best actress went out to Cate Blanchett for “Blue Jasmine,” who proceeded with a well-rounded speech, gracious and sprinkled with self-deprecating humor, celebrating her fellow nominees and women.

Critics-favorite “American Hustle” lost out make-up and hairstyling, and costume design awards to “Dallas Buyers Club” and “The Great Gatsby,” respectively. The latter also nabbed a win in production design. “American Hustle” was shut out, including losing best original screenplay to “Her,” which wasn't surprising to me. It's a great film, but overrated and nothing to rave about.

“Frozen” left all other animations in a fairy dust, winning best animated film award. The animation also snagged best original song statue, “Let It Go.”

“Gravity,” frontrunner of technical achievements was unstoppable. It scored best visual effects, cinematography, sound mixing and sound editing. The film also went on to win original score, film editing, and a best director prize for its visionary and technically accomplished director, Alfonso Cuaron. I'm over the moon that “Gravity” flew home with the largest number of trophies; it deserves a win in every single category it won.  It splits the last big award with “12 Years a Slave,” which was awarded best picture.

And the Oscar goes to...

Best Motion Picture
Winner: 12 Years a Slave

Best Performance by an Actor in a Leading Role
Winner: Matthew McConaughey for Dallas Buyers Club

Best Performance by an Actress in a Leading Role
Winner: Blue Jasmine – Cate Blanchett

Best Achievement in Directing
Winner: Gravity - Alfonso Cuarón

Best Writing, Screenplay Written Directly for the Screen
Winner: Her - Spike Jonze

Best Writing, Screenplay Based on Material Previously Produced or Published
Winner: 12 Years a Slave - John Ridley

Best Achievement in Music Written for Motion Pictures, Original Song
Winner: Frozen - Kristen Anderson-Lopez, Robert Lopez ("Let It Go")

Best Achievement in Music Written for Motion Pictures, Original Score
Winner: Gravity - Steven Price

Best Achievement in Production Design
Winner: The Great Gatsby - Catherine Martin, Beverley Dunn

Best Achievement in Editing
Winner: Gravity - Alfonso Cuarón, Mark Sanger

Best Achievement in Cinematography
Winner: Gravity - Emmanuel Lubezki

Best Performance by an Actress in a Supporting Role
Winner: 12 Years a Slave - Lupita Nyong'o

Best Achievement in Sound Editing
Winner: Gravity - Glenn Freemantle

Best Achievement in Sound Mixing
Winner: Gravity - Skip Lievsay, Niv Adiri, Christopher Benstead, Chris Munro

Best Achievement in Visual Effects
Winner: Gravity - Timothy Webber, Chris Lawrence, David Shirk, Neil Corbould

Best Animated Feature Film
Winner: Frozen

Best Achievement in Makeup and Hairstyling
Winner: Dallas Buyers Club - Adruitha Lee, Robin Mathews

Best Achievement in Costume Design
Winner: The Great Gatsby - Catherine Martin

Best Performance by an Actor in a Supporting Role
Winner: Dallas Buyers Club – Jared Leto

For a complete list of winners, check out the official website.

http://www.sdentertainer.com/arts/academy-awards-2014/

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"The Wolf of Wall Street"

 

Forget "The Great Gatsby.”  “The Wolf of Wall Street” is where the real show is.

A fifth collaboration between director Martin Scorsese (“The Departed,” “Shutter Island,” “Hugo”) and Leonardo DiCaprio (“Catch Me If You Can,” “Inception,” “J. Edgar"), “The Wolf of Wall Street” is based on a true story of the rise and fall of a hedonistic stockbroker in 1980s and 1990s, Jordan Belfort (adapted from the memoir of the same title).

Eager and sincere at age 22, Belfort does a short stint at a major Wall Street firm. Matthew McConaughey (“The Lincoln Lawyer”), in a scene-stealing alpha-male mode, appears briefly as his mentor showing the sinful ropes of the inner workings of Wall Street. If you like your greenbacks, keep your clients on a rich-on-paper ferris wheel. And yes, keep your blood pump with drugs and sex. This sets the tone for the rest of the movie. Blatantly brash.

The gig doesn't last long. Belfort is laid off when the Black Monday market crash happens and the firm shuts its door. But it isn't long until he stumbles upon a get-rich-quick scheme of unregulated penny stocks, 'courtesy of a mom-and-pop shop, Investors Center. It doesn't matter what companies he pitches; he's selling pie-in-the-sky believably and is rewarded with 50% commission, as opposed to 1% during his blue chip days. Before long cash starts rolling in and it shows. One of the neighbors, Donnie Azoff (Jonah Hill), notices the nouveau-riche and jumps to work for him.

Belfort pulls together a bunch of hometown boys and operates his own company out of a garage. The misfits can sell. Belfort, a master salesman, teaches them how to appeal to the dreamer's side of people, bait them with the promise of easy money, fake sincerity, gain their trust and score. The firm of Stratton Oakmont is born. The scene is comically shot and DiCaprio works it like no other.

The company expands exponentially, Forbes starts calling, hordes of people are beating down the door hungry to work for Belfort.  Everyone worships him.  And Belfort, is enjoying the illicit spoils of his success. Mansion, fancy car, yacht with a helicopter, just to name a few. He divorces his first wife (Christin Milioti) and gets himself a trophy wife, Naomi Lapaglia (Margot Robbie), who keeps up with his lurid lifestyle.

Belfort and team are living high, large and loose, even as the SEC and FBI come sniffing, and with a concerned father (Rob Reiner) in the background. Life is a never-ending party and debauchery. Drunken with greed, swimming with cash, drowning in drugs and addicted to prostitutes.

