The Hunger Games: Mockingjay Part 2

The Hunger Games: Mockingjay Part 2, the long awaited sequel to Part 1 from last winter by director Francis Lawrence was nowhere near as good as Part 1 in my opinion. In fact Part 2 felt like it was a movie those involved in it or with it were just going through the motions. It was boring and uninspired. Because of that I can barely give Mockingjay 2 two buckets of Killer Korn.












So I finally saw this movie over the holidays, and I am glad I did not rush out and pay NYC movie theater ticket prices to see it. I would have truly been displeased had I done so. The Hunger Games: Mockingjay Part 2 is a flat out boring film. That's not to say there isn't any action sequences because there are, but even those were tired and weak (mainly because of all the nothing that surrounds the sequences). I read all the books in the series by Suzanne Collins, and I remember the third book distinctly because it contained the attack on the Capitol, and it worked for the most part. The problem with this movie is that it stuck far too close to the book. I get it, You want to do that as much as possible as to not upset the fan base, but the way the book was written in my opinion wasn't going to translate well visually. This was supposed to be the culmination of the series, the all out attack on the Capitol. It was supposed to be this major confrontation and battle. Instead what we got was a movie that couldn't decide if it wanted to be an action film or a dramatic one. Instead we got a movie devoid of both.

This was one movie where a little thing known as "creative license" would have worked wonders. Instead of following the book almost to the letter and giving us wasted characters with no backstory why not give us an exciting action packed culmination with the ending of the book? Mockingjay Part 2 was a sorry way for this franchise to bow out. I don't know about anyone else, but I hate a bad ending to anything, and this was just horrid. We saw nothing new or different from Katniss this time around while heading into the Capitol on a mission to kill Snow. No ferocity or determination whatsoever. No frustration on her part to being used for propaganda purposes, and no real drive to get the job done as soon as possible to end all the bloodshed. What Francis Lawrence instead gave us was a suicide mission with characters we know NOTHING about, basically making them cannon fodder.

This film was filmed at the same time as Mockingjay Part 1 which is probably why everyone looked exhausted. They either seemed drained or completely disinterested, and believe me that showed onscreen. Visually the film looked the part, same camera work, same tone and look as the previous two, and that's thanks to Jo Willems who shot them. The music by James Newton Howard was great work, and he tried to give this placid movie some kind of movement. It was a valiant attempt, and I tip my hat to his effort, but honestly nothing was going to save this movie from itself. All I'll say is this. If you haven't seen this movie yet then save your money, buy the soundtrack, and read the last book as you listen. That's a better way to spend your money and your time. I'll see you at the theater.

Concussion

Concussion, the latest film from writer/director Peter Landesman is an intelligent and gripping tale about the brain trauma concussions cause in professional football players. It also speaks on the cover-up by the NFL regarding this information. It's a well crafted and timely movie when considering how football is the most popular sport in the country right now. For that reason and many more I am giving Concussion four and a half buckets of Killer Korn.












When you see Concussion it'll be hard to believe that it's only Peter Landesman's second feature film. It's rare that a director's second film is as good as Concussion is. Peter's first film was a movie entitled  Parkland which I missed unfortunately, but after seeing Concussion I am looking forward to seeing Parkland even more. Concussion tells the story of Dr. Bennett Omalu who is a forensic pathologist living in Pittsburgh during the time Super Bowl Champion and Hall of Fame football player Mike Webster committed suicide. As a die hard football fan I remembered hearing that news and thought something didn't make sense. Dr. Omalu was tasked to do the autopsy and he thought the same thing apparently. Mike Webster abandoned his family, became homeless, pawned his Super Bowl rings, and lost all of his money. During the autopsy the doctor couldn't understand why a seemingly healthy man with a brain that showed no signs of outward distress would live the way Mike Webster lived before his death. Dr. Omalu chose to run tests on Mike's brain and saw something that started the NFL down a path that organization never wanted to travel down.

Based on an article in GQ magazine by Jeanne Marie Laskas was the foundation on which this movie was built on and that article pulled no punches. It was far more damaging to the NFL than Concussion could ever be. I think in order to get any cooperation from the NFL though a more light handed approach was probably negotiated. There were a few names of other players that were in this movie of that I watched play like Andre Waters, Junior Seau, and Dave Duerson who suffered with CTE or chronic traumatic encephalopathy and committed suicide. And to know that it was all unnecessary was heartbreaking and Peter captured that as best he could. It wasn't overly maudlin or emotional nor was it glossed over. He walked that fine line with showing the downward spirals of these players while telling the compelling story of Dr Omalu and his life. There was a moment where Will Smith who plays Dr. Omalu brings a two by four to a wall in his newly constructed house tearing it down which to me represented the NFL tearing him and his work down when he honestly couldn't understand why he was being vilified when he was just trying to help the players and the league.

Will Smith was excellent as the talented and tormented Nigerian born Dr. Omalu and he was surrounded by an equally talented cast but that stand out in my opinion was David Morse. He played the tragic Mike Webster so well that there should be some kind of recognition for his portrayal. David is a chameleon and can bring any role to vivd life convincingly. To me he'll forever be Brutal from Shawshank. Concussion was easy on the eyes and a lot of that had to do with cinematographer Salvatore Totino. There was nothing special about the camera work but there was also nothing about it that took you out of the movie. It was good work. James Newton Howard did the score and it was a light touch to such a heavy topic. I think the music could have been more impactful but that's not in Howard's wheel house. Concussion may change the way you look at football but if you're a fan it probably won't. What it WILL do though is make you look ay the NFL differently and I think that's what they're frightened of more than anything. Concussion is definitely worth the price of admission so check it out and I'll see you at the theater.

Star Wars VII: The Force Awakens

Star Wars VII: The Force Awakens, the newest offering from writer/director JJ. Abrams is a spectacular spectacle. It's chock full of adventure, humor, and heroics. That's not to say it's perfect because it's not. There are far too many holes and old ideas passed off as new. What it is though is what Star Wars has always been synonymous with (well the original trilogy anyway) and that's FUN! It's that fun factor that earns Star Wars VII: The Force Awakens four buckets of Killer Korn.












I am warning you now before you read any further, THERE WILL BE SPOILERS in this review. If you haven't seen the movie yet and don't want it spoiled in any way then STOP READING!!!

Now back to our regularly scheduled review.


There are some juicy tidbits regarding the movie to discuss but they'll be brought up later. What can be discussed now is how JJ Abrams masterfully delivered the shits and giggles. The story is somewhat convoluted and we have no real idea who the movie is about (is it about Rey, Finn, Luke?), but JJ and  co-writers Lawrence Kasdan (the writer of Empire and Jedi), and Michael Arndt (with Hunger Games: Catching Fire and Oblivion to his credit) delivered characters that are interesting, funny, heroic, and human. JJ the director just did what he does, deliver a visual feast for the eyes (without his trademark lens flare). He's no Irvin Kershner but Awakens had similarities of Kershner's Empire, at least stylistically. Thematically however, Awakens is more in line with Star Wars and Jedi as Empire was the only Star Wars movie without a weapon of planetary destruction as the center piece. This time around the dark side is represented by Kylo Ren, The First Order, and their planetary system destroying weapon, the Starkiller Base.

