Evan’s Reviews

[Evan_Wheatley]

I posted a review for the Netflix original series “Stranger Things” several hours ago, but I think that it would be more efficient for me to create a single thread for all of my reviews.

I have posted the “Stranger Things” review from earlier below, in addition to a review of the Netflix documentary “The White Helmets.” I will upload more reviews as often as possible and I appreciate you checking them out!

[Evan_Wheatley]

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“Stranger Things” have happened...

A young, brown-haired boy rides his bike down a moonlit street. Suddenly, the headlight on his bike goes out. After glancing down at the light, he looks back up to see a monstrous figure standing in the middle of the road, causing him to veer off into a ditch. He sprints away from his crashed bike into the woods. Whatever he saw, it wasn’t human. And it was pursuing him.

With haste, the boy darts through the front door of his house, out the back and into a tiny shed in his backyard.

Silence.

Hands trembling, the boy grabs his family rifle and loads it.

The shed door creaks.

His breathing quickens. He aims the rifle at the door.

A low growl emits from the darkness as a shadow slowly rises behind the boy. He locks eyes with the hidden creature, allowing terror to consume him.

Tension builds with the score; the fizzling of the shed’s lone light bulb grows louder and louder as the camera zooms in on it…

Silence. A wide shot of an empty shed. The light bulb lingers as the scene gradually fades to black.

On July 15, 2016, my parents and I sat down to watch the pilot for a Netflix original series called “Stranger Things.” From the opening sequence described above, we knew we were in for something special.

The story revolves around the mysterious disappearance of 11-year-old Will Byers and the odd rippling effect it has on the residents and atmosphere of 1983 Hawkins, Indiana. Will’s mother, Joyce – a single mom already struggling with her own issues – becomes frantic and distressed in her son’s absence.

At first, the town seems unconcerned. “Will probably just ran away,” or, “maybe he’s hiding?” Disappearances like this were rare at the time, as local police chief Jim Hopper is quick to point out. He says, “You want to know the worst thing that’s happened here in the four years I’ve worked here? The worst thing? It was when an owl attacked Eleanor Gillespie because it thought her hair was a nest.”

As the investigation deepens, however, another person goes missing. A secret government facility is discovered in the woods of Hawkins, and a young girl named Eleven is revealed to have the power of telekinesis.

My biggest fear for this show after seeing the trailer was that it would live up to its name, that its sci-fi and fantasy elements would overpower any sort of depth and realism present. While there are plenty of bizarre moments and far-fetched concepts in “Stranger Things,” they exist only to compliment the characters that keep us grounded in reality.

The three main characters are 11-year-old friends of Will’s named Mike, Dustin and Lucas, and Finn Wolfhard, Gaten Matarazzo and Caleb McLaughlin do an excellent job at bringing them to life. They play “Dungeons and Dragons” in their parents’ basements. They laugh. They curse. They fight. It all feels genuine, and when Will goes missing, they band together and risk their lives to find him.

Winona Ryder and David Harbour shine as Joyce Byers and Chief Hopper, respectively. Ryder conveys well the desperation any mother would feel after the disappearance of her son, as well as the raw determination to find him and bring him home. The character arc of Hopper from complacent drunk to fearless leader is also incredibly satisfying to watch.

Amongst all of the great performances, however, the standout is easily Millie Bobby Brown as Eleven. Her character is shrouded in mystery and secrecy. She has a dark and troubled past, and her superhuman abilities serve as a gift and a curse throughout the story.

Eleven’s dialogue is limited, meaning that most of her character had to be communicated through facial expressions, mannerisms and inner dialogue, and 12-year-old Brown accomplishes this masterfully.

“Stranger Things” takes us back to the world of the 1980s, a world of Realistic-branded walkie talkies, Levi’s corduroy jackets and wood-paneled station wagons. It was a time when kids could ride their bikes home at night without the fear of being kidnapped; when privacy on a phone call was dependent on the length of your rotary telephone chord.

Its soundtrack is infused with 80s classics. In one scene, Will and his brother, Jonathan (Charlie Heaton), bond over “Should I Stay or Should I Go” by The Clash. In another, romance blossoms to the sounds of Toto’s “Africa.”

Above all, “Stranger Things” is a love letter to 80s film. The tune of the opening credits is set to 80s-style synthesizers, which were commonly used in B-level horror movies at the time. Long hikes along railroad tracks evoke images of 1986’s “Stand By Me.” And as the children and Eleven fled the evil government scientists on their bikes, I’m sure that somewhere Steven Spielberg shed tears of joy on E.T.’s behalf.

The Duffer Brothers have utilized the power of Netflix to create something unique. “Stranger Things” provides loads of 80s nostalgia for adults, while also reintroducing us millennials to the staples of that era. It is horrifying and uplifting; darkly humorous; unrealistic, yet somehow grounded in reality.

With season two on the horizon and with presumably many stories left to tell, “Stranger Things” has only scratched the surface of its potential. Hopefully in the not-so-distant future, we will be able to look back on “Stranger Things” as a classic, a “Goonies” for our generation to pass onto the next. After all, stranger things have happened.

5

[Evan_Wheatley]

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“We’re the White Helmets”

“Any human being – no matter who they are or which side they’re on – if they need our help, it’s our duty to save them.”

Khalid Farah, a former Syrian tailor, gathers a few pieces of wood and stokes a small fire in his living room. He kisses his baby daughter goodbye and tells her not to give her mom too much trouble. He leaves his home with a white helmet in his hand.

Nearby, Abu Omar, a former Syrian blacksmith, kisses his mother on the forehead and bids her farewell. After joining Khalid, the two walk through the rubble of several destroyed buildings.

The sequence cuts to a shot of Mohammad Farah, also a former Syrian tailor, studying the Quran. He puts on a jacket and a beanie before heading out. An emblem of a white helmet can be seen on his left arm.

Soon after, Khalid, Abu and Mohammad enjoy a meal with a handful of other Syrian men in the Ansari District of Aleppo City, Syria.

A low rumble cuts through their laughter and conversation. A plane thunders overhead, the earth shakes and within seconds a plume of black smoke rises from a group of buildings in the distance. The men quickly put on their white helmets and pile into a red bus.

“It’s the Russians,” one of them says.

After arriving at the site of the bombing, the men immediately begin to assist those in need. They direct people to safety. They recover children from the rubble and take them to their parents. And after helping a man double check that no one else in his building needed rescuing, Khalid races down the stairs, leaving the man with a promise.

“Whatever you need, we’re the White Helmets.”

Debuting at the 2016 Toronto Film Festival in September, “The White Helmets” captures the day-to-day life of members of the Syrian Civil Defense (also known as the White Helmets) – a group of 2,900 civilians located in 120 centers across Syria, who serve as first responders to indiscriminate bombings of civilian communities in rebel-held areas by the Syrian Arab Air Force. Following the intervention by Russia in the Syrian conflict on September 30, 2015, much of the White Helmets’ work has been responding to air attacks by the Russian Air Force.

Through this 40-minute Netflix documentary, Academy Award-nominated director Orlando von Einsiedel plants you in the heart of one of the most dangerous places on Earth. You follow the White Helmets through the eyes of Khalid, Abu, Mohammad and their teammates as they risk their lives daily to save others.

The sacrifice and heroism exhibited by these men alone are worthy of merit, but Einsiedel’s direction is also exceptional. Wherever the White Helmets go, he goes. In the film’s opening, he follows a couple of Helmets into a damaged building. The air is drenched in a thick cloud of dust. As the Helmets carry children out of the building, civilian screams can be heard from behind the camera. The frame pans around in time to catch another bomb strike the building. A lone Arabic cry pierces through the now orange-brown cloud of dust as the scene fades to black.

Einsiedel also joins the Helmets as they travel to southern Turkey for one-month response training. While he is there, he films a handful of shots that later, when editing the film, are placed together to create powerful imagery.

“There is no war here. No devastation. No destruction,” Khalid said. The scene cuts to a shot of him looking up to the sky. “Just by crossing the border, it’s so strange how a situation can change.” He sees a bird soaring freely. The scene cuts back to him looking up. When the sky is shown again, the bird has been replaced with a plane.

“Without hope what good is life?” Abu said. “People will die without hope.”

Khalid, Abu and Mohammad, along with 2,900 Syrian Civil Defense members, are providing hope for the people of Syria. Since 2013, more than 130 White Helmets have been killed. During this same period however, they have saved more than 58,000 lives.

“I’m willing to sacrifice my soul for the sake of the people,” Mohammad said. “This job is sacred.”

Abu added, “Every morning I wake up and do this work because it’s my duty, my humanitarian duty. I will never quit as long as I’m still alive. In the White Helmets, we have a motto: ‘To save a life is to save all of humanity.’”

For more information about the White Helmets and how you can contribute to their cause, visit https://www.whitehelmets.org.

5

https://www.youtube.com/watch?v=3wj4ncIEDxw

[Camo]

Your avatar is amazing.

[Evan_Wheatley]

Your avatar is amazing.

Haha thank you! It's a professional headshot of me from my communications internship this summer.

[Evan_Wheatley]

From superheroes to “Swiss Army Man”: the 2016 summer movie slump

The heat may have been on this summer, but the box office wasn’t. Cluttered with lackluster sequels (“Independence Day: Resurgence”) and weak marketing campaigns (Russell Crowe and Ryan Gosling’s “The Nice Guys”), the majority of the 2016 summer movie season proved unusually bland.

