2015 Awards Season: Feature Film Highlights

The Academy Awards show is taking place earlier this year (February 22), but there's still time to catch up on some of the nominated movies! (up for best picture, directing, writing, acting, visual effects, music).  As in previous years, I've picked a half dozen highlights.

http://www.sdentertainer.com/arts/2015-awards-season-feature-film-highlights/

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"American Sniper"

The opening scene strikes terror in your heart and the firing sound will make your heart feel like it stop beating for a minute. Throughout four tours, Chris Kyle is forced to make split-second decisions with supreme precision, every single time.  Each time he returns, he's not the same man that left.  Most of us would never experience the horrors of the battleground, let alone make the life-or-death choices that Chris did, where he's credited to be the most lethal sniper in U.S. military history with 160 confirmed kills. The story is brought to the screen just right.  And realistic.  The film does not shy away from the brutal reality of war, but it also feels close to heart. You'll hold your breath and feel every trigger pulled, every shot fired or blood splattered. It demonstrates costly personal ramifications, without glorifying the decorated war hero. An accomplished filmmaking and one of the finest, real and personal, harrowing and absorbing. An “as is” story, that tells the life of Chris Kyle.  There's a collective applause and then reverent silence filled the theater as closing images concluded the film. “American Sniper” honors the memory of Chris Kyle, an exemplary life of service and sacrifice.  Check out the full review and trailer here.

***

"The Imitation Game"

In 1939, Alan Turing applies for a cryptographer job at a secret government school and begins working on a stealth project, deciphering Enigma. If successfully decoded, the device would reveal military strategies and surprised attack plans deployed by the Nazis.  The device resets itself every midnight and there are 159 million combinations. Alan focuses all his efforts into creating a machine that could instantly decode those complicated codes.  A defining moment happens when the machine finally works and the team has to decide on the next step, which in essence, decides who lives and dies.  It painfully remains a secret they have decoded Enigma so that the Germans would never suspect and adjust their strategies.  This achievement has been credited to shortening World War II by more than a couple of years and saving millions of lives.  If one were to conjure up a heroic character, it would be hard pressed to imagine someone like Alan Turing.  Yet he is, and knowing how he lives towards the end of his life – after all he's contributed to humanity – makes it the more tragic.  Paced like a ticking clock and suspensefully unfolded, “The Imitation Game” purposefully hits the mark in shining the light on one the most heroic figures of the 20th century.  Check out the full review and trailer here.

***

"The Theory of Everything"

The film tells a life story of the world-renowned astrophysicist, Stephen Hawking.  More of a love story than intellectual discoveries, it’s told from his first wife’s perspective, Jane.  Stephen is first introduced as a vibrant young man with a brilliant scientific mind and quirky humor, quickly charming an arts student, Jane.  Stephen receives a devastating diagnosis, degenerative motor neuron disease with an estimated life expectancy of two years.   As the deadly disease progresses, he gradually loses his abilities to do routine things.  It is painful to watch and serves as a powerful reminder of how much we take everyday living for granted.  His brilliant mind remains, however.  It’s the singular thing that he has control over and continues to put to great use.  Life eventually does take a toll on Jane as a primary caretaker as Stephen's life stretches for many years, but through it all, Jane and Stephen’s bond is lifelong.  They’re shown as very human and fully realized. Filled with much life, love and tears, and sprinkled with laughter, “The Theory of Everything” is a beautiful film. Check out the full review and trailer here.

***

"Gone Girl"

Nick and Amy Dunne are a married couple with marital woes.  In the morning of their 5th wedding anniversary, Nick comes home to find the door to his house open, smashed coffee table, and no sight of Amy. Yet everything else appears suspiciously neat and immaculate. It becomes very apparent right away that things are not what they seem. Nick's nonchalance and unsettling clues left by Amy, along with Nick's own missteps make him a prime suspect. With Amy being sensationalized as America's sweetheart, Nick is guilty in the eyes of the public. While continuing to maintain his innocence, he finds himself running out of options and turns to a slick celebrity defense attorney.  They uncover each layer of mystery and finds out what really happens.  The film does feel long, but deft direction, sharp storytelling, purposeful pacing, brisk dialogue intermingled with surprising dark humor, accompanied by an eerie score maintain the suspense and keep us guessing. What begins as a whodunit puzzle unfolds as a complex, character-driven page-turner, ending with a brutally bizarre twist.  Meticulously constructed, “Gone Girl” is layered with intricacy and laced with dread and wit. A deliriously diabolical psychological thriller, it won't be gone from our collective mind anytime soon.  Check out the full review and trailer here.

***

"Nightcrawler"

Lou Bloom is desperate for a job, scours and scrapes for anything. One night he runs into a freelance videographer filming a crash rescue, a footage that can be sold to the highest bidding news station. This speaks to him.  Riding a beat-up car and equipped with an amateur police scanner and cheap camcorder, Lou is in business and thrives. Lines are crossed, as Lou realizes that power and dollars come with getting the right shots at all costs.  It's not just creeping or crawling into any crash, fire, murder, stabbing or carjacking. There's such thing as the “right” neighborhood, the “right” victim or the “right” circumstance. So what's the harm in manipulating frames at crime scenes?  It gets the message across, scores and praises. But at what point a line is crossed to the point of no return?  Nightcrawler” is a great macabre satire about how news are made, packaged and pushed to the limit behind the scene, sensationalized and consumed by the public, and those who profit from tragedies and atrocities. A dark comedy and thriller rolled into one.  There's something to be said about the public's appetite for ghastly sensationalism. As long as people are watching and ratings are soaring, the media would continue to publish. And that, is where the horror lies.  Check out the full review and trailer here.