Luke Skywalker is missing. His sister, General Organa wants to find her brother and bring him home. The  Resistance she is in commanding needs him because the dark side is becoming more powerful and he is the last known Jedi. The entire movie is all about finding Luke but the Starkiller Base needs to be dealt with since it's next target is the planet that the resistance is using for it's home base. If that sounds familiar then you are not new to the Star Wars game. I'm personally beginning to wonder when the Empire/First Order is going to learn from their past mistakes. They've already lost two planet destroying battle stations so who knows what made them think this one would last but that's not my biggest beef with this movie as Starkiller Base almost seems like an afterthought (that is until Han Solo get's killed by his son). My biggest beef is that this movie doesn't focus on one character. We the viewer don't know who we should be emotionally invested in. In Star Wars we met Luke and it was through Luke that we met Obi-Wan, Han, and Leia. In Awakens we meet Finn, a Stormtrooper from the First Order who wants out and Rey, a scavenger from the planet Jakku who's waiting on her family to return. The two wind up running from the First Order together and going on a life changing adventure with BB-8 in tow.

As I stated earlier, Awakens is a great feast for the eyes and that's due in large part to cinematographer Daniel Mindel. He's worked with JJ on his Star Trek films so they both have a good idea what each other wants. JJ also usually works with Oscar award winning composer Michael Giacchino but how can there be a Star Wars movie without the maestro John Williams behind the score? That idea is inconceivable so John did his best to craft a score befitting a Star Wars movie. Sadly in my opinion John's score was more reminiscent of his Harry Potter compositions than his earlier Star Wars works. It's my hope that the next film has a more dynamic, thematic, and potentially iconic score. I left the theater definitely wanting more which is what the producers and the director wants because as of this writing they are currently filming the follow up. I personally can't wait and I'm sure when you see Star Wars VII: The Force Awakens you will feel the same and I'll see you at the theater.

Creed

Creed, the latest film from writer/director Ryan Coogler is a force of nature.  It's a highly preceptive film with a whirlwind of blistering moments that conjure up a torrent full of raw uncapped emotions that come at you like fighters fists. Coogler's Creed is not a perfect film at all, but it's well crafted and better executed. Because of that I give Creed four solid buckets of Killer Korn.














With Creed Ryan Coogler has perhaps put himself on the cusp of greatness with just his second feature length film. That's something rare for any director, but for a Black director it's unheard of. I think only Spike Lee and Matty Rich garnered such buzz after their first two films. People were curious to see what their third projects were going to be, and other than myself I am sure there are quite a few people waiting with baited breath to see what Coogler will do next. (As of this post he is rumored to direct Marvel's Black Panther.) Creed should do what the disappointing Southpaw didn't, resurrect the boxing film. Make no mistake, where Southpaw fell short Creed excelled. Both movies were gripping, and like Southpaw, Creed had a scintillating leading man. Where Creed separates itself is with all the wonderful nuances like HBO's 24/7 segment or the touches of boxing realism. The biggest advantage though is the name of the movie. It's grandfathered in so to speak and every fan of the Rocky movies knows the name Creed. That added to the gravitas and the true beauty of this movie is that you don't have to be a fan of the Rocky franchise to enjoy Creed. You don't even have to be a fan of boxing to appreciate Creed because the characters are so rich.

Michael B. Jordan who plays Adonis Creed is definitely on his way to being a household name. His portrayal of the forgotten son of Apollo Creed was transcendent. Jordan has been a phenomenal actor since his days on The Wire as Wallace, but his physical transformation is reminiscent of DeNiro's Jake LaMotta in Raging Bull. He carries this movie like he carried Fruitvale Station and seems to have a symbiotic relationship with Coogler. Adonis is a hot head when we meet him as a pre-teen in juvenile detention and headed nowhere fast until Mary Anne Creed comes to his rescue. She's not his mother, and yet takes him in as her son since he is Apollo's son from an affair. His father died before Adonis was born, but fighting is what Adonis knows best.  He compelled to follow in his father's footsteps, but wants to make his own name so he uses his mother's last name instead. He's an angry Black man with a warped sense of manhood and looking for direction. He moves from L.A. to Philadelphia and seeks out Rocky in the hopes that Rocky will train the son of his one time nemesis and best friend. What follows is movie gold.

Creed is beautiful to watch. There is one fight that is one continuous shot, no cuts, no breaks, and it's amazing. You feel like you are in the middle of the fight ducking punches and moving from side to side. There are incredibly intimate moments between Adonis and his lady, Bianca, played by the beautiful Tessa Thompson that are shot with minimal camera movement putting you bedside or in the booth with them as they eat and share. It's excellent work by cinematographer Maryse Alberti who by the way also shot Mickey Rourke in his Oscar nominated performance in The Wrestler. The score by Ludwig Goransson was magnificent. He embellished on Bill Conti's magic while at the same time crafting a theme for Creed that stands alone. Only time will tell however if it will become iconic. Coogler has the perfect set up for Creed 2 should he want to turn this into a franchise. After the cheering I did and the goosebumps I got, I hope he does because Creed is absolutely worth the price of admission. See it and I'll see you at the theater.

Legend

Legend, the latest film from writer/director Brian Helgeland is a highly entertaining biopic on the notorious Kray twins from the East side of England. There are moments of utter hilarity, violence, an heartbreak during the unfolding of the story and when you have those three ingredients along with fascinating subject matter and amazing acting, then that usually adds up to hit movie. That's what Brian Helgeland may just have on his hands and that's one of the reasons I'm giving Legend four and half buckets of Killer Korn.










The first time I really noticed Tom Hardy was in a crackling film entitled Bronson. He was so convincing in that movie, so magnetic that I went back and found him in previous movies that I had seen already and had no idea he was in like Star Trek: Nemesis and Black Hawk Down. His range was dynamic and his talents were so undeniable that I became a Hardy fan. I didn't think he'd be able to top himself after seeing this years Mad Max: Fury Road but it was his performance in that film that compelled me to see Legend. The movie is about the Kray twins, Ronald and Reginald who were gangsters back in 60's England. Reggie was the somewhat more level headed of the two, who saw himself initially as a businessman rather than a gangster. Ronald was the beast, a man prone to sudden acts of violence and anger so profound that you never knew what might set him off, a man who embraced the word gangster. Hardy captured these two distinct personalities in such grand ways that you cease to see him and instead you see the twins. It was, without any subterfuge an epic performance and one that will be talked about for years to come. That's not to say the movie was perfect, there were some holes in the story and a lot of underdeveloped characters buzzed around the twins but since Hardy dominates the screen in a myriad of ways (even his walk is a character) then you may find yourself not really caring about the Krays crew.

