movies – Page 11 – The Reel Countdown

Posted on February 9, 2015 by mistertowle2

Top 15 Films of 2014, No. 10 – Birdman or (The Unexpected Virtue of Ignorance)

Birdman or (The Unexpected Virtue of Ignorance) is a black comedy directed by Alejandro G. Iñárritu with a screenplay by Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr., and Armando Bo. The film follows Riggan Thompson (Michael Keaton), an actor with a wavering career (famous for portraying the superhero “Birdman”) who is looking to stage a comeback by directing and acting in a Broadway production. In the final days leading up to the show’s opening night, Riggan must battle himself as he attempts to reconcile his family and his career.

Despite the fact that each of writer/director Alejandro G. Iñárritu’s previous four feature films (Amores perros, 21 Grams, Babel, and Biutiful) was nominated for Oscars in a range of categories, Birdman is personally my first encounter with the critically acclaimed Mexican filmmaker. Although none of Iñárritu’s films have won big on Oscar night, that is bound to change in just less than two weeks. In Birdman, Iñárritu has constructed one of the best original screenplays in the past few years, and this unique storyline flat out works on so many levels. It is an unparalleled, comeback-within-a-comeback story. Its lead character Riggan Thompson is making a comeback on Broadway after years of dormancy following his refusal to play the superhero “Birdman” in a fourth installment of the superhero series. All the while, actor Michael Keaton, after leaving Tim Burton’s Batman franchise in between the second and third films, has endured years without commercial or critical success and is making an acting revival of sorts in his Birdman role. Considering this casting decision and Iñárritu’s storyline, I figured Birdman would ultimately be too clever for its own good—I imagined it would be way too cheeky and a bit too heavy-handed in its attempt to be self-aware. Ultimately, I was wrong. Yes, it was cognizant of its meta-like approach, but the meticulous filmmaking style of Iñárritu and his witty script allowed the movie to hurdle high above its own cliché barriers to make the story entertaining and mesmerizing. Additionally, the comedic aspects of the script are genius. From Edward Norton and Michael Keaton’s back-and-forth during a rehearsal once Norton’s character is first hired, to the scene of Keaton walking around Times Square in nothing but his white underwear, Iñárritu understands the humor he is trying to evoke, and he does so incredibly well.

Part of the allure of Birdman is the way in which it is shot—it is absolutely masterful filmmaking. The movie appears to take place in one continuous long tracking shot. The “long take” has long (pardon the pun…I assure it was unintended) been my favorite filmmaking technique, and when one is done well, it is nothing short of exquisite. In the same vein as Alfred Hitchcock’s Rope, Iñárritu, cinematographer Emmanuel Lubezki, and the film-editing team carefully created the illusion of a single take throughout the film’s entirety—they utilized sleek, unsuspecting cuts during horizontal pans and close-up shots on the cast. The result is a film that plays out like a suspense thriller, keeping viewers on the edge of their seats as the unpredictable plot is shot “continuously.” The technique is choreographed and audacious, and it will be one of the most remembered aspects of Birdman for years to come. With its deft photographical magnetism, Lubezki will surely earn his second Oscar win for cinematography (his first was for 2013’s Gravity).

Considering the single “long-take” design for the film, each actor had to consistently be on his or her A-game. Michael Keaton was incredibly superb in his complicated role as the ego-driven, but lost-soul-like Riggan Thompson, and even though he may not win the Oscar for Best Actor (ain’t NOBODY beating Eddie Redmayne this year), it will long stand out (deservedly) as the magnum opus of Keaton’s career. The supporting performances in Birdman were also superlative. Both Emma Stone and Edward Norton received Oscar nominations for their roles as Thompson’s daughter and Thompson’s Broadway co-star, respectively, and these accolades come as no surprise. I will discuss Stone’s role in more detail later today in my “Best Supporting Actress” post, but suffice it to say, her performance as a recovering addict is cerebral, and as the sole voice of reason for Riggan Thompson, Stone plays the part of his daughter dexterously. Norton nearly steals the show with his performance as Mike Shiner, an acclaimed Broadway star that Riggan is forced to hire at the last minute, just days before the show’s premiere. Norton plays the “pompous asshole” character as scrupulously as possible, and his brilliant acting brings out the most hilarious of the film’s moments—during the show’s preview, Shiner gets drunk and tries to have actual sex with a co-star on stage! Check out Birdman. Everyone has been hyping this movie up for months, and it comes better than advertised. Birdman is rated R for language throughout, some sexual content and brief violence.

Birdman trailer: https://www.youtube.com/watch?v=uJfLoE6hanc

Academy Award nominations for Birdman:

Best Picture (Alejandro G. Iñárritu, John Lesher, and James W. Skotchdopole, producers)

Best Actor (Michael Keaton)

Best Supporting Actor (Edward Norton)

Best Supporting Actress (Emma Stone)

Best Cinematography (Emmanuel Lubezki)

Best Director (Alejandro G. Iñárritu)

Best Sound Editing (Martín Hernández and Aaron Glascock)

Best Sound Mixing (Jon Taylor, Frank A. Montaño, and Thomas Varga)

Best Original Screenplay (Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr., and Armando Bo)

Previous movies on the countdown of the Top 15 Films of 2014:

Fury
Calvary
Interstellar
Gone Girl
The Lego Movie

Posted on February 8, 2015 by mistertowle2

Top 15 Films of 2014, No. 11 – Fury

Fury is a film written and directed by David Ayer. Fury takes place during the final days in the European Theatre of World War II, and it follows Sergeant “Wardaddy” (Brad Pitt) and his five-man crew as they journey behind enemy lines in their Sherman tank, nicknamed “Fury.” The men of “Fury” are thrust into dangerous circumstances with fatal odds, and they must fight heroically to destroy Nazi Germany.