***

"Interstellar"

Earth is on life support, on the edge of extinction. Cooper, a former astronaut, returns to his calling for a journey to the unknown.  A wormhole has been found, which may be the key to find another place in space for humanity.  Time is truly of the essence and there's a sense of scarcity. Every decision must be thought out thoroughly and calculated carefully.  In one planet, an hour translates to seven years on earth.  One mistake could cost decades and humans' extinction.  “Interstellar” is a duel of philosophies, one for being human and feeling connected to our loved ones and our generation, and the other obligations to reach higher and do something greater for the future survival of mankind. And at its heart, an emotional tale between father and daughter that transcends time and space. The visuals are vast and victorious. Majestically framed and filmed, they invoke a sense of awe.  The score impeccably underscores tense moments peaking with crescendo and cutting into silence. “Interstellar” is imperfectly perfect in its stellar storytelling, simplicity of the plot and complicated details. A celestial tapestry of space exploration, time bender and heartfelt human story, it earns its place among the stars.  Check out the full review and trailer here.

***

And a shout to fellow superhero fans... not only "Captain America: The Winter Soldier" and "X-Men: Days of Future Past" ruled the box offices, they've earned critical acclaims as well and been nominated for visual effects.

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Academy Awards 2015

[Originally posted on 2/22/15]

Hosted by multi-talented performer Neil Patrick Harris, the 87^th Academy Awards opened with the stage awash in glittery splendor of reds and golds. Harris started off with a biting opening line, “Tonight, we honor Hollywood's best and whitest – sorry, brightest.” He broke into songs with satirical lyrics and appeared to perform magic tricks against the backdrop of moving pictures, interrupted with cameos from Anna Kendrick looking for a lost Cinderella's slipper and Jack Black mocking superhero movies.

Harris made fun of rich stars receiving swag bags worth of $165K each, claiming that an armored car was part of the gifts, which would be needed should there be a revolution. There was a hilarious enactment of Michael Keaton's hallway-walking-in-underwear scene from “Birdman,” in which Harris stripped down and braved the stage dressed in his skivvies.

The first award of the night went to J.K. Simmons as Best Actor for “Whiplash.” The movie grabbed two more awards later in the show, Best Sound Mixing and Best Film Editing. “American Sniper,” where sound played a huge role in enhancing the tension-filled story, earned a win with Best Sound Editing.

Visuals, dominated by sci-fi and superheroes, awarded “Interstellar” with Best Visual Effects award, a film that sweeps the eyes with expansive and imaginative imageries.

The outlandishly delightful “The Grand Budapest Hotel” scored one win after another, with Best Costume Design, Best Makeup and Hair Styling, Best Production Design, and Best Original Score.

The Academy Award voters went with “Big Hero 6” for Best Animated Feature, in contrast with Golden Globes' "How to Train Your Dragon 2."  

Patricia Arquette, who dominated the awards circuit, won Best Supporting Actress. She used part of her speech to advocate for equal wages and rights for women, to the cheers of the star-studded audience. Julianne Moore, bestowed with Best Actress award, graciously mentioned that there was really no 'best actress,' as she was there with them every step of the way. She's glad that the movie brought more awareness to Alzheimer, which could be a very isolating disease. On a lighter note, she joked that she heard winning an Oscar would add one's life expectancy by five years, and if that was the case, she'd thank the Academy because her husband was younger than her.

Eddie Redmayne giddily brought home the gold as Best Actor. There was a spontaneous awe and joy in his acceptance. He dedicated the statue to those around the world with ALS and the Hawking family. He recognized his fortune and zealously said that he would take care and polish the statue. While it had been said that Best Actor race was a strong one, there was never a doubt in my mind as soon as I finished seeing “The Theory of Everything” that Redmayne would go all the way to the Oscars and take it. It's such a life-changing performance.

Best Adapted Screenplay prize went to “The Imitation Game," enthusiastically and humbly accepted by Graham Moore, who made a personal confession about a suicide attempt at age 16 and dedicated the honor to the kid(s) who might feel alone or didn't belong. Moore assured that they did and asked them to stay weird, stay different, and to pass along the message to the next person they reached this stage someday.

“Birdman” nabbed Best Original Screenplay, Best Cinematography and Best Director trophies. Director Alejandro Inarritu gave a grateful, all-encompassing speech, and apologized in case he forgot anyone. The film also took top honor as Best Picture. Inarittu later took the stage again and dedicated the triumph for fellow Mexicans, for those in Mexico with the hope of building a government they deserved, and those in this country, who helped build this immigrant nation, and to be treated with dignity and respect. Last year, another Mexican-born filmmaker, Alfonso Cuaron, won Best Director for “Gravity.” 

In a night with no clear frontrunner, it's good to see many first-timers won and those with deeply personal messages were able to speak from the heart and used the platform to reach out to the masses.

Meryl Streep presented the in memoriam piece, remembering those in the business who have passed in the last year, concluded by Jennifer Hudson's stirring tribute, “I Can't Let Go.”

For entertainment, Adam Levine performed a solo with a nominated song “Lost Stars,” Rita Ora with”Grateful,” and John Legend and Common with “Glory.” “Glory,” which earned a standing ovation and teary eyes from the audience, also took home Best Original Song award. Lady Gaga performed classics of “The Sound of Music” with a live orchestra, simply and classily (no outrageous costumes or antics). Julie Andrews made a surprise appearance, embracing Gaga after her lovely performance. “The Lego Movie” took part with a multitude of characters singing and dancing to its catchy tune, “Everything is Awesome.”

http://www.sdentertainer.com/arts/academy-awards-2015/

And the Oscar goes to...

Best Supporting Actor

JK Simmons - Whiplash

Best Costume Design

Milena Canonero - The Grand Budapest Hotel

Best Makeup and Hairstyling

Frances Hannon, Mark Coulier - The Grand Budapest Hotel

Best Sound Mixing

Craig Mann, Ben Wilkins, Thomas Curley - Whiplash

Best Sound Editing

Alan Robert Murray, Bub Asman - American Sniper

Best Supporting Actress

Patricia Arquette - Boyhood

Best Visual Effects

Paul J Franklin, Andrew Lockley, Ian Hunter, Scott R Fisher - Interstellar

Best Animated Feature

Don Hall, Chris Williams - Big Hero 6 

Best Production Design

Adam Stockhausen, Anna Pinnock - The Grand Budapest Hotel

Best Cinematography

Emmanuel Lubezki - Birdman

Best Film Editing

Tom Cross - Whiplash

Best Original Song

Lonnie Lynn (Common), John Stephens (John Legend) - "Glory," Selma

Best Original Score

Alexandre Desplat – The Grand Budapest Hotel

Best Original Screenplay

Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo – Birdman

Best Adapted Screenplay

Graham Moore – The Imitation Game

Best Director

Alejandro González Iñárritu - Birdman

Best Actor

Eddie Redmayne - The Theory of Everything

Best Actress

Julianne Moore - Still Alice

Best Picture

Alejandro González Iñárritu, John Lesher, James W. Skotchdopole - Birdman

For a full list of winners, visit the official website.