Now believe it or not there was some serious talent in this movie alongside Tom. Emily Browning plays Frances, the wife of Reggie, David Thewlis plays Leslie Payne, the Krays business advisor and money launderer, Chazz Palminteri plays Angelo Bruno, the middle man between the Krays and Meyer Lanski. Paul Bettany makes a frightening and funny appearance as does Sam Spruell who plays Jack "The Hat" McVitie. Taron Egerton, fresh off his turn as Eggsy in Kingsman also makes as much of his secondary character Mad Teddy Smith as possible. It's a talented lot to put it mildly but they all take a backseat to the man. If you are not a Tom Hardy fan, first I ave to ask,  what in the hell is wrong with you? Secondly do NOT see this movie as he's in virtually every shot being smug and menacing. I won't give any of the plot away (especially since you can read up on the Krays on their Wikipedia page for yourself) but Brian Helgeland's screenplay was adapted from John Pearson's book The Profession of Violence and if it's anything like the movie, it's a must read.

I've never been to London but I doubt any sets had to be built for Legend. Shot entirely in the UK I would imagine the hardest thing to come by production wise were the cars. The costume designers did an excellent job of dressing one man two different ways in order for him to portray two different personlities. I'm sure some pieces had to be made but it wouldn't surprise me if most of the clothes were purchased from second hand shops. Legend's look was also crafted by Oscar nominated cinematographer Dick Pope. The framing, the camera movement and placement were perfect and made you feel like you were very much a part of the action. The score by Carter Burwell was a jazzy soundtrack which surprisingly fit perfectly alongside the pop songs of the day. It was a nice light touch. I highly recommend Legend to everyone. It will convert you into a Tom Hardy fan if you aren't one by now and if you are a Hardy fan, than this is your early Christmas gift. Enjoy and I'll see you at the theater.

Spotlight

Spotlight, the latest film from writer/director Tom McCarthy is an intense, intelligent, and heartbreaking film that can leave you feeling a couple of ways, and none of them are good. The performances were stellar if not a bit cold and while the subject matter feels like it's ten years too late, Spotlight was good enough for me to give it three and a half buckets of Killer Korn.















I am just going to lay this out here, I am not a fan of Tom McCarthy's last film. The actor/writer/director's last work was the horrible Adam Sandler racist piece of crap entitled The Cobbler. After seeing the trailer for Spotlight however, I had no qualms about doctoring my popcorn just right and heading into the theater. I am not Catholic but I have known people who were and who hasn't heard of the scandal of the Catholic church and their priests and the child molestation accusations? Spotlight chose to discuss that madness in a way never approached in a film before. This film shines a spotlight (see what I did there?) on a team of reporters from the Boston Globe who investigated the Catholic priests and the abuse allegations in the predominantly Catholic population. They unearthed such rampant cases of abuse that while they initially buried the news when it came to light years before, it was just too much to keep hidden a second time around. Spotlight is a taught drama that highlights the overwhelming disbelief that this kind of sexual abuse was happening in parishes all over the city of Boston and the state of Massachusetts. It was like the reporters themselves had a hard time wrapping their brains around it.

Those Spotlight reporters were Mark Ruffalo, who was incredible as Mike Rezendes, Michael Keaton as Walter Robinson, Rachel McAdams as Sacha Pfeiffer, and Brian d'Arcy James as Matt Carroll. Alongside them was Liev Schreiber as Marty Baron, John Slattery as Ben Bradlee Jr. Stanley Tucci as Mitchell Garabedian, and Billy Crudup as Eric Macleish. It's a talented cast and they were all good but the stand out was Ruffalo. His portrayal of Rezendes was electrifying and he was the one I'm sure most viewers will gravitate to. He voices his anger in such an impactful and profound way about this story that it inspires others of his team to get off their hands and to even fall on their swords. I've always thought Mark was a solid to good actor, thanks to Spotlight he just became great in my opinion.

The movie eschewed any nice aerial shots of Boston, the camera work was nothing special, it wasn't a pretty film to look at. In fact it was almost drab but with this particular subject matter making this movie something visually interesting would have almost been inappropriate. Cinematographer Masayobu Takayanagi kept Spotlight visually close to the vest when you compare it to his previous film, Black Mass which visually arresting. The piano heavy score by Howard Shore was disappointing. This was a chance for a really dark melodic score considering the subject and instead what we received something that seemed rudderless. There was nothing memorable here and I know this Oscar award winning composer is better than this. As I said earlier the subject matter for Spotlight feels like it's ten years too late but when it comes to molested children at the hands of some of the most trusted men in the communities, stories like this never get old. That's one of the issues I have with recommending Spotlight, but if you do see it...brace yourself and I'll see you at the theater.

Spectre

Spectre, the latest film from acclaimed director Sam Mendes is a twisting, turning, action packed film filled with covert actions and flashes of violence. Spectre spans the world putting Bond in the harshest environments and pitting him against some of the most ferocious villains seen in Bond film is a very long time. If you're a fan of the Bond films then Spectre will most assuredly entertain and because of that I give it four buckets of Killer Korn.













I'm just going to put it out there, I thought Skyfall was a decent Bond film but I wasn't head over heels in love with it. It had some truly magical moments but I thought it could have been better in a lot of ways. It seems Sam Mendes felt the same way because he improved on the good things he did and discarded all the things that didn't work in Skyfall. Spectre is a throwback to Bond films of the Connery/Moore days and that was refreshing. Instead of going over the top with the villains and the toys from Q, Spectre brings a sense of brutal realism to the world of Bond. There's a menacing, hulking villain in Spectre that rivals the likes of Odd Job and Jaws that honestly makes you question what would happen to Bond if the two went toe to toe. I have been looking for  a weakness in this film since I saw it and I can't find one which is surprising after I read about all the major rewrites and reshoots of the third act. That's a testament to the skills of Sam Mendes as a director and his editing team but that may also be the reason why Spectre may be Daniel Craig's last ride as 007.

Starring alongside Daniel are the normal cast of talented actors from Skyfall. Ralph Fiennes as M, Naomi Harris as Moneypenny, Ben Winslow as Q, and Rory Kinnear as Tanner. This time around Christoph Wentz is the big bad guy who in typical Bond fashion for it's bad guys talks WAY too much. He plays Oberhauser and is the leader of the underground all powerful Spectre organization. Lea Seydoux plays the latest "Bond girl" Madeleine Swan who captures the dichotomy of fragility and fearlessness better than most Bond girls before her. At first she got on my nerves but eventually she won me over. Andrew Scott plays C, the man who seeks to shut down the double 0 program, Dave Bautista who plays the dangerous Hinx, and Jesper Christensen who plays the tragic Mr. White.
The chases were gripping, particularly the one in the Alps that made me absolutely giddy because it brought me back those incredulous Bond chases of the past. The fights were physical, frenetic, and just flat out awesome (yeah, I said it).

Spectre was a gorgeous film to watch. The sets, the mountains, and the framing of the shots were impressive. The cinematographer on this Bond film was the award winning Hoyte Van Hoytema who's last project was the Christopher Nolan space odyssey Interstellar. Thomas Newman was once again tasked to score his second Bond film and I have to say in my opinion, he did a vastly better job of it this time around. I was disappointed in his score for Skyfall but he hit all the right notes here. It was a job well done. I vociferously recommend this film for those looking to be entertained at the movies and even more so for Bond fans. Spectre will not disappoint in any way. I'll see you at the theater.