In the midst of this however, Marvel delivered a meaningful superhero blockbuster. Paul Dano became best friends with Harry Potter’s dead body. And Pixar invited us to swim back into the world of “Finding Nemo.”

While failing to reach the heights of 2015, this summer still offered a few reasons to pay Redbox a visit this fall...

[Evan_Wheatley]

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“Captain America: Civil War”

Eight years ago, Marvel took the reigns of the superhero genre with “Iron Man.” Twelve films later and Batman, Superman and the X-Men are still playing catch up. With both the comic book fan and casual moviegoer in the palm of its hand, Marvel could have played it safe with this one. A run-of-the-mill action fest would have brought in the dough, while also entertaining the masses. But, yet again, Marvel showed us why it’s number one.

“Captain America: Civil War” poses a question that may have crossed your mind while watching “The Avengers” or “Age of Ultron”: in the midst of the mind-blowing action taking place on screen, how many innocent civilians were killed?

Within the first half hour of the film, the Avengers are shown footage from major events in past Marvel movies, but rather than enjoying a shot of the Hulk smashing a few aliens into a building, the heroes see pieces of that building crush a bystander filming the chaos from his phone. Instead of watching Captain America throw his mighty shield, they are treated to the lifeless eyes of a woman caught in the crossfire of superhero and super villain.

Shortly following this, Earth’s mightiest heroes are presented with a document, called the Sokovia Accords, which states that the Avengers must place themselves under the command of the United Nations or retire. Tony Stark signs. Steve Rogers doesn’t, ultimately pitting the two heroes against one another and leaving the rest to choose a side.

While technically a Captain America story, “Civil War” plays out more like an Avengers 2.5, which works in the film’s favor. The Russo brothers mesh the darker tone of “Captain America: The Winter Soldier” with the humor of “Guardians of the Galaxy,” masterfully balancing a plethora of characters new and old. The dialogue is thought provoking, the action is spectacular and the performances have never been better.

4.5

[Evan_Wheatley]

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“Now You See Me: The Second Act”

This film definitely should have been titled, “Now You Don’t.” Despite my bitterness toward this, I was looking forward to the return of the Four Horsemen this past May. And while this is not a well-made film, there is still a lot of fun to be had.

Led by illusionists Dylan Rhodes (Mark Ruffalo) and Daniel Atlas (Jesse Eisenberg), infamous magicians known as the Four Horsemen are back to entertain and thieve using their skills in deception and sleight of hand. Daniel Radcliffe also joins the cast as tech genius Walter Mabry, who forces the Horsemen to steal a chip that will give him control of all of the world’s computers.

What made “Now You See Me” so entertaining was the chemistry between the Four Horsemen and the energy they brought to each of their shows. A nice subplot about a lone detective hunting down the magicians in between their shows also kept the viewers’ interest as they awaited the Horsemen’s next spectacle.

This sequel offers an abundance of plot and new characters, but not enough spectacle. While Rhodes’ subplot is somewhat interesting, the resolution of it undermines the impact of the first film’s plot twist. The replacement of Isla Fisher’s Henley Reeves with Lizzy Caplan’s Lula as the female Horseman was also an unwelcome change.

However, in the little time they do have in the spotlight, the Horsemen are once again electric. Their charisma and charm give the film just enough magic to overshadow its flawed storytelling and direction.

3

[Evan_Wheatley]

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“Finding Dory”

A sour look crossed my face as my friends and I pulled into the parking lot of the Rave Theater in Little Rock. While I wanted to lose some sleep over “The Conjuring 2,” the rest of my friends had their sights set on the newest Pixar flick.

Bitterly inhaling my package of raspberry sour straws, I slumped into my seat and made a valiant attempt to dislike this movie. However, much like with last year’s “Inside Out,” Pixar won me over yet again with “Finding Dory.”

Ellen DeGeneres reprises her role from “Finding Nemo” as Dory: a kind, easygoing blue tang fish who suffers from short-term memory loss. All is well under the sea until Dory randomly experiences a flashback from her childhood of her and her parents. Remembering that she was separated from her family long ago, Dory races off to find her parents, relying only on her poor memory to guide her.

While this film is not a retread of “Finding Nemo,” it provides a few nods to the original, and many of the characters from “Nemo” return in supporting roles or cameos. The film also implements the voice talents of Idris Elba, Ty Burrell and Sloane Murray, who plays an adorable baby Dory in the flashbacks.

The most interesting character addition, however, is that of Hank, played by Ed O’Neill. The irritable, pessimistic, yet kind-hearted octopus warms up to the spastic, forgetful nature of Dory, and their interplay throughout elevates the film’s drama and humor.

Is it as good as “Finding Nemo?” Perhaps, but much like “Monster’s University” in 2013, “Finding Dory” differs in many ways from its predecessor and compliments it well. With sequels like “Cars 3,” (2017) “Toy Story 4” (2018) and the highly anticipated “The Incredibles 2” (2019) on the horizon, I am eager to see where Pixar takes our imaginations next.

4

[Evan_Wheatley]

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“Swiss Army Man”

“Swiss Army Man” opens with a shot of an exasperated Hank (Paul Dano) preparing to hang himself on a deserted island. Bored, alone and without hope, a look of astonishment surfaces on Hank’s face as a body (Daniel Radcliffe) washes up on shore before his impending suicide.

Desperately searching the body, Hank soon discovers that it is without life and is very flatulent. Through a series of odd and spectacular events, the body comes to life and the two go on a “road trip” of epic proportions to get Hank back home.

The score for this film, while simplistic, is by far the most inventive I’ve heard in years. Directors Daniel Kwan, Daniel Scheinert and cinematographer Larken Seiple craft captivating visuals, and Daniel Radcliffe gives his best performance since “Harry Potter.”

Deemed the “farting dead body movie” at this year’s Sundance Film Festival, there were many who loved “Swiss Army Man,” and there were many who walked out of it. While not aimed for the casual moviegoer, underneath the surface-level absurdity of this film can be found relevant themes, genuine characters and a heart-felt story.

5

[Evan_Wheatley]

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“Suicide Squad”

If anything, the marketing team for “Suicide Squad” did their job well. Following the critical backlash against “Batman v Superman: Dawn of Justice,” the second trailer for David Ayer’s supervillain team-up showcased a more light-hearted tone than that of last spring’s Comic Con teaser, and all of the following trailers and TV spots were edited to near perfection. The hype was real. The stakes were high. But how did it measure up?

The characters and the talent behind them are the driving force behind “Suicide Squad.” DC could not have made a better casting decision than Will Smith as Deadshot, and Margot Robbie was nowhere to be found in this movie: there was only Harley Quinn. And where there is Harley Quinn, there will always be the Joker.

All of the film’s promotional material pointed to Jared Leto’s clown prince of crime being the primary antagonist, but sadly this was not the case. The band of supervillains are instead tasked with taking on an evil more supernatural in nature, an odd choice considering that only two members of the squad actually have powers.

The film’s pacing is abysmal, its story is bland and the reason that the squad gets together makes very little sense. However, these negative aspects did not compromise my enjoyment of “Suicide Squad” as a whole because of the humor and fun brought forth by the characters and their interactions with one another. I look forward to seeing more of these villains, and I remain optimistic about the future of the DC cinematic universe.

2

[Gideon58]

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“Now You See Me: The Second Act”



OK, Ruffalo played the detective going after these guys in the first movie, now hes one of them in this one?

[Evan_Wheatley]

http://wallpapersite.com/images/wallpapers/now-you-see-me-2-4000x2250-action-adventure-comedy-4k-1814.jpg

“Now You See Me: The Second Act”



OK, Ruffalo played the detective going after these guys in the first movie, now hes one of them in this one?

Yes. That was the plot twist at the end of the first film: he had been the one who secretly brought them together and guided them throughout the film. His job as a detective was simply a cover to conceal his true identity.

[Evan_Wheatley]

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“The Man from U.N.C.L.E.” brings back characteristics of old spy movies

In the midst of the dark and gritty movies that have characterized the 2000s, it’s nice to see Superman and the Lone Ranger team up for a 1960s spy throwback.

Napolean Solo (Henry Cavill) is a suave, carefree thief turned spy, tasked with extracting Gaby Teller (Alicia Vikander) from East Berlin for the CIA. During the escape, Solo and Teller evade KGB agent Illya Kuryakin and report back to Solo’s superiors, only to find out that the KGB and CIA have reluctantly teamed up. Solo and Kuryakin are forced to work together to stop a wealthy couple from using Teller’s father to build their own nuclear weapon.

“The Man from U.N.C.L.E.” brings nothing new to the table in terms of its structure. Two good guys with conflicting personalities are forced to work together to take down the bad guys. Add in some classic spy elements and a pinch of action, and you’ve got yourself a nice summer blockbuster.

Guy Ritchie’s stylistic direction coupled with Cavill and Hammer’s on screen chemistry make up for the film’s lack of substance. Referring to each other as ‘cowboy,’ and ‘The Red Peril,’ the two leads humorously characterize the stereotypical depiction of 1960s American and Russian spies. Hammer’s subdued, hardened persona compliments the James Bond-like charm of Cavill. Vikander delivers a solid performance as well. There’s more to her character than meets the eye. Delicate yet strong-willed, she adds a nice dynamic to the trio.

While the plot is one of the film’s weaker aspects, Ritchie executes the few twists and turns it takes well, even if some of them are predictable. He does this primarily through showing small parts of a scene, leading you to think that a situation plays out one way, when it actually played out much differently, revealed later when the entire scene is shown. Ritchie uses this technique a few times in the movie, and while this may become tiresome for some viewers, I thought it was interesting, and it kept me on my toes throughout the film’s runtime.