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"American Sniper"

“There's a war out there. And people are dying.”

Uttered by Chris Kyle (Bradley Cooper, “American Hustle,” “Silver Linings Playbook”), driving along the freeway in Texas with his pregnant wife, Taya (Sienna Miller, “ G.I. Joe: Rise of the Cobra”), sitting next to him. Back from his first tour of duty, Chris is restless and finds it an annoyance when he's asked how he's doing. He insists he's fine – the weather is sunny and clear, and he's driving to the mall. He wonders that people go about their lives, blissfully oblivious to the other side of his world, where every waking minute could be your last or the person whom you're chatting with may drop dead in an instant.

The opening scene, with Chris' rifle lens zooming into a child and is primed to shoot, is in the trailer, but it doesn't lessen the tension. It strikes terror in your heart and the firing sound will make your heart feel like it stop beating for a minute. Throughout Chris' four tours, there are moments like this, where he is forced to make split-second decisions with supreme precision, every single time. One missed, late or wrong move could mean the death of his comrades or loss of lives of innocent civilians. And the enemy comes in different forms, not just armed men, but women or children as well, or termed as “savages,” so one could carry on his duty, purposely taking human lives to save the lives of many others.

Known as the “legend” with his many kills, troops feel invisible by having Chris positioned on rooftops watching over them. But Chris has said that he can't always protect them because he can't shoot what he can't see. From time to time he joins the ground troops, standing shoulder-to-shoulder with them, knocking on doors and hunting for targets.

The film glimpses back to Chris' childhood in Texas, growing up with a stern father who taught him hunting in the woods and standing up for himself. Chris grows up protective of his little brother, and at 30, he signs up with the SEALs. An aspiring cowboy, he feels that he's meant for something more. Flashbacks also show a spirited meet-cute with his future wife over shots in a bar, with chemistry apparent between Cooper and Miller. Even with Taya's hesitation over the life ahead, they end up married and have kids. Private moments stateside or by telephone are interspersed with combat scenes a world away.

Each time Chris returns from his tour, he's not the same man that left. He becomes acutely aware of his surroundings and ultra-sensitive to certain sounds and sights. He looks disconnected, discomfort, sometimes subtly, eyes distant and avoidant. He feels guilty, but not for the reason you may think. This man has such conviction and courage to act on his belief as a consummate professional doing his job, but not without conscience. Fragments of touching personal moments are shown in pieces, pleadings from his wife for him to be 'human' again and come back to her, an encounter and chat in an auto shop with a soldier he saved from the battlefield, close bonds with his brothers in the armed forces in the war zones and at the VA center.

Cooper packed 40 lbs. of muscles and appears physically imposing, but his embodiment of the legendary sniper is also much in spirit. You'll see him simply as Chris Kyle, whether fighting in action or his inner battle. Never missing a beat, it's a performance that throws him into the best actor awards spotlight, joining fellow actors such as Eddie Redmayne in “The Theory of Everything” and Benedict Cumberbatch in “The Imitation Game.” Miller turns in a strong performance as well as a conflicted wife, torn between understanding her husband's need to serve the country and protect others, and her need for him to be home and be there for her and their kids.

Most of us would never experience first-hand the horrors of the battleground, let alone make the life-or-death choices that Chris Kyle did, where he's credited to be the most lethal sniper in U.S. military history with 160 confirmed kills. Directed by Clint Eastwood (“Hereafter”), the story of “American Sniper” is brought to the screen just right. And realistic.

The film does not shy away from the brutal reality of war, but it also feels close to heart (edging “Zero Dark Thirty”). You'll hold your breath and feel every trigger pulled, every shot fired or blood splattered. It demonstrates costly personal ramifications, without glorifying the decorated war hero. An accomplished filmmaking and one of the finest, real and personal, harrowing and absorbing. An “as is” story, that tells the life of Chris Kyle.

There's a collective applause and then reverent silence filled the theater as closing images concluded the film. “American Sniper” honors the memory of Chris Kyle, an exemplary life of service and sacrifice.

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

DVD: http://tinyurl.com/americansnipereastwood

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

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"Big Eyes"

A strange true story, “Big Eyes” documents the story of Margaret Keane (Amy Adams, “American Hustle,” “Man of Steel”), a successful, closet painter in the golden era of the ‘50s and ‘60s. 

Leaving her husband with her daughter in tow, Margaret starts a new life in San Francisco and struggles to get by, displaying her paintings for sale and underpricing them at local fairs.  Margaret, as many women during that period, has never had her own life and feels backed into a corner with her ex-husband wants to get custody of their daughter.  A smarmy real estate salesman and Sunday painter, Walter Keane (Christoph Waltz), charms his way into her life fast and the two soon marry. 

Initially the Keanes tries to sell their paintings individually.  Hers, inspired by her daughter, are paintings of children with waif figures and big, hollow eyes.  His are street-and-building scenes based on his time in Paris – or so he says.  An encounter with a patron of a club where their paintings are displayed leads to a misunderstanding as to who paints those big-eyed children pictures.  And when an incident lands one of the paintings on the front page of a newspaper, Walter, an aggressive self-promoter and aspiring artist, proclaims that he is the painter, not his wife. 