Beasts of No Nation

Beasts of No Nation, the latest film from visionary director and writer Cary Joji Fukunaga is a gritty, intense, and tragic movie with absolutely incredible performances. It's an ambitious war film that takes you into the heart of the conflict one boy deals with everyday. It's one of the best films I've seen all year and because of that I give Beasts of No Nation five buckets of Killer Korn.













Right up front I have to say this, if Beasts of No Nation is the reason why director Cary Joji Fukunaga had nothing to do with season two of True Detective (he directed every episode of season one) then all is forgiven. This movie is a powerhouse of a production. It's scope and breadth is impressive and it's intimacy is almost embarrassing. It feels like you're listening in on conversations you shouldn't know anything about. In my opinion Nation is on par with other war movies like Platoon, Apocalypse Now, and Full Metal Jacket. Cary shows how True Detective was no fluke and why season two was so horrible. This man is a talented director and I can only imagine how amazing Detective season 2 would have been had Cary been behind the camera. Based on the book of the same name by author Uzodimna Iweala, Nation tells the harrowing and heartbreaking tale of Agu, played by the amazing newcomer Abraham Attah, a little boy from an unnamed African village. His family is split due to the war heading their way. The village elders chose to send the women and children away while those who call themselves men would stay and fight, defend their land.

Nation is Attah's first movie and you would never know it, he's that convincing. When his father and brothers are murdered by the government backed military, Agu escapes into the woods. He's found by a platoon of the rebel forces of the NRC under the command of the Commandant played by the man himself, Idris Elba. He is in charge of an army comprised of little boys armed with AK-47's and other deadly armament who stay high on different kinds of drugs. They shoot where the Commandant says shoot and they kill who they are told to kill and they do this with absolutely no remorse. Cary downplays the violence as much as possible with this kind of story but there is one scene that made me incredibly uncomfortable. It's when Agu kills his first person. The man is clearly innocent but Agu is ordered to murder him and the look on his face as the blood splatters on the camera lens is unforgettable and disturbing.

Cary never details the heart of the conflict because that shit really isn't important. Knowing why there is a war isn't going to help you relate to or understand Agu better, it's his journey that's more important than anything else. You hope one day he'll find his mother and younger sister again but everyday he carries his weapon you realize he's getting further and further away from that heartwarming reunion. The logistics of Nation are almost impossible to comprehend. Getting such realistic performances from these children couldn't have been easy and staging the battles even more difficult I imagine. Now I already mentioned Cary was the writer and director of Nation but the man pulled triple duty as he was the cinematographer as well. This allowed him to get every shot exactly how he wanted it and every shot was beautiful. Scored by Dan Romer-who kept the music to a minimum-Nation's score is ethereal and breathy which represents the innocence of the corrupted youth. It's a job perfectly executed. Everyday we wake and are led to believe that we are here on this earth for a reason, that we have a purpose, but it's a film like Nation that can make you question all of that. The brutality of war is something most of us will never know, it will never touch us and we should be thankful for that. I'll see you at the theater.

The Martian

The Martian, the latest film from accomplished director Ridley Scott is a film best described as a satisfying meal. It's not an over the top emotional rollercoaster it could have been nor is it a sci-fi film that is absent of heart. It's a smart, engaging, and entertaining film and because of that I give The Martian four buckets of Killer Korn.














Based on the bestselling novel by Andy Weir, it appears Ridley Scott has another sci-fi hit on his hands. The Martian is the kind of movie that satisfies on every level. The storytelling is well done and not dumbed down at all. It starts off fast and gives the impression that it could burn itself out. With Ridley at the helm however, the film finds a nice steady pace and what could have been an "I'm fucked" scenario turns out to be just the opposite. For someone stranded on a planet after being considered dead and millions of miles from Earth, The Martian took the approach to find the humor of the moment and embrace the science. In a world where people are more and more turning away from science, The Martian explains how science can save your life.

Matt Damon stars as the botanist/martian Mark Watney and the casting is brilliant because Matt plays Mark with a cool, dry, almost detached of emotion performance. I would assume much like any scientist who is confronted with a difficult situation, they don't fall to their knees and wonder why them and instead they try to solve the problem. Matt Damon does that better than anyone in the business today. Starring alongside Matt is Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Pena, Kate Mara, Sean Bean, Sebastian Stan, Benedict Wong, Donald Glover aka Childish Gambino, and Chiwetel Ejiofor. This is an amazingly talented cast and there isn't a weak performance from anyone. There is a practical realism to this movie that is wonderfully detailed due to the politics of trying to get Mark Watney home and trying to keep him alive until he can be rescued. The push to get him strains both the people that are working to back to earth and the equipment. Corners are cut and mishaps happen because space is unpredictable and both wondrous and brutal from one second to the next.

Aesthetically The Martian is a beautiful movie to look at which is usually the case with a Ridley Scott production. It's been that way since Alien blew our minds back in 1979 and that doesn't look like that's changing anytime soon. The landscape of Mars may look like every other landscape that's supposed to be Mars but when shot by cinematographer Dariusz Wolski, whose last four films were all Ridley Scott projects, the vistas of Mars look beautifully majestic. The score by Harry Gregson-Williams is beautifully rendered. I think it's Harry's for all electronic score and it was a perfect marriage. It didn't overpower the film and it didn't take you out of the experience. I really enjoyed The Martian and while it's not perfect you have to love the fact that they aimed for the stars and landed on Mars. I'll see you at the theater.

Everest

Everest, the latest film from director Baltasar Kormakur is the movie based on the novel Into Thin Air by author John Krakauer and it's both visually and emotionally arresting. It tells the story of the fateful expedition up Everest where eight climbers died on the mountain and countless others were injured after being trapped on the mountain and besieged by a monstrous storm. I enjoyed Everest and feel it's worthy of three buckets of Killer Korn.













Off the bat I want to clear the air and come clean with you. I want to admit that I am not a fan of Baltasar Kormakur's work. I didn't like his film Contraband and I thought his film 2 Guns was decent. Now this may be because Mark Wahlberg were in them both and if you don't know how I feel about him as an actor please allow me to share. He's absolutely atrocious and that may be what dragged Baltasar's last two American films down. Thankfully Markie Mark is not in this film. This time around Baltasar has a pretty impressive cast. The story follows climber and Adventure Consultants owner Rob Hall, played by the talented Jason Clarke as he leads an expedition of semi-inexperienced climbers up the mountain while his pregnant wife Jan Arnold, played by Kiera Knightly stays home.


Rob was the guide/herder of Doug Hansen played by John Hawkes, Naoko Mori who played climber Yasuko Namba, John Krakauer played by Michael Kelly, and Beck Weathers played by Josh Brolin. Everest also stars Emily Watson, Sam Worthington, Jake Gyllenhaal, and Robin Wright. It may be Baltasar's best collection of talent in any of his American or Icelandic films. Going into this movie I was curious to see what they did visually with a book I absolutely fell in love with and I was not disappointed. Some of the visuals in Everest are absolutely breathtaking. The screenplay written by Williams Nichols and Simon Beaufoy did a great job of balancing the beauty and the terror of Everest with the emotional aspect of all the characters. They each get their emotional moments and if you didn't read the book and you don't know what happens the emotional impact will hit you even harder.