“The Man from U.N.C.L.E” harkens back to the beats of older spy movies. The characters do not take themselves too seriously. Solo causes women to swoon left and right as he cracks jokes about Kuryakin’s Russian traits. Teller slowly breaks down Kuryakin’s hard demeanor, and he manages to crack a few jokes of his own. The opening action scene matches this tone and sets the stage for a perfect action throwback.

As the story progresses however, there are moments where the film takes itself too seriously and the action is filmed differently to appeal to a modern audience. These infrequent tone shifts clash with the overall feel the movie is trying to convey, and this detracted from my enjoyment of the film.

That being said, Ritchie does know how to create tension during the more serious moments, and transfers the emotions his characters are feeling to the viewer, primarily those of Kuryakin. In one particular scene, the feeling of betrayal is evident in the dimly lit close-ups of his face. The ominous ringing of church bells paired with silent shots of him tearing up a room out of rage is unsettling and conveys the anger of Kuryakin effectively to the audience.

“The Man from U.N.C.L.E” is not an Oscar contender. It is not the next cinematic masterpiece. The film serves its purpose as a sleek and fun action movie, and I had a blast watching it.

3

[Evan_Wheatley]

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“Bridge of Spies” breathes new life into historical films

When the director of “Jaws,” the star of “Forrest Gump” and the writers of “O Brother Where Art Thou?” come together to make a film, you know you’re in for a treat.

“Bridge of Spies” is set in 1957 during the Cold War between the United States and the Soviet Union. Rudolf Abel (Mark Rylance) is arrested by the FBI and charged with being a Soviet spy. Insurance lawyer James B. Donovan (Tom Hanks) is asked by his partners to defend Abel in the impending trial.

Donovan is ridiculed and scorned by his fellow Americans for representing and defending Abel, as many of them would rather see him hanging from a rope. However, Donovan’s success in keeping Abel away from the death penalty proves vital in negotiating with the Soviets after they capture an American spy.

Whenever I watch Tom Hanks, seldom do I see Tom Hanks. Whether it’s Forrest Gump, Captain John H. Miller or Woody from “Toy Story,” Hanks consistently excels at becoming the characters he portrays, and he delivers a dynamic performance as James Donovan. The character is decent and kind, but firm in upholding the law and his personal values.

Mark Rylance’s portrayal of Rudolf Abel is Oscar-worthy. Abel is an awkward, mild-mannered and unusually calm elderly man, the last person you would suspect as a Soviet spy. In the face of potential execution following a guilty verdict, Abel remains cool and collected. Blown away by his lack of alarm or concern, Donovan questions, “Are you not worried?” to which Abel responds, “Would it help?”

Ethan and Joel Coen’s script dishes out the perfect comedic, dramatic and thrilling elements that make “Bridge of Spies” great. Its dialogue drives the story, and while this may turn off certain audiences, I found it enthralling. Fundamental themes of integrity, perseverance and standing up for what’s right are broadcasted clearly and effectively through the actions and words of the story’s protagonists.

Like most of his films, Spielberg’s touch is evident from the first shot. There are several scenes throughout the film in which two or more people are simply exchanging dialogue in a room. While on paper this may come across as dull, Spielberg keeps you engaged by positioning his characters in different places during a scene. Through this he is able to portray a variety of shot types and angles and simulate the effect of cuts that aren’t actually there.

Spielberg’s narrative direction is as captivating as his visual storytelling. “Bridge of Spies” is based on a true story, and very little is altered or fabricated for the sake of entertainment. Aside from a few minor plot points and inconsistencies of the spies’ time in captivity, Spielberg and the Coen brothers stay true to the intriguing story of how an insurance lawyer from Brooklyn saved the lives of two Americans and a Soviet spy.

Novelty in today’s cinema is a hallowed treasure. Unique scripts are replaced with unnecessary sequels and reboots, and dialogue-driven stories dwell in the shadow of the next Marvel blockbuster. Despite Hollywood’s ever-growing lack of originality, directors like Spielberg continually restore my faith in filmmaking. “Bridge of Spies” breathes new life into historical thrillers, and is a must-see for lovers of the genre.

4.5

[Citizen Rules]

Finally you've reviewed a film I've seen:p...I enjoyed reading your review on Bridge of Spies...Nicely written, I especially like this paragraph:

Whenever I watch Tom Hanks, seldom do I see Tom Hanks. Whether it’s Forrest Gump, Captain John H. Miller or Woody from “Toy Story,” Hanks consistently excels at becoming the characters he portrays, and he delivers a dynamic performance as James Donovan. The character is decent and kind, but firm in upholding the law and his personal values. I was totally impressed with Spielberg's direction and his ability to make this biopic historical film seem real, while avoiding the overly emotionally, or overtly tense for tension sake.

Have you seen Spielberg's Catch Me if You Can? If not I recommend it for fans of Bridge of Spies.

[Evan_Wheatley]

Finally you've reviewed a film I've seen:p...I enjoyed reading your review on Bridge of Spies...Nicely written, I especially like this paragraph:

I was totally impressed with Spielberg's direction and his ability to make this biopic historical film seem real, while avoiding the overly emotionally, or overtly tense for tension sake.

Have you seen Spielberg's Catch Me if You Can? If not I recommend it for fans of Bridge of Spies.

Thanks for taking the time to read it! I’m glad you enjoyed it. I completely agree with you about Spielberg’s direction. I have seen “Catch Me if you Can,” but it has been a while. I’ll definitely need to re-watch it in the near future!

[Citizen Rules]

You have a nice review thread here. And I do check it, but so far that's the only film you reviewed that I've seen.

[Evan_Wheatley]

You have a nice review thread here. And I do check it, but so far that's the only film you reviewed that I've seen.

I appreciate it! You have quite the review thread yourself.

[Citizen Rules]

Thanks:) I try.

[Evan_Wheatley]

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Why you should take time to see “The Martian”

“Everywhere I go I’m the first. It’s a strange feeling. Step outside the rover, first guy to be there. Climb that hill, first guy to do that. Four and a half billion years, nobody here. And now…me.”

- Mark Watney, “The Martian”

Imagine you’re the first person to be alone on an entire planet. You’re in a NASA exploration habitat that was built to last for 31 days. Your food supply is limited. If the oxygenator breaks, you’ll suffocate. If the water reclaimer breaks, you’ll die of thirst. If the habitat is breached, you’ll implode. What do you do? How do you survive? Is it possible to make it back home? For astronaut Mark Watney (Matt Damon), dying is not an option.

You’d think a story about one man’s fight for survival on a planet several million years away from Earth would be bleak, but this return to form for director Ridley Scott is anything but. “The Martian” is one of the funniest movies I have seen all year, largely due to Drew Goddard’s adapted screenplay and Damon’s perfect execution of the sarcastic spaceman Mark Watney.

Each time something goes wrong, Watney delivers a line that showcases his optimism and comedic nature. One of my favorite lines comes a little over halfway into the movie, when Watney is forced to ration his food into smaller portions. As he eats a piece of meat the size of a Lego block and half of a red potato, he stares at the camera blankly and says: “It’s been seven days since I ran out of ketchup.”

While humorous moments like this are sprinkled throughout the film, Damon also captures the underlying despair and loneliness felt by Watney, and his desire to get back home.

The scene that hooked me comes right after Watney is marooned on the red planet. As a massive dust storm rages outside of the habitat, a defeated Watney looks through some of the belongings his crew left behind. Staring off into the darkness, he confidently mutters, “I’m not gonna die here.”

Damon’s performance is complimented by those of a large supporting cast consisting of Jessica Chastain, Jeff Daniels, Michael Pena, Kate Mara, Kristen Wiig, Sebastian Stan, Chiwetel Ejiofor and Sean Bean, who play members of Watney’s crew and the NASA men and women trying to get him home.

When Watney says, “Mars will come to fear my botany powers,” you believe him. His scientific wit is as entertaining as his humor, and you’re for rooting for Watney each step of the way. You cheer with each success, and empathize with each failure.

Ridley Scott and cinematographer Dariusz Wolski bring the desolate wasteland of Mars to life. Scott and Wolski create beauty from the barren world, and with each shot, the vast desert further contributes to the sense of isolation you feel while sitting in the theater.

“The Martian” stands among Ridley Scott’s best work, and Matt Damon provides one of his greatest performances. The scientific wonder the film evokes transcends both of their contributions however, and I am excited to see where we as humans progress in the coming years.

With several Mars-based projects currently being pursued by NASA as well as advancing technological developments, the future looks bright. Hopefully in our lifetime we will have the chance to witness history. Mars colonists will be able to say with a smile, “In your face Neil Armstrong.”

5

[Evan_Wheatley]

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“Everest” to inspire you to climb your own mountain

Snow flurries pierce your face as you lie on the frigid snow. Your hands and feet are frozen solid along with the oxygen tank at your side. As your body starts succumbing to frostbite, you remember that you are not 26,000 feet in the air on the slopes of the tallest mountain in the world. You’re in a movie theater, the air conditioning is turned up a bit and you’re almost out of popcorn.

“Everest” is a visual and emotional roller coaster that retells the fight for survival of several climbers during the 1996 Mount Everest tragedy. The story follows two expeditions, one led by Rob Hall (Jason Clarke) and the other by Scott Fischer (Jake Gyllenhaal), and the storm that took the lives of five climbers from the two teams.