Fame and fortune follow.  That one recognition opens the door to a ton of other opportunities.  The Keanes are now able to open their own gallery and lead a cushy lifestyle.  Walter is the driver behind all the promotion, from connecting to public figures and media, and eventually gets Margaret’s paintings mass-produced and sold all over the world – all the while taking full credit for his wife’s work. 

Margaret is reluctantly supportive of their charade, grows resentful and miserable, and becomes estranged from her daughter, who knows the truth.  Lies that enormous could only last for so long.  While Margaret knows she marries a huckster, she’s forced to leave everything behind when Walter reveals his violent tempers, following an altercation with a top art critic (Terrence Stamp,"The Adjustment Bureau").  Surprisingly chilling. 

Starting like a blank canvas in an another state, living away from Walter and getting close to her daughter again, subservient Margaret at last musters up the courage to tell the truth to the world and brings Walter to court.  The courtroom scene, feels preposterously staged, is admittedly amusing.

Waltz performs his con-artist role with over-exaggerated gestures, like a caricature in parts.  Adams is the real artist here, making her a contender to Rosamund Pike's performance in “Gone Girl” and Felicity Jones in “The Theory of Everything.” Margaret’s repressed, conflicted emotions are subtly shown through her delicate features and vocal tones, beginning with a single look when Margaret first realizes her husband’s deception.  To her, art is personal and touches lives, not simply a commodity that is sold at the right place and price. 

“Big Eyes” is a curiously conventional picture from director Tim Burton, known for his fantasy-based films.  The opening scenery appears almost like a painting and the rest sun-dappled and candy-colored polished.  A melodrama with a comic touch, “Big Eyes,” is not meant to be a masterpiece, rather, an entertaining piece of art.  

http://www.sdentertainer.com/arts/movie-review-big-eyes/

DVD: http://tinyurl.com/bigeyeskeane

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

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Golden Globes 2015

[Originally posted on 1/11/15]

The funny ladies are back! Tina Fey and Amy Poehler didn't need a charm for the third time, hosting the 72^nd Golden Globes, as they already hit it out of the park in the last two years. The two had said that 2015 would be the last year for them hosting, which some interpreted that they could dish out anything without accountability.

Fey and Poehler didn’t hold back.

Fey and Poehler opened the show with an embarrassing e-mail leak from the Sony hack (“The Interview”), welcoming the stars as minimally talented spoiled brats. They exclaimed that they’re just there to honor all the movies that North Korea was okay with. Margaret Cho, dressed up in a North Korean general garb, was in the audience holding up a pop-culture magazine with leader Kim Jong-un on the cover, and later came on stage joining Fey and Poehler.

To prove that nothing was off-limit, Bill Cosby became a target as well. Poehler said that Sleeping Beauty thought she was just getting coffee with Cosby (in the context of “Into the Woods”).

Fey rattled off Amal Clooney’s impressive achievements an international human rights lawyer with high-profile cases, and ribbed Hollywood for giving her husband, George Clooney, Cecil B. DeMille lifetime achievement award instead.

Emma Stone, with naturally big eyes, was made an example as a living painting from “Big Eyes.” Joaquin Phoenix received the jab with Fey conveying a public statement on his behalf that awards show were utter B.S.

Ladies typically take an inordinate amount of time getting ready for red carpet events compared to men. Fey said that it took her three hours to get ready to be a ‘human woman,’ compared with Steve Carell, who sat for two hours in the makeup chair for his role in “Foxcatcher.”

J.K. Simmons took the first award as Best Supporting Actor in “Whiplash.” Patricia Arquette nabbed Best Supporting Actress for her grounded role as a single mother in “Boyhood.” “Boyhood” also earned Best Director award for its director, Richard Linklater, and the grand prize for the night, Best Motion Picture in the drama category.

Amy Adams was honored as Best Actress in a musical/comedy category for her subtle excellence in “Big Eyes.” She looked authentically surprised, uttering how ill-prepared she was for the win.

Julianne Moore was jubilant for winning Best Actress in the motion picture, drama category, noting the validity of a story about (the mental decline of) a middle-aged woman. So happy to see Eddie Redmayne bestowed with Best Actor award for his most amazing acting in “The Theory of Everything.”

Best Original Score award went to Johann Johannsson for his heartfelt music in “The Theory of Everything,” whereas “Glory” in “Selma had the glory as Best Original Song.

The “Birdman” team scored a win for Best Screenplay. Michael Keaton, favorite to win Best Actor in the musical/comedy category, won and gave an emotional speech about his humble upbringing and family. He praised the movie as an unapologetic look about human nature and gave a shout to its director.

“How to Train Your Dragon 2” bested other popular animations, such as “Big Hero 6” and “The Lego Movie,” and won Best Animated Feature.

“The Grand Budapest Hotel” was an upset win as Best Motion Picture in the comedy or musical category, trumping frontrunners "Birdman" and “Into the Woods.” I didn't get to review “The Grand Budapest Hotel” - it was outlandishly delightful.

Julianna Marguiles and Jon Cheadle, presenter for the Cecil B. DeMille lifetime achievement award, tried to outdo each other (Marguiles' facial expression was priceless!) as to who's a greater friend to George Clooney based on their history co-starring in TV and films. 

Clooney facetiously acknowledged the lukewarm reception for his movie last year, “The Monuments Men,” one of the leaks that came out of the Sony hack. But he impressed upon the stars there that there were no losers even as the majority didn't win since they all had made it there and were celebrated for their work. He also took the opportunity to mention about the unity march in Paris today (in light of the terrorist attack) to show that we would not walk in fear. Lastly, he expressed his pride for being married to Amal.

http://www.sdentertainer.com/arts/golden-globes-2015/

And the Golden Globe goes to...