Technically I think Everest missed the boat on educating the viewer to all aspects of mountain climbing. It instead leaves the audience ignorant. You aren't informed that climbers have to use ladders to traverse crevasses. They are held together and in place by a specific type of rope, something you get no explanation on. Now I know that it's not about those things, that the movie is about the human condition and the will to survive in surface-of-the-moon type conditions but when lives depend on ladders being secured by a specific rope that doesn't freeze, I become fascinated. The look of the film is authentic, like you're actually at Everest and that's due to Salvatore Totino. The film looks exquisite and very fucking cold. The score by Dario Marinelli didn't impress me and I am a big fan of his work. The music sadly didn't add anything to Everest in any way for me so I'll chalk this one up to a project not in his wheelhouse. It happens to the best of them. All in all though, Everest is worth the price of admission but if you go see it bring a sweater, and I'll see you at the theater.

Sicario

Sicario, the latest film from director Denis Villeneuve is an intense, gripping drama about how this country does battle with the Mexican cartels. It's a well written film with impressive performances by everyone involved. I enjoyed every scene of this dark, brooding, and violent film and because of that I give Sicario four and a half buckets of Killer Korn.














While Denis Villeneuve may not be a name most film goers know just yet, it doesn't mean the man will stay unknown. In fact he may soon become a household name since he's been tapped to direct the Blade Runner prequel/sequel. That notwithstanding, Sicario is going to start moving him into rarified air. I've seen all of Denis' American films, and this man knows how to set a tone, and it's usually dark in nature. His previous films Prisoners and Enemy had some truly disturbing moments, and Sicario is no different. With this kind of film the violence could have been over the top, Denis scaled it back instead of ratcheting it up, but don't think for a New York minute that the violence doesn't make a significant appearance. It does, but it's subtle violence if violence can ever be subtle, and it shows how Denis has a firm grasp on this whole directing thing. He's great with uncomfortable silence and the manipulation of darkness. There are times the colors in Sicario are washed out and the shadows are prominent. All done to set that eerie mood Denis is apparently a big fan of.

Emily Blunt plays Kate Macer, a police officer in Phoenix that specializes in hostage recovery. Her and her team come upon a house where they think hostages are being held, but when they get there the house is virtually empty. That is until they search behind the walls. What they find there gets the ball rolling. The talented Daniel Kaluuya plays Kate's very protective partner Reggie, Josh Brolin plays the sneaky government agent Matt Graver, and Benicio Del Toro plays the mysterious Alejandro. Kate is recruited to work with Matt's team because she wants to get to the people who were responsible for what was found in the house. Written by Taylor Sheridan, the story is not complicated, but it's a fun and intriguing puzzle to piece together. While there's not much mirth from anyone in the film, all of the performances are solid. I don't think any of the  actors are winning an award come Oscar time, but no one mailed their effort in. In my opinion, however, this is the best I've seen from Benicio Del Toro in a really long time.

Technically Sicario is a powerhouse of a film, and in my opinion it's Denis Villeneuve's best film of his young career. Without giving anything away the last third of this film is when he shows how good of a filmmaker he truly is. Using certain filming techniques at his disposal he takes the viewer and puts us right smack in the middle of the action, so much so that you may forget to breathe. It's that intense. Remember when I said no actor on this film will probably get recognized come award time? The same can't be said about cinematographer, Roger Deakins. This is the second time Roger and Denis have worked together, (Prisoners was their previous collaboration.) so they share the same eye. Roger has been nominated twelve times for an Oscar. This time he might finally hear his name called. Same goes for composer, Johann Johannsson. The score he built and married to this movie was without a doubt the most tension-filled, overwhelming thing I've heard from a movie all year. Melodies are few and far between. What's not, however, are the sounds and the power behind those sounds. The music is one of the most impactful characters in Sicario, and when you see the movie you'll understand what I mean. See this movie. Wait, I don't think you heard me...SEE THIS FUCKING MOVIE!!! Sicario will impress you like it did me. I swear it, and I'll see you at the theater.

Black Mass

Black Mass, the latest film by director Scott Cooper is one of the best films of the year in my professional opinion. It's right up there with Mad Max: Fury Road and Mission Impossible: Rogue Nation. It's not a high octane, action packed, shoot em up, but it will put you on the edge of your seat. It will grab you by the throat and not let go until you've left the theater. It is a flawless masterpiece, and because of that I give Black Mass five buckets of Killer Korn (with extra butter).











There are truly good movies, movies that almost leave you breathless and wanting more after you initially see them. There are movies that will have you proclaiming 'BEST MOVIE OF THE YEAR!' until you sit around and realize how that movie "could have been better if..." I have fallen prey to those movies as well, so I know what that feeling is like. Well it's Tuesday, and after much deliberation I still firmly believe that the movie I saw on Sunday starring Johnny Depp as James 'Whitey' Bulger is definitely one of the best movies of 2015. There isn't any of that annoying second guessing or any "if only they had done that" madness. Scott Cooper put together an absolutely amazing film about one of Boston's most notorious crime lords, and it's just Scott's third time in the director's chair. Yeah, you read that right. This is his third movie. His last one, Out of the Furnace, was one of those "if only" movies. It had all the elements to be awesome. It had a great cast and a great location. It just didn't have a great story. His first movie though won Jeff Bridges an Oscar. Crazy Heart was a great film about addiction, redemption, and friendship. It also showed that Cooper knew what he was doing behind the camera.

That talent of Cooper's is on full display in Black Mass. For all those that questioned Johnny Depp's abilities. After seeing this movie all that will cease. Depp delves so deep into this role that you no longer see him. You see Whitey. You fear Whitey, and what he or his Winter Hill Gang may do to someone that crosses them. Johnny brings Whitey to life in such a way that will be recognized come award season, bank on that. Starring alongside Johnny is Benedict Cumberbatch who plays his brother Billy Bulger, Joel Edgerton who plays FBI agent Johnny Connolly, Dakota Johnson who plays Lindsey Cyr, Rory Cochran who plays Whitey's right hand man Steve Flemmi, Kevin Bacon playing Charles McGuire, and Corey Stoll who plays Fred Wyshak. A truly talented cast, and Scott Cooper got great performances out of them all. There were no weak links in the chain, and to say I was impressed would be an understatement.

Black Mass was a period piece and that period was the early to mid 80's and the one person that deserves a shout out is the production designer, Stefania Cella. From the houses to the cars to the clothes, she nailed it all, and if it was her idea to put Depp in the black Members Only jacket then she is a genius. The movie is framed and shot exquisitely by cinematographer Masanobu Takayanagi. The camera work and the angles kept this movie from becoming stale. It was masterful work by a talented man. The gothic score crafted by Tom Holkenborg aka Junkie XL is one that will ensure us seeing his name a lot more in the near future. The music he put together fits this film so perfectly that I can't help but marvel at how far he's come in the art of scoring. I am now willing to forgive his 300: Rise of an Empire score. With Mad Max and now Black Mass under his belt, 2015 is shaping up to be the year of Tom. Well done, sir. Look, I can't recommend Black Mass enough, but you will thank me afterwards if I have in any way, shape, or form pushed you into seeing it. Bank on that, and I'll see you at the theater.

