We’re more than halfway through the first month of January and already there are plenty of releases that deserve your attention (including some you might want to avoid altogether).
This batch includes some of the best independent films from 2013, as well as some great tv releases and the best giant arachnid movie of recent memory.
Fire up that queue and prep that shopping cart. It’s that time of the week!
Archer: The Complete Season Four
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| 20th Century Fox / Released 1/7/14 |
Travel the globe on a hilarious mission of international intrigue with Sterling Archer, the world’s greatest spy, and his fellow agents as they embark on another season of cocktails, carousing, and animated awesomeness! Follow is ISIS team from the mysterious Bermuda Triangle all the way to the Vatican, as they bicker, backstab, and blast their way through assassination plots, an ill-advised marriage, an unexpected pregnancy, and a venomous snake bite in a very, very bad place! Packed with terrorist threats, sexual shenanigans, and all things inappropriate, Archer: Season Four comes fully loaded with outrageous top-secret extras! Extras include an animated short and live reading.
Last Word: Adam Reed’s spytastic comedy once again spins gold in this latest season. It’s incredibly well written and it’s stylistic rotoscoped style of animation sets it apart from anything else on television. A true highlight this season is a “cross over” with one of my favorite series’ Bob’s Burgers (which also features H. John Benjamin who voices Sterling Archer as the series lead). Yet, in it’s own inimitable way, Archer’s take is both unique and a hilariously funny. Yet, Archer isn’t for everyone as it’s subtle wit and references are likely not to hit every viewer with success. But, for me, it’s highly recommended.
Big Ass Spider!
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| Epic Pictures / Released 1/7/14 |
The unlikely heroic duo of a blue-collar exterminator (Greg Grunberg) and Latino Security guard (Lombardo Boyar) must save the day when a military major (Ray Wise) loses control of a giant spider rampaging through the city of Los Angeles. Extras include trailers, cast interviews, featurettes, and tv spot.
Last Word: Although giant insect (or in this case, arachnid) movies have been a staple for over fifty years, the majority of them are absolute crap; quickly shot with cheap digital effects with a screenplay written on a napkin. Fortunately, director Mike Mendez’s Big Ass Spider! is an exception to the rule, sharing a similar tone with Eight Legged Freaks and Piranha 3D and an overall sense of fun that’s missing from most current giant monster movies. Mendez understands the kind of film he’s making and has a tremendous time paying homage to the genre as well as fill it with self awareness. The cast is solid and the chemistry between Grunberg and Boyar is entertaining. Highly recommended.
Fruitvale Station
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| Anchor Bay / Released 1/14/14 |
Every step brings you closer to the edge. Filmmaker Ryan Coogler makes his feature directorial debut with this drama centered on the tragic shooting of Oscar Grant (Michael B. Jordan), a vibrant 22-year-old Bay Area father who was senselessly gunned down by BART officers on New Year’s Day in 2009, and whose murder sent shockwaves through the nation after being captured on camera by his fellow passengers. Academy Award winner Octavia Spencer, Melonie Diaz, and Kevin Durand co-star. Extras include featurette and cast and filmmaker Q & A.
Last Word: A tight directorial debut from Ryan Coogler which covers the last 24 hours in the life of , Oscar Grant, who was infamously murdered in 2009. Although not 100% accurate, the ultimate result is honest, raw and continues to be an example of problems with the police and African American youths in this country. The strongest asset to the film is star Michael B. Jordan who’s natural charisma and presence in the film is just the latest in this future superstar. Octavia Spencer plays a small, yet critical role in the film as Oscar’s mother. Fruitvale Station is not just a solid film, but an important film and hopefully the beginning of a long collaborative career between Coogler and Jordan. Highest recommendation.
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| BBC Home Entertainment / Released 1/7/14 |
Executive Produced by Emmy-winner Tom Fontana, Academy Award-nominee Will Rokos and Academy Award-winner Barry Levinson, the gripping crime series Copper returns for a second season. Set in New York City on the brink of Lincoln’s assassination, Detective Kevin Corcoran struggles to tame the wartime metropolis while wrestling with personal demons, including the betrayal of his wife and best friend. And when Tammany Hall’s outspoken General Brendan Donovan, returns from the Civil War to restore law and order in the Sixth Ward, loyalties will be bought and sold both uptown and in the slums of the Five Points as Corcoran, and those around him, fight to find their places in an unforgiving city. Extras include set tours and featurettes.
Being Human: Complete Third Season
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| Entertainment One / Released 1/7/14 |
Getting what you want comes with a price. Being Human is not getting any easier for four twenty-something, supernatural roommates – vampire Aidan (Sam Witwer), ghost Sally (Meaghan Rath) and werewolves Josh (Sam Huntington) and Nora (Kristen Hager). Together, they struggle to keep their dark secrets hidden from the world, while helping each other navigate the complexities of their double lives. Extras include featurette, bloopers and SDCC panel.
Last Word: Sharing the same premise as the British series it’s based upon, the American version of Being Human is literally it’s own animal (pun possibly intended). In the series, a werewolf, a vampire and a ghost share an apartment. But the world of the American series is much larger and accommodating to other characters and situations that go bump in the night. This season resolves the cliffhangers from the previous one (there were many, but don’t worry, I’m not headed into spoiler territory) and sets up the mythology for the third season which includes plenty of shake-ups of the status quo. One of the traits shared with the British series is the chemistry of it’s main cast, all of whom truly comes across as they are genuine friends with one another. Being Human might not be the best place to start, but if you’re a fan of previous seasons, or are a genre fan in general, it’s worth checking out. Recommended.