Motion Picture, Drama

Boyhood

Actor, Motion Picture, Drama

Eddie Redmayne - The Theory of Everything

Actress, Motion Picture, Drama

Julianne Moore - Still Alice

Motion Picture, Musical/Comedy

The Grand Budapest Hotel

Actor, Motion Picture, Musical/Comedy

Michael Keaton - Birdman

Director, Motion Picture

Richard Linklater - Boyhood

Screenplay, Motion Picture

Alejandro González Iñárritu, Armando Bo, Alexander Dinelaris, Nicolás Giacobone - Birdman

Actress, Supporting Role, Motion Picture

Patricia Arquette - Boyhood

Animated Film

How to Train Your Dragon 2

Actress, Motion Picture, Musical/Comedy

Amy Adams - Big Eyes

Original Song, Motion Picture

John Legend, Common - “Glory,” Selma

Original Score, Motion Picture

Jóhann Jóhannsson - The Theory of Everything

Actor, Supporting Role, Motion Picture

J.K. Simmons – Whiplash

For a full list of winners, visit the official website.

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"The Imitation Game"

[Note: Back in the country and catching up on films with awards buzz]

In 1939, Alan Turing (Benedict Cumberbatch, "Penguins of Madagascar") marches into Britain's top-secret Government Code and Cypher School, applying for a job as a cryptographer. He spars with the commander in charge of the program, Commander Alexander Denniston (Charles Dance), astutely stating that the government is working on a stealth project, deciphering Enigma, a major communication device captured from the Germans. A device that, if successfully decoded, would reveal military strategies and surprised attack plans deployed by the Nazis.

But Enigma is truly, well, an enigma. It is enigmatically more complicated than it looks because the device resets itself every midnight, rendering the day's efforts fruitless the next day. There are 159 million combinations and it would take 29 million years for humans to crack every possibility.

Alan convinces the commander that he's up to the task and gets the job, although he starts on an uneasy footing. He's introduced to Stewart Menzies (Mark Strong, “Zero Dark Thirty,” “Sherlock Holmes”), the head of the newly formed MI:6, and a team of cryptographers and linguists. Arrogant and antisocial, he butt heads with the team leader immediately, Hugh Alexander (Matthew Goode, “Leap Year”) and doesn't earn brownie points from the team. Alan makes it known that he works best alone and wants his own team. He surreptitiously finds a way to make it happen, gets promoted to be the lead, and reshapes the team.

Alan knows that the odds are against them, so he aspires for something bigger. With significant government funding on the line, he focuses all his efforts into creating a machine, named Christopher, that could instantly decode those millions of complicated codes and thus defeat Enigma. From flashbacks, we learn about Alan's childhood, bullied and alone, and also his close connection to another boy, Christopher. Alan envisions the machine to be universal, something that would understand all things. That machine is a precursor to modern-day computers.

A new cryptographer, Joan Clarke, (Keira Knightly, “Jack Ryan: Shadow Recruit”) joins the team, having solved an advertised crossword puzzle and finished the required test faster than all her male counterparts. Initially mistaken as a secretary, a common profession at that time for women, she proves to be instrumental in softening up Alan and improving his relationships.  He subsequently earns respect and loyalty from his team, and the two also grow close in the process.

During trial and error with the machine, top brasses are growing impatient with Alan and funding runs out. To top it off, the commander is breathing down his neck since he is also suspected for being a Soviet spy. The team sticks together and Alan eventually has his “Eureka” moment.  The machine finally works.

A defining moment in the film happens where the team, now knowing the Germans' plans of attack, decides on the next course of action, and in essence, decides who lives and dies. Such power.  Such moral dilemma.  It painfully remains a secret that they have decoded Enigma so that the Germans would never suspect and adjust their strategies accordingly.  Historians have contributed this achievement to shortening World War II by more than a couple of years and saving millions of lives.

If one were to conjure up a heroic character, on the surface, it would be hard pressed to imagine someone like Alan Turing.  Yet he is, in unimaginable ways.  And knowing how he lives towards the end of his life, where he's forced to reveal everything to a detective (Rory Kinnear) during an interrogation – after all he's contributed to humanity – makes it the more tragic.

Fear for the unknown, intolerance for a lifestyle that doesn't conform to society's standard, homosexuality, treated as a a crime at that time, destroys this tremendous man's life.  There's a deeply personal scene towards the end between Cumberbatch and Knightly. Powerfully performed, especially by Cumberbatch, who will be a contender to Eddie Redmayne's performance in “The Theory of Everything” come awards time.

“Sometimes it is the people no one imagines anything of that do the things no one can imagine.”  There are those people who achieve unimaginable things behind the scene, make lasting impacts and change history. Alan Turing is undoubtedly one of those.

Paced like a ticking clock and suspensefully unfolded, “The Imitation Game” purposefully hits the mark in shining the light on one the most heroic figures of the 20th century.

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

DVD: http://tinyurl.com/imitationgamecumberbatch

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"The Theory of Everything"

“When there’s life, there is hope.”

Directed by James Marsh, “The Theory of Everything” tells a life story of the world-renowned astrophysicist, Stephen Hawking (Eddie Redmayne, “Les Miserables,” “My Week with Marilyn”).  More of a love story than intellectual discoveries, it’s told from his first wife’s perspective, Jane Hawking (Felicity Jones, “The Amazing Spider-Man 2”), based on her memoir, “Traveling to Infinity: My Life with Stephen.”

Cambridge University, 1963.  Stephen Hawking is first introduced as a vibrant young man with a brilliant scientific mind and quirky humor, quickly charming an arts and literature student, Jane Wilde.  Not long after they meet and fall in love, Stephen receives a devastating diagnosis, degenerative motor neuron disease (ALS or Lou Gehrig’s disease), with an estimated life expectancy of two years.

It’s chillingly heartbreaking to see Stephen falls and hits the ground hard and Jane witnessing the first signs of his physical deterioration during a croquet game.  Even as he pushes her and his friends away, and cautioned by his parents for an uphill battle of a life she could never prepare for, Jane earnestly chooses to stay by his side and marry him regardless.

Then comes the children and domestic life is far more challenging than anyone could ever imagine.  As the deadly disease progresses, Stephen is gradually losing his abilities to do routine things; breathing, bathing, eating, drinking, dressing, speaking, writing, sitting, standing, walking.  It is painful to watch and serves as a powerful reminder of how much we take everyday living for granted.