DiCaprio and Kyle Chandler (“Super 8,” “Argo,” “Zero Dark Thirty”), lead FBI agent on the case, handle the initial encounter on the yacht with humorous aplomb, where Belfort tries to bribe the hard-working, common-folk agent. As the investigation heats up, money are smuggled out of the country and stashed in an offshore account. Eventually, sordid deeds are catching up with Belfort. Before the indictment for fraud and money laundering, there's a standout scene, physical comedy no less, involving DiCaprio and Hill. It's a sad, scary situation, yet absolutely uproarious.

None of the characters are likeable. Their actions are beyond reckless and abhorrent. Their language is profanity-laced at every turn. But execution, script, acting are sensationally top-shelf. There's not a dull moment in the three-hour run. Scorsese directs it with revelry. Terence Winter (screenwriter) writes it unbridledly. DiCaprio lives it up like the king of the world and swaggers into a staggering performance. Deplorable, hysterical, phenomenal.

The abyss of excess takes entertaining to the extreme. “The Wolf of Wall Street” spirals with sins and sizzles with exuberance.

http://www.sdentertainer.com/arts/movie-review-the-wolf-of-wall-street/

DVD: http://tinyurl.com/nuvx2xu
DVD (blu-ray): http://tinyurl.com/osrfgas

 

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"Her"

[Originally posted on 1/15/14]

 

A man falling in love and having a relationship with his operating system.

Is it farfetched? Sure. But then again, so were smartphones and tablets when we grew up. And Siri must have been a real person.

Theodore (Joaquin Phoenix) is a letter-writer for hire. He writes letters for a living, for those who aren't capable or willing to write them to their loved ones. A lonely soul, he pours his heart into and loves vicariously through these letters.

One day he sees a commercial for an artificial intelligence, an operating system (OS) with “consciousness,” and he decides to get one. Meet Samantha (voiceover by Scarlett Johansson, "The Avengers," “Iron Man 2”). That's how the OS names herself.

Initially Samantha is just there to help organize Theodore's life and make him more efficient. A machine with a hyper-level of awareness, Samantha is intuitive and perceptive. As she interacts further with Theodore, she learns more and more about him, forms her own thoughts and feelings, and responds accordingly. Like a child, she's excited and curious about life. She grows and matures, and continues to adapt based on what she experiences with Theodore. Theodore takes her out on “dates,” having the device (Samantha) peeked out from his front pocket, so that she could see the world.

Theodore and Samantha talk about anything and everything. And share intimacy, just like a real couple does, with the obvious limitation of Samantha having no physical body. The relationship, as weird as it sounds, is surprisingly organic.

Meanwhile, Theodore becomes less passionate about his job as he's going through a tough separation from his, wife, Catherine (Rooney Mara, "Side Effects," "The Social Network"). A series of flashbacks shows their relationships from earlier, happy times to drifting apart and heartbreak. Catherine accuses Theodore of always wanting a wife, but without the complications of the relationship. Theodore's neighbor and friend, Amy (Amy Adams, "American Hustle," “Man of Steel”) is also going through a marriage breakup, which may just prove the point that human relationships are hard. But relationship with an OS is not without challenges either, especially when the OS starts taking human characteristics, yet its non-human capability continues to evolve rapidly.

Set in a not-too-distant future, the Los Angeles setting looks like the city we know, but with the addition of Shanghai skyscrapers, and its occupants continuously and exclusively occupied with their own OS, further isolating themselves even in the crowds. In some ways, we're already there. The film has a distinct visual style, high-tech modern with a retro feel. Theodore's bright-colored shirts really pop against the muted, soft-filtered cityscape. The clothes look like ours, with the exception of men wearing high-waisted pants. The music helps make the movie. The “piano-piece” serenades the heart. Despite of one awkward sequence that goes on too long and and an abrupt wrap-up, the film is wholeheartedly believable, which can be attributed to its overall strong script.

Phoenix displays dead-on, highly expressive facial expressions. There are tons of extreme close-ups, zooming in on his face as he chats with an unseen “being.” Genuinely vulnerable, like an open book colored with a myriad of emotions. Much like the heavenly praised “Gravity” is Sandra Bullock's film, this is Phoenix's. Not to discount Johansson's role, her voice, slightly raspy, but warm, imbues Samantha's with sweetness and playfulness, wit and curiosity. Samantha feels like a real person, engaging with personality.

Conceptually unusual with the sci-fi element, director and writer Spike Jonze makes “Her” a story about humans' fundamental need to connect and love. Bizarre and the beautiful, it works. 

 http://www.sdentertainer.com/arts/movie-review-her/

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"American Hustle"

 

Director David O. Russell (“The Fighter,” ”Silver Linings Playbook”) reunites Oscar-quality co-stars of “The Fighters,” Christian Bale (“The Dark Knight Rises”) with Amy Adams (“Man of Steel”), and “Silver Linings Playbook,” Bradley Cooper (“Limitless”) with Jennifer Lawrence (“The Hunger Games: Catching Fire”) in this screwball 70s crime caper dramedy. Jeremy Renner (“The Bourne Legacy”) supports.

Bale, unrecognizable as potbellied, bald with bad comb-over Irving Rosenfeld, a con man running an art forgery and small loan scams with a dry cleaning shop as a front. A character actor, there's no trace of superhero in him. Irving locks eyes with a seductive grifter, Sydney Prosser (Adams), at a pool party and they hit it off at first sight. They both reinvent themselves to lead better lives. Adams, plunging necklines aside, quietly allures and carries herself with a British upper-class confidence.