Thanks for Sharing
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| Lionsgate / Released 1/7/14 |
Mark Ruffalo, Tim Robbins, Gwyneth Paltrow, Josh Gad and Alecia Moore shine in an unconventional romantic comedy that follows the topsy-turvy lives and loves of three obsessive characters, who embark in a life-changing journey filled with laughter and surprises. Extras include deleted/extended scenes, featurette, gag reel and commentary.
Last Word: With an inconsistent tone, Thanks For Sharing suffers from a bit of an identity crisis, never knowing exactly what kind of film it wants to be. Granted, a film focusing on sex addiction can be intense (see Shame), but Thanks For Sharing too often feels like it’s trying to convince the audience of an intensity that isn’t really there. With an affable cast, the film features some good performances, but misses the mark more often than not. Watchable, but not memorable.
Star Trek: Enterprise – Complete Third Season
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| Paramount / Released 1/7/14 |
After a surprise attack on Earth leaves over seven million people dead, Captain Jonathan Archer (Scott Bakula) and the crew of the Enterprise swear to find those responsible – the Xindi. Taking off into the uncharted region known as the Delphic Expanse, the crew of the Enterprise must hunt down the Xindi and stop them from enacting their ultimate plan: the total destruction of humanity. along the way, they travel to the year 2004 to prevent a bioweapon attack, fend off the mysterious Sphere-Builders, and even meet their own descendants due to a wormhole mishap – all leading up to a desperate race back to Earth to prevent its destruction. Extras include deleted scenes, commentaries, featurettes and documentary.
Last Word: A departure from Star Trek‘s previous status quo, season three of Enterprise basically follows a single story, allowing this season to not only breathe a little bit, but more importantly allows it to be a bit more fun. Not since the original series, has there been both a sense of adventure and a playfulness that was more or less absent in Deep Space Nine, Voyager and The Next Generation (although some may argue that TNG had both of these qualities, I found both of them to feel rather forced). Extras are all top notch. Enterprise was never a fan favorite series, but for longtime fans (or fans just discovering the Trek canon as the result of the JJ Abrams films, Enterprise is fairly entertaining and somewhat underrated series. Recommended.
China Beach: Season 2
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| Time/Life / Released 1/7/14 |
Inspired by the real-life experiences of women and men who served at China Beach – part EVAC Hospital, part USO entertainment center, with a backdrop of the iconic music of the era – Dionne Warwick, The Righteous Brothers, Jimi Hendrix, James Brown, Chuck Berry, The Mamas & the Papas, Paul Anka, Jefferson Airplane and many more – China Beach: Season 2 transports viewers to a very distinct time and place, where unforgettable, compelling and poignant stories unfolded. Along with the lauded ensemble cast, which featured Army nurse Colleen McMurphy (Dana Delany), Red Cross worker Cherry White (Nan Woods), and civilian worker K.C. Koloski (Marg Helgenberger), China Beach: Season 2 also featured talented guest stars including Oscar winner Kathy Bates (“American Horror Story,” “Harry’s Law,” Misery), Oscar nominated Kevin McCarthy (Death of a Salesman, Innerspace) and Dennis Farina (“Law and Order,” Midnight Run). Nominated for six Primetime Emmy Awards, the show captured “Outstanding Lead Actress in a Drama Series” for Dana Delany.
The two-part season two opener, “Lost and Found,” welcomes journalist wannabe Wayloo Marie Holmes (Megan Gallagher), who immediately and embarrassingly has her derrière dotted with shrapnel, and finds by-the-book Pvt. Frankie Bunsen (Nancy Giles) throwing reason out the window as she performs with a young, white soldier who convinces her that he’s Chuck Berry. Throughout, the season deals with race riots following the assassination of Martin Luther King Jr., the Tet Offensive, POWs, desertion, and the heart-shattering loss of one of their own, cut down by the straight, clean shot of a lone sniper. The season highlights include “Vets,” a groundbreaking episode that made television history and became a centerpiece of the series, offering moving interviews of real-life veterans intercut with scenes from the show, as well as “Tet ’68,” in which Dr. Richard (Robert Picardo) and Dodger (Jeff Kober) defend the hospital during the Tet Offensive. The season concludes with McMurphy leaving the steamy wilds of ‘Nam for the flat plains of Kansas in “The World.”
Top of the Lake
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| BBC Home Video / Released |
No ordinary place. No ordinary crime. Top of the Lake begins with a mystery – Tui, a 12 year-old girl, walks chest deep into the freezing waters of a South Island lake in New Zealand. She is five months pregnant and won’t say who the father is. Then she disappears. Robin Griffin (Elizabeth Moss, Mad Men, West Wing) is a gutsy but inexperienced detective called in to investigate. But as Robin becomes more and more obsessed with the search for her, she slowly begins to realize that finding Tui is tantamount to finding herself – a self she has kept well-hidden. Set against one of the most amazing and untouched landscapes left on the planet, Top of the Lake is a powerful and haunting story about our search for happiness, where the dream of paradise attracts its dark twin, the fall.
Linsanity
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| ARC Entertainment / Released 1/7/14 |
For nearly a decade the NY Knicks dragged on through season after sluggish season. 2012 was not much different, until a young player named Jeremy Lin entered the a game on a February night in 2012 and ignited a spark of excitement in New York City. Jeremy would lead the hopeful Knicks on an explosive seven game winning streak that breathed new life into New York basketball, energizing the phenomenon that quickly adopted the moniker of Linsanity! Tracking Lin’s career from before his arrival on the Knicks roster, this film chronicles the up and coming career of young Jeremy in the NBA, a sport not typically known for a lot of superstars of Asian descent. From his career at Harvard to his early life in the NBA, through his rise as the unlikeliest of heroes in a basketball ruled city, all the way to his current quest for an NBA title on the Houston Rockets, this film follows Jeremy’s upbringing, family life and his career in the NBA, through the challenges, hardships and glory that come with it.