Rob is a kind-hearted, sympathetic guide who helps pioneer the idea of giving amateur climbers the opportunity of a lifetime. Scott is more carefree and rebellious. His philosophy is that if you can’t make it up the mountain by yourself, you shouldn’t be on the mountain at all.

The film’s performances are one of its shining qualities. While no one stands out, Clarke, Gyllenhaal, Josh Brolin, Keira Knightly, Sam Worthington, John Hawkes and the rest of the cast deliver several tear-jerking scenes in the movie’s two hour run time. The portrayals make you care about the characters. You root for Rob and his team because of Clarke’s embodiment of a good man, wanting to get home to his wife (Knightly) and his soon to be born child.

While the characters themselves are played superbly, there’s very little development of these characters, and they are placed in an uninteresting story. The movie plays out exactly how you think it will. Tragedy strikes and people die. There’s nothing in the narrative that sets it apart from disaster movies that have come before it, and thankfully the story was not the focal point of “Everest.”

“Human beings simply aren't built to function at the cruising altitudes of a seven-forty-seven,” Rob tells his team at the beginning of the film, and it’s not until they reach what is called the “death zone” that his statement begins to sink in.

The tension builds as the air thins, and each crunch of a footstep has you antsy for a potential avalanche, and for the perfect storm you know is coming. Baltasar Kormakur’s direction and Salvatore Totino’s cinematography envelop you in the icy drama, elevating the experience of the movie and overshadowing its bland narrative.

Over 200 bodies lay frozen on Mount Everest’s slopes today that serve as a reminder for climbers of the price they may pay when pursuing such a feat. For most that set out to reach the summit however, the risk is worth the reward, and the reward comes in various shapes and sizes.

It’s the final destination for professional climbers, the pièce de résistance of their careers. For others like “Everest’s” Doug Hansen, the reward is found in following one’s dreams and inspiring others in the process.

You don’t have to climb a mountain to stand on top of the world. Whether it’s starting your own business, writing a novel or becoming a professional athlete, we all have big dreams and should go the distance to make those dreams a reality. Brian Blessed said it best, “You can’t call it an adventure unless it’s tinged with danger. The greatest danger in life, though, is not taking the adventure at all. To have the objective of a life of ease is death. I think we’ve all got to go after our own Everest.”

3.5

[Gideon58]

Yes. That was the plot twist at the end of the first film: he had been the one who secretly brought them together and guided them throughout the film. His job as a detective was simply a cover to conceal his true identity.


OMG, I totally missed that at the end of the first film, thanks for setting me straight.

[Gideon58]

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Why you should take time to see “The Martian”

[/FONT]

5

I started to watch this a few months ago and turned it off after about 15 minutes...I'm definitely going to have to give it another go.

[Evan_Wheatley]

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“Nightcrawler” good, but a few ethical issues linger

Local news stations live and die by the ratings. Whether it’s the royal wedding or a high-speed chase, reporters toil around the clock for the next big story that will increase the viewership and advertising revenue of their stations. When, however, does the next big story cease to be news? “Nightcrawler” highlights the thin line between good journalism and morbid entertainment, and what can happen when that line is crossed.

Despite being credited as the film’s lead, there is no trace of Jake Gyllenhaal in “Nightcrawler.” Losing 30 pounds to play the part, Gyllenhaal immerses himself into the role of petty thief Lou Bloom both physically and psychologically.

From the opening shots of the film, you can tell that something is off about Bloom. After stealing chain links from a fence on private property, he assaults a security guard, delivers the stolen materials to a Los Angeles construction site and tries to sell himself as a potential employee to the site manager.

Noticing a car crash on his drive home, Bloom pulls over to investigate. Two freelance videographers arrive at the scene shortly after and film police officers pulling the driver from the burning wreckage. When asked by Bloom, one of the cameramen reveals that he and his partner drive around LA, filming anything and everything to sell to the news station that will pay the most. “If it bleeds it leads,” the cameraman tells him. Inspired by the encounter, Bloom pawns a stolen bicycle, purchases a camcorder and a police scanner and begins working as a stinger.

Bloom presents his first clip of footage to local TV news station director Nina Romina (Rene Russo), who describes her station’s newscast as, “a screaming woman running down the street with her throat cut.” Bloom adheres to this ideology in his work, exposing his darker nature to the audience. Infatuated with his growing success, Bloom pushes every moral and legal boundary imaginable to get the perfect shot.

Gyllenhaal’s performance is enthralling. Despite the disturbing and sociopathic nature of his role, his character intrigues you. Bloom is passionate. Bloom is driven. Bloom is wickedly smart. He has an eerie charisma about him that seeps under your skin.

Rene Russo is also exceptional. Unlike Bloom, Romina fully comprehends the magnitude of her choices, sacrificing her morality for television ratings. When the thrills of Bloom’s nocturnal crusades are sucking you in, Kevin Rahm’s character, Frank Kruse, serves as the conscience to bring you back to reality. Despite his efforts, the concerns of the honest journalist sadly get swept under the rug by the prowess of Bloom and Romina.

The cinematography and editing by Robert Elswit and John Gilroy fuel the intensity of the acting. Whether Bloom is recruiting his partner Rick (Riz Ahmed) at a diner in the late afternoon or he is pursuing a high-speed car chase in the heat of the night, each scene is an exhilarating experience.

The film’s many shining qualities are only a testament to the thought-provoking script of Dan Gilroy. The scenes and dialogue bring to mind recent events such as the shooting of reporter Allison Parker and cameraman Adam Ward in Virginia. In the shooting’s aftermath, there were news websites and stations that chose to run the footage from a video posted online by the shooter, which showed the victims being shot at close range. The ethicality of this has been questioned, as it shows little respect for the victims’ families. Sadly however, footage of this magnitude engages our morbid curiosity, and Gilroy explores this truth as the basis of Bloom and Romina’s actions in the film.

In a 2014 interview with LA Weekly, Gyllenhaal humorously remarked, “There is a Lou in all of us. I don’t know if that disturbs you!” While I think this is far from the case, our culture as a whole contributes considerably to the “if it bleeds, it leads” mentality. Next time you see a brutal or disrespectful video, don’t support it. Don’t promote it. We can change the rating trends. We can rise above the culture.

5

[Gideon58]

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Loved your review of this movie and I pretty much agree with everything you've said...Gyllenhaal disappeared inside this character who beyond his intelligence and skill at the art of negotiation, had no real redeeming qualities and after everything he did. I really didn't like the way the movie ended with him smelling like a rose...two company vans and his own staff? I just wasn't feeling that at all. There's a review of this movie on my thread.

[Evan_Wheatley]

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Loved your review of this movie and I pretty much agree with everything you've said...Gyllenhaal disappeared inside this character who beyond his intelligence and skill at the art of negotiation, had no real redeeming qualities and after everything he did. I really didn't like the way the movie ended with him smelling like a rose...two company vans and his own staff? I just wasn't feeling that at all. There's a review of this movie on my thread.

Yeah the ending was crazy, but I feel that it was realistic. Thanks for your thoughts on the review! I'll be sure to check yours out soon!

[Optimus]

Nice reviews mate. I'll keep checking in.

[Evan_Wheatley]

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“Home” not just for kids

“Let’s go see that new movie with the cute alien!” my girlfriend said as I sighed internally. Animated films are typically not my cup of tea, and out of all the action-packed blockbusters out at the time like “Kingsman” and “Furious 7,” she had to choose the Sheldon Cooper alien flick. However, in every relationship it is important to strive to make the other person happy, so we went to see the cute alien movie…and I was pleasantly surprised by DreamWorks’ “Home.”

Jim Parsons stars as Oh, a whimsical, accident-prone alien part of the race known as the Boov. The movie opens with narration from Oh explaining whom the Boov are, how their society works and their current predicament. On the run from the menacing Gorg, the Boov discover and invade the Earth in a friendly fashion, deeming it a suitable place to seek refuge. After transferring the human population to a remote location on the planet, the Boov effortlessly occupy the cities of Earth and add a personal touch to the established human society.

Shortly after their arrival, Oh decides to host a party for the other Boov in his apartment. When no one shows up, Oh tries to convince Kyle (Matt Jones), a Boov cop who Oh claims is his best friend, to come to the party. Rather than sending a single invite to Kyle however, he accidentally sends a mass invite to every species in the galaxy, including the Gorg. Already not being liked by his kind for his odd and eccentric nature, this mistake results in Oh becoming a fugitive.

While all this is happening, a young human girl named Tip (Rihanna) is driving through the city with her cat Pig after being separated from her mother during the invasion. By chance, Tip and Pig cross paths with Oh as he is fleeing the Boov authorities. Tip has a burning hatred for the Boov because of the invasion, and this is exhibited in her encounter with Oh. However, after realizing that Oh can help reunite her with her mother, Tip reluctantly allows him to travel with her and Pig.

The chemistry between Jim Parsons and Rihanna is the driving force behind the story. Oh is adorable. Parsons and the animators do a great job in conveying the positive attitude that characterizes Oh while also subtly showing the underlying sadness that he feels from being an outcast. The gradual shift in Tip’s demeanor towards Oh and the friendship that develops between them is also fun to watch. Steve Martin, Jennifer Lopez and Matt Jones also do well in their supporting roles.