Irving is not flying solo; he's married to Rosalyn (Lawrence) and with a young son. Lawrence, mostly in party updo, looks like she's having a ball playing Rosalyn, loose-lips and wildly opinionated. Sydney ups the ante for Irving and together they grow their fraudulent investment business, at least until they get caught by an unruly FBI agent, Richie DiMaso (Cooper). Richie ends up falling for Sydney, which complicates their relationships. With rambunctious performance, bearded and perm-curled Cooper is a blast to watch.

Naive yet ambitious, Richie has big dreams and plans to make news for himself (and moving out of his mother's house). His plan is to lure politicians to accept bribes and catch them in the act, even at the disapproval of his boss (Louis C.K.). To do this, he needs Irving's and Sydney's cunning expertise. In exchange for their freedom, Irving and Sydney reluctantly agree to cooperate.

The trap is set, which includes another FBI agent (Michael Pena, "The Lincoln Lawyer") posing as an Arab Sheik looking to make an investment (inspired by the real Abscam sting in 1978). Entrapped is Carmine Polito, Mayor of Trenton, New Jersey. The stake is raised to a dicey level when Jersey's powerbrokers and mafia get involved in the negotiations to construct casinos and resorts in Atlantic City, for real. At this stage, Richie has the support of an equally ambitious chief prosecutor (Alessandro Nivola), to ensnare all the players, which extends to a senator and a half dozen congressmen.

The thing is Carmine turns out to be pure in his intention. He wants to create new jobs for the people of New Jersey and bringing good to the state. He even considers Irving a friend. Irving develops a conscience because of Carmine's friendship and sincerity. At the same time, he and Sydney must hold up the end of their bargain with the FBI. A wild card in all these is Rosalyn, especially when a mobster (Jack Huston) takes an interest in her. She's not exactly clueless either and might just blow the entire operation.

It's been said that Russell would like to focus on the characters, rather than the plot. Each cast member is indeed given the chance to hustle and thrive. But even as the plot starts off as simple, alliance shifts and double-cross occurs. You think you know how it ends, yet it manages to churn out a twist.

I've always enjoyed crime capers. It's a treat to be in the flimflam or figure out what the swindle is or how the main characters would pull off the scheme. “American Hustle” is no different. The con is on. Enjoy the game!

http://www.sdentertainer.com/arts/movie-review-american-hustle/

DVD: http://tinyurl.com/krw8hwc
DVD (blu-ray): http://tinyurl.com/mhbsrbx

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"Saving Mr. Banks"

 

[Note: from 12/11/13 press screening.  Look forward to catching up on the rest of the great movies after the holidays.  Happy Holidays!)

 

There's a story behind every film.  Who knew the makings of “Mary Poppins” was such a long rollercoaster ride?

Director John Lee Hancock plays out the rough-and-tumble ride in "Saving Mr. Banks."  For 20 years, author P.L. Travers (Emma Thompson) has rebuffed Walt Disney's (Tom Hanks, “Captain Phillips”) efforts to make her beloved novel into a movie.  Her agent finally gets through to her when financial situation becomes tough.  Still, in one condition.  Travers would have the final say on the adaptation. 

Travers begrudgingly makes her Transatlantic flight from England to Los Angeles.  A biting exchange on the plane with a flight attendant and a fellow passenger with a child, an offhanded quip after landing at the airport and meeting her driver (Paul Giamatti, "The Ides of March"), and her unpleasant reaction to the cheerily decorated hotel room, tell you a lot about Travers.  Although the scenes come across as humorous, it's clear that Disney would be in for a wild ride.  Travers has a certain level of disdain for all-things Disney, which she views solely as a moneymaking empire. 

Travers subsequently drives screenwriter (Bradley Whitford) and music composers (B.J. Novak and Jasson Schwartzman) crazy.  She insists on recording every session and proceeds to nitpick every single detail of the way the characters are portrayed, lyrics of music, colors of the set designs or costumes.  No animation.  Dancing or prancing around is out of the question.  Songs are not an option.  For his part, Disney promises that he would not tarnish the characters or the story.  Bringing “Mary Poppins” into the silver screen is a promise that the entertainment maven made to his daughters two decades ago, and as a father, he would do just about anything to fulfill it.

As the present story unfolds, the film flashes back into Travers' childhood (played by Annie Rose Buckley) in the Australian outback.  It reveals a close, sweet relationship with her loving father (Colin Farrell, “Total Recall”), as wasted as he is with booze as a constant companion.  Her mother (Ruth Wilson), is depressed, and tries hard to keep the family together, later with the assistance of her aunt (Rachel Griffiths).  There are heart-wrenching events that no child should experience.  Internal strength takes over carefree spirit.

The continuous flashback-and-forward can become a little distracting and take you out of the intensity of some moments, but the backstory helps a lot in understanding this hard-shell of a woman.  Truth be told, there are emotional moments in her past that are more engrossing than her present.  Credits go to Farrell and Buckley who carry the scenes tenderly. 

Hanks certainly bring the American friendliness and twinkly charm of amiable, 'Uncle Walt.'  But Thompson impresses the most.  This is essentially Travers' story.  She carries this air of uptight, British upper-crust, hitting every cranky and cantankerous notes, but also joyous and poignant ones.  The supporting players playfully round up this family-friendly production, including script-and-song writing.  Music plays a prominent role and it's apropos.  

Eventually Disney realizes that even all the courting yield no result.  The characters in “Mary Poppins” are dear and personal to Travers; they're like a family.  The message of the story is not about a lady with a flying umbrella swooping in to save the kids.  During a heartfelt conversation, Disney shares a a childhood story.  He relates to and sees where Travers is coming from.  The moment that he 'gets it' and his unwavering commitment that finally compels her to willingly hand over the rights. 

The moral of the story rings true.  Don't let the past dictate the present.  If life disappoints, move forward.  Life is meant to be lived, with new memories. 