Badges of Fury
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| Well Go USA / Released 1/7/14 |
Two cops. One killer. No limits. When a series of eerie murders erupt across Hong Kong, two troublemaking cops are assigned to the case. Young maverick Wang (Zhang Wen) is a reckless risk-taker, and grizzled vet Huang (Jet Li) is fed up with cleaning up his rookie’s messes. After discovering all the victims were former boyfriends of aspiring starlet Liu, the detectives (one now posing as her lover) are caught in a deadly game to lure the killer out. Extras include making, behind the scenes, and trailer.
Birth of the Living Dead
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| First Run Features / Released 1/7/14 |
In 1968 a young college drop-out named George A. Romero directed Night of the Living Dead, a low budget horror film that shocked the world, became an icon of the counterculture, and spawned a zombie industry worth billions of dollars.
Birth of the Living Dead shows how Romero gathered an unlikely team of Pittsburghers – policemen, iron workers, ad execs, housewives and a roller-rink owner – to shoot a revolutionary film, guerrilla-style, at the height of race riots and the Vietnam War, that went on to become a cinematic landmark at a singular time in American history. Extras include extended interview with Romero, and featurettes.
Last Word: Fascinating, hugely entertaining documentary chronicles the making of the classic George Romero-helmed horror film, Night of the Living Dead, while also tracing its lineage, its colossal influence on (and as the title indicates, creation of) the zombie sub-genre, and analysis of its cultural import. The film features commentary and remembrances by respected filmmakers and critics, among them Larry Fessenden, Gale Anne Hurd and Elvis Mitchell, but the big fun here is Romero himself. Ever the frank (and often hilarious) raconteur, Romero brings warmth, bemusement, pride and a smattering of (justified) bitterness to the mix, as Birth examines the film’s genesis, production and troubled distribution.
There are also trenchant observations about the film’s place in time, as its imagery at times invokes newsreel footage of the Vietnam War, political assassinations, and racial strife in the late 1960s. Some of these points have been made many times before – even in another excellent documentary, The American Nightmare – but these reflections, as collected here, still feel fresh and vital, and neither these views – nor Birth as a whole – could be criticized as merely regurgitation. One of the more interesting surprises herein is Christopher Cruz, a filmmaker/teacher who, as part of his curriculum, teaches a Literacy Through Film program to kids in the Bronx (which is where Romero grew up, incidentally). We’re shown the kids’ reactions to watching NOTLD – Cruz was wary that the kids would laugh at it – and they seem riveted and thrilled. Their reactions afterward prove they not only paid attention but had their imagination stirred, completely justifying Cruz’s surprising choice of film to screen for kids!
At 76 minutes, Birth flies by, not wearing out its welcome while also never feeling rushed or choppy. Part of this success must go to Gary Pullin’s animated sequences, which serve as a fun and clever way of standing in for behind-the-scenes footage. Pullin does a fine job here; these kinds of animated bridges do not always work in documentaries. Just take a look at American: The Bill Hicks Story if you have any doubt. So, kudos to Pullin on his work here. And kudos as well to director/editor Rob Kuhns. He’s crafted a spot-on, ingratiating, informative film that should be appeal to the died-in-the-wool horror fanatic who’s read and seen everything NOTLD, as well as the interested newbie. This is easily one of my favorites of 2013 so far. (– Dean Galanis)
Riddick
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| Universal Studios / Released 1/14/14 |
Vin Diesel reprises his role as the antihero Riddick in the latest chapter of the groundbreaking saga. A dangerous, escaped convict wanted by every bounty hunter in the known galaxy, Riddick has been left for dead on a sun-scorched planet that appears to be lifeless. Soon, however, he finds himself fighting for survival against alien predators more lethal than any human he’s encountered. The only way off is for him to activate an emergency beacon and alert mercenaries who rapidly descend to the planet in search of their bounty. With time running out and a deadly storm on the horizon that no one could survive, his hunters won’t leave the planet without Riddick’s head as their trophy. Also starring Katee Sackhoff (Battlestar Galactica), Karl Urban (Star Trek Into Darkness) and Dave Bautista (WWE). Extras include alternate ending and featurettes.
Last Word: Riddick, the third film in the Chronicles of Riddick series takes us to a lonesome desert planet where our shiny-eyed star Vin Diesel fights for his life against alien forces of nature and two team of bounty hunters looking for his head. The underground appeal of the past films coupled with Vin Diesel’s recent box office success spawned this chapter, costarring briefly Karl Urban as his nemesis and reason for exile as well as Katee Sackhoff channelling Starbuck in her bounty hunter role.
Riddick starts off with our hero playing the part of Taylor in Planet of the Apes, on a barren world, leg injured by a fall. He hides from a pack of bloodthirsty Dingo space dogs with no weapons yet, finding shelter in a cave. His next foe are the lizard aliens with long tails. The tails have eyes and peek out from the puddles they live in, pulse the venom from the monsters can incapacitate and kill. Riddick’s plan to escape to the high ground where there is fresh water and a bungalow includes getting past these disgusting beasts. Patiently, he and his dingo pup build an immunity to the venom and he slices and dices his way to the promised land. The CGI in the movie is top notch, the monsters are creepy crawly and gross and will have you looking under the bed at night for weeks.
On the opposite side of disgusting is the dingo pup Riddick nurses to be a huge companion beast dog. A brindled space pup, our good boy is well trained and a main character in the movie. He’s Krypto for all intents and purposes and when the dog is injured, sighs of empathy exude from every seat in the place. Shots of the alien landscape, impossible caves, land-speeder cycles and even the straight up Sam Raimi tribute B-Movie gore tropes sing on the screen. What is lacking in the sparse dialogue is made up for in the fact that this is a beautiful film to watch. And very, very fun. Riddick activates the rescue beacon and the price on his head spawns two teams, with eleven soldiers total to take down Riddick.