While the plot is not quite as jumbled as expected, the writing is still the weakest aspect of the film. Oh’s narration in the opening minutes throws the audience right into the world of the Boov and the Gorg in an approach that feels slightly rushed and forced. In addition to this, the Boov speak in a broken form of English not alluded to in Oh’s monologue at the beginning, which made the first several minutes of the movie puzzling for me. Once you're settled into the film however, you will begin to smile, laugh and possibly cry at the comical, yet moving story unfolding on screen.

I have never been a fan of the 3D gimmick. Today it is overused, not used to its full potential and expensive. However, the cinematography in this movie stood out to me particularly because of the way the 3D was utilized in the opening thirty minutes of the film.

There is one shot in particular in which the camera weaves in and out of various rooms and a ventilation shaft in a house. This is neat to watch in and of itself, but the 3D feature makes the viewer actually feel like he or she is in the room, flying amidst the clutter and the small corridors in the ventilation shaft.

Thanks to a star-studded cast, a fairly cohesive script and effective visuals, “Home” is a funny, warm and heart-felt film that will appeal to audiences of all ages. A couple of takeaway points from the experience: never judge a book by its cover, and guys don’t be hesitant to let the lady choose the movie every once and a while, she just might surprise you.

3

[Optimus]

I liked Home. I thought it was pretty funny, with a lot of heart.

[Evan_Wheatley]

I liked Home. I thought it was pretty funny, with a lot of heart.

I’m glad to hear that someone else enjoyed it! It wasn’t a great film, but I was pleasantly surprised and had a lot of fun with it. I thought it got some undeserved hate/criticism when it came out.

[Optimus]

Yeah i never quite understood some of the negativity Home recieved.

[Evan_Wheatley]

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Cumberbatch shines in “The Imitation Game”

Can machines think? This is the main question posed in “Computer Machinery and Intelligence,” a 1950s paper published by Alan Turing. The paper's concepts surfaced in his single-handed design and construction of a machine that broke the German Enigma codes during World War II…or so the film says. While the historical accuracy of “The Imitation Game” comes into question on several occasions, the outstanding quality of the film’s acting, direction and story is no enigma.

The movie focuses on the life of Alan Turing, a British mathematician, computer scientist and cryptanalyst. The British Intelligence recruits Turing along with other cryptographic minds to crack the Enigma codes that the Nazis use as secret communication during the war. The film’s narrative alternates between three significant times in Turing’s life: his education at Sherborne School as a teenager, his classified work with Enigma during the war and the investigation surrounding Turing’s sexual orientation in 1952.

The settings of the Enigma machines change daily as the war progresses. The small group of cryptographers has 18 hours each day to figure out the settings of the machines before the Germans alter the settings the next day. This is a virtually impossible task for the team to accomplish because of the infinite number of possible settings the machine possesses, causing progressive frustration amongst the team. Turing’s initial rudeness, apparent social detachment and unwillingness to work with the rest of the team only add to the growing tension.

Turing conceives, designs and begins to build a machine that he believes will be able to mull through the numerous Enigma settings possibilities at a considerably fast rate. A machine like this has never been built, much less proven to work. His endeavor brings about much skepticism and agitation from the team. Over time however, especially after the acquisition of Joan Clarke (Keira Knightly) to the team, Turing begins to treat his colleagues with respect and gains their trust.

To say that Benedict Cumberbatch had an amazing performance at this point in his career is the equivalent of saying the sky is blue, and it remains blue yet again as Cumberbatch knocks it out of the park.

Turing as shown in the film is extremely intelligent but lacks normal social skills. He is not the most likable guy; he has trouble interacting with others, takes everything that is said to him literally and has a sense of arrogance that puts others off. However, there is also warmth about his character and he genuinely desires to be liked by others. Cumberbatch expresses both aspects of this persona beautifully.

The supporting cast is equally fantastic. Those who play the members of Turing’s team (Matthew Goode, Allen Leach, Matthew Beard and Keira Knightly) have great chemistry with each other and Cumberbatch. Alex Lawther as the young Alan Turing mimics Cumberbatch’s portrayal well, and viewers will truly believe the struggles he endures from being different than everyone else.

Graham Moore took home an Academy Award for Best Adapted Screenplay for his work on the film, and it's not hard to see why. The well-written script is the fuel for the gripping, emotional drama exhibited in the actors’ performances.

Morten Tyldum’s direction is not to be ignored either. The interchange between the various time periods in Turing’s life are done smoothly, and the non-linear story telling is carried out excellently. The writing, directing and acting present Turing's struggle well as a homosexual in the 1950s and the punishment that he had to endure because of it. While both aspects of the production are good from a narrative standpoint, the direction and the writing is also where the main issue of the movie lies.

In “The Imitation Game,” viewers are led to believe that Turing built the machine that cracked Enigma and conceived its design virtually by himself. In reality however, the Polish Intelligence gave a primitive version of the machine to the Government Code and Cypher School in 1939, and Turing was hired to make improvements on the machine based on his knowledge of computers. Also, unlike the movie portrays; Turing was actually well liked by his colleagues and was placed as the head of the operation until 1942.

This is one of several factual errors present in “The Imitation Game” that range from Turing giving his machine a name, to John Cairncross being a cryptanalyst and a somewhat influential character in the story.

Despite these historical inaccuracies, the movie has received widespread critical acclaim. In addition to winning the Best Adapted Screenplay award, it also received nine Oscar nominations including Best Picture, Best Director and Best Actor.

“The Imitation Game” is a riveting drama with stellar performances, excellent writing and solid direction. Among the better films of 2014, it remains a must-see for years to come.

4

[Evan_Wheatley]

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“McFarland, USA” deemed pleasant and effective

You’ve seen it countless times before. A non-traditional coach takes up a team of misfits and leads it to greatness. Did I mention that it’s based on a true story? Disney has presented viewers with this scenario in several movies such as “Glory Road,” “Miracle” and “Remember the Titans.” Despite this formula being overused and predictable, add in a great lead such as Denzel Washington, Kurt Russell or in this case Kevin Costner, and time and time again Disney will show you that it still works.

Costner plays Jim White, a football coach with a bad track record in previous coaching positions. Following this incident, he and his family move to McFarland, California: a rural, impoverished and primarily Hispanic community. He starts his new job as the assistant football coach, as well as taking up the life science/PE teacher position. It is clear from the start that White does not want to live in McFarland, and will accept a better job if the opportunity arises.

During PE class one day, Jim observes two Hispanic boys running laps. His daughter comments on how fast the boys run, and Jim notices the stamina that they possess. After continuing to watch them, he approaches the principal of the school requesting permission to start a cross-country team with these young men to compete in upcoming state championships.

Coach White does more than simply coach a cross-country team, however. He invests in the lives of the boys and provides them with greater opportunities that would not have been possible otherwise. He also learns humility and the value of hard work from the guys on his team, who spend their mornings working in their parents’ fields from the crack of dawn until they go to school.

Costner does an excellent job in portraying the various struggles that Jim White endured to gain the trust of the guys on his team. Jim holds nothing back in guiding his team to excellence academically, athletically and as upstanding young men. The members of White's team, played by Carlos Pratts, Johnny Ortiz, Rafael Martinez, Sergio Avelar, Ramino Rodriguez and Hector Duran, are top notch as well.

The film shows the hardships that the boys and their families faced as Latino migrant workers during this time period. The town and a majority of its families are plagued with a seemingly endless generational cycle of poverty, and their work is comprised of grueling, long hours with minimal pay. The writing by Christopher Cleveland and direction by Niki Caro adequately display this struggle.

While the writing is solid, the film takes a little while to get going. The first 30 minutes of the movie leading up to White forming the cross-country team dragged on for me, however the information presented at the beginning is necessary build-up to the main plot, which is more than worth the wait. Overall, the direction by Caro is superb, and I am looking forward to seeing her future directorial work.

The cinematography in the film is commendable. Most of the locations where the competitions take place include rolling hills and lush countryside in addition to a few urban areas. The enormous hills at the last location the team competes at are stunning to view from a distance, and the camerawork in the movie captures its beauty effectively.

While “McFarland, USA” does not bring any original ideas to the table, the execution and effectiveness of the film is a pleasant surprise. Fans of Costner and sports movies alike will not be disappointed.

3.5

[Evan_Wheatley]

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“Whiplash” stakes claim as an indie frontrunner

Independent films have grown increasingly popular as of late. 2014 was filled with these types of movies that seemingly came out of nowhere, and “Whiplash” was one of the frontrunners.

Miles Teller plays Andrew Neiman, an aspiring jazz drummer attending Shaffer Conservatory in New York City. Terence Fletcher, played by J.K. Simmons, is a well-respected instructor at the university who takes notice of Neiman and recruits him for his studio band. Neiman's excitement to join the band is short-lived however; as Fletcher's brutal methods of teaching prove to be immensely taxing, physically and emotionally.

Brutal is an understatement of how cruel some of Fletcher’s methods are. Throughout the film it is difficult to tell if he is one of the protagonists or antagonists, if he is doing this to truly better his students or if he is just trying to find his own Buddy Rich. A recurring question the movie poses is where does an instructor draw the line? Is being one of the greats worth losing one’s humanity?

Neiman desires to be great, and this is shown in his decision-making throughout the film. His passion allows him to endure the physical and emotional abuse put forth by Fletcher, and the battle of wits that ensues between the two actors is where the movie shines.

Damien Chazelle's writing and direction fuels the intensity of the performances. Chazelle himself struggled to make it as a jazz drummer in high school, and stated that he had an intense music instructor who was an inspiration for Terence Fletcher’s character in the film. His musical experience is evident in the script, and the quality of the jazz music is no doubt a testament to Chazelle’s guiding hand in the production.