Absorbing and affecting, “Saving Mr. Banks” is a wonderful film for the ages. 

http://www.sdentertainer.com/arts/movie-review-saving-mr-banks/

DVD: http://tinyurl.com/lgr6w77
DVD (blu-ray): http://tinyurl.com/kx74jek

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"The Hunger Games: Catching Fire"

 

At the end of "The Hunger Games," I was hungry for more. Directed by Francis Lawrence, "The Hunger Games: Catching Fire” satisfies and yet leaves me wanting more.

 

Katniss Everdeen (Jennifer Lawrence, "Silver Lining Playbook"), along with her fellow tribute, Peeta Mellark (Josh Hutcherson), emerge as victors of the 74^th Annual Hunger Games. But instead of returning to a rundown shack in the impoverished and oppressed District 12, they lead a privileged life in Victor's Village. The all-mighty and wealthy Capitol now provide for them. Katniss' mother (Paula Malcomson) and sister (Willow Shields) no longer have to starve or work like slaves to survive.

The winning comes at an unimaginable cost, however, the lives of all the other tributes from other districts. Katniss is riddled with nightmares and hallucinations. Peeta is as gloomy as ever. Having stood up to the totalitarian Capitol and broken the rules of the game by refusing to kill the other and choose to die, President Snow (Donald Sutherland, "The Mechanic") maliciously makes it clear to Katniss that they would embark on victory tours to each district as a gracious couple-in-love, saving the Capitol's face for letting them live. Never mind that Katniss and Peeta are still progressing toward friendship,and that Katniss still harbors feelings for Gale Hawthorne (Liam Hemsworth), her childhood friend. They have to give false speeches, lavishing praises on the Capitol, in front of the families of the fallen tributes. Otherwise, Katniss could count on her family, friends and district getting slaughtered. As proven from a deviation from the script of an initial speech, innocent lives are at stake.

President Snow is concerned that Katniss has become a symbol of defiance, igniting an uprising that would spark an all-out revolution. Fear is not enough as long as hope exists. With a suggestion from the new game-maker, Plutarch (Philip Seymour Hoffman), the Capitol changes the rules of the reaping day. The Capitol picks the tributes for the 75^th Hunger Games, the Quarter Quell, from the pool of all past victors. This goes against the promise that victors would be guaranteed safety for the rest of their lives. As predicted, Katniss and Peeta have no choice but to be back in the deadly game. They're assisted by their booze-inclined, sympathetic mentor, Haymitch (Woody Harrelson, "Now You See Me"), wildly dressed-to-the-nines handler, Effie (Elizabeth Banks, "Man on a Ledge") who's grown attached to her tributes, and supportive stylist Cinna (Lenny Kravitz).

While there's familiarity with the pre-setup of the game – opening ceremony, practice and get-to-know-tributes, individual assessment and final presentation hosted by a clueless emcee, Caesar (Stanley Tucci, "Captain America: The First Avenger") – it's still heart-pounding to anticipate how this life-or-death game would play out in a rigged forest, perilous beach and spinning rock platform. The level of unpredictability, especially for those who have never read Suzanne Collins' novel, makes the viewing absorbingly tense.

Lawrence is on fire. She portrays Katniss, the girl with the bow-and-arrow and gorgeous flaming gown, with equal ferocity and vulnerability. Scared, conflicted and tortured, Katniss is also sharp, fierce and determined. Hutcherson is not only adequate here, but his Peeta has developed and shows the strength of his character. With Gale in the picture, Katniss' relationship with Peeta is a tricky one, born out of necessity to survive, but their bond grows with each passing moment.

The film doesn't mask the twisted or brutal nature of the story. What ominous obstacles the tributes would face, what kind of tragic destiny awaits them, how they would get axed, what strategies they would make, which allies they would associate themselves with (Sam Claflin, Jena Malone, Jeffrey Wright), how they would outsmart and outfight to survive. But there's more than meets the eye. The story, laced with political and socioeconomic undertones and complex entanglements, makes you care about the characters and their plight.

“The Hunger Games: Catching Fire” immerses you in this make-believe world, yet it will feel strangely real. The 2.5 hours of running time flies and you don't realize the film is about to conclude. The cliffhanger ending is unavoidable for a middle installment.

“The Hunger Games: Catching Fire” scorches and blazes a trail for the next intriguing chapter, “Mockingjay.”

http://www.sdentertainer.com/arts/movie-review-the-hunger-games-catching-fire/

DVD: http://tinyurl.com/l7ay2ml
DVD (blu-ray): http://tinyurl.com/k6aezpn

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"Oldboy"

 

[Originally posted on 12/13/13]

I knew nothing about Spike Lee's remake of “Oldboy” before going in. And boy, what a shocker.

An alcoholic advertising executive, Joe Doucett (Josh Brolin, “Jonah Hex”), was abducted and put in a solitary confinement in a windowless motel room, fed with vodka and Chinese dumplings, for 20 years and for no apparent reason. During captivity, he learned that his ex-wife was assaulted and murdered – with him as the prime suspect. His baby daughter was safe and adopted by a loving family. Then he suddenly finds himself inside an unlocked storage box in a park, inexplicably released.

In an obsessive quest to find out what happened to him and track down his long-lost daughter, Joe runs into hired thugs, led by a henchman, Chaney (Samuel L. Jackson, “The Avengers”). He's assisted by an old friend, bartender Chucky (Michael Imperioli) and a sympathetic social worker, Marie (Elizabeth Olsen, soon to be seen in “The Avengers: Age of Ultron”).

Eventually Joe meets his captor, Adrian (Sharlto Copley, “Elysium”), who tells him that he has captured his daughter. Joe only has 48 hours to figure out the identity of his tormentor and the reason for his imprisonment. If he could not find the answers within the specified timeframe, his daughter would be killed. It has never occurred to Joe that Adrian has him exactly where he wants him to be. He may be free physically, but he's still very much tormented and trapped in a queasy conspiracy.