I have been excited to write about Fury since I saw it on its opening weekend in theaters. Because amazing classics like The Thin Red Line and Saving Private Ryan have set the bar high in regards to what is expected from a “great” WWII film, most attempts at depicting the horror of the Second World War have fallen flat. In my opinion, Fury is not one of those failures. David Ayer, the Fury visionary, has created a story with an incredible sense of realism. And that realism not only speaks to the actual fighting parts of war, but it also depicts “brotherhood” in a way that everyone (not only veterans) can relate to. Ayer is no stranger in the industry, having penned Training Day and written and directed 2012’s End of Watch, and the latter film provides the foundation for Fury’s pragmatism. End of Watch was one of the best films from 2012, and in that film, Ayer perfected the “comradeship” concept as it followed two police officers. When I watched End of Watch, I felt as if I were an invisible third member of the law enforcement duo, and I was able to fully encompass the characters’ brotherly love for one another. The same is true for Fury. Yes, the film includes some great “war” scenes, but its best parts are the scenes in which the characters engage in extended dialogue with each other. In those scenes, Ayer’s hardnosed screenplay is given life in a way that delineates the unique relationships between brothers in combat, and it makes you empathize with those men throughout the film’s most brutal moments and laugh with them in the moments of joy.

Now, let’s talk about the film’s combat. I have already discussed Ayer’s ability to revolve some of his best scenes in a WWII film around dialogue. But do not be mistaken—the movie excels tremendously in the scenes depicting combat. Ayer went to extreme ends to ensure that the film would be as realistic as possible in the war scenes, and it pays significant dividends. Ten actual Sherman tanks were used to depict the ones used by the allied forces, and instead of using a prop tank to represent the Germans’ Tiger tanks, Ayer acquired the only working Tiger tank in the world to use (pictured to the left; the tank belongs to the Bovington Tank Museum in England). The combat scenes were incredibly stunning thanks to Ayer’s depiction of the tracers that were actually used in the war. Tracer ammunition is used in every fifth round, and its pyrotechnic charge ignites, burns brightly, and makes the shot’s projectile visible. Military forces would use these for purposes of making aiming corrections and to be more efficient (soldiers would be able to fire repeatedly without having to use a sight). The portrayal of the tracer ammunition’s deployment was a fantastic sight to see, and it was one of the highlights of the film. Although it is extraordinarily complicated to show the true horror of war, a WWII tank veteran confessed that the film was very representative of his experiences in Europe—specifically, he stated that the combat scenes were amazingly realistic.

The acting performances from Fury’s tank ensemble are by far the best part of the movie. In order to develop a sense of companionship among the tank’s soldiers that would mimic the veracity of these relationships during wartime, Ayer required his actors to engage in some serious bonding tactics. He forced the actors to spar with each other regularly, which was rumored to result in many black eyes and bloody noses. Additionally, he had them live together in the tank when not shooting; thus, they ate, slept, and even used the restroom inside of the tank. This “method” approach to performing provided some high-quality performances.

As I mentioned in my Fall Preview post, I buy into the allure of Brad Pitt as an actor. Yes, he is a pop-culture icon, but he backs it up on camera. He is one of the best actors of his generation, and in Fury, he holds nothing back. As the commander of the tank, Pitt gives a (no pun intended) commanding performance. As the veteran actor in the group, portraying the veteran member of the tank crew, Pitt anchors the film.

Each of the other four members of the “Fury” adds the most crucial layer of talent to the movie. Michael Peña, an experienced performer (and one of the two leads in Ayer’s End of Watch) is the least groundbreaking of the tank’s crew in terms of his acting contribution, but he is still solid throughout. Logan Lerman, one of my favorite new actors (The Perks of Being a Wallflower), plays the role of the rookie Private Norman Ellison to a tee. The two most enthralling performances, however, come from Jon Bernthal and Shia LaBeouf. Bernthal, of The Wolf of Wall Street and The Walking Dead fame, delivers one of the most menacing performances in recent memory. At times he is terrifying and manic, but Bernthal is also able to carefully articulate the more sensitive qualities of his character. But LaBeouf steals the show with the film’s most top-shelf portrayal. In real life, LaBeouf has endured years of scandal, but with his role in Fury, he proves to us that no matter what goes on in his personal life, he is willing to lay it all on the line for his career. LaBeouf notably pulled his own tooth for the role, while vowing not to shower throughout the production—his dedication to the truisms of his character is a benefit to film fans everywhere. His character shows his emotional colors more so than the others, and LaBeouf delivers a captivating performance. Fury is rated R for strong sequences of war violence, some grisly images, and language throughout.

Fury trailer: https://www.youtube.com/watch?v=p1xli7OTE_0

Academy Award nominations for Fury:

NONE

Previous movies on the countdown of the Top 15 Films of 2014:

Calvary
Interstellar
Gone Girl
The Lego Movie

Posted on February 6, 2015February 6, 2015 by mistertowle2

Top 15 Films of 2014, No. 13 – Interstellar

Interstellar is a film directed by Christopher Nolan with a screenplay by Nolan and his brother Jonathan Nolan. The film is set sometime in the future when Earth’s agricultural society is rapidly descending towards its ultimate demise due to crop blight. In order to save mankind from the destructive fate it faces, a group of astronaut explorers seek to travel through a wormhole to find new planets with the capabilities of sustaining human life.

