The Reel World

"All we need now is the perfect message".

It has almost become expected. When a successful franchise based on a series of books reaches the end of the published material, studios start to think about the approaching end with some dread. One way to put off the inevitable is to split the final book into two films. It worked for Harry Potter and Twilight. Peter Jackson managed to squeeze three long films out of one Tolkien book. For most of these cases it was a severe case of milking those final chapters for all that they're worth and then going beyond that. That's simply not the case with Mockingjay Part I. The book itself has two very distinctive parts, and telling this story in a single film would not have done justice to the material. Trust me when I tell you that you'll feel like you've gotten a complete story, but one that has more story left to tell. The Hunger Games: Mockingjay Part I is the beginning of a payoff that has been promised since the first film debuted just two years ago. Yes, any film that contains Part I in the title might appear a little intimidating with promises of an untold story and a portent to a feeling of dissatisfaction. Don't let any of that keep you from the best film in the franchise. Take the risk. You'll be well rewarded for your two-hour investment.

Most movies are just not very good. Lots of money goes into turning out boring repetitive garbage. You watch it and then dispose of it and make room for the next thing. There are some who do more, but the more you do, the greater the risk. Most filmmakers are not given the freedom to take really big risks, but someone who has been given the opportunity to take the big risk is Christopher Nolan. Interstellar is $165,000,000 gamble shooting for the moon.  Actually Nolan is shooting for something way past the moon. He wants to take us to another galaxy. There is so much speculative science in this film that it is mind-boggling. The cutting edge of real science is, frankly, getting crazier and crazier. The average person really has no idea how crazy, but Interstellar is going to try to show us just how crazy. The true nature of some of the elements of the theory of relativity and other related theories is that they defy all logic.

One of the most important things in Interstellar is its attempts to deal with some of the properties of time. The laws of physics tell us time acts differently in different situations. In this movie time rules everything in people's lives, but the main character is given the power to do something with time that most of us don't even imagine. It's important to know some of these situations are described in actual scientific theory. In fact, real science is getting closer and closer to God all the time. Most people who don't believe in God don't expect science to contradict that way of thinking. Interstellar doesn't talk about God, but it comes close to doing something similar. It is science's contention to state statistically there are millions of planets with intelligent life out there. Some of those intelligence forces will seem like God to us. This is simple science, but people have such a wide range of beliefs that no one will ever agree on what is the truth. The reason we don't agree is because mankind is just not smart enough to have real answers.

A jittery, strikingly blue eye is shown in extreme close-up. It belongs to a woman named Christine, who finds herself naked in bed with a strange man’s arm draped around her waist. She stumbles to a nearby bathroom, where she finds clues about her identity taped to a wall. The man appears shortly after and introduces himself as Christine’s husband. It’s an effective little opening that succeeds in making the viewer feel as disoriented as Christine. The problem with Before I Go To Sleep is that — even as the truth is unpacked — the disorientation turns into disengagement and (worst of all) disinterest. In other words, this is a thriller that isn’t particularly thrilling.

“My name is Christine Lucas. Tonight, as I sleep, my mind will erase everything that I know today.”

“On TV it looks so real.”

When I first walked out from the theater after watching Nightcrawler, the thing that stuck with me the most is how great Jake Gyllenhaal was in this film.  This isn’t the first performance he’s caught my attention in; he’s an actor who pretty much any time I see him in a film he’s one of the most memorable aspects of the film.  Whether it’s his moody performance in Donnie Darko, his offbeat portrayal as a cop in Prisoners, or even him taking a risk as a gay cowboy in Brokeback Mountain, every role he does something more with the character where we can believe he is this person we see on the screen.  Nightcrawler is no exception, and in this role Gyllenhaal is simply terrifying as Lou Bloom.

Whiplash has gotten so many raves that I want to make sure I address the things that are bad as well as the things that are good about the film. First thing I will say is that the movie is implausible, and I had a hard time to totally buy into it for different reasons. The film is about a young jazz drummer at a prestigious music academy who gets to play in the band of the top instructor at the school. It becomes apparent early on that the instructor is crazy. He browbeats and actually beats his students into compliance without a hint of mercy. That a teacher of anything aside from martial arts could physically and psychologically brutalize students to this degree is a reverse fantasy projecting deep-seated angst toward authority figures.

Fine, then the film is a fantasy or allegory, because I did not for one minute think  it could exist in the real world. Even a drill sergeant at a military boot camp is bound to show more restraint. What is also obvious is that the music instructor shows obvious signs of mental illness with volatile and extreme swings in behavior. That might indicate that he is adept at hiding his behavior in the right company, but, in the real world, it wouldn't fly. The large ensemble have all fallen in line, which allows him to pick on the new kid. The band leader's rationale is that Charlie Parker had a symbol thrown at his head which then forced him to practice much harder and subsequently achieve greatness. But that story is not accurate, because the symbol was thrown at his feet as a mild rebuke, not an act of war. It is also unlikely that he played so hard that his hands were constantly bleeding. It is true that musicians and artists in general can be a crazy lot, but not in an academic setting. There are rules. On some level, the students are a little crazy themselves for pursuing serious jazz when it is so much more difficult and produces less rewards monetarily than other forms in this day and age. Moreover, the young jazz drummer basically loses his mind in an attempt to match the master and beat him at his own game.