 

Mission Impossible - Rogue Nation

Mission: Impossible-Rogue Nation, the latest film from writer/director Christopher McQuarrie is one of the best movies of the Mission Impossible series. While I still think JJ Abram's Mission: Impossible 3 the best of the franchise, Rogue Nation delivers on every entertaining promise the trailer offered. It's comprised of exciting explosions of action wrapped around a highly engaging and intelligent plot and that combination makes it one of the best popcorn movies of the year in my opinion. That's why I enthusiastically give Mission: Impossible-Rogue Nation five buckets of Killer Korn.










I officially have to bestow the genius label on Christopher McQuarrie. I don't know what kind of man he is personally, but as a filmmaker and writer he is without a doubt one of the best in the business today. I have to put his name in that select group of directors and writers that whatever they're involved in, I'll go see. If you don't think he's all the special then see Mission: Impossible-Rogue Nation and then take into account that it's just his third time directing a movie. You read that right, Rogue Nation is just his THIRD time behind the camera. If you don't think that's impressive then take a look at his writing resume. He's written or co-wrote Edge of Tomorrow, Jack Reacher, Valkyrie, The Way of the Gun, and Usual Suspects just to name a few. What he's done with his latest movie of the highly profitable Mission: Impossible franchise was give it a distinct shot of some powerful adrenaline. I enjoyed Ghost Protocol but when compared to Rogue Nation, Ghost seems like its running in slow motion and Rogue is Usain Bolt.

As usual Tom Cruise stars as Ethan Hunt, the best agent the IMF has to offer. He's joined by Ving Rhames, Simon Pegg, and Jeremy Renner. New to the franchise is Rebecca Ferguson who plays Ilsa Faust, a lethal woman with mysterious allegiances and her own agenda and Alec Baldwin who plays CIA director Alan Hundley who wants nothing more than to apprehend Ethan and jail him forever. This is the first time in a Mission: Impossible film where the IMF is in any kind of contact with other intelligence agencies. The CIA and Britain's MI6 flank the IMF as they hunt down a terrorist organization known as The Syndicate. Doing that was just what the next Mission film needed after Ghost Protocol, an influx of new blood and agents as skilled if not more skilled than Ethan Hunt. Rogue Nation almost had a James Bond feel to it and that was refreshing. For a director who's working on his third film, Rogue Nation was a masterpiece in every way and I for one hope he directs the next installment.

The look of Rogue Nation is far more gritty and realistic than Ghost Protocol. Where Ghost had a cleaner, sleeker look, Nation comes at you like a punch in the face. The stunts were eye popping and breathtaking. Tom is notorious for doing his own stunts and while the motorcycle chase showed his proficiency on a bike, the stunt where he's hanging off the side of plane showed his level of pure insanity. Oscar award winning cinematographer Robert Elswit captured all the action, the fights, and the quiet moments brilliantly. The way the film was lit gave it gravitas and the music by Joe Kraemer heightened the intensity with a bombastic score that put you on the edge of your seat. As I said earlier Rogue Nation is one of the best popcorn movies of the year so far and I highly recommend you see it. It's one I will see again because it is well worth the price of admission. I'll see you at the theater.

Southpaw

Southpaw, the latest film from acclaimed director Antoine Fuqua is a blisteringly emotional film with boxing in it. I say that because the story of Southpaw could have been drafted around any sport or no sport at all, it's that compelling. Sadly the filmmakers and writers could have done so much more than what they brought to the screen that I need to break down my rating. Based just on the story I have to give Southpaw a disappointing two buckets of Killer Korn. Based on the boxing and the technical aspects of Southpaw, I give it three.











As an Antoine Fuqua fan since the days of Training Day I was really looking forward to seeing this movie. And when I found out the man behind Sons of Anarchy and The Shield, Kurt Sutter was the writer my excitement doubled. I figured those two men alone would be just as good together as the partnership of David Fincher and Aaron Sorkin in my mind. Sadly if Fuqua and Sutter plan on working together again, they need to do a far better job of telling a story. Southpaw opened the doors to so many potentially amazing stories and conversations only to slam those doors closed and ignore them entirely. Either those stories were lost in the editing room or it was lazy filmmaking. Those are the only two reasons I can come up with as to why this movie fell the fuck apart the way it did. There were multiple plot devices and out of all those introduced, only one had closure. I also don't understand why the movie was called Southpaw when that aspect of boxing played a very minuscule role in the film. I really wanted to like this fucking film way more than I did but it failed to educate the fine intricacies of boxing to the average film goer who is a casual boxing fan. In my mind missing  a teachable moment is criminal.

Thankfully the performances in Southpaw overcame a crumbling story in completely wonderful ways. Jake Gyllenhaal was scintillating in this movie. He may have been overlooked for some award in the past but I firmly doubt that will happen after seeing his portrayal of boxer Billy Hope. Rachel McAdams plays Maureen Hope, Billy's wife and Oona Laurence plays their daughter Leila. After losing his wife to a shooting accident due to his temper, Billy loses his license to box by assaulting a ref in his next fight and then loses his daughter to child services and his house. He then seeks out the trainer of the one fighter Hope felt he lost to for help, Forrest Whitaker's Tick Wills. The two men start off on unsure footing and almost come to blows until Billy humbles himself. While Billy goes through the motions of getting his life together in order to get his daughter back his biggest rival Miguel Escobar, played by Miguel Gomez is now managed by Billy's one time manager Jordan Mains played with the appropriate amount of sleaze by Curtis "50 Cent" Jackson and being trained by Billy's one time trainer Eli Frost, played by Jose Caraballo. Every performance was well executed and sharp which is a testament to Fuqua's talent as a director.

Southpaw's glaring flaws in the storyline were also slightly overshadowed by the technical prowess the film displayed. HBO's involvement in the film with the inclusion of Jim Lampley and Roy Jones Jr. lent a real air of authenticity. The parts of the film when fighting occurs is breathtaking. It's some of the best camera work done in the ring since Michael Mann's amazing Ali. You are put right in the middle of the fighting and many of the punches came directly at the camera. Oscar award winning cinematographer Mauro Fiore captured the true brutality of the sweet science in ways rarely seen on the big screen. It was truly sublime work. One of the last scores by James Horner was scarce and ultimately forgettable but to his defense Southpaw is a movie that doesn't really need a score. The intensity is wound so tight in the movie that music isn't needed. I wish Southpaw was a better written movie but it's an exceptionally well crafted one. If you're a boxing fan, see this movie because you'll enjoy it. If you're hoping for a good story, skip it because it will disappoint and I'll see you that the theater.     