There is no way around it—Interstellar is a complex film. If you are not into movies that make you think throughout their entire duration, then this one is not for you. But, if you are well accustomed to Christopher Nolan’s movies, then the intricacy of Interstellar should come as no surprise. I was anxiously awaiting the release of Nolan’s newest feature for quite some time, as I am a longtime admirer of his work. Not only does Nolan’s filmography boast the single greatest series of comic-book films of all time (The Dark Knight Trilogy), but he also has a range of movies, like Interstellar, that qualify as epic “thinkers” (Memento, The Prestige, and Inception). Although I personally think that his newest effort ranks near the bottom of Nolan’s résumé, it is still an amazing cinematic achievement (this is simply a testament to Christopher Nolan’s incredible career as a filmmaker). Despite the density of the film’s plot, Nolan still carefully crafts the story in a way that never bores and never holds back. He directs his cast superbly (as if we would expect anything less), and this lends to the success of a film that could have easily resulted in a failed endeavor in the vein of “biting off more than one can chew.” Nolan’s cinematic fingerprints are all over this movie, and in his quest to construct a sweeping science-fiction epic, he has succeeded.

Even if you watch this movie and decide that you do not like the story, it will be an impossible task to simultaneously contend that the film is not a visual work of genius. The worlds in which Nolan constructs on Earth and in the galaxies beyond are so vividly detailed and realistic. Even though the new planets the astronauts journey to are never-before-seen landscapes to the viewers, I still use the word “realistic” to describe their visual depiction because the level of detail used in their construction is still something fathomable. By far the greatest visual and technical achievement is the delineation of the wormhole, black hole, and the “tesseract” towards the end. For those who are not well versed in the cerebral scientific know-how of convoluted space features (like myself), the illustration of these incommunicable concepts is still, pardon the pun, out of this world. For a movie that immerses itself in complicated space jargon, it definitely backs it up by packing a severe punch of, wait for it, interstellar special effects (thank you…I will be here all month). It is no wonder that four of the five Oscars that Interstellar is up for are technical awards of merit. I had the pleasure of watching this film in IMAX (a theater experience that Nolan has been pioneering for quite some time), and I have never had such a mind-blowing experience in a theater in my life.

Along with the stunning visuals, the film still features an important maxim of good filmmaking: marvelous acting. Matthew McConaughey does a spectacular job of bringing the film to life in his role as Cooper, a former NASA pilot turned rural farmer, and if you have seen McConaughey’s ad for Lincoln, it will be blatantly obvious that this cinematic Rubik’s Cube provided the perfect platform for his out-there way of thinking. Although I joke about his philosophical views, it is still undeniable that McConaughey delivers an emotionally riveting performance. Jessica Chastain, as Cooper’s daughter Murph, also conveys a star performance, and it is of no surprise considering she is by far the most talented actress in Hollywood. Additionally, Anne Hathaway also gives a solid performance in her role as one of Cooper’s co-astronauts Amelia. My favorite performances, were those of TARS (voiced by Bill Irwin) and CASE (voiced by Josh Stewart). These characters are the coolest depiction of futuristic robots that I have ever seen, and they added an extra “umph” to the science-fiction nature of the film. Interstellar is rated PG-13 for some intense perilous action and brief strong language.

Interstellar trailer: https://www.youtube.com/watch?v=0vxOhd4qlnA

Academy Award nominations for Interstellar:

Best Original Score: (Hans Zimmer)

Best Production Design: (Nathan Crowley and Gary Fettis)

Best Sound Editing: (Richard King)

Best Sound Mixing (Gary A. Rizzo, Gregg Landaker, and Mark Weingarten)

Best Visual Effects (Paul Franklin, Andrew Lockley, Ian Hunter, and Scott Fisher)

Previous movies on the countdown of the Top 15 Films of 2014:

Gone Girl
The Lego Movie

Posted on February 5, 2015February 5, 2015 by mistertowle2

Top 15 Films of 2014, No. 14 – Gone Girl

Gone Girl is a film directed by David Fincher with a screenplay, based on the novel of the same name, by Gillian Flynn, the author of the book version. The film examines the marriage of Nick Dunne (Ben Affleck) and his wife Amy (Rosamund Pike). On his fifth wedding anniversary, Nick reports to the police that Amy has gone missing. Amy is a renowned public figure due to a series of children’s books written about her by her family, and her disappearance causes a tumultuous media frenzy. With cameras and the police constantly causing stress upon him, Nick finds his story of a harmonious marriage to Amy on the verge of collapse due to his mendacity and peculiar behavior. Everyone suspects Nick of killing his wife; thus, the big question is: did he?

For those of you that follow my blog annually, you will know already that Gone Girl was ranked No. 1 on my list of movies that I was most anticipating during the fall film season. Notwithstanding its position on my year-end list, the movie still lived up to the hype (thus, its No. 14 rank says less about the success of Gone Girl and more about the strength of the year’s other movies). I was most intrigued by Gone Girl because of its lead-man behind the camera, David Fincher—I am a devout fan of anything he is involved with. Not only are many of his pictures part of my personal film collection (e.g., Seven, Fight Club, Panic Room, The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo), but also I am a committed fan of the Netflix original series House of Cards, which is executive produced by the visionary. Gone Girl is well constructed by Fincher, and its subtle hints of dark humor, ominous tone, and inimitable inscrutability are all obvious elements of a classic Fincher film. Although I do not believe this is in the top five of Fincher’s filmography, it is still a movie that I greatly enjoyed and will continue to watch over again for years to come.