His mind, his brilliant mind remains, however.  It’s the singular thing that Stephen has control over and continues to put to great use.  He finishes his doctorate study, discovers and theorizes, contributes to breakthroughs, speaks at engagements, writes books, gains recognition and rises to fame.

Life eventually does take a toll on Jane as a primary caretaker as her husband’s life stretches for many years.  She ends up befriending a church choirmaster and kind widower, Jonathan Hellyer Jones (Charlie Cox).  Jonathan becomes a close family friend, supportive and integrated to day-to-day struggle of the family’s life.  Jane’s relationship with him comes across naturally and is handled with class, as well as glimpses of Hawking’s later connection with his new nurse, Elaine Mason (Maxine Peake).  Through it all, Jane and Stephen’s bond is lifelong.  They’re shown as very human and fully realized.

The film is softly shot, hazy and rich in saturated colors, with an authentic feel of sets design and costume of the period.  It tugs at your heartstrings with a stunning score, a harmony of piano and violin.

Redmayne will be up for awards for his true-to-life portrayal.  He didn’t dramatically lose weight or put on prosthetic makeup, but his transformation from an able body to severely debilitated, functioning through a computerized voice and motorized wheelchair, while still conveying the essence of Stephen Hawking is extraordinary.  From struggling to walk, trembling hands, resting of his head, slurring of his speech, to facial tics, including expressive eyes, playful smile and arching eyebrows to communicate and convey his personality.  Jones is not to be overshadowed.  Jane’s incredible inner strength, quiet determination, endless compassion and loving devotion profoundly shine through.

Filled with much life, love and tears, and sprinkled with laughter, “The Theory of Everything” is a beautiful film.

http://www.sdentertainer.com/arts/movie-review-the-theory-of-everything/

http://tinyurl.com/theoryeverything

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"Into the Woods"

[Originally posted on 12/25/14]

A twisted tale on the classics - Cinderella, Rapunzel, Little Red Riding Hood, Jack and the Beanstalk - tied together by the central characters' narrative, a baker and his wife, cursed to be childless by a witch. In order to reverse the spell, the couple must collect a cow as white as milk (Jack), cape as red as blood (Red Riding Hood), slipper as pure as gold (Cinderella), and hair as yellow as corn (Rapunzel) by midnight of the blue moon. Their lives all intersect in the woods.

The actors belt out dialogue in songs like champions, particularly Meryl Streep ("The Iron Lady"), power-singing through the movie and casting spells with her presence. Anna Kendrick ("Up in the Air") and Emily Blunt ("Edge of Tomorrow," "The Adjustment Bureau") enchant in a number of moments.

The movie has an eerie aura throughout its storybook-like settings and is surprisingly violent at times. But it's also self-aware and bleakly funny. It could have done away with the last third act, unnecessarily prolonged and muddled.

Plays like a Broadway show, “Into the Woods” is an entertainingly dark mix of musical and parody.

http://tinyurl.com/intothewoodsmusic

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Upcoming Movies: January 2015

[Originally posted on 12/26/14]

[Note: Taking a break for the holidays and will be back with a review in January.  Happy new year!]

January 2
"A Most Violent Year" - In New York City 1981, an ambitious immigrant fights to protect his business and family during the most dangerous year in the city's history.

January 9
"Taken 3" (http://www.taken3movie.com) - An ex-government operative is accused of a ruthless murder he never committed or witnessed.  As he is tracked and pursued, he brings out his particular set of skills to find the true killer and clear his name.

January 16
"Blackhat" (http://blackhat.legendary.com) - A man is released from prison to help American and Chinese authorities pursue a mysterious cyber criminal. The dangerous search leads them from Chicago to Hong Kong.

"Still Alice" - Alice Howland, happily married with three grown children, is a renowned linguistics professor who starts to forget words. When she receives a devastating diagnosis, Alice and her family find their bonds tested.

January 23 
"Mortdecai" (http://mortdecaithemovie.com) - Art dealer Charles Mortdecai searches for a stolen painting that's reportedly linked to a lost bank account filled with Nazi gold.

"Black Sea" - In order to make good with his former employers, a submarine captain takes a job with a shadowy backer to search the depths of the Black Sea for a submarine rumored to be loaded with gold.

January 30
"Project Almanac" (http://www.projectalmanac.com) - A group of teens discover secret plans of a time machine, and construct one. However, things start to get out of control.

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2014: Year in Movies

[Originally posted on 12/19/14]

A look back to 2014... 200+ movies in 7:16 minutes.

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"The Hunger Games: Mockingjay Part I"

“If we burn, you burn with us.”

“The Hunger Games” franchise has been a fierce success, both from the critics’ and public’s side.  Since it premiere, there have been similar sci-fi YA adaptations; “Enders’ Game," “Divergent,” “The Giver” and “The Maze Runner.”  I greatly enjoyed every single one of them, but “The Hunger Games” reigns supreme.

“The Hunger Games: Catching Fire” was not only a game-changer; it shattered everything.  Everything that ace-archer Katniss Everdeen (Jennifer Lawrence, “The American Hustle,” "X-Men: Days of Future Past," "X-Men: First Class," Silver Linings Playbook”) knew, what went on behind the scene and right under her nose, what she became and how she meant to the people in the downtrodden districts of Panem.  When her arrow disabled the forcefield and obliterated the inhumane game, Katniss unwittingly transformed into a mockingjay, a beacon of belief and hope, inciting the uprising against the cruel Capitol regime. 

Rescued and safely ensconced in the underground base of district 13, Katniss is reunited with her childhood friend, Gale Hawthorne (Liam Hemsworth), mother (Paula Malcomson) and sister (Willow Shields).  She finds herself in a secret, militarized society led by President Coin (Julianne Moore), who expects her to be the face of their cause.  Katniss doesn’t agree right away, as her main intention is to save Peeta Mellark (Josh Hutcherson), her loved one, captured by the Capitol.  She changes her mind after finding her homebase, district 12, charred and ruined, filled with smokes and skulls. 