Amy

Amy, the latest film from renown documentarian Asif Kapadia is a heartbreaking tale of the up and down life of Amy Winehouse. A transcendent artist who many in the music industry viewed as an old soul thanks to her look and sound. If you are a fan of hers then you need to see this movie ASAP. If you aren't this movie will undoubtedly make you curious about her music if not a fan of hers and for that I give Amy four buckets of Killer Korn.












I originally thought this review would be brief since Amy is a documentary but the more I thought about it the more I realized there was a lot to talk about. Asif compiled an incredible cache of clips and pics of Amy Winehouse's life, scored some incredible interviews with those that knew her growing up and those that knew her from within the industry. They all echo the same sentiment, that Amy was a real down to earth young lady with an enormous heart and a prodigious talent. Listening to her sing for her record deal in the movie definitely puts that front and center. She was a singer/songwriter who hated pop music and those artists that didn't write their own songs. She also had no desire to be famous, but with a talent like hers fame was bound to happen.

A gardener protects their flowers from the elements and insects until they feel the time is right to let them flourish, yet the gardener remains ever vigilant over them. In Amy you will hear from the gardener, the man that "discovered" her, Nick Shymansky, and you'll see how he went from staying by Amy's side in the beginning to seemingly vanish when things went downhill for her. You'll discover how her father, Mitch Winehouse, abandoned Amy and her mother when Amy was just nine years old only to come back into the picture when she struck it rich. You'll see how he exploited her, and refused to tell her the truth in order to keep the money train on its tracks. And when you get insight into her on again off again relationship and marriage/divorce to Blake Fielder-Civil your skin will absolutely crawl, and then you'll realize that Amy never really stood a chance and she was doomed from the start.

She was a young talent, seeking structure and love yet receiving none of that and forced to find her way on her own. She was a flower cut far too early from the stem by her gardeners and put on display for all the world to see before she ever got the chance to properly bloom. They had no idea how to help this rare and special flower and because of that she withered away and met her fateful end. Asif doesn't get overly maudlin with Amy's death, and you find yourself appreciative of the light touch. There are voices missing from this film. Significant chapters of rumored romances and dalliances are disappointingly omitted, so the film isn't perfect, but it is a perfect look at the artist herself. For those of us who weren't on board the Winehouse train when it initially left the station, Amy allows us to marvel at how amazing beautiful and tragic the ride was, and the poignant score provided by Antonio Pinto highlighted that. I strongly recommend Amy if you are a fan or a music lover, either way you will not be disappointed because Amy is worth the price of admission. I'll see you at the theater.

Inside Out

Inside Out, the latest film from writer/director Pete Doctor and directer Ronald Del Carmen is an absolutely fantastic movie which honestly surprised me. Not only is it funny but it possesses a large heart with a relatable message at it's core. Is it a perfect movie? Absolutely not but it is a movie I really think everyone should check out and because of that I give Inside Out four buckets of Killer Korn.












I really wasn't going to see this Inside Out but I'm glad I did and you will be too if you decide to check it out. Now this review is going to be short because animated movies don't really require certain insights into them that live action movies do, so be warned. Inside Out is the charming story of a young girl named Riley who is voiced by relative newcomer Kaitlyn Dias. We meet Riley at birth and that's when we're also introduced to Joy, voiced by Amy Poehler. Joy is Riley's key emotional cog and she commands the emotional control panel. Joy is under the impression that it's just going to be the two of them forever. That idea crashes and burns when Anger, voiced by legendary comedian Lewis Black, Disgust, voiced by Mindy Kaling, Sadness, voiced by Phyllis Smith, and Fear, voiced by Bill Hader all show up to pitch in with Joy to make Riley as emotionally well rounded as possible. They all get thrown for a loop however when Riley's father, voiced by Kyle MacLachlan and her mother, voiced by Diane Lane move the three of them from Minnesota to San Francisco.

Joy does her best to ensure that Riley is upbeat and appears supportive of the move while Fear is petrified of leaving the surroundings they have all grown very comfortable with. Anger is outraged but is held in check as is Sadness who can't seem to stop touching Riley's memories turning them sad, much to the chagrin of Joy. It's not until Sadness touches one of Riley's core memories does Inside Out take off. In an effort to try and save the core memories, Joy and Sadness get trapped in Riley's labyrinth of her mind amidst all of her memories. The race back to headquarters is both a hilarious and sad journey fraught with hijinks and peril. In my opinion Inside Out is one of the best films of the year, animated or live action (I still think Mad Max: Fury Road is THE best so far). I would highly recommend seeing it even if you don't have any children, they won't get it anyway. Inside Out is an adult film just animated and centered around a twelve year old girl. Because of that it is worth the price of admission. I'll see you at the theater.

Terminator: Genisys

Terminator: Genisys, the latest film from director Alan Taylor is a loud, brash, and entertaining REMAKE (NOT a sequel) of a movie. I'm not going to lie, the story makes an incredible mess of time lines but if you can ignore that then you just may enjoy this lengthy popcorn movie. Unfortunately I have a hard time ignoring that one major plot device and because of that I am giving Terminator: Genisys two and a half buckets of buttery Killer Korn.











I have to admit that when I heard Alan Taylor was directing the latest Terminator movie I was not excited. The reason for my lackluster response to that news was due in large part to his previous offering, Thor: The Dark World. It was a major disappointment to me since I loved the first Thor film directed by Kenneth Branagh. Now I loved Alan's work on Game of Thrones but his feature film work has been somewhat underwhelming. So I went into Terminator: Genisys with my fingers crossed and with the understanding that this movie was NOT a sequel. Going in with the thought of sequel would cause any true Terminator fans to potentially hate this film. So if you are on the fence about seeing this movie and you were waiting for my blog to yay or nay the idea, understand that if you do see it know that this movie is NOT a sequel, it is a REMAKE! That means it turns the original Terminator completely on it's head (while making James Cameron's head explode at the same time).

Arnold Schwarzenegger stars as Sarah Conner's personal Terminator whom she affectionately refers to as Pops. Sarah Conner is played by Khaleesi herself, Emilia Clarke, John Conner is played by Jason Clarke (no relation), and Kyle Reese is played by the horrid Jai Courtney. Watching Jai in this movie is just painful at times and you hope the guy gets some acting classes soon. When you get outacted by Arnold then you know you have some serious work to do but I digress. I have to give it to Alan this time around though, this film is an entertaining take on the Terminator lore. It wasn't his fault he was saddled with a story that made absolutely no sense. That blame lies at the feet of Laeta Kalogridis and Patrick Lussier. These two must have been tripping on some really ancient shrooms when they put this thing to paper because again it makes absolutely NO sense. There's a touch of Terminator: The Sarah Conner Chronicles here thanks to all the Terminators in this movie and the attempts at stopping judgement day before it happens. Where they get it wrong is the Terminator technology. There's already a liquid metal Terminator back in 1984 when Skynet sends back the T-800 model to kill Sarah Conner. How that happens is never explained and I'm guessing they just want you the viewer to go along with it. Where they also mess up is what they did with the John Conner character. None of that made ANY sense either but whatever, right?