Santana (Jordi Mollà) leads the bastard team of tough guys looking to literally put Riddick’s head in a box. On the other ship, Boss Jones (Matt Nable) is the Yin to Santana’s Yang. A cool headed boss with the right gear and regulations, Jones has a vendetta but wants Riddick alive. Dahl (Katee Sackhoff) plays Jones’ lesbian sidekick, showing plenty of skin, and rehashing her Starbuck role almost to a T. She’s got the big guns, gray tops, take no B.S. of Kara Thrace. She’s beautiful and great, really, just not showing any more of her acting chops that we haven’t already become familiar with after five seasons of Battlestar Galactica. Riddick plays Ten Little Indians with the crew, and sets them against each other from afar and with different scenarios that challenge the crews as he eyes their ships for escape.
Riddick loses out in a standoff negotiation and ends up in chains. The third act of the movie is where all of the action comes of course. Riddick knows the environment and knows a very real threat, native to the planet threatens all of the survivors livelihood and teamwork is the only way anyone will be getting off planet. This movie can stand alone from the rest of the franchise, just as Prometheus does for Alien.
Even more to the point, besides Vaako’s (Karl Urban) brief banishment of Riddick in the first act, we are just alone on this planet with a boy and his dog waiting for ships to arrive so he can leave. The simplicity of the plot is its strength, though some critics may say this means the story is dumbed down. I would disagree with that argument and counter that this is a deftly constructed sci-fi action movie with horror movie elements. The movie has need to be any complicated than the mash up of genres! We’re given great action in this Vin Diesel movie with none of the cars. Just a badass dude with a brontosaurus bone sword and night vision. (– Clay N Ferno)
Blue Caprice
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| IFC / Released 1/14/14 |
Some killers are born. Others are driven to it. Inspired by true events, Blue Caprice investigates the notorious and horrific Beltway sniper attacks from the point of view of the two perpetrators, whose distorted father-son relationship facilitated their long and bloody journey across America. Recently abandoned by his mother, teenager Lee Malvo (Tequan Richmond) finds an unlikely father figure in John Allen Muhammad (Isaiah Washington, Grey’s Anatomy), who takes the boy in and shows him the moral decay of the society that declared him unfit to be a husband and parent. Before long the impressionable Lee follows in John’s footsteps and learns the art of killing for vengeance. When John obtains the whereabouts of his estranged wife and children, he outfits a blue Chevy Caprice with a shooting bay and he and Lee head for Maryland. What follows is a weeks-long assault that held the nation’s capital in fear as the duo’s sniper attacks took the lives of innocent men, women, and children until their apprehension by police.
Featuring captivating performances by Washington and Richmond, Blue Caprice paints a riveting portrait of 21st-century America and is a haunting depiction of two cold-blooded killers that endures long after the final frame. Extras include commentary, film festival press conference, behind the scenes and trailer.
Last Word: Isaiah Washington is captivating as the infamous DC sniper, who with his protege, executed a series of coordinated shootings that took place over three weeks in October 2002 in Maryland, Virginia, and Washington, D.C.. A fascinating look at the psychological evolution of insanity, Blue Caprice is mesmerizing, often chilling and unforgettable. Highly recommended.
We Are What We Are
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| Entertainment One / Released 1/7/14 |
The Parkers would like to have you for dinner. The Parkers, a seemingly wholesome and benevolent family, keep to themselves, and for good reason. As they struggle to keep their ancestral customs intact, local authorities begin to uncover clues that bring them closer to the secret that they have held closely for so many years. Extras include making of, commentary and interviews.
Last Word: Like Let The Right One In, We Are What We Are is one of the few remakes that can proudly stand next to it’s original source material as a fantastic piece of work. This atmospheric, visually absorbing thriller slowly builds the tension bit by bit as details reveal themselves. With practical effects, subtle performances and beautiful cinematography, the secrets behind We Are What We Are will unnerve you long after the film concludes. Recommended.
Lee Daniels’ The Butler
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| Weinstein /Anchor Bay / Released 1/14/14 |
Lee Daniels’ The Butler tells the story of a White House butler who served eight American presidents over three decades. The film traces the dramatic changes that swept American society during this time, from the civil rights movement to Vietnam and beyond, and how those changes affected this man’s life and family. Forest Whitaker stars as the butler with Robin Williams as Dwight Eisenhower, John Cusack as Richard Nixon, Alan Rickman as Ronald Reagan, James Marsden as John F. Kennedy, Liev Schreiber as Lyndon B. Johnson, and many more. Academy Award nominated Lee Daniels (Precious) directs and co-wrote the script with Emmy-award winning Danny Strong (Game Change).
Last Word: An incredibly frustrating film with a solid performance by Whitaker, and a heavy handed Forrest Gump-like approach to American history as butler Cecil Gaines walks through several presidencies, the Civil Rights movement, slavery, and ultimately, Obama’s election. Ultimately, the film is only “inspired by” White House butler Eugene Allen, and the film, with some garish stunt casting and a cartoon-like approach to history, ultimately is embarrassing at the atrocities committed within.