Working together with strategist Plutarch Heavensbee (the late Philip Seymour Hoffman, “The Ides of March”), the plan is to develop a series of propagandas, broadcasted to all the districts.  People need to see that the mockingjay is alive and well, ready to lead.  While the concept is easy to understood, Katniss can’t act in front the camera and doesn’t do green screen.  It’s finally decided that she goes into the field and gets filmed live by a film crew (led by Natalie Dormer). 

A visit to a hospital filled with the wounded ends in a tragedy when President Snow (Donald Sutherland, “The Mechanic”) orders an air strike.  It’s the moment that everyone’s looking for, anguished Katniss speaks from the heart and fights back, uniting the people to rise and rebel.  She makes a deal with President Coin to have Peeta and other tributes rescued from the Capitol. 

Peeta appears in a series of television appearances, answering interview questions from returning host Caesar Flickerman (Stanley Tucci, “Captain America: The First Avenger”).  Peeta looks unharmed, physically, but it’s clear that he’s not the man he used to be.  He delivers messages that are favorable to the Capitol.    

From an action standpoint, “The Hunger Games: Mockingjay Part I” is lacking compared to its predecessors.  But don’t mistake the sparse action beats as lacking elsewhere.  While the filmmakers’ decision to split Suzanne Collins’ last book into two installments may have slowed down the story’s progression, the film is equally suspenseful, and emotional, as the previous movies.  The stakes remain sky-high and you’ve become incredibly invested in the characters that it guts you to see the state they are in. 

The entire cast is terrific, including returning supporting actors Elizabeth Banks (Eefie Trinket) and Woody Harrelson (Haymitch Abernathy), and a nod to Hutcherson for his deepening range.  But it’s Lawrence who fires all cylinders here, carrying the entire movie with a lightning bolt of emotions.  

The game was an all-encompassing piece in the earlier installments.  However, its absence here doesn’t make “The Hunger Games: Mockingjay Part I” a lesser film.  As a matter of fact, the story, which is now more of a political, war drama is refreshingly different.  Adverse repercussions, political weapons, moving speeches, jammed communications, covert flyover to the enemy zone and tense stealth raid. 

“The Hunger Games: Mockingjay Part I” burns bright and explosively lays the groundwork for the revolution of all time, fueling the anticipation for an extraordinary endgame.  ‘Mockingjay Part II’  is set to release on November 20, 2015.

http://www.sdentertainer.com/arts/movie-review-the-hunger-games-mockingjay-part-i/

DVD: http://tinyurl.com/hungergamesmockingjay1

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"Interstellar"

If there's one movie I was most looking forward to seeing this year, it was “Interstellar.”

With a story shrouded in mystery, ambitious visual effects, directed by an acclaimed director and starred by top flight cast, it's one of the most anticipated movies of 2014. Attending the panel at Comic-Con with director Christopher Nolan (“Memento, “Inception,” “The Dark Knight”) and star Matthew McConaughey (“Dallas Buyers Club,” “The Lincoln Lawyer”) this summer only skyrocketed the expectations.

Earth is on life support, on the edge of extinction. Cooper (McConaughey), a former astronaut, is now a farmer, working the corn fields. Overexploitation in the 20^th century has led into earth's rapid deterioration. It's functioning at the most basic level; food, water and shelter. But there's no such thing as dreams for a better life. Cooper lives in a humble abode in the field, often engulfed in dust storms, with his two kids, Murph (Mackenzie Foy) and Tom (Timothee Chalamet), and his father (John Litgow).

When called by Professor Brand (Michael Caine, "Inception," “The Dark Knight” trilogy) from NASA, Cooper returns to his calling for a journey to the unknown. A wormhole has been found, which may be the key to find another place in space for humanity. Cooper's departure is not without sacrifice. It's gut-wrenching to leave everything behind, especially saying goodbye to his daughter, not knowing how long his intergalactic travel will be. He promises his daughter that he will back, not knowing the full picture.

Cooper blasts into space in Endurance spacecraft, with the professor's daughter, Dr. Amelia Brand (Anne Hathaway, “Les Miserables,” “The Dark Knight Rises”), along with a couple other crew members and two robots. The robots are great supporting characters, providing lighter moments in their interactions with the humans. Midway through the voyage, they're joined by another character, whose surprising appearance contributes to one of the most intense sequences in the movie.

Time is truly of the essence. Every decision must be thought out thoroughly and calculated carefully. Once they surpass the wormhole, they must choose which planets to land on, survey and gather data. There's a strong sense of scarcity. Time is a precariously precious resource, not just fuel or oxygen. In one planet, an hour translates to seven years on earth. One mistake could cost them decades and humans' extinction. Further, there's never any certainty in how far time or dimension would get distorted. And unknown, foreign landscapes can transform a mild exploration into a harrowing moment.

“Interstellar” is a duel of philosophies, one for being human and feeling connected to our loved ones and our generation, and the other obligations to reach higher and do something greater for the future survival of mankind. And at the heart of it, wholeheartedly acted, an emotional tale between father and daughter (Jessica Chastain as adult Murph) that transcends time and space.

The visuals are vast and victorious. Majestically framed and filmed, they invoke a sense of awe, reminiscent of last year's award-winning “Gravity.” Spinning and floating space station against the dark starry skies, shining spheres, kaleidoscope of cosmic colors and lights, mountain of tidal waves, sea of clouds, jagged ice tundra. The score (Hans Zimmer, “Inception,” “The Dark Knight”)  impeccably underscores tense moments peaking with crescendo and cutting into silence.

The film is not without flaws. The running time of nearly three hours and verbose dialogue on quantum physics, gravity and relativity can be toned down without impacting the story. In real life, they don't withstand scrutiny anyway. But in this universe, it's believable enough in its plausibility.

“Interstellar” is imperfectly perfect in its stellar storytelling, simplicity of the plot and complicated details. A celestial tapestry of space exploration, time bender and heartfelt human story, it earns its place among the stars.

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

http://tinyurl.com/p52ogzx

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"Nightcrawler"

“If it bleeds, it leads.”