Who is the puppet master? What is his motivation? What kind of game is he playing? Why did he kidnap, imprison, frame and then release this man? What is the connection between the two? And what is the endgame?

It would be better if you haven't seen the 2003 Korean original. Stay away from spoilers. The villain's plan has a clear flaw where its sick success relies on a certain factor. The movie has far more gore than your average suspense thriller. But it's worth staying through the shocking end.

The unraveling and ending of this who-and-why dunnit mystery is crazily twisted and a double blow to the gut.

DVD: http://tinyurl.com/lxzl8b5

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"Thor: The Dark World"

 

Chris Hemsworth strikes again as hammer-hurling God of Thunder in “Thor: The Dark World,” directed by Alan Taylor. What a difference two years have made. When “Thor” premiered in 2011, the Australian actor was a relative unknown. In my earlier review, I recognized that a star was born. Since then, he's been in mega superhero ensemble “The Avengers," epic fantasy adventure “Snow White and the Huntsman” and highly acclaimed racing drama “Rush."

At the beginning of time, the Dark Elves' efforts to return darkness into the universe, using a red liquid weapon called Aether, were thwarted by King Bor, the leader of Asgards, Thor's grandfather. But Malekith (Christopher Eccleston), its chief, escaped. Aether was too powerful to destroy, so Asgardians kept it deeply hidden.

Back on earth, Jane Foster (Natalie Portman, “Black Swan”) is now in London and trying to move on with her life. It's been two years since Thor left and promised to come back. He's been working hard to bring peace to all the nine realms. Jane and her assistant, Darcy Lewis (Kat Dennings), and new intern Ian Boothby (Jonathan Howard), encounter another atmospheric anomaly. Jane gets sucked into a wormhole and ends up in that hidden place where the Aether is, and gets infected by it.

Thor transports Jane into Asgard to find a cure for her. In Asgard, Jane is entwined in the royal family drama. Loki (Tom Hiddleston, “The Avengers”), Thor's treasonous brother, is in prison for his crimes. King Odin (Anthony Hopkins), Thor's father would really like to send her back to earth. When Malekith, his right-hand Kurse (Adewale Akinnuoye-Agbaje) and army are awakened by the Aether, and force their way into Asgard with their stealth ship, Jane and Frigga, queen of Asgard (Rene Russo), find themselves face to face with the enemy.

Malekith takes advantage of the convergence to spread darkness all around. Convergence is a phenomenon that happens every 5,000 years, where all realms align and planetary portals open. Thor needs all the help he can get. His loyal warriors (Jamie Alexander, Ray Stevenson, Tadanabou Asano, Josh Dallas) and galactic guardian (Idris Elba) are not enough. He is forced to free Loki, who possesses shape-shifting talent, to help defeat Malekith and trick him to get the infection out of Jane. Despite of the betrayal and distrust, there's a side to each brother that still cares for each other.

Hemsworth is in supreme form with such a godly physical presence. But Hiddleston steals the scenes with Loki's gleeful slyness and tricky unpredictability. Loki is one of the most layered, memorable anti-heroes in the world of superheros. Eccleston as Malekith, however, is a one-dimensional villain. You know nothing about him and there's nothing remotely interesting about him.

Portman has a bigger role here than the first installment, but nothing stands out. I enjoyed the lighter moments in the previous “Thor” and pretty much all Marvel movies, but this movie, which has a dour tone overall, have one too many comical moments, to the point of distraction. They mostly involve Jane, Darcy, Ian and returning mentor, Professor Erik Selvig (Stellan Skarsgard). Although the filmmaker does a decent job alternating rapidly between solemn or poignant and comedic scenes. It's undeniable that these supporting characters are instrumental in assisting Thor during the multi-portal battle with Malekith.

One of the best parts the movie is the visual. Jane's journey to Asgard is cosmically colorful. Asgard is heavenly realized. Not only the lustrous, golden palace and multicolored, crystal bridge are back, this mystical realm is now shown with stunning, surrounding nature and elegantly-clothed Asgardians in the city. A ceremony taking place in nighttime over water is ethereally beautiful.

With the Asgard-setting and realm-hopping, “Thor: The Dark World” has a grander feel. Thor has matured and developed from the first movie. There's a realization that he's got a more important calling than being the heir to the throne. The twist in the closing scene may evoke mixed feelings.

"Thor: The Dark World” may not necessarily merit a thunderous applause, but it's an entertaining, otherworldly escape.

http://www.sdentertainer.com/arts/movie-review-thor-the-dark-world/

 

DVD: http://tinyurl.com/lpz5tr7

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"Ender's Game"

 

While I ended up getting hooked on "The Hunger Games,” there's still hesitation whether another children warrior adaptation would nearly be as compelling. To be honest, the trailer of “Ender's Game, directed by Gavin Hood and shown at Comic-Con this summer, wasn't that enticing; it looks like a superficial, CGI-focused sci-fi. As it turns out, the Orson Scott Card's novel adaptation is more than flash.

50 years ago, earth was attacked by ant-like aliens, called the Formics. Humans were ill-prepared and countless lives were lost. While a hero, Mazer Rackham (Ben Kingsley, “Iron Man 3”) emerged and drove away the aliens, fear remains that they would return someday.

Children are thought to be the best defense. Trained in video games, they are used to make decisive decisions fearlessly based on instinct, and their youth translates to quicker learning ability. The most gifted ones are trained in military school, graduating to the elite battle camp in space, and ending up in the command center, closer to the aliens' home planet. It is in these battle grounds these children are physically trained, mentally manipulated, and socially isolated in order to prepare them to win the war.