Many of you that have seen Gone Girl (and even some of you that have not) have probably additionally read Gillian Flynn’s novel of the same name. I happen to be one that has not, which is why I was elated that she also penned the screenplay for the film adaptation; this direct and significant involvement in the film’s construction leads me to believe that anything that was vitally important and of note from the book would be included in her script. At times, the dialogue was awkward, though, but the talent of the film’s actors helped make it flow as best as possible. Having known nothing about the plot going into my viewing of the movie, I was blown away by her ability to craft the preeminent thriller. The movie’s twists and turns were never foreshadowed in any sort of heavy-handed way, and for that, the climax was as surprising as one could imagine.

Back in August when I wrote about my expectations for Gone Girl in my fall preview post, I mentioned that I was looking forward to the performances by an anomalous assortment of actors and actresses that were cast in the various roles. Casting Tyler Perry, Neil Patrick Harris, Casey Wilson, Missy Pyle, and Emily Ratajkowski was a bold move, and those casting decisions paid dividends—everyone played their part spectacularly, and I can finally say that I was not brutally annoyed by the creator of the horrendous Madea character. Also, it is definitely worth noting that Missy Pyle, in her role as Ellen Abbott (a TV host depicted in the same vein as the ever-despicable Nancy Grace), was incredibly spot-on in her performance—it was brilliant.

Ever since The Town, I have become more and more impressed with Ben Affleck’s acting abilities (in addition to his superb filmmaking talents), and I felt like he serviced his character well. It was not a performance that blew me out of the water, but it was well acted enough to make me engage with Nick. The highlight of the film was Rosamund Pike. I have been familiar with her work over the years in films like Die Another Day, Fracture, An Education, and The World’s End, but in her debut role as a true leading lady, Pike absolutely killed it. She was in rare form, evoking so many emotions at once out of a single character; at times I found her incredibly attractive and empathized with her plight, and at other times I wanted to bash (figuratively) her head in. Amy is an incredibly complex character, and Rosamund Pike gave, in my opinion, the year’s most outstanding performance by an actress—her Oscar nomination is quite deserved. Gone Girl is rated R for a scene of bloody violence, some strong sexual content/nudity, and language.

Gone Girl trailer: https://www.youtube.com/watch?v=esGn-xKFZdU

Academy Award nominations for Gone Girl:

Best Actress: (Rosamund Pike)

Previous movies on the countdown of the Top 15 Films of 2014:

The Lego Movie

Posted on February 3, 2015 by mistertowle2

Best Production Design and Best Makeup & Hairstyling

The Oscar for Best Production Design recognizes achievement in art direction. Since 1947, the award has been shared with both a film’s production designer and set decorator. Aside from the acting, directing, and musical compositions within a film, the production design and set decoration most help illuminate the visual image depicted on the screen. The following is my Oscars ballot for this category, Best Production Design:

WINNER: Nathan Crowley & Gary Fettis (Interstellar)

Adam Stockhausen & Anna Pinnock (The Grand Budapest Hotel)

Dennis Gassner & Anna Pinnock (Into the Woods)

Suzie Davies & Charlotte Watts (Mr. Turner)

Maria Djurkovic & Tatiana Macdonald (The Imitation Game)

The Oscar for Best Makeup and Hairstyling is given to a particular film with—you guessed it—the best makeup and hairstyling. The category was created in 1981 after the Academy received numerous complaints from those enraged with the fact that 1980’s The Elephant Man was to go un-honored for its exemplary makeup work. Each year since, only three films receive nominations in this category, with exceptions only being made in the early 1980s, when the award was first created, 1999, and 2002. The following is my Oscars ballot for this category, Best Production Design:

WINNER: Elizabeth Yianni-Georgiou & David White (Guardians of the Galaxy)

Bill Corso & Dennis Liddiard (Foxcatcher)

Frances Hannon & Mark Coulier (The Grand Budapest Hotel)

Posted on January 31, 2015 by mistertowle2

Top Three Most Disappointing Films of 2014

Don’t you hate when you go to see a movie that you are expecting to be awesome, and then it turns out to be absolutely dreadful? Well, that happened to me numerous times in 2014, but on three specific occasions, the difference between my expectations and the eventual outcome of viewing those films was far worse than I could have ever expected. These three movies were not the worst that I saw in 2014, but they were by far the most disappointing.

Inherent Vice

Paul Thomas Anderson’s seventh feature film Inherent Vice was a movie that I was expecting big things from. In my “Fall Preview 2014” posts, I had it listed among the top ten films that I was most looking forward to. This is because PTA is one of the five greatest living directors, and I have overwhelmingly enjoyed every single one of his movies to date. Well, that was until Inherent Vice. Despite an unbelievably talented cast, including Joaquin Phoenix, Josh Brolin, Reese Witherspoon, Katherine Waterston, Benicio del Toro, Owen Wilson, and Martin Short, the story turned out to be far too convoluted for even those Hollywood superstars to reconcile. I never once bought into any of his characters—I felt no sympathy for, nor any connection to, them. The screenplay did not seem to flow well at all, and it did not have enough to keep me interested. I still believe PTA is more than capable of making another masterpiece like Boogie Nights or There Will Be Blood, but unfortunately Inherent Vice turned out to be a major setback in that pursuit.