Lou Bloom (Jake Gyllenhaal, “Source Code”) is desperate for a job. He scours and scrapes for anything. One night he runs into a freelance videographer (Bill Paxton, “Edge of Tomorrow”) filming a crash rescue, a footage that can be sold as headline exclusive to the highest bidding news station. This speaks to him on a primal level.  

Riding a beat-up car and equipped with an amateur police scanner and cheap camcorder, Lou is in business. A quick study, fast on his feet with a keen eye for detail, he trolls the night for a crime scene worth shooting. He's able to sell his first graphic shot to a night-shift news director (Rene Russo) in need of booster for ratings.  Their relationship morbidly blooms from there. Lou takes advantage of a homeless man (Riz Ahmed) to be his assistant; he's proven to be useful since he knows the ins and outs of Los Angeles streets. He thrives and soon is able to buy a fancy car and fancier equipments to run his business more professionally.

Lines are crossed, as Lou realizes that power and dollars come with getting the right shots at all costs. It's not just creeping or crawling into any crash, fire, murder, stabbing or carjacking. There's such thing as the “right” neighborhood, the “right” victim or the “right” circumstance. So what's the harm in manipulating frames at crime scenes when the police aren't looking? It gets the message across, scores and praises. But at what point a line is crossed to the point of no return? Setting up and staging scenes and gambling with people's lives?

Gaunt, bug-eyed and detached with a penchant for long, preaching monologue, Gyllenhaal plays the part like a pro, showing Lou's narcissistic hunger and smarm, opportunistic instinct with no qualm for morals, driven to be somebody who holds all the bargaining chips.

Natural light and neon-lit scenes are perfectly photographed in “Nightcrawler.” The nighttime shots remind me of the visually aesthetic “Drive."  It's a notable debut from a first-time director, Dan Gilroy.

Notwithstanding the unsatisfying ending, “Nightcrawler” is a great macabre satire about how news are made, packaged and pushed to the limit behind the scene, sensationalized and consumed by the public, and those who profit from tragedies and atrocities. A dark comedy and thriller rolled into one.

“Nightcrawler” may not be the typical ghoulish movie for a Halloween weekend. And while it's easy to say that Lou is one of the lowest kinds, there's something to be said about the public's appetite for ghastly sensationalism. As long as people are watching and ratings are soaring, the media would continue to publish. And that, is where the horror lies.

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

http://tinyurl.com/o3wvup9

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"Gone Girl"

October is the month. Summer blockbusters become a memory as dramatic movies premiere, starting the race to the awards. October gave us “The Social Network” (2010), “The Ides of March” (2011), “Argo” (2012), “Gravity” and “Captain Phillips” (2013). This year, we've got “Gone Girl,” starring Ben Affleck (“Argo,” “The Company Men,” “The Town”) and Rosamund Pike (“Jack Reacher”).

Affleck (Nick Dunne) and Pike (Amy) play a married couple with marital woes. Laid off from their plum writing jobs in Manhattan during the recession, Nick and Amy relocate to Nick's hometown in Missouri to care for his cancer-stricken mother. Amy's trust fund finances a local bar that Nick co-owns with his twin sister, Margo (Carrie Coon). He feels right at home. Amy, a big city gal and scholar, not so much.

In the morning of their 5^th wedding anniversary, Nick comes home to find the door to his house open, smashed coffee table, and no sight of Amy. Yet everything else appears suspiciously neat and immaculate. Detective Rhonda Boney (Kim Dickens) and officer Jim Gilpin (Patrick Fugit) get called in and begin to investigate. It becomes very apparent right away that things are not what they seem.

Nick's nonchalance and unsettling clues left by Amy, along with Nick's own missteps make him a prime suspect. Even the introduction of a mistress, Andie Hardy (Emily Ratajkowski) and stalker ex-boyfriend, Desi Collings (Neil Patrick Harris) as potential suspects do not take the spotlight off Nick. And in the modern age of media, Nick's life gets scrutinized and spins. With Amy being sensationalized as America's sweetheart, Nick is guilty in the eyes of the public. It doesn't help that Amy's parents (David Clennon and Lisa Banes) end up turning on him.

While continuing to maintain his innocence, Nick finds himself running out of options and turns to a slick celebrity defense attorney, Tanner Bolt (Tyler Perry). Together with Margo's unwavering support, Nick uncovers each layer of mystery and finds out what really happens.

We learn through flashbacks Nick's and Amy's relationship from the start, transgressing from lovey-dopey to cynical, volatile and toxic. And gain insight into them as individuals, especially Amy. Eventually facades fade and their relationship degrade.

A force to be reckoned with, Pike phenomenally handles the multifaceted role, effortlessly alternating between scared and scary, from soft and sweet to crazed and steely. Affleck brings in an affable charm, perfectly masking a nonplussed husband's repressed emotions. Supporting characters turn out strong performances. Coon as conflicted but ultimately supportive of her beleaguered twin brother, and Dickens as tough-as-nails detective who's not easily fooled.

At 149 minutes, the film does feel long, but deft direction, sharp storytelling, purposeful pacing, brisk dialogue intermingled with surprising dark humor, accompanied by an eerie score maintain the suspense and keep us guessing. It's a focused and fine creation from the director who put forth “The Social Network,” David Fincher. Fincher teams up with the author of the best-selling novel, Gillian Flynn, who writes the screenplay here, and Trent Reznor and Atticus Ross, Oscar-winning composers for “The Social Network.”

“Gone Girl” is one of those films best going in cold. Don't peek into the book. Steer clear from spoilers. What begins as a whodunit puzzle unfolds as a complex, character-driven page-turner, ending with a brutally bizarre twist.

Meticulously constructed, “Gone Girl” is layered with intricacy and laced with dread and wit. A deliriously diabolical psychological thriller, it won't be gone from our collective mind anytime soon. “Gone Girl” will remain one of the most talked-about films of the year.

http://www.sdentertainer.com/arts/movie-review-gone-girl/

http://tinyurl.com/nzzk3pf

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