Ender Wiggin (Asa Butterfield, “Hugo”) is tested and selected by Colonel Graff (Harrison Ford, "Cowboys & Aliens“) and his colleague, Major Gwen Anderson (Viola Davis) to be the “chosen one,” to lead and save the human race. A skinny 12-year old boy, Ender is a loner with a brilliant mind.

The film is off to a startling start where Ender is bullied and shockingly gets out of a threatening situation. As the story progresses, his brilliance shines through, which can be seen from his interactions with his superiors and fellow soldiers (Moises Arias, Hailee Steinfeld). He's a complex child, teetering between steely ruthlessness and human compassion. An intellectual strategist with a killer instinct and tactical insight, he observes, anticipates, understands how his opponents think, and plans his moves perfectly. His backstory reveals the dynamic of his relationship with his violent brother and close bond with his caring sister.

Visually, the movie is a fireworks of digital images and special effects. The battle room, where cadets train with battle formations in zero-gravity, is a wonder to discover, even coming on the heels of “Gravity.” The futuristic wars are electrifying in neon blues and electric orange, against the backdrop of a black space.

But amidst all the fireworks, the message doesn't get lost. The true cost of war, politics to win, morality of preemptive strike. Is the chance of winning future battles and saving the world worth a genocide and damaging innocent souls? The endgame of “Ender's Game” hits home.

http://www.sdentertainer.com/arts/movie-review-enders-game/

DVD: http://tinyurl.com/kbtkjlc
DVD (blu-ray): http://tinyurl.com/mn2vu2m

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Upcoming Movies: December 2013

[Originally posted on 12/06/13]

December 6
"Oldboy" - Obsessed with vengeance, a man sets out to find out why he was kidnapped and locked into solitary confinement for 20 years without reason.

"Out of Furnace" - When a man mysteriously disappears and law enforcement fails to follow through, his older brother takes matters into his own hands to find justice.

December 13
"The Hobbit: The Desolation of Smaug" (http://www.thehobbit.com/) - The dwarves, along with Bilbo Baggins and Gandalf the Grey, continue their quest to reclaim Erebor, their homeland, from Smaug. Bilbo Baggins is in possession of a mysterious and magical ring.

"American Hustle" (http://www.americanhustle-movie.com/site/) - A con man, along with his seductive British partner, is forced to work for a wild FBI agent. The agent pushes them into a world of powerbrokers and mafia.

December 20
"Anchorman 2: The Legend Continues" (http://www.anchormanmovie.com/) - With the 70s behind him, San Diego's top rated newsman, Ron Burgundy, returns to take New York's first 24-hour news channel by storm.

"Saving Mr. Banks" (http://movies.disney.com/saving-mr-banks) - Author P. L. Travers reflects on her difficult childhood while meeting with filmmaker Walt Disney during production for the adaptation of her novel, Mary Poppins.

December 25
"The Secret Life of Walter Mitty" (http://waltermittymovie.tumblr.com/) - A day-dreamer escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance and action. When his job along with that of his co-worker are threatened, he takes action in the real world embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined.

"The Wolf of Wall Street" (http://www.thewolfofwallstreet.com/) - Based on the true story of Jordan Belfort, from his rise to a wealthy stockbroker living the high life to his fall involving crime, corruption and the federal government.

"August: Osage County" - A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the house they grew up in, and to the dysfunctional woman who raised them.

"47 Ronin" (http://47ronin.jp/) - A band of samurai set out to avenge the death and dishonor of their master at the hands of a ruthless shogun.

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"Captain Phillips"

A day that starts like any other... ends with a story of a lifetime.

Director Paul Greengrass (“Bourne” trilogy) and writer Billy Ray retell a ripped-from-the headlines story of a U.S. cargo ship getting hijacked by Somali pirates in 2009, the first in 200 years.  Adapted from "A Captain's Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea," "Captain Phillips" is a dramatic docudrama, shot in a similar fashion as “United 93.”

If anything can be learned from last year's best picture, “Argo,”or nominated “Zero Dark Thirty," when expertly executed, the journey matters, even when most are familiar with the destination. 

The opening scenes offer a glimpse of the harsh life on the shores of impoverished Somalia and a normal American life. Tom Hanks (“Cloud Atlas”) is Richard Phillips, a family man from Vermont and commanding officer of Maerks Alabama.  His job is to steer the ship, carrying food and commercial goods, from Oman to Kenya, around the pirate-infested waters of the Horn of Africa. 

The day aboard the ship begins with a safety drill, which rapidly turns into a traumatic ordeal as soon as Phillips spots two small boats carrying pirates on their tail.  While the ship has speed, height and hoses as means of protection, it's not enough to fend off one determined skiff. 

Phillips has established initial contacts with government agencies and got most of his crew hidden in the belly of the ship.  But soon he and his officers find themselves surrounded by four armed Somali pirates.  There's one particularly tense scene where one of the pirates is ready to pull the trigger on one of his officers, whilst Phillips tries to rationalize and plead with the leader, Muse (Barkhad Abdi). 

The pirates demand room-by-room search to find the majority of the crew.  Secretly communicating with one another, Phillips and his crew engineer a trick to injure one of the pirates.  This leads to unpredictable chain of events where the pirates finally agree to take off in a lifeboat – taking Phillips with them.  Cash emptied from the safe deposit box is meager; they want millions.  

Now with a single life at stake, one might think that the suspense may lessen.  On the contrary, the tension, underscored by a pulse-pounding soundtrack, skyrockets to an unbelievable level in the last third of the film.  The nighttime standoff and sea rescue mission are grippingly well-orchestrated, a testament to one of the finest filmmaking.  The cool coordination, negotiation and precise execution conducted by the rescuers contrast with the chaos and confusion inside the compact confinement of the lifeboat with Phillips and the pirates.