The Grand Budapest Hotel

I love Wes Anderson’s movies. Some people do not buy into his films because they think his filmmaking style is simply “quirk for the sake of quirk,” and even though I agree that his eccentricity is a bit heavy-handed at times, I still personally enjoy his movies. They always have a fun, interesting storyline that is delineated through the work of seriously talented actors, and his distinct stylistic approach to the film’s visuals are truly a work of art. However, with The Grand Budapest Hotel, I was bitterly disappointed. Yes, it had all of the amazing visual effects, production design, makeup and hairstyling, and music you can always expect from the 45-year-old Texas native, but the story was atrocious in my opinion. His attempt at making the movie humorous fell dreadfully flat, and for the first time, I felt his movie was boring. I never once felt engaged with the plot, and a quarter of the way through, I wanted nothing more than for it to be OVER! How on earth this movie is tied for the most Oscar nominations this year is FAR beyond me.

A Million Ways to Die in the West

The hit sitcom Family Guy suffers severely from over-repetitive jokes and gags—anything funny that creator Seth MacFarlane happens upon in his show is ruined by this misused style. However, when MacFarlane released Ted in 2012 (his first feature film), I began to believe in him as a comedian. Ted had all the best parts of Family Guy without the regrettably added horse manure that makes his TV show so extraordinarily unwatchable. Ted is one of my favorite comedies from the past few years, and thus, I was expecting more comedic genius from MacFarlane with his second film A Million Ways to Die in the West. “Expecting” is the key word—this movie was about as enjoyable as a hangover. He reverted back to his unreservedly detestable storytelling techniques of the Peter Griffin clan, and his film fails because of it. The jokes drag on way too long, and with every passing second, MacFarlane’s humor loses any luster it once had. I hate to be so childish and simplistic, but the storyline was just stupid. Charlize Theron is definitely not meant for a movie like this (what a casting error that was), and the only bright spot was Neil Patrick Harris singing about moustaches. The Ted 2 trailer just came out, and although I find it funny, I am not holding my breath for its release because of the utter failure of A Million Ways to Die in the West.

Posted on August 27, 2014April 26, 2021 by mistertowle2

Fall Preview 2014: No. 10 – No. 6

I hope everyone found the Honorable Mentions post yesterday enjoyable. It is always a fun post as it truly gets this vital film season rolling. Today’s post reveals films No. 10 through No. 6 on my list of Top 10 most anticipated movies coming out during the fall season. This batch includes some potential heavy hitters, and if you are looking for a great movie to go see in theaters in the next few months, this post will give you some top-notch options among the films that look most poised for success.

No. 10 – Inherent Vice

Inherent Vice is a crime noir set in the psychedelic period of the 1970s, which follows Private Investigator Larry “Doc” Sportello (Joaquin Phoenix) and, according to Entertainment Weekly, chronicles his search for answers in the “disappearance of his ex-girlfriend’s wealthy boyfriend.”

At first glance, this film does not appear to have much to offer in terms of high-levels of anticipation—and that is because the plot currently known to the public is entirely vague, and a trailer still does not exist. Notwithstanding this mystery, the movie is regarded as one of the most likely films to receive critical success because of numerous factors, namely its director: Paul Thomas Anderson. PTA is one of my favorite filmmakers around, and furthermore, I believe he is one of the best at what he does (most film nerds share this sentiment). His filmography is impeccable, and the fact that he is back behind the camera is enough of a reason for me to salivate with eagerness.

In addition to P.T. Anderson, the cast is as accomplished as it gets. The film features the likes of Phoenix, Josh Brolin, Owen Wilson, Reese Witherspoon, and Benicio del Toro. It is sure to be a genius film, and the film’s spot at No. 10 on this list is ONLY because very few details have been released. Inherent Vice is set for a theatrical release on December 12, 2014.

Director: Paul Thomas Anderson (There Will Be Blood, The Master)

Starring: Joaquin Phoenix (The Master, Her), Josh Brolin (Guardians of the Galaxy, Sin City: A Dame to Kill For), and Katherine Waterson (Manhattan Romance, Night Moves).

No. 9 – The Judge

In The Judge, big-shot attorney Hank Palmer (Robert Downey Jr.) returns to his small hometown to attend his mother’s funeral. The trip is notably momentous for Palmer because for decades, he has been estranged from his father, a well-respected local judge. As if the awkward reuniting between father and son is not arduous enough, Palmer learns that his father is being accused of a fatal hit-and-run accident.

As a second-year law student and life-long aspiring attorney, it is not the least bit surprising that legal films like this have always tickled my fancy. However, I have always strayed away from the law movies that lack any heartfelt drama outside of the courtroom—The Judge does not appear to be one of those.

From the box-office success of the Iron Man franchise, I say this with full confidence that I am in the majority: I buy into Downey’s charisma on the screen. He has his own style and always impresses in his performances, and for this, I am definitely looking forward to this film. I am also excited to see him beside Robert Duvall, an elder statesman in Hollywood with a storied career. I am hopeful that these two silver-screen heavyweights will carry the film with esteem, and if the trailer is of any worth, it appears they have. The Judge is set for a theatrical release on October 10, 2014.