The music itself is captivating, and Fletcher’s ferocious conducting is not only the product of good acting. Simmons graduated with a music degree from the University of Montana and minored in composition and conducting, which contributed greatly to his role in “Whiplash.”

Teller also possessed some experience in rock drumming tracing back to his teen years. Rock drumming and jazz drumming are entirely different however, and for two months Teller had to train three to four hours each day under professional drummer Nate Lang. Because of his hard work, Teller was able to actually play, in portions, the difficult pieces that Neiman performs in the film. The fluidity and intensity of Neiman’s drumming however, is more of a testament to Tom Cross' editing.

The last 30 minutes of this film will have viewers’ eyes locked onto the drama; it is one of the most emotionally gripping finales I have ever seen.

“Whiplash” is an impressive feat by 30-year-old Damien Chazelle, winning three Oscars including the well-deserved Best Supporting Actor recognition awarded to J.K. Simmons. It is a fast-paced, full-throttled drama that will have viewers on the edge of their seat until the last drum stroke.

5

[Miss Vicky]

I’m glad to hear that someone else enjoyed it! It wasn’t a great film, but I was pleasantly surprised and had a lot of fun with it. I thought it got some undeserved hate/criticism when it came out.

I love animation and have a soft spot for cute children's animated films. But this was not cute. The characters were incredibly annoying and the film was uninspired.

[Evan_Wheatley]

I’m glad to hear that someone else enjoyed it! It wasn’t a great film, but I was pleasantly surprised and had a lot of fun with it. I thought it got some undeserved hate/criticism when it came out.

I love animation and have a soft spot for cute children's animated films. But this was not cute. The characters were incredibly annoying and the film was uninspired.

I respect your opinion. It's been a while since I've watched the film, so perhaps my views would change a bit on repeated viewings. What about the characters annoyed you?

[Miss Vicky]

I respect your opinion. It's been a while since I've watched the film, so perhaps my views would change a bit on repeated viewings. What about the characters annoyed you?

It's been awhile for me as well, but I recall being especially annoyed by the way Parsons's character spoke (Not his voice, but the way he structured his sentences.) Also his behavior in general.

[Evan_Wheatley]

It's been awhile for me as well, but I recall being especially annoyed by the way Parsons's character spoke (Not his voice, but the way he structured his sentences.) Also his behavior in general.

I can understand that. I actually found the way he structured his sentences to be interesting. Yes, it was odd and a bit jarring at first, but for me it added something different to the character that I wasn’t expecting.

I could see how his behavior could come across as annoying, though. Like I said, it wasn’t a great film, or even a good film per se, but I had a fun time with it. Thanks for sharing your opinion!

[Evan_Wheatley]

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Hillbillies, drugs and Katniss Everdeen: A review of “Winter’s Bone”

Nominated for two Academy Awards and winner of the Grand Jury Prize: Dramatic at the 2010 Sundance Film Festival, Debra Granik’s “Winter’s Bone” ranks among the top films to come out of Sundance in recent years.

Adapted from Daniel Woodrell’s novel of the same name, the film follows 17-year-old Ree Dolly, played by Jennifer Lawrence, and her struggle to provide for her mentally ill mother and younger siblings in the fallout of her father’s disappearance. Her father is out on bail following his arrest for manufacturing “crank” (methamphetamine), and is soon scheduled to appear in court. Ree is told that if he does not show up for his court date, her family will lose their home. Determined to ensure a hopeful future for her siblings, Ree sets out to find her father in a family- and drug-centered culture of southern Missouri.

The film opens with a wide shot of the landscape. Rolling hills of green and grey overlook a valley of mobile homes and rusted vehicles, with a lone, naked tree resting in the foreground. An a cappella rendition of “The Missouri Waltz” is sung as Ashlee and Sonny Dolly play outside on their trampoline. Ree hangs laundry out to dry and repairs Ashlee’s baby doll before calling her siblings to come inside. The sequence ends with the words, “Winter’s Bone” superimposed on a silhouette of barren trees.

Filmed entirely on location in Missouri’s Christian and Taney Counties, the opening act of “Winter’s Bone” captures the ruggedness of its setting. While not everyone who views the film will be familiar with Missouri’s Ozark region, most southern viewers will recognize the rural and impoverished neighborhoods depicted and the hillbilly archetype of the film’s characters. This is largely due to Granik’s desire for an authentic setting. She and her crew ventured six times to southern Missouri during pre-production, taking notes and seeking out local guides for assistance. Three families in Forsyth, Mo. allowed Granik and her crew to use their homes as sets for the film, and very little was altered to the families’ property during production.

The people of Christian and Taney Counties were as vital to the film’s authenticity as the location itself. Local residents such as William White, Ashlee Thompson and Isaiah Stone contributed their accents and knowledge of the culture to their roles of Blond Milton, Ashlee Dolly and Sonny Dolly respectively. Other Missouri natives added improvised dialogue for their characters, one being Ron “Stray Dog” Hall, who plays Thump Milton in the film.

The meth capital of the United States serves as the cultural backdrop for the narrative of “Winter’s Bone.” As depicted in the film, family ties and regional loyalties govern the more remote areas of southern Missouri. While Granik shows the impact that meth manufacturing has on a local community, she avoids depicting drug use in a negative or positive light in the film.

The portrayal of drug use in film has gone through several phases over the last century, fluctuating and evolving with changing attitudes about the topic in the surrounding culture. Drugs frequently appeared in silent films during the 1900s. By the 1930s however, the portrayal of drugs on screen became almost universally negative due to shifts in federal law and popular perception.

The hippie movement of the 60s and 70s made its mark on the big screen; with drug use more frequently appearing on film. “Easy Rider” in 1969 brought the 60s counter-culture to the mainstream through the positive portrayal of LSD and marijuana. Influenced by Ronald Reagan and George H.W. Bush’s war on drugs, films from the “Just Say No” era once again brought the anti-drug stance into the limelight.

After decades of alternating between two main viewpoints, modern cinema has settled on a more neutral depiction of drug use. Films such as Darren Aronofsky’s “Requiem for a Dream” use drugs to tell a compelling story without pushing a positive or negative agenda. “Winter’s Bone” takes a similar approach.

“He cooks crank,” Ree says to her cousin Megan.

“They all do now. You don’t need to say it out loud,” Megan replies.

The film’s dialogue and character interactions reveal that the community’s drug problem is acknowledged simply as the way things are. Ree’s Uncle Teardrop casually snorts crystal meth in front of her twice in the film; the second time with a cigarette in his other hand. Little Arthur asks Ree if she “want’s a line” or if she would like to “blow some smoke” when she asks him about her father’s whereabouts. When she refuses, he bangs his hands down on his coffee table and tells her that he has nothing else to offer. Even Ree herself, despite avoiding the use of crank, still understands that it is at the core of her family’s identity and the society in which she was raised.

Granik seems to enjoy telling stories that use drug addiction as a key component. Her first feature film, “Down to the Bone,” like “Winter’s Bone,” neutrally depicts drug use while showing the impact it has on a young woman’s life. Both protagonists hit rock bottom in each film, but, like Katniss Everdeen in “The Hunger Games” franchise, persevere to overcome their respective struggles.

In fact, Gary Ross, director of “The Hunger Games,” was interested in Lawrence for the role of Katniss because of her breakout performance in “Winter’s Bone.” Fans of the young adult dystopian films will undoubtedly fall in love with Ree, as her characterization strongly resembles that of the girl on fire.

The brilliance of “Winter’s Bone” is found in its simplicity. Woodrell’s novel told Granik and her team where to go and they went, crafting an authentic mise-en-scène for the film along the way. Within this setting, Granik tells the relatable story of a young woman who loves her family; who goes the distance to save her home. With another feature film in the works with “bone” in the title, we certainly haven’t seen the last of Debra Granik. Her meticulous direction coupled with Lawrence’s performance is where “Winter’s Bone” shines.


5

[Evan_Wheatley]

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“The Revenant” leaves audiences stunned, unsettled by grizzly, authentic portrayal

Revenant (n. one who has returned, as if from the dead)

Icy water trickles gently over the rocks. All is quiet. As the camera tilts up and pans to the right, the barrel of a gun creeps out from behind a tree. Two armed hunters are now visible, moving with caution over the steady flow of the stream.

A nearby gunshot shatters the calm. The men stop. Another shot.

Screams of terror and fury fill the air as the two men return to their hunting party. Arikara Indians gallop around the camp of fur trappers. Their arrows whiz past the two men, piercing the skulls of others around them.

A small group of survivors flees the Arikara. Reaching a boat offshore, the remaining trappers drift down the Missouri River, battered and defeated, carrying only a fraction of the beaver furs they’d trapped over the past few months.

This opening scene from “The Revenant” captures the brutality exhibited in the true story of its protagonist Hugh Glass (Leonardo DiCaprio), a legendary frontiersman and fur trapper in the 1820s.

Following the slaughtering of trappers at the beginning of the film, Glass guides the surviving group back to its outpost, Fort Kiowa. As Glass is scouting ahead he is attacked by a grizzly bear and mauled to the edge of death.

Finding Glass underneath the dead beast, captain Andrew Henry (Domhnall Gleeson) leaves him in the care of his half-native son Hawk (Forrest Goodluck), Jim Bridger (Will Poulter) and John Fitzgerald (Tom Hardy), as it seems that Glass will succumb to his wounds.