Hanks excels as Phillips with his everyman persona.  His portrayal shows a deep range of emotions.  Beginning with a crestfallen look when he realizes the magnitude of the situation, to bravery and composure under pressure, shifting to guttural fear, desperation, agony, shell-shocked and relief.  Hanks shows one of the most outstanding acting during what could be the last stretch of Phillips' life.  Your stomach will be tied in knots and you'll eventually exhale along with him. 

Abdi, an amateur actor, holds his own.  His Muse's nickname may be “Skinny,” but he doesn't skimp on threats, even when he realizes he's running out of time and options.  And his right-hand man, is one scary dude.  All the shouting can be a little excessive at times, but the foursome perform well.  Even when you can't condone the pirates' actions, it does give you an understanding where they're coming from. 

A riveting, real-life thriller, "Captain Phillips" is one of the best films of the year.

http://www.sdentertainer.com/arts/movie-review-captain-phillips/
 

DVD: http://tinyurl.com/lm7avct
DVD (blu-ray): http://tinyurl.com/kg5h3sb

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"Frozen"

 

[Originally posted on 12/03/13]

The creation of the ice palace alone is worth the price of admission!  At a glance, the story has the makings of a Disney classic.  A vast kingdom, an evil villain, a prince charming, a beautiful princess and a true love's kiss.  But it flips the formula for a real sisterly love.  It's refreshing in a way that the story doesn't rely on a princess-in-distress getting rescued by a prince, or a warrior princess swinging a sword to defeat the enemy.  "Frozen" is a cool treat for jaded, modern audience.

DVD: http://tinyurl.com/loxeop8
DVD (blu-ray): http://tinyurl.com/mq65d39

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2013 Top Holiday Movies

[Originally posted on 12/03/13]

Just how promising does this year's holiday movies lineup look?  Must-see films compete for your attention.  Action fantasy sequels to comedy sequels, family favorites to surefire crowdpleasers, and prestigious awards contenders, here's a list of top holiday movies to be excited about.

Check out Yahoo! Movies for synopsis and trailers:
http://movies.yahoo.com/blogs/movie-talk/holiday-movie-preview-25-films-most-excited-172234763.html

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"Gravity"

Lost in space.  Never before has it felt terrifyingly realistic.

“Gravity” is a work of fiction, but it certainly doesn't feel like it.  This summer at Comic-Con, director Alfonso Cuaron said that it took over four years to figure out the technology of zero gravity and shoot the film.  The proof is unmistakable.  This is one film meant to be seen on the big screen, in 3-D, and better yet, IMAX.

The silent opening stuns with the truth about being in space; it's simply not livable.  Then in an astounding, long continuous take of earth and space, a shuttle comes into view and magnifies, with living beings gliding in space.  It shows how small humans are in the greater universe.

Dr. Ryan Stone (Sandra Bullock, "The Lake House"), a medical engineer on her first mission, is in the process of installing a scanning device under the guidance of fleet commander Matt Kowalski (George Clooney, “The Descendants”) and communication with NASA.  There's another astronaut working on the exterior of the spacecraft and other crew inside.

While Kowalski goes on a jovial spacewalk, there's news that clouds of debris are brewing and heading toward them at breakneck speed, a chain reaction after a satellite is destroyed by the Russians.  From the first strike, you'll find yourself holding your breath and feel Dr. Stone's disorientation where she spins and spins, and greatly fears of getting stranded and adrift in infinity.  When she and Kowalski finally connect, the goal is to get to the ISS and Chinese space station, call for rescue and find their way back to earth.

Clooney charms in his limited role, injecting levity and making light of the dark doom. Ultimately though, this is Bullock's picture.  Survival becomes Dr. Stone's sole mission.  Alone and adrift, she's low on oxygen and fuel, nauseous and dizzy, desperate and scared to death.  She must let go of the past, find the will to survive, make the right trajectory to the space station and find a way back home.  The destruction of the space station in the vast vacuum of space is eye-popping.  The countdown toward earth in the end is one of the most distressing scenes.

Cuaron and crew have designed a visual masterpiece, with symbolic scenes that represent rebirth.  There's a claustrophobic feel and realism to the scenes.  When every second counts, every gasp and grasp, every jerk and hit could mean a chance for life or death.  The 3-D is fully utilized, from sprays of flying debris to specks of floating tears or fires.  The sound design goes for maximum impact, alternating between piercingly earthshaking and eerily quiet.

In the last several years, there have been films that clearly merit technical accolades, visually or acoustically - "Avatar," "Inception," "Life of Pi."  "Gravity" falls in this category.

A singular survival tale in space, “Gravity” is an experience that marvels and mesmerizes.  It's probably the closest you'll ever be to being in space in this lifetime.

http://www.sdentertainer.com/arts/gravity/

 

DVD: http://tinyurl.com/mwkjuef

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Upcoming Movies: November 2013

[Originally posted on 11/01/13] 

November 1
"Enders Game" (http://endersgamemovie.com/ ) - The International Military seek out a leader who can save the human race from an alien attack. Ender Wiggin, a brilliant young mind, is recruited and trained to lead his fellow soldiers into a battle that will determine the future of Earth.

"About Time" (http://www.abouttimemovie.com/ ) - At the age of 21, one man discovers he can travel in time and change what happens and has happened in his own life. His decision to make his world a better place by getting a girlfriend turns out not to be as easy as he might think.

November 8
"Thor: The Dark World" (http://marvel.com/movies/movie/182/thor_the_dark_world) - Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.