Director: David Dobkin (Wedding Crashers, The Change-Up)

Starring: Robert Downey Jr. (The Avengers, Iron Man 3), Robert Duvall, (Jack Reacher, A Night in Old Mexico), Vera Farmiga (Safe House, The Conjuring), and Vincent D’Onofrio (The Break-Up, Charlie Countryman).

No. 8 – The Equalizer

The Equalizer (adapted from the 1980s TV show of the same name) follows Robert McCall (Denzel Washington), a man with a mysterious past and a wealth of combat skills who wishes now to lead a quiet life. However, when he befriends a young prostitute named Teri (Chloë Grace Moretz) who is nearly killed by a mob of Russian gangsters, his thirst for justice reemerges in hopes of rescuing her.

This movie looks good. Really good. And if the Taken-like trailer does not do enough for you, I am sure this will: Antoine Fuqua and Denzel Washington. The last time the two collaborated was in 2001, when Washington played the Oscar-winning role of Detective Alonzo Harris in Fuqua’s masterful directorial effort Training Day. That film was one of my favorites of all time, and even though Fuqua has not had similar commercial or critical success since, I am highly optimistic about the potential for The Equalizer to lift the 48-year-old director back into Hollywood relevance.

I am also eager to see Moretz playing the supporting character in this movie. Ever since I saw her completely own her scenes in (500) Days of Summer as a 12-year-old, I knew she had a special career ahead of her. So far she has not disappointed, and now she has the chance to take command of a complex role in what is sure to be a fall blockbuster. The Equalizer is set for a theatrical release on September 26, 2014.

Director: Antoine Fuqua (Training Day, Olympus Has Fallen)

Starring: Denzel Washington (Flight, 2 Guns) and Chloë Grace Moretz (Carrie, If I Stay).

No. 7 – The Interview

In The Interview, two famous journalists are hired by the CIA to conduct an exclusive interview with Kim Jong-un, North Korea’s tyrannous leader. But the trip is not about the interview at all—the two are specifically tasked with carrying out an assassination on the crazed despot.

With the rioting success of every single one of Evan Goldberg and Seth Rogen’s past collaborations, it goes without saying that this movie will most unquestionably live up to the hype in terms of comedic quality. It is also reunites Rogen and James Franco, an on-screen duo that has been making the world laugh for the past few years in blockbuster comedies like Pineapple Express and This Is the End. There it is—the scene is set for another hilarious installment in the young, but storied comedic careers of these three gentlemen. So what else is there to get excited about?

The answer is this specific plot and the controversy that has followed. With the exception of masterminds Trey Parker and Matt Stone (South Park, Team America: World Police), no one else would dare insult such a trigger-happy autocrat on a worldwide scale—but Goldberg, Rogen, and Franco have done just that. But in this film, the funnymen take their gag one step further by attempting to assassinate the real-life dictator. Naturally, the North Korean leader and his posse (those left that have not been executed already, that is) are not happy about the film’s release, even though Kim Jong-un will reportedly watch it. I find the entire ploy an act of a group of men with some serious cojones. Moreover, I cannot wait to watch it myself! The Interview is set for a theatrical release on December 25, 2014.

Director: Evan Goldberg and Seth Rogen (This Is the End).

Starring: James Franco (Pineapple Express, This Is the End), Seth Rogen (Pineapple Express, This Is the End), Lizzy Caplan (Mean Girls, Masters of Sex), and Randall Park (The Five-Year Engagement, Sex Tape).

No. 6 – The Drop

The Drop tells the story of a Brooklyn bartender named Bob (Tom Hardy). The bar Bob works at serves as a location for mob-related “money drops”—a means of illegally funneling cash. According to Fox Searchlight, “under the heavy hand of his employer and cousin Marv (James Gandolfini),” Bob soon finds himself at the heart of a robbery-gone-wrong, and a subsequent investigation threatens to dig up the past secrets of his community.

Like most films on these Fall Preview lists, The Drop appears to be one of the better movies slated for a release this fall for multiple reasons. First, the fact that Tom Hardy is in the leading role feverishly adds to my interest in this film. Hardy is quickly becoming my favorite actor in modern cinema, and it is because with every single movie, he takes on his characters with a distinctive fervor and unparalleled commitment. From his inimitable performances in Bronson and Locke and everything in between, his passion for his art is admirable, and I grow to appreciate his talent even more with every new role he explores.

Also, I am highly anticipating this film because it is the late Sopranos-legend James Gandolfini’s last appearance on the silver screen. He has had an immense career filled with memorable performances and deserved acclaim, and this particular role seems to fit his style perfectly.

Lastly, author Dennis Lehane wrote the screenplay. A couple of my favorite movies of all time, Mystic River and Gone, Baby, Gone, were films that were adapted from Lehane’s novels. It will be a pleasure to finally see a film that is written directly from the pen of the accomplished wordsmith. The Drop is set for a theatrical release on September 12, 2014.

Director: Michaël R. Roskam (Bullhead).

Starring: Tom Hardy (Lawless, Locke), James Gandolfini (Zero Dark Thirty, Enough Said), and Noomi Rapace (Prometheus, Dead Man Down).