Wow! OMG! WTH! This is a towering achievement in every way. It is staggering. It is literally staggering; you will leave the theater drained because all your adrenaline will have been used up. Fragmentary, flowing, electric, and it shows the disintegrating of a man's mind in a vibrant phantasmagoria. Any director in the world who sees this will slap himself in the face and say, “Why didn't I do this!” It is a technical tour de force, and everyone in it delivers at full throttle. It is breathless and exhilarating and your mind will be blown. It's a waste of time to compare this to anything else, since this is incomparable. There is nothing to compare it to. It stands alone. Sure, it's a comedy. Yeah, it's a drama, but what it really is is a whirlwind, a tornado, a cyclone, a tsunami of insanity. Everyone involved is fantastic, but Michael Keaton is front and center. Let me say, Batman is back! Wait, I mean Birdman.

Birdman is about an aging actor who refuses to reprise his big blockbuster franchise by making Birdman 4. Instead he has gone for broke and bet everything on a Broadway show that he has written, directs and stars in. It is based on a Raymond Carver short story, and nothing could be farther away from blockbuster. It is about integrity, but is he in over his head? He's a movie star, and he has never done Broadway. He's going to have to refinance the Malibu house even though his franchise has made billions. There are direct references to Iron Man and The Avengers as real world competition on entertainment news shows. Everyone is circling around him: mistress, girlfriend, ex-wife and daughter. None of them has every really connected with him, or he failed them all in some way. If one were to try and compare it to something it would be All That Jazz and Nine (or 8 ½ if you prefer the black and white non-musical). The difference is that the style of this movie is a new industry standard. It plays out as one handheld shot from beginning to end. It should be noted that it does not actually take place in real time, but the transitions are so seamless that you barely notice.

"Ideals are peaceful. History is violent."

David Ayer doesn't have a huge resume of films to his credit. In his 15 years as a director he's only given us five films. Add just another three as a writer. What he has done as a writer and/or director appears to explore some of the same themes of machismo under heavy fire that are splattered all about Fury along with the blood and gore that is the natural byproduct of war. He's the kind of filmmaker who doesn't appear to tackle a project unless he finds he has something to say. In the past that voice hasn't always been terribly original. And while Fury contains pretty much every World War II stereotype ever filmed, Ayer has found a way to present the over-explored genre in a new and clever way at times. You have to exhibit great patience. There are many moments where Ayer stretches a scene to the point where you really feel the nearly 2 1/2 hour running time. During those moments you might find yourself questioning the investment of cash and time you've given him, and rightly so. Ayer can milk a moment like no one else in the business. But, if you stick with it, Fury will deliver just enough of those incredible moments that will make you glad you did.

The internet is destroying everything. It seems crazy, but it's true, and most people know it. I mean that so many businesses have been destroyed by the tumorous growth of the internet and its insidious and unchecked influence. The newspaper business, music business, broadcast business and probably the movie business have been fundamentally and permanently altered. Men,Women and Children addresses how it affects each and every one of us on a daily basis. We're all aware of this. It's our lives now, and it wasn't 10 years ago. Texting on iPhones is so addictive with some people that they are oblivious to how obnoxious it is. Most of us are aware, on some level, how much computers and phones are sucking away what used to be our lives. We know it, but the die is cast. That's the problem with Men, Women and Children. We know everything already, and this movie shoves it down our throat. The subject is definitely timely, but too much of what happens in this movie is like a parade of cliches.

Jason Reitman (Juno, Up In The Air, Thank You For Smoking) is a good director, but he has been losing his touch, citing films like Labor Day and Young Adult. This film is packed with good actors, but they all seem wasted, even Adam Sandler. Sandler is the big star here, making another stretch into dramatic territory. Sandler has done very good work in other people's movies before like Punch Drunk Love, Reign On Me and Spanglish, but not here. Here he is a limp, washed-out nothing, which is what the character demands but still is not a good thing to see. Most of the other good actors like Rosemarie DeWitt, Jennifer Garner, Judy Greer, J.K. Simmons,Dean Norris, Ansel Elgort, Dennis Haysbert and Emma Thompson here seem wasted with predicable and dreary functions in aid of a boring puzzle.

"Did that just happen?"

I have to confess that I entered The Judge expecting a different kind of film than I actually saw. After seeing the trailer I was reminded of some of the classic courtroom dramas I'd seen over the years from 12 Angry Men through ...And Justice For All. On the ride to the screening I found my mind was swimming with the "closing arguments" Al Pacino delivered in ...And Justice For All and was trying to image how Robert Downey, Jr. was going to try and top that. In the end Downey didn't top that wonderful monologue. In the end The Judge simply wasn't that kind of a movie after all.

It’s October, which means there’s probably a new, spine-tingling offering coming at you every day. (That’s certainly the case here at UpcomingDiscs.) Kill the Messenger — a thoroughly compelling, true-life drama that channels the crusading spirit of All the President’s Men and The Insider — is no one’s idea of a horror movie. Unless you’re like me, and you happen to be a newspaper reporter.

“National security and crack cocaine in the same sentence…does that not sound strange to you?”