After a failed attempt to smother Glass, Fitzgerald kills Hawk, buries Glass alive and deceives Bridger about his actions as they press on toward Fort Kiowa. Determined to find Fitzgerald, Glass uses his wit and skill to survive and sets out on a 200-mile path of vengeance across the Northern Plains of America, and you are with him every step of the way.

You squirm in your seat as Glass cauterizes his own wounds. You taste the blood and scales of the raw fish as Glass rips it open with his teeth. You lose your appetite for that next handful of popcorn as Glass guts a horse and uses its carcass as a sleeping bag.

The authenticity of “The Revenant” is not only the product of DiCaprio’s dedication, but also of the entire cast and crew. Director Alejandro G. Inarritu was unwavering about filming in strictly natural light, which gave the cast and crew a mere 90 minutes of shooting time each day.

Inarritu and his team journeyed for hours in minus 25 degree weather to locations in the Canadian and Argentinian mountains. The production ran five months over schedule and $35 million over budget, but the hell that the cast and crew endured was not in vain.

The cinematography is masterful. The close ups are so close at times that DiCaprio’s breath fogs up the lens, further intensifying the emotional impact of his performance. The landscape choices and use of all natural light result in breathtaking shots such as one scene when Fitzgerald and Bridger are keeping warm by the fire. As darkness falls, sparks dance upward off of the flames; the camera angle shows them gently float toward the heavens and vanish into the twinkling of the night sky.

“The Revenant” is nominated for 12 Academy Awards, the most at this year’s ceremony. Its direction is nearly flawless, its performances, unsettling. But above all, Inarritu paints a captivating portrait of human suffering and the incredible resiliency of a man with a heart of vengeance.

4.5

[MovieMeditation]

Some good reviews in here. Some of them tend to have a little too much summary of the plot and a few also have a little more explaining of the process of the movie and fun facts, which is fine, but the review should take up the most space and sometimes it feels like it all overlaps a little in and out of each other and personally I would like a little more structure. I do find the small-but-many paragraphs to be an interesting layout, but it also confuses a little and becomes a little fractured. A think longer but fewer paragraphs would be better and with each paragraph having its own focus. That's just my opinion of course.

Generally I do see potential in your reviews, so keep it up! :up:

[Evan_Wheatley]

Some good reviews in here. Some of them tend to have a little too much summary of the plot and a few also have a little more explaining of the process of the movie and fun facts, which is fine, but the review should take up the most space and sometimes it feels like it all overlaps a little in and out of each other and personally I would like a little more structure. I do find the small-but-many paragraphs to be an interesting layout, but it also confuses a little and becomes a little fractured. A think longer but fewer paragraphs would be better and with each paragraph having its own focus. That's just my opinion of course.

Generally I do see potential in your reviews, so keep it up! :up:

Thanks for the feedback! I appreciate you taking the time to read the reviews and for providing your thoughts on them. I can see where some of them may have too much plot description or more elements outside of the review itself than necessary.

With some of my earlier reviews, such as “Whiplash” and “Imitation Game,” I was still trying to find my style and how I wanted to approach reviews. I come from more of a feature writing background, and I now try to incorporate that approach in my reviews as well.

My goal with each review is to paint a picture of the film and my experience with it at the beginning to draw the reader in (similar to a “lead” in journalism), and to give my thoughts and additional details surrounding the film for added interest.

In terms of paragraph structure, I like to begin and end each one on a note that makes you want to keep reading, which may result in smaller paragraphs and less structure in the eyes of some.

Again, thanks for posting your thoughts. I welcome constructive criticism and I value your opinion!

[Evan_Wheatley]

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“Doctor Strange”: introducing a new era into the Marvel cinematic universe

“Doctor Strange,” in my opinion, is Marvel’s first step into the uncharted. Sure, “Guardians of the Galaxy” was a bold undertaking, but the concept of gods and aliens had already been explored in “Thor” and “The Avengers.” “Ant Man” may have given us a glimpse into the Quantum Realm, but at the end of the day, it was little more than a comedic heist film with a taste of “Honey I Shrunk the Kids.”

Helmed by horror director Scott Derrickson, “Doctor Strange” invites us into Marvel’s world of magic and mysticism. Benedict Cumberbatch stars as Doctor Stephen Strange, an arrogant neurosurgeon acclaimed worldwide for his medical achievements. After losing the use of his hands in a car accident, Strange desperately searches the globe for anything that will give him back what made him great. Strange’s search leads him to the Ancient One (Tilda Swinton), a sorcerer who introduces him to the mystic arts and sets him on the path to becoming the “Sorcerer Supreme.”

While magic itself is a new element in the Marvel cinematic universe, “Doctor Strange” is still, at its core, a superhero origin story, meaning that all of Marvel’s tropes are ever present. There are several attempts at humor. Some of them work; some of them don’t, and the villain, albeit portrayed very well by Mads Mikkelsen, is once again underdeveloped.

In spite of this, Marvel made an ambitious move with this film, one that I believe paid off in dividends.

The bizarre visuals, dialogue and character interactions of “Doctor Strange” would not work without strong performances, and for this film, Marvel was able to enlist a plethora of quality talent. Chiwetel Ejiofor’s Mordo – an experienced, collected, yet damaged sorcerer studying under the Ancient One – compliments the sarcastic and ambitious nature of Strange well. Benedict Wong and Rachel McAdams as Master Wong and Nurse Christine Palmer, respectively, also have some nice character moments and provide a few laughs along the way.

The “white-washing” controversy surrounding Swinton’s casting as the Ancient One (who, in the comics, was a man of Asian descent), left my mind the minute she stepped into the room with Strange. Swinton’s acting choices bring her character to life, and her expert delivery adds dramatic weight to certain lines of dialogue that may have otherwise come across as poorly written.

Cumberbatch’s performance is already being compared to Robert Downey Jr.’s in “Iron Man” because of the similarities between the origin stories of Stephen Strange and Tony Stark. However, what separates Strange and Stark from the beginning is the charisma and humanity that shine through Stark’s arrogance before becoming Iron Man. He was a likeable jerk. The same cannot be said for Strange.

In one scene, Strange tests his music knowledge with other hospital staff while performing surgery. He chooses his operations based on their level of difficulty, discarding ones that he deems unworthy of his time. Even after his accident, he pushes Nurse Palmer, the one person who truly cares for him, away as a result of his pride. The fact that Strange is so unlikeable at the beginning of the film makes it all the more satisfying to watch his transformation unfold on screen, and, as always, Cumberbatch brings his A-game to develop this character.

Scott Derrickson’s background in the horror genre benefits his direction immensely. From the villain’s makeup design to certain visual imagery in the final act, Derrickson’s touch is evident throughout “Doctor Strange,” and the work that he and his team put into the film’s special effects is impeccable, visually and conceptually.

“This doesn’t make any sense,” Doctor Strange says to the Ancient One.

“Not everything does. Not everything has to.”

“Doctor Strange” could easily be viewed as typical Marvel fanfare. It takes a hotheaded protagonist and sends him to the darkest depths, only to have him rise from the ashes to claim his destiny. It sacrifices the villain’s character development to ensure a shorter runtime and throws away potentially impactful moments for the sake of comedy. Overshadowing the film’s shortcomings for me, however, are excellent performances, visual flair and a bit of magic.

4

[Evan_Wheatley]

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“It’s a Wonderful Life”: Christmas and the blessings of life

“Strange, isn’t it? Each man’s life touches so many other lives. When he isn’t around he leaves an awful hole doesn’t he?”
- Clarence, “It’s a Wonderful Life”
With a bleeding lip and a broken spirit, George Bailey stares longingly at the tossing and turning of the waves. The frigid wind bites his face as suicidal thoughts creep into his head.

Bailey steadies himself on the edge of the bridge. His eyes widen. He looks to his left, and then to his right. Preparing to jump, a single thought enters his mind…

“I wish I had never been born.”

No good deed goes unpunished. You hold a door open for someone, and you get the next one slammed in your face. You take over the family business to make a difference in others’ lives, and your Uncle Billy misplaces an $8,000 deposit that sends your business into bankruptcy.

Regardless of how small or large the good deed, gratitude for it can be hard to come by. Those trying to do good eventually get burned out, feeling that no one appreciates or cares about them; that the world would be no different had they never been in it.

From the start of “It’s a Wonderful Life,” we see the kind heart of its protagonist George Bailey (James Stewart). At the age of 12, he saves his brother Harry from the icy waters of a frozen pond, causing Bailey to permanently lose hearing in one of his ears. Rarely does he put himself first, and this is evident in his actions throughout the film.

After tragedy strikes his family, Bailey gives up his life dream to stay behind and run his father’s company in Bedford Falls, New York, to ensure that it stays out of the greedy clutches of banker Henry F. Potter (Lionel Barrymore).

Bailey makes several sacrifices throughout the film; often oblivious to the lasting impact these choices have on the lives of others in Bedford Falls. Twice he gives up the opportunity of a college education. Instead of going on his honeymoon with his wife, he stays behind after their wedding to keep his Building and Loan Company afloat. He even turns down a sizable job offer from Mr. Potter himself to uphold his values.

And yet, despite all of this, one mistake by his uncle leads to a moment of panic and despair for Bailey. Facing bankruptcy and imprisonment, that terrible thought first surfaces…

“I wish I had never been born.”

James Stewart brings warmth and humanity to the character of George Bailey. He steals every scene he is in, and each word, facial expression and movement of Stewart contributes to the timeless message of the story.