As I said, Terminator: Genisys is loud and brash and it tries to give you the gravitas of the original Terminator and the charm and over the top action of it's sequel but it misses both by just a hair. Arnold is great in Genisys but sadly no one else is except J.K. Simmons who plays officer O'Brien. They bring the charm to an otherwise droll film but it's not enough. There's little to no chemistry between Emilia and Jai and without that, that's the ballgame. However, on the shits and giggles scale this $155 million dollar movie is a solid eight. The chases, the explosions, the fights, and the shootouts never seem to stop. Cinematographer Kramer Morgenthau did a fantastic job capturing all the action and explosions, but the fights between Terminators was a tad hard to follow but they were interesting. I had an issue with the Lorne Balfe's score. I am a big fan of Lorne's but he failed to deliver a iconic theme like Brad Fidel did for Cameron's original. Maybe he can rectify that in the sequel. If you're looking for an entertaining movie then check out Terminator: Genisys, but if you're looking for an intelligent, cohesive storyline then sit this one out and I'll see you at the theater.

Me and Earl and the Dying Girl

Me and Earl and the Dying Girl, the second full length feature film from director Alfonso Gomez-Rejon is the anti John Hughes coming of age high school story. It has a quirky sensibility about it and some truly hilarious moments. It doesn't take itself seriously at all and it does everything in can to relay that to you the viewer. For that and a few other reasons I give Me and Earl and the Dying Girl three and a half buckets of Killer Korn.













I haven't seen Alfonso's previous other film, The Town the Dreaded Sundown but I have seen some of his TV work and maybe you have too. He's directed eight episodes of Glee and while there is no singing and dancing in Dying Girl, it is about high school so I would say this subject matter is well within his wheelhouse. Based on the book of the same title by Jesse Andrews, Dying Girl pretty much gives all the suspense and drama away in said title. What makes this wannabee Wes Anderson film so entertaining and worth watching are the performances. Greg, played by Thomas Mann is forced into being friends with the dying girl Rachel, played by Olivia Cooke. Greg's best friend is Earl, played by relative newcomer RJ Cyler. Connie Britton plays Greg's mom, Molly Shannon is exquisite as Denise, Rachel's lonely and heartbroken mother. Nick Offerman plays Greg's droll dad,  Jon Bernthal plays the rebellious but caring english teacher Mr. McCarthy and Katherine C. Hughes plays Madison, the untouchable girl in Greg's muddled mind.

The cast is perfect as far as the story goes and the performances are pitch perfect. When Greg's mother finds out that her friend Denise's daughter Rachel has cancer she immediately guilts her son into going over to their house to hang out. Greg has finally figured out high school as a senior and sees himself breezing through his last year as long as he can stay "invisible". That plan goes to shit when Rachel is diagnosed. He really only knows Rachel in passing and would normally not be caught dead speaking to her. Not because he thinks he's too good for her but because that would make him visible, and visibility makes you a target in high school. At least according to Greg's philosophy which is why he never eats lunch in the cafeteria. He instead chooses to eat with Earl in Mr. McCarthy's office. Greg eventually befriends Rachel and their relationship is doomed from the start (so says the movie). Soon Earl is introduced into the mix and suddenly everyone at school knows about Greg and Rachel's friendship, invisibility be damned. Greg reveals to Rachel that he and Earl are auteurs of about forty plus really bad movie remakes. When comes from that is movie gold.

As I said earlier, Dying Girl is the anti John Hughes high school movie. No disrespect to Hughes but he would have taken this story where Alfonso refused to go, even making fun of the predictable nature of movies produced these days. Instead it stays the course of real friendship and even though you are lied to throughout the film, you forgive it because you know what's going to happen no matter how much you hope for something different. Visually again, it's style is very reminiscent of Wes Anderson and with music by Brian Eno and Nico Muhly it's well suited for the odd nature of the movie. Dying Girl is part high school comedy, part tearjerker, and completely life affirming. In my opinion it is worth the price of admission so I recommend Me and Earl and the Dying Girl, and I'll see you at the theater.

Dope

Dope, the latest movie from writer/directer Rick Famuyiwa is a hilarious tale of three high school seniors. They live in Inglewood surrounded by gangs, and these three don't quite fit into their surroundings. They're throwbacks who get their fashion sense from the mid 90's, ride dirt bikes, skateboards, play in a punk band, and get good grades. In other words, they're geeks. Just that alone makes this movie one to see, but what you get is so much more, and for that I am giving Dope three buckets of Killer Korn.











Dope is not flawless, but the execution is brilliant. It's the story of high school senior Malcolm, played hilariously by Shameik Moore and his two friends Diggy, played by Kiersey Clemons, and Jib, played by Tony Revolori. They spend their days trying not to get beaten up while getting good grades, their afternoons trying to avoid the Crips and the Bloods (Jib would like someone to create an app that would re-route you in order to help one avoid gang activity,), and their nights jerking off (at least in Malcolm's case). Rick did an excellent job of capturing the awkwardness of that age with his writing, and Shameik brought all that discomfort and angst wonderfully to the screen. Malcolm is a seventeen year old trying to figure out how to get into Harvard when he's told he should lower his expectations and "get real". He's in love with a girl who is involved with a gang member that puts Malcolm and his two friends in situations that could get them killed. What unfolds after that is pure genius.

Dope is told in such a frenetic way with flashbacks, leaps of imaginations, and violence that it can sometimes be difficult to keep track of all that's going on. A true representation of teenage years. The dialogue crackled (Be prepared for a lot of N-word usage.), and when something couldn't be talked out, facial expressions worked even better. Malcolm's in love with Nakia, played by Zoe Kravitz, she's the fly, light skin, long braid and bright red lipstick wearing girl that fit the mold of all the gang movies from the 90's. She's somewhat involved with Dom, played by rapper Rakim Myers aka A$ap Rocky. Dom works for Austin Jacoby, played by the incredibly talented Roger Guenveur Smith and after a drug deal get's interrupted, Malcolm ends up working for him as well. The funny/ironic part of that relationship is something I won't divulge, but how it all works out will have your head spinning.

Dope's soundtrack is just that, DOPE! Comprised of classic 90's hip hop featuring everyone from Tribe Called Quest to Digable Planets to Public Enemy to Naughty By Nature to Digital Underground. The soundtrack will definitely take you back. Narrated by the velvet tones of Oscar winner Forest Whitaker adds to the hilarity of the movie, and some scenes will bring tears to your eyes. There is a turning point in Malcolm's life that makes the movie solid, and the ending will have you applauding and nodding your head in approval. As I said, Dope is not without its flaws (too frenetically paced at times, unresolved story lines, hollow secondary characters) but you can forgive the flaws because Rick always brings it back to what matters the most, the growth and friendship between Malcolm, Diggy, and Jib. With Sean "Puffy" Combs, Pharrell Williams, and Forrest Whitaker all listed as producers, Dope shows that when powerful Black men come together they can make magic happen. Let's hope Dope is just the beginning of something special. I loved everything about this movie, and if you give it a chance, you might as well. Dope is worth seeing, and I'll see you at the theater.