Posted on March 3, 2014 by mistertowle2

My Review of the 86th Academy Awards

Well, this year’s Oscars have officially come and gone, and at this point, I am already excited for next year’s show. But before I start preparing for another amazing year in film, I wanted to share my reactions of last night’s broadcast with all of you. The Academy Awards has been known in the past to be utterly long and boring. Although the show was still long (about 3 ½ hours), it was far from boring. Ellen DeGeneres was an absolutely, hysterically entertaining host, and I would have zero problem if she was asked to host the show from here on out—her monologue this year was uproarious! With the exception of only a couple, each of her jokes throughout the show were quite humorous and suitable for the Oscars, and even when she did toe the line of appropriateness, it still worked because it was done with Ellen’s trademark repartee.

This year’s Oscars had some tremendous moments, some not-so-tremendous moments, and some downright unforgettable moments, and I am pleased to share my reactions to all of the major highlights from a successful Academy Awards ceremony:

Best Moment: (12 Years A Slave wins Best Picture)

As you all probably already know from my blog, 12 Years A Slave was by far my favorite film from 2013. I have been hoping and praying that it would win Best Picture, and last night, it did! In a night where Gravity took home seven Oscars, including Best Director for Alfonso Cuarón, it was gratifying that the Academy awarded its most prestigious honor to a film that I believe is one of the greatest of all time. Both Brad Pitt and director Steve McQueen were graciously humble in accepting the award, and after the Academy flubbed last year by giving Argo the award, it was great to see them getting it right this time around. The best part of the acceptance speech, though, was when Steve McQueen began jumping around on stage in celebration of the victory. Well deserved, Mr. McQueen.

Worst Moment: (John Travolta’s mispronunciation of Idina Menzel’s name)

Every presenter at the Oscars is presented with a guide to help them master the names of anyone they must introduce. Despite this, Idina Menzel’s name is not all that hard to pronounce in the first place—it sounds just like it looks. However, John Travolta found some way possible to dastardly butcher the Let It Go-singer’s name as she was introduced to perform. His pronunciation for “Idina Menzel” was as follows: Adele Dah-zeem. HUH????

Most Endearing Moment: (Acceptance Speech for The Lady in Number 6: Music Saved My Life)

The subject matter of this Short Documentary winner is Alice Herz-Sommer, the world’s oldest Holocaust survivor, and how music had given her optimism in life. Ms. Herz-Sommer passed away at 110 years old, just one week ago. While accepting the award, director Malcolm Clarke gave an undeniably endearing acceptance speech about this strong-willed, positive-minded woman and the impact she had on the entire filmmaking crew. It was definitely a special moment last night.

Most Boring Moment (Bette Midler’s performance)

Last year, my “Most Boring Moment” went to Barbara Streisand for her musical performance following the “In Memoriam” presentation. Once again, this musical slot takes the cake for the most absolutely boring moment of the entire Academy Awards. Bette Midler performed “Wind Beneath My Wings” following the “In Memoriam” slideshow, and it nearly put me to sleep. For starters, Bette Midler simply does not have it anymore as a singer, at least not last night. She was flat, unengaged, and dreadful, and the best part of her performance was when the music ended and she walked off of the stage.

WTF Moment: (Kim Novak presenting with Matthew McConaughey)

Kim Novak is one of the most well known actresses of her generation, starring in incredible films like Alfred Hitchcock’s Vertigo and Joshua Logan’s Picnic. Now, I understand Novak is in her early eighties, but her appearance last night was simply awkward in every sense of the word. She rambled on and on in an extraordinarily incoherent manner, and she clearly was not on the same page with McConaughey; he had to continually pull her closer to the microphone, as well. Also, when they attempted to announce the category for “Best Animated Short Film” in sync, it was a disaster—McConaughey said, “Best Animated Short Film,” while Novak said, “Best Short Animated Feature.”

Best Monologue Joke: (Poking fun at Jennifer Lawrence’s Oscar “fall” last year)

As everyone may know, last year, while walking to the stage to accept the “Best Actress” award, Jennifer Lawrence tripped and fell (pictured on the right). This year, while exiting her car for the Red Carpet, Lawrence again tripped and fell. Ellen started the joke off by saying that she was not going to bring up either fall or poke fun because it is embarrassing when people bring those sorts of things up in public—she then went on to bring each of them up in greater detail, and it was hilarious. The best part was when Ellen followed up by saying, “if you win tonight, I think we should bring you the Oscar.” Jennifer Lawrence seemed to get a good kick out of it, and it was most definitely the funniest of Ellen’s many entertaining monologue jokes.

Worst Monologue Joke (the Liza Minnelli diss)

Liza Minnelli was in attendance with her siblings to honor the 75th anniversary of The Wizard of Oz, a film their mother, Judy Garland, starred in. Ellen’s worst joke came when she pointed out that one of the best Liza Minnelli impersonators she had ever seen was in attendance (referring to Minnelli herself). Then Ellen said, “good job, sir.” Liza Minnelli did NOT look impressed.

Best Ellen Moment of the Night: (Tie: Celebrity Selfie and Pizza Delivery)

Ellen definitely brought a hip new aspect to the Oscars, and the show’s entertainment value benefited significantly from this. At one point in the show, Ellen rounded up some of Hollywood’s most famous movie stars (and Lupita Nyong’o’s brother) to tweet a selfie in an attempt to break the record for most retweets, which the picture did indeed accomplish. Later in the show, Ellen had a few boxes of pizza delivered to the Dolby Theater, and she spent a few minutes passing out slices to everyone. Chiwetel Ejiofor, Kevin Spacey, Julia Roberts, Meryl Streep, Jennifer Lawrence, Christian Bale, Jared Leto, Harrison Ford, Kerry Washington, Martin Scorsese, and many others indulged in the Italian treat—Brad Pitt was actually extremely stoked for the occasion, loudly voicing to the pizza guy that he wanted pepperoni! It was a hilarious interlude during the ceremony, and it was one that has never been seen before.