The Happy House
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| First Run Features / Released 1/7/14 |
It’s the B&B you always dreaded, and that’s on a normal day. Their relationship on the rocks, a young Brooklyn couple heads to a remote bed & breakfast to work things out. But from the moment they arrive at The Happy House it’s one disaster after another, and they soon begin to suspect they’ve wandered into a real life horror movie. Events escalate from weird to terrifying as they contend with the house’s batty owner, her imposing son, a moody Swedish lepidopterist, a pedantic English professor, an extraordinarily rare butterfly, the world’s best blueberry muffins, a .44 Magnum, a demented serial killer, and one very strict rulebook. Extras include outtakes, the short film Not Interested, outtakes and Hildie’s Secret Blueberry Muffin Recipe.
Enough Said
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| 20th Century Fox / Released 1/14/14 |
Divorced mom Eva (Louis-Dreyfus) may be falling for Albert (Gandolfini), a sweet, funny, like-minded divorcee. But as their relationship blossoms, Eva befriends Marianne (Keener), who’s always complaining about her ex-husband. When Eva realizes that Albert is the target of Marianne’s rants, she begins to question her own perceptions about first impressions and second chances. Extra includes featurettes and second takes.
Last Word: In a genre plagued by silliness and fantasy, Nicole Holofcener has given us, Enough Said, a rare romantic comedy that captures the awkwardness and self-doubt of real relationships with warmth and humor. And while the film is rich with depth and information, the subtle and steady composition never allows the production to feel over-crowded. The powerful cast disappears into the anxiety of middle age offering a genuine portrayal of the uncertainties of life and love.
Enough Said is the real deal romantic comedy starring Julia Louis-Dreyfus and the late James Gandolfini as middle-aged divorcees, Eva and Albert, who journey into a skittish relationship that is richly amorous as well as heart wrenching. As their daughters’ departure for college imminently approaches, the couple is faced with the large challenge of being alone. Eva and Albert have been through failed marriages, are “tired of being funny”, and terrified of the pain opening up may cause. Julia Louis-Dreyfus is phenomenal. Her once dorky demeanor has matured into subtle genius that evokes laughter and tears. From scene to scene she carries the weight of her emotional state brilliantly, in her furrowed brows and awkward body language, with steady uncertainty throughout the production. Dreyfus completely transforms into Eva and the “Elaine dance” never crossed my mind once during the screening.
Enough Said addresses a central truth in life—that human beings compare their lives with peers, envying, wishing for a status more “worthy”. We look at the people who seem to have it all figured out and wonder why we can’t be like them. Actions are often judged through prisms of how other people perceive them. We ask for advice, lest we make an obvious mistake and receive ridicule upon faltering. Scarred by her divorce and hiding behind her sarcastic wit, Eva does not trust her own feelings as she begins to fall for Albert. Trapped in a uncertain point in her life – her massage clients are annoying and need breath mints, her friends’ passive aggressive marriage breeds a lack of faith in love, her daughter is leaving for college – Eva will soon have no choice but to focus on herself, care for herself, think for herself. How horrifying, to really not trust one’s own perspective and choices.
Enough Said has many interesting subplots that are well developed without making the movie feel cluttered and unfocused. I wish to give away as little as possible so I will simply state that from Toni Collette’s (Sarah) cool performance to the endearing charming of young Tavi Gevinson (Eva’s daughter’s best friend, Chloe) every supporting role is powerful and rich with meaning and perspective. The depiction of envy, nurturing, love, uncertainty, and desire for approval is astounding. Holofcener is genius in her execution across the film through the numerous intertwining relationships. There is too much good to say on that point so I’ll leave it there.
My only criticism would lie with the friendship between bohemian poet Marianne (Catherine Keener) and Dreyfus’ Eva. Is it believable? The seemingly “lower” of the two (Eva) admires the “superior” (Marianne) based on her perceived success. Their friendship once again shows the incredible dynamics of the unsettling self-doubt that can perpetuate inside people fueling relationships of any sort. Romantic comedies have largely digressed into purely “hot body” relationships that are empty and quite unrealistic. Holofcener’s Enough Said is a wonderful film. On par with (although incredibly different in material) As Good As It Gets and When Harry Met Sally. These films brought thematic difficulty and some realism into a genre rife with cliché. All of these movies revolve around flawed characters. But it is precisely those deep faults that make them relatable and desirable. This contrasts with unobtainable perfection of average rom-com protagonists.
Enough Said brings us back to reality with harsh uncertainties of both romantic and self-love. It also astutely touches on issues of friendship, loyalty, parenting, and the biggest challenge of all, individual reflection and trust. (– Caitlyn Thompson)
You’re Next
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| Lionsgate / Released 1/14/14 |
Aubrey and Paul Davison decide to celebrate their wedding anniversary by inviting their four children and their significant others to a family reunion at their remote and slightly rundown weekend estate. But the family reunion goes awry when their home comes under siege by a mask-wearing team of crossbow-bearing assailants. The family has no idea who’s attacking them, why they’re under attack, or if the attackers are inside or outside the cavernous, creaking house. All they know for certain is that nobody is safe. Extras include making of, commentary, and trailer.
Last Word: Horror fans get a chance to get out of the house this weekend to check out You’re Next, a 2011 film picked up for national distribution from director Adam Wingard and writer Simon Barrett. Be wary of those in the theatre with plastic animal masks on in the theatre, the could be in on the master plan. Welcome to a mansion in the woods with your family for the weekend!
If that’s not scary enough, just wait until your older brother gets there and starts teasing you about your weight. This is a good horror film. Perhaps a great one, but not a great thriller. My criticisms about You’re Next lay mostly within my own expectations of the movie halfway through. I was expecting more of the slimy revenge gore of I Spit on Your Grave (2010) and I ended up getting a very different kind of revenge story by the end. A gory title card and opening scene involving the neighbor, his student mistress and our faceless killer (or killers) is set to the kid putting an AM Gold song on repeat, ‘Lookin for the Magic’ by Dwight Twilley Band (1977). The song that sounds familiar but it is not is more Kenny Loggins than Steely Dan but evokes the kind of Cuervo Gold and Fine Columbian vibe of a 40 year old sleeping with his co-ed they are going for.