Frank Capra’s vision and direction drive the actors’ performances. Despite it being in black and white, the quality and special effects hold up surprisingly well to this day. The film even won an Academy Award for developing a new method of simulating falling snow on a motion picture set.

It received five other nominations from the Academy, including Best Picture, Best Director and Best Actor. It has had an impact on today’s entertainment as well, with popular TV shows such as “The Fairly Odd Parents” creating episodes based on the film’s third act.

“I wish I had never been born.”

As this thought rings out in Bailey’s head, he rears back, ready to leap into the waters below. The splash he hears is not his own, however. Another man jumped, and he is drowning.

“Help me! Help me!” the man cries.

In another selfless act, Bailey takes off his coat and dives into the water to save him. The man turns out to be Clarence – Bailey’s guardian angel sent from heaven to help Bailey realize his purpose in life.

Bailey tells Clarence that he wishes he had never been born, that everyone including his wife and kids would be better off without him. Clarence grants his wish, and right away it becomes clear that without George Bailey in their lives, the people of Bedford Falls are not the same, and their circumstances are considerably worse.

“You don’t know what you’ve got until it’s gone.” This saying can be applied to Bailey in the film and often for us in our everyday lives. Regardless of what you’re going through, your life has meaning, and you have touched others’ lives in ways that you may never know. Count your many blessings this Christmas, and when times of hardship or self-loathing arrive, remember the enduring words of Clarence, “No man is a failure who has friends.”

4.5

[Gideon58]

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“It’s a Wonderful Life”: Christmas and the blessings of life



I have never liked this movie, but I enjoyed reading your review.

[Gideon58]

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“Home” not just for kids



This sounds interesting, why is this the first I'm hearing of this movie?

[Evan_Wheatley]

http://images.amcnetworks.com/ifccenter.com/wp-content/uploads/2009/10/its-a-wonderful-life-3.jpg

“It’s a Wonderful Life”: Christmas and the blessings of life



I have never liked this movie, but I enjoyed reading your review.

Thank you! What are your thoughts on the film?

[Evan_Wheatley]

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“Home” not just for kids



This sounds interesting, why is this the first I'm hearing of this movie?

I really enjoyed it! However, if my girlfriend had not recommended it at the time I would not have heard of it/went to see it either.

[Gideon58]

What are your thoughts on the film?


It bores the hell out of me...don't know why..it is what it is.

[Evan_Wheatley]

What are your thoughts on the film?


It bores the hell out of me...don't know why..it is what it is.

I can understand that.

[Citizen Rules]

Evan, Nice review on It’s a Wonderful Life, good job..

I love that film and even rated it higher than you, I gave it a solid rating_5

I have it on Blu Ray and the HD scan of the original negative looks amazing. There's also a colorized version on the DVD set, which I watched only once. It actually looked pretty good but the color took away from the story, IMO. I haven't seen it in awhile, maybe this Christmas I'll watch it.

[Evan_Wheatley]

Evan, Nice review on It’s a Wonderful Life, good job..

I love that film and even rated it higher than you, I gave it a solid rating_5

I have it on Blu Ray and the HD scan of the original negative looks amazing. There's also a colorized version on the DVD set, which I watched only once. It actually looked pretty good but the color took away from the story, IMO. I haven't seen it in awhile, maybe this Christmas I'll watch it.


Thank you, Citizen Rules! I’ll have to check out your review later tonight.

I bet it looks fantastic on Blu Ray. I should invest in my own copy sometime soon. I haven’t seen the film since last year. I updated this review and tightened my writing on it so I could run it in our school’s paper. Thanks for taking the time to read it!

[Evan_Wheatley]

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‘Logan,’ a fitting sendoff for Hugh Jackman’s Wolverine

“Let’s go see the new ‘X-Men’ movie,” your girlfriend suggests as you pull up to your local movie theater. While at first surprised that she wants to see a comic book movie, you take full advantage of this rare opportunity, grab some popcorn and make your way to your seat.

Excitement and anticipation sink in as the 20th Century Fox fanfare floods your ears and the “Marvel” comics logo flips down the screen. After enjoying the action fest of “X-Men: Apocalypse” almost a year prior, you wonder what grand cinematic spectacle awaits in “Logan.”

From the opening shots, however, you realize that something is off.

The film begins with the introduction of a weathered, lethargic and washed up Logan/Wolverine (Hugh Jackman) passed out drunk in the front of a limo, an antithesis to his usual sarcastic, feral state. Awoken by outside commotion, he swears, and limps out to find a few lowlifes attempting to steal lugs from the wheels of his vehicle. He tries to settle the matter peacefully, but is quickly shot in the chest and beaten repeatedly by the thugs.

Within seconds, Logan becomes the Wolverine we know and love, except this time director James Mangold pulls no punches. One of the thugs loses his arm. Another is stabbed repeatedly in the stomach, and two have Wolverine’s claws thrust through their heads in spectacular bloody fashion.

You and your girlfriend look at each other in shock, realizing you are in for much more than a typical superhero movie.

In my article, “Dummy’s guide to the Marvel cinematic universe,” I said that it is the age of the cinematic superhero, and this is still very much the case. For some, this is the time to be alive, while others have been bogged down by superhero stories since the first “Avengers” film.

Like it or not, superhero blockbusters are here to stay, which is why small-scale, R-rated films like “Logan” are so refreshing.

The story picks up a mere six years after “X-Men: Days of Future Past,” which saw a dark, post-apocalyptic timeline and the poorly received events of “X-Men: The Last Stand” and “X-Men Origins: Wolverine” rewritten in favor of a new, bright future. In “Logan,” however, Wolverine’s healing factor is wearing off, causing him to age and weaken rapidly. He drives a limo in Texas for funerals, businessmen and partiers alike to pay for medication to treat the neurodegenerative dementia of Professor Charles Xavier (Sir. Patrick Stewart). The X-Men have disbanded, and no new mutant has been born in 25 years.

So, what happened?

The answer, which is revealed in pieces throughout the film, is heartbreaking, yet realistic, much like the film that it’s in. And as stated previously, Mangold’s writing and direction are unhinged. The dialogue is profane, the violence is brutal and the narrative effectively portrays the humanity of its characters.

Jackman and Stewart’s performances are equal contributors. Seventeen years after the first “X-Men” film, and Jackman has never been better as Wolverine. This is partially due to a story element found only in this film: Logan’s mortality. The adamantium that made him into a weapon is slowly poisoning him from the inside out. Both he and Xavier recognize that their days are numbered, which is why when they encounter Laura (Dafne Keen), a young mutant being pursued by the government, it is of the utmost importance to ensure for her a more hopeful future.

In addition to the film’s compelling story and gripping portrayals, its soundtrack – which features the likes of Brooke Eden and Johnny Cash – and original score by Marco Beltrami are impeccable. His compositions are modern, yet simple and eerie. This is exemplified well in the film’s opening moments following Logan’s violent encounter. A lone, desolate piano track can be heard faintly in the background as he wipes the blood from his knuckles and eases the shotgun shells out of his chest and arms.

“You are dying. You want to die,” Laura tells Logan.

“How do you know?” Logan asks.

“Charles told me.”

“What else did he tell you?”

“To not let you.”

As an emotionally-charged conclusion to Hugh Jackman’s Wolverine and a brilliant introduction for Dafne Keen as an actress, “Logan” is a triumph on all fronts. Its success, and the success of its predecessor, “Deadpool” (2016), have paved the way for future down-to-earth narratives in this genre. And in the age of the cinematic superhero, these stories are more than welcome.

5

[Evan_Wheatley]

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"'Guardians 2' succeeds as small, character-driven story"

Baby Groot. A young CGI Kurt Russell. And a soundtrack that will transport your parents back to the good ole' days. What more could you ask for in a summer blockbuster?

Aside from hits like "The Dark Knight," "Terminator 2: Judgement Day" and "The Empire Strikes Back," most sequels fail to capture the ingenuity, wit or sheer awe of their predecessors. However, as Norman Vincent Peale once said, "Shoot for the moon. Even if you miss, you'll land among the stars." In that vein, "Guardians of the Galaxy: Vol. 2" shines brightly.

The film continues the story of Peter Quill/Star Lord (Chris Pratt) and his mangy band of criminals, warriors and assassins, who must once again save the galaxy from certain destruction. While James Gunn's first film masterfully introduced us to Marvel's cosmic realm and the quirky individuals that inhabit it, "Guardians 2" foregoes a conventional superhero narrative arc in favor of a more personal, character-driven story.

From Gamora and Nebula's disdain for their father, Thanos, to the Guardians' fluctuating relationships with one another, the story largely focuses on family. Many critics were put off by Karen Gillan's portrayal of Nebula during the more impactful, heartfelt scenes. For me, however, humanity and sincerity shone through her acting and in the small details of her damaged history with Thanos and Gamora.

The Guardians themselves, as always, exude confidence and chemistry, with much of the film's humor stemming from Baby Groot (Vin Diesel), Rocket (Bradley Cooper) and Drax the Destroyer (Dave Bautista).

Gunn's visual direction is impeccable, characterized by vibrant colors and grand set pieces. And the soundtrack, "Awesome Mix Vol. 2," while less recognizable as the first volume, compliments the film's themes to near perfection.

"Guardians 2" isn't groundbreaking. Not all of the jokes land, the secondary villains are, at times, annoying and it does little to further the overarching narrative if the Marvel cinematic universe. Overshadowing these nitpicks, however, is a glimpse into the souls of the characters we know and love, several gut-wrenching laughs and Baby Groot.

4