Best Acceptance Speech: (Lupita Nyong’o for Best Supporting Actress)

In her film debut, Lupita Nyong’o won the Best Supporting Actress award for her role as Patsey in 12 Years A Slave. She gracefully thanked the real-life Patsey and Solomon Northup for his amazing story. She then, tearfully, thanked director Steve McQueen for the role, saying that being cast in this film was “the joy of [her] life.” With every appreciative comment about the many people that helped her reach this milestone, she spoke kindly and eloquently, and her heartfelt acceptance speech was truly remarkable.

Best Musical Performance: (Pink singing “Somewhere Over the Rainbow”)

During the Oscars, the Academy paid tribute to the 75th anniversary of “The Wizard of Oz,” and Pink performed a beautiful rendition of the infamous “Somewhere Over the Rainbow.” Pink is by far one of the most talented singers in the music industry today, and her vocals were incredible during this cover of Judy Garland’s signature song. If it were not for Pink’s amazing performance, this award would go to Pharrell Williams for his “Happy” routine earlier in the broadcast, but Pink’s breathtaking command of the stage during this earnest performance is absolutely undeniable.

Posted on March 1, 2014March 1, 2014 by mistertowle2

Full List of Films I Saw from 2013: Ranked from 1 – 63

12 Years A Slave
Short Term 12
The Hunt
Frances Ha
The Wolf of Wall Street
The World’s End
American Hustle
The Spectacular Now
Nebraska
Captain Phillips
Her
Philomena
Fruitvale Station
The Place Beyond the Pines
Dallas Buyers Club
This Is The End
August: Osage County
Rush
Mud
Prisoners
Warm Bodies
Inside Llewyn Davis
Blue Jasmine
In A World…
The Conjuring
Saving Mr. Banks
World War Z
The Way, Way Back
Blackfish
We’re the Millers
The Iceman
Side Effects
Iron Man 3
Stories We Tell
Drinking Buddies
Pacific Rim
The Great Gatsby
Gravity
42
Now You See Me
White House Down
Elysium
Only God Forgives
The Sapphires
Before Midnight
Dead Man Down
The Heat
Olympus Has Fallen
We Steal Secrets
Man of Steel
I Give It A Year
The Family
The Bling Ring
Identity Thief
Oblivion
Prince Avalanche
You’re Next
Gangster Squad
Safe Haven
The Hangover Part III
Oz the Great and Powerful
The Purge
Temptation: Confessions of a Marriage Counselor

Posted on February 25, 2014 by mistertowle2

Top 15 Films of the Year, No. 6 – The World’s End

The World’s End is a film directed by Edgar Wright, with a screenplay co-written by Wright and Simon Pegg. The film is about a group of friends that return back to their hometown to attempt an epic pub-crawl. The trip includes visits to twelve bars in town, culminating with a beer at the final bar, The World’s End. However, on their drunken journey, the group encounters some peculiar townspeople—in fact, the town has predominantly become blue-blooded robot-like aliens. The five friends must then battle it out with these mysterious beings, all the while saving each other in the process.

The World’s End is the third film in Edgar Wright’s “Three Flavours Cornetto” trilogy, following Shaun of the Dead (2004) and Hot Fuzz (2007). This fall, I watched the previous two films in Wright’s trilogy for the very first time, and I instantly fell in love with these movies. Needless to say, I was expecting big things from his most recent effort, The World’s End. This script, co-written by Wright and leading man Simon Pegg, was insanely hilarious, and it built upon everything that made each of the first two films uproarious. British humor is starkly different than traditional American humor, and because of this, American audiences do not always find British films earth-shattering on our own Richter scale of comedy; however, Wright and Pegg have continued writing these screenplays in a way that appeals to all audiences, so if you are interested in a drop-dead, side-splitting alien invasion featuring more beer than you know what to do with, then this film is for you.

Simon Pegg stars as Gary King, a recovering drug addict that simply has not let the past go. He and his friends failed the epic pub-crawl many years before, and he is determined to get the gang back together to finally complete their mission. Unfortunately, Gary’s friends all have established careers and are not initially into the idea of joining him on this trip back to their hometown, mainly because Gary is a disease that they prefer steering clear from. A hilarious cast joins Pegg as his gang of reluctant cohorts: Paddy Considine as Steven, Martin Freeman as Oliver, Eddie Marsan as Peter, and Nick Frost as Gary’s former best friend Andy. Nick Frost and Simon Pegg have a long history together in their film careers, including co-starring together in each of Edgar Wright’s “Three Flavours Cornetto” movies, and their chemistry clearly makes this project even better.

In a year packed with films about apocalyptic-like events, The World’s End is by far the best one. It takes such a unique perspective on the genre, and it is made with a renowned filmmaking style and an incredibly amusing script. The World’s End is rated R for pervasive language including sexual references.

The World’s End trailer: http://www.youtube.com/watch?v=hFo7eJR2cvc

Academy Award nominations for The World’s End:

NONE

Previous movies on the countdown of the Top 15 Films of the Year:

7. American Hustle

8. The Spectacular Now

9. Nebraska

10. Captain Phillips

11. Her

12. Philomena

13. Fruitvale Station

14. The Place Beyond the Pines

15. Dallas Buyers Club