Both teacher and student are killed violently and positioned in the house, eerily listening to this song for eternity on the 5 disc changer.
The pacing (and my interest) starts to move at a slow to stop pace for the next few scenes as the characters for the main story are slowly introduced on long drives up to the country with lots of exposition and dialogue spelling everything out. The Davison family is headed to celebrate Mom & Dad’s anniversary after Dad’s retirement in a huge ‘fixer-upper’ mansion. Crispian (AJ Bowen) and girlfriend Erin (Sharni Vinson) are the first to arrive, followed by Drake (Joe Swanberg), Felix (Nicholas Tucci) and his smoking out of the side of her mouth girlfriend Zee (Wendy Glenn). There’s more siblings too, with significant others in tow, but these guys are just so much fodder for the machete and crossbow bolts of the plastic mask killer or killers.Before a fateful dinner, Drake dopes himself up with his wife’s Vicoden, and at this point I’m waiting for Nurse Ratched to come and dope up our aisle with some because we’re gonna need something for the next 70 minutes. At dinner is when the Bros. Davison start squabbling and houseguest Tariq (Ti West) notices something outside. He makes his way to the window and luckily takes a crossbow bolt to the forehead, making him the first in-house casualty.
From here on out, the gore and the murders start happening full force and we see three killers revealed, Lamb Mask, Tiger Mask and Fox Mask. It’s Ten Little Indians as family members are picked off one by one, and the smart and remaining ones put up a good fight. There are The Shining tropes are all over this thing, from the axe to the bathroom door to the animal masks. No complaints here about that, as Ash from Evil Dead is also paid tribute in an “Im gonna build this thing and here are all the things I need to do it and how I’m going to build it” montage.
My associate and I were rolling our eyes and pointing out the ‘this is coming next’ moments right up until the third act, when reveals and clues from earlier in the movie really pay off. There are quite a few droll moments from Zee, who’s affected bat-necklace and her own eye rolling were gave us a not-very-interesting and un-cute version of Aubrey Plaza. The thriller part missed marks possibly aimed for, like terrorizing the family in 2007’s Funny Games.
As far as horror, special effects and jumping out of plate glass windows and pulling shards of glass out of your leg to get revenge on the killers is concerned, the movie is spot-on. They even throw a little Dead Alive in there for you. The soundtrack even seems to be as minimal as Carpenter’s Halloween chirps and ding ding dings. There is plenty of blood and killing for those hungry for that sort of thing. Plot-wise, more could have been done with the story, or less depending on if you prefer a Freddy, Jason or Mike Myers to do your killing for you. Peeking behind three masks makes for a very different film than if you have a singular villain. I cringed at certain moments and had to look away and by the end I was enthralled as the plot crashes to a stop. Save the first five minutes or so of the film, the train seems to take a bit longer than expected to leave the station. I’m only thankful that the movie didn’t try to go for the full 146 minute The Shining run time. (– Clay N Ferno)
20 Feet from Stardom
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| Anchor Bay / Released 1/14/14 |
Meet the unsung heroes behind the greatest music of our time. They are the voices behind the greatest Rock, Pop and R&B hits of all time, but no one knows their names. Now in this award-winning documentary, director Morgan Neville shines the spotlight on the untold stories of such legendary background singers as Darlene Love, Merry Clayton, Lisa Fischer, Claudia Lennear, Judith Hill and more. These are the triumphs and heartbreaks of music’s greatest unsung talents, featuring rare behind-the-scenes footage, vintage live performances, and interviews with superstars Bruce Springsteen, Sting, Mick Jagger, Stevie Wonder and Bette Midler. Extras include deleted scenes, The Buddy System short and Q&A With Darlene Love, Merry Clayton, Lisa Fischer & Director Morgan Neville.
Last Word: An informative, absorbing and most importantly entertaining documentary featuring the ridiculously talented who, although have long careers in the music industry have never been publicly regarded as a “star”. It’s sometimes a raw and harsh look at the realities of the creative industry, but director Neville and his subjects are both honest in their revelations in their places in pop culture and popular music in general. And for the record, their contributions are significant to say the least. 20 Feet From Stardom, is a reminder that talent doesn’t always equate fame, but fortunately the women profiled in this documentary are superstars in their own right. Highly recommended.
Spectacular Now
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| Lionsgate / Released 1/14/14 |
Sutter Keely (Miles Teller), a high school kid with effortless charm and the self-proclaimed “life of the party,” is having the perfect senior year – until he loses both his girlfriend and his part-time job. But when he meets Aimee (Shailene Woodley), the “nice girl” next door, an unlikely romance begins as Sutter and Aimee struggle to overcome their differences and help each other through the many challenges of growing up. Extras include making of featurettes, commentary and deleted scenes.
Last Word: Rarely does a movie capture the nuances of relationships and maturation as poignantly as director, James Ponsoldt’s, The Spectacular Now. Adapted from Tim Tharp’s novel by the (500) Days of Summer writing team of Scott Neustadter and Michael H. Weber, The Spectacular Now tells the story of easy going charmer, Sutter Keely (Miles Taylor). Sutter is not particularly good looking, not the captain of the football team, not the class president; but his devastating charm makes him one of the most popular kids in school.
Sutter seems to have it all including a sexy girlfriend, Cassidy (Brie Larson). They are the IT couple who screw, smoke, drink and party their way through high school. They live in the now. However, that is not enough for Cassidy, who wants to prepare for the future and build a relationship that is not solely based on having a good time. But Sutter is not interested in growth and thus despite the complicated love Cassidy feels for him, she breaks up with Sutter for her own good.