"Dallas Buyers Club" - The story of Texas electrician Ron Woodroof and his battle with the medical establishment and pharmaceutical companies after being diagnosed as HIV-positive in 1986, and his search for alternative treatments that helped established a way in which fellow HIV-positive people could join for access to his supplies.

November 15
"The Book Thief" (http://www.thebookthief.com/) - While subjected to the horrors of WWII Germany, a girl finds solace by stealing books and sharing them with others. Under the stairs in her home, a Jewish refuge is being sheltered by her adoptive parents.

November 22
"The Hunger Games: Catching Fire" (http://www.thehungergamesexplorer.com/us/epk/catching-fire/) - Katniss Everdeen and Peeta Mellark become targets of the Capitol after their victory in the 74th Hunger Games sparks a rebellion in the Districts of Panem.

"Nebraska" - An aging, booze-addled father makes the trip from Montana to Nebraska with his estranged son in order to claim a million dollar Mega Sweepstakes marketing prize.

November 29
"Frozen" (http://movies.disney.com/frozen/) - Fearless optimist Anna teams up with Kristoff in an epic journey, encountering Everest-like conditions, and a hilarious snowman named Olaf in a race to find Anna's sister Elsa, whose icy powers have trapped the kingdom in eternal winter.

"Mandela: Long Walk to Freedom" (http://www.mandelamovie.co.za/) - A chronicle of Nelson Mandela's life journey from his childhood in a rural village through to his inauguration as the first democratically elected president of South Africa.

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"Rush"

If you dismiss “Rush” as a car racing movie, don't. Character-driven, it's so much more than that.  It brilliantly details the relationship between “frenemies” Formula One legendary race car drivers in the mid 1970s, British James Hunt (Chris Hemsworth, “Thor,” “The Avengers”) and Austrian Niki Lauda (Daniel Bruhl).  While both are driven to win, the two men can't be anymore different.

Hunt is a looker and womanizer, leading a wild lifestyle, filled with drugs, booze and women. He's introduced as popular and more of a star than his soon-to-be rival, Lauda.  He ends up marrying a glamorous model, Suzy Miller (Olivia Wilde, "Tron Legacy"), but not surprisingly, it doesn't last. Wilde is memorable in their parting conversations. 

Lauda goes against his privileged family's career expectations and makes his mark a race car driver on his own.  Professional and methodical, he funds his own dream and works his way into the circuits.  He understands race cars inside out and works with his mechanics to build a superstar car in the early days of his career.  He's disciplined and dedicated, an early riser who arrives on the track before sunrise, goes home after the race, and takes care of himself and his car.  Eventually he settles down with a sensible lady, Marlene (Alexandra Mara Lara).  One particular scene in Italy, where he drives a passerby's car after he and his future wife get stranded on the side of road, is delight.  That scene distills Lauda's character.

Racing in “a coffin surrounded by octane” is a dangerous sport, to be sure.  It's for those who crave for extreme speed, risk and danger.  A daredevil like Hunt, who's willing to die to beat his rival.  Even the calculated one, like Lauda, is aware and estimates the chance of getting killed each time he accelerates on the pedal.  The one time he goes against his better judgment has serious consequences.  There are graphic scenes where drivers get killed, maimed or scorched, including a grueling recovery.

“Rush” is a winning work from director Ron Howard.  The men's characters are well-defined, yet not one dimensional.  The relationship between the two is not as black-and-white.  Ultra-competitive, at times contentious, but their mutual respect and admiration are apparent.  They push each other's limit beyond what's possible and are champions in their own rights.  Hemsworth may be the face of the film and he's fine here, but Bruhl has a more meatier role and far wittier lines. 

The round-the-world race sequences, culminating in the fog-shrouded and soaked-road of the Grand Prix against the backdrop of Mount Fuji in Japan in 1976, are breathtaking. You'll feel as if you're there.  Sometimes being under the helmets and behind the wheels on the race track, others cheering in celebration and gasping in horror as an audience.  You'll hear the engines roar in your ears, sense the grinding of the nuts and bolts, smell the fuel, swirl around dirt and smoke, see the rain pelting the glistening tires, feel the triumph and fame.  The hair-raising music, composed by Hans Zimmer ("Man of Steel"), heightens the urgency of life-and-death situations.  

A rush of motion, sound and emotion, “Rush” is a winner.

http://www.sdentertainer.com/arts/movie-review-rush/

DVD: http://tinyurl.com/pcdea77
DVD (blu-ray): http://tinyurl.com/nlpn7vm

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"Cloudy with a Chance of Meatballs 2"

I love food.  I love animation.  "Cloudy with a Chance of Meatballs" is one of my all-time favorites for that reason.   In the first movie, Flint Lockwood's invention make food fall out of the sky like rain in Swallow Falls island.  While it sounds fantastic at first, of course, it does more harm than good. 

The sequel begins with the realization that Flint's machine isn't turned off successfully as he thought it was.  Cleanup crew from LiveCorp, headed by Flint's childhood inventor hero, Chester, informs him that the machine has turned fruits and vegetables into hybrid of food and animals... foodimals.  And these foodnimals are frightening and they have to be stopped before they swim and reach the mainland.  Flint and friends find that there's more to Chester's story and work to uncover his motive.  

Among the creatively cute foodimals are shrimpanzees, flamangos, watermelephants, potatotamus, banacheetas, scalliosaurus, subwhales, cheespiders, burger monsters, tacodiles.  One baby strawberry inadvertently takes on the role of ambassador and carries the role adorably. 

A light serving for smaller kiddies, the story touches on bullying, friendships, family and community.  While it's not fresh as the first, the foodnimals and food puns make the movie deliciously delightful. 

DVD: http://tinyurl.com/k94k8z9

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