Sutter drinks (and drinks) from heartbreak and wakes up blacked out on the lawn of classmate, Aimee (Shailene Woodley). She is the opposite of Cassidy – unpopular, shy, innocent, and naïve. Naturally, sparks begin to fly. Aimee’s uneventful life transforms by Sutter’s entry. Suddenly she is going to parties and drinking with a popular boy on her arm. Woodley is an actress I’m keeping my eye on. Her ability to portray authentic hurt, joy and frustration (especially without being a cliche teenager) in The Spectacular Now and The Descendants is brilliant. She has such awareness of her gestures and subtle facial cues that are indicative of an incredibly smart young woman. Huge fan.
I feel similarly to Miles Taylor. He has a charming and hurt air about him that he knows how to play up and down. He has tremendous presence when he needs to (think back to 21 and Over), but also, a disarming tragedy about him presented subtly in The Spectacular Now and even more heartbreakingly in Rabbit Hole. I think these two are brilliant and am excited to see how the young actors evolve in the coming years. It is a testament to the quality of the acting and writing that we are never sure what to think of Sutter and Aimee. Does Sutter genuinely fall for her but play it cool to his friends (and himself); or is he a sociopath, who cunningly deceives Aimee while never being interested in her? Is Aimee willfully blind to how Sutter is no good for her because the end of their relationship would lead to her banishment back into the life of a high school nobody? It is this mixture of deception and self-deception, and blurring of performance and reality, that makes the characters so complex and their relationship so engaging.
They are both addicted to each other. Sutter to Aimee’s earnest love – she treats him like a rock-star and is giddy at slightest of his attention. She does not demand much of him and unquestioningly joins him living in the now. Aimee uses Sutter to replace her sci-fi books as an escape from the dullness of her life and as an outlet for her passion and emotion. And yet, they are genuinely touching and understanding of each other. Their moments together are charged with chemistry and are a joy to watch on screen even in their moments of misery.
The film also deftly deals with the issue of alcoholism. A paper cup filled with coke and booze, or a flask is never far from Sutter’s hands – like a security blanket. But the props never dominate. The film avoids the after-school-special sermonizing. Alcohol fits in neatly with the movie’s larger themes of escape. Why desire to become an adult when those adults around you are so miserable? When marriages and economies seem to always implode, how can the young be excited and motivated about the future? Instead, they escape into the wonderful now. And drink it into a blur.
I’d like to simply mention that Jennifer Jason Leigh and Kyle Chandler are brilliant. Their roles are brief and performed with beautiful frustration, and a subtle aching passion. The whole cast rotates around Sutter, and each role has a delicate sadness that makes Sutter’s dwindling control all the more tragic. Leigh and Chandler only add to the complexity and swirling emotion. And they do so without preaching. One is beaten and tired and just trying to make things work, while the other is rude, self-centered and most painfully, still a bit charming in his eyes. Wonderful. The movie does not offer the viewer easy answers. There is no righteous character that fixes everything and shows us the way forward. Everyone in the movie is flawed. But that makes it all the more authentic. The movie’s complex characters and depth make it one that will be a joy to watch over and over again. (– Caitlyn Thompson)
Pride & Prejudice: Keepsake Edition
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| A & E Home Video/ Released 1/14/14 |
The landmark A&E and the BBC adaptation of Jane Austen’s Pride And Prejudice has taken its place as one of the greatest television productions of all time. With a masterful script, deft direction and star-making performances from Colin Firth and Jennifer Ehle, Pride And Prejudice transports viewers to Georgian England, where affairs of the heart are an exquisite game, and marriage the ultimate prize. But Elizabeth Bennet – spirited, independent, and one of five unmarried sisters – is determined to wed for love, not money or privilege. Featuring over an hour of never-before-seen bonus features, the Pride And Prejudice: Keepsake Edition is the definitive way to experience one of the greatest love stories ever told. Extras include featurettes.
A Single Shot
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| Well Go USA / Released 1/14/14 |
One mistake. One secret. One chance. When John Moon (Sam Rockwell) accidentally shoots a young woman and discovers a box full of cash, the isolated hunter becomes the hunted. His struggle to conceal both the death and the money triggers a dangerous chain reaction of event, ultimately escalating into a battle for survival. Extras include making of, interviews and trailer.
Rewind This!
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| MPI Home Video / Released 1/14/14 |
An exploding industry without rules! Direct to-video madness! VHS vs. Beta! In the 1980s, videotape changed the world and laid the foundation for modern media culture. Rewind This! traces the rise and fall of VHS from its heyday as the mainstream home video format to its current status as a nostalgic relic and prize to collectors who still cherish it. Featuring interviews with both filmmakers and enthusiasts from the VHS era, including Troma legend Lloyd Kaufman, indie auteur Atom Egoyan, and Hobo with a Shotgun filmmaker Jason Eisener, Rewind This! is the definitive story of the format that came to be synonymous with the home video revolution. So gather up your friends and start the pizza party – just make sure to have your tapes back on time. Extras include commentary, animations, music video, interviews and more.
Sunrise
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| 20th Century Fox / Released 1/14/14 |
This story of betrayal and redemption earned Oscars at the first Academy Awards ceremony in 1929 for the most “Unique And Artistic Picture,” Best Actress (Janet Gaynor) and Best Cinematography. The love and loyalty of a farmer and his wife are put to the ultimate test in this classic silent film. Extras include commentary, outtakes, screenplay, two versions of the film, trailer and more.
Last Word: A surprisingly entertaining and timeless film capturing both the end of the silent era and the beginning of the sound era, Sunrise deals with class, loyalty, love, lust and tragedy and are blended together exceptionally well by director F.W. Murnau. The Blu-ray and it’s supplements are top notch and truly a must have for any cinegeek’s home library. Highly recommended.
Run
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| Millennium Media / Released 1/14/14 |
Fear nothing. Overcome everything. Set on the streets of New York, Run is an action-packed crime-thriller featuring the jaw-dropping athletic discipline of parkour (always moving forward despite obstacles within the environment). Evading the mob, Mike (Adrian Pasdar) and his son Daniel (William Moseley) have lived a nomadic life on the fringe of society for 16 years, and have used Daniel’s natural parkour skills as a way to make a living by pulling off robberies. Now living in New York, Daniel has made true friends for the first time in his life, and wants to leave the life of crime behind. Mike plans one last job, but when the scheme doesn’t go as expected, Daniel discovers his father’s past is darker than he imagined. As Daniel is pulled deeper into the world of crime, he is forced to put everything he holds dear in jeopardy, including the love of his life. Extras include making of.
Last Word: A fairly mediocre and otherwise forgettable movie, except it features some of the most amazing parkour I’ve ever seen. If you’re a fan, this disc will blow your mind. Includes both a standard and 3D Blu-ray. Recommended.
A.C.O.D.
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| Paramount / Released 1/14/14 |
A.C.O.D. follows Carter (Adam Scott), a seemingly well-adjusted Adult Child of Divorce. Having survived the madness of his parents (Richard Jenkins and Catherine O’Hara) divorce, Carter now has a successful career and supportive girlfriend (Mary Elizabeth Winstead). But when his younger brother (Clark Duke) gets engaged, Carter is forced to reunite his bitterly divorced parents and their new spouses (Amy Poehler and Ken Howard) for the wedding, causing the chaos of his childhood to return including his wacky therapist (Jane Lynch).
Last Word: A.C.O.D (Adult Children of Divorce) could have very well been one of those movies that takes the premise of an entire generation of people who saw their childhoods torn apart from divorce (Hello Generation X, it appears that you are now a viable subject once more) and tried to play it just for laughs, but instead, first-time director Stu Zicherman manages to mine the deep well of kid pain for a darker shade of comedy that will resonate with anyone who remembers the Great Divorce Wave of the late 70s-early 80s.
For Carter (Adam Scott), playing referee between his warring parents Melissa (Catherine O’Hara) and Hugh (Richard Jenkins) has been a lifelong occupation, beginning with his disastrous 9th birthday and continuing up to today some 25+ years later. When Carter finds out his baby brother Trey (Clark Duke) is getting married and wants both of their parents to be there, Carter goes back into the ring in order to get his parents to agree to be in the same room as each other, only to have his entire life turned upside down. Yeah, it sounds like every other movie, I know, but unlike other divorce dramedies, A.C.O.D. dives a bit deeper into the psyche of those Adult Children of Divorce and comes up with some really twisted shit.
For instance, like most kids who went through a tough and brutal divorce, Carter ended up in therapy. Unfortunately, Carter’s therapy sessions were not so much with an actual therapist but with a pop psychologist named Dr. Judith (Jane Lynch) who used his family turmoil to write a book that ended up on the New York Times Best Sellers List…a book that Carter knew nothing about until he hunts down his old therapist to see if he can get some help in dealing with his parents. And it is from this horrible, narrowly-constructive book that had seemingly tried to define the young Carter, that he finds himself fighting against, alongside all the craptastic fallout of dealing with his brother’s wedding and his atrocious, self-obsessed Baby Boomer parents.
There are several sub-plots dealing with the relationship between Carter and his long-time, long-suffering girlfriend Lauren (Mary Elizabeth Winstead) as well as a chance meeting between another of Dr. Judith’s “kids” named Michelle (Jessica Alba), and while these story lines are interesting, where the movie really shines is when it showcases the incredible fucked-up family dynamic of a pair of multi-married parents and their own partners who have been just as abused by the original divorce of Melissa and Hugh as their children were. Amy Poehler as Carter’s same age stepmother Sondra (known affectionately as The Cuntessa) is fantastic, as is Ken Howard who plays Gary, a man who has multi-marriages under his belt as well but still manages to be one of the only “Parents” who actually seems to care about the people around them, which is kind of amazing when you watch just how horrific Melissa and Hugh really are to everyone.
Now, while the film does have moments that you wish were a bit more fleshed out (or perhaps even allowed to play out for a bit longer) there are a few places where scenes seem a bit too stunted (especially between Carter and Michelle) that you wonder why it was even left in the movie at all, but don’t let that deter you from the film, there are some exceptional performances here and it is definitely worth seeing. Especially if you have ever been in the same room with your divorced parents longer than two seconds. (– Elizabeth Weitz)
Carrie
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| MGM / Released 1/14/14 |
You will know her name. Chloë Grace Moretz and Oscar nominee Julianne Moore star in this exhilarating reimagining of Stephen King’s iconic best seller. After merciless taunting from classmates and abuse at the hand of her religious fanatic mother (Moore), Carrie’s (Mortez) anger – and her telekinetic powers – are unleashed. And when a prom prank goes horribly wrong, events spiral out of control until the terrifying conclusion of this powerful, pulse-quickening horror story. Extras include alternate ending, commentary, deleted/alternate scenes, PR stunt, featurettes and trailer.
Last Word: Yet another unnecessary remake that’s competent and serviceable, but ultimately not much of anything. Including any kind of emotional engagement for the viewer. Both Moretz and Moore deliver solid performances, but the lack of any kind of connection or insight into bullying, the nation’s cause du jour, certainly confirms the lack of necessity to this glossy, and terrifyingly by the numbers rehash.
