Free Solo (Jimmy Chin, Elizabeth Chai Vasarhelyi)- Alex HonnoldThe Height of Reality

Summary: A dizzying documentary with an actual cliff hanger.

"Free Solo" is the documentary film made of one of the most unbelievable feats of mental and physical skill to ever be attempted by a human being. Alex Honnold takes on the monstrous 3,000 ft face of El Capitan in Yosemite National Park.

I'm not a rock climber. I didn't have a lot of interest in seeing a movie about it. But I have a few friends who do rock climb and I've heard about the meticulous care, the hours and hours of preparation, the teamwork, and the years it takes to build the skills to do the most challenging climbs. But my friends climb with ropes, gear and safety equipment. Alex Honnold, and a few people like him around the world, climb without ropes, without the aid of equipment, and without the aid of other climbers. This kind of climbing is called "free solo" climbing.

This film is a documentary. And while it's clear goal is to document the iconic free solo climb up the sheer face of El Capitan, what it does in preamble is no less than perfect. Filmmaker Jimmy Chin unfolds the story of Alex Honnold in a way that allows you to see his life, his mind, his relationships and his unceasing obsession with perfection. An obsession that leads him to challenge himself to free solo the most difficult climbs in the world. But he does not take these challenges with passionate, or reckless abandon. He is an intensely detailed, meticulous athlete. And his accomplishments are brought to dizzying climax with this movie.

As I sat watching this movie, my stomach knotted up and the amazing cinematography left my heart pounding. Seeing this film on the silver screen allows you to be over-awed by the breath-taking photography and scenery only possible from the literal mountain top experiences  that our cast is challenged with. But beyond just the natural beauty of the film, the director carefully exposes the reality of what it is to be a free soloist, to be Alex Honnold, and ultimately to be human. In this context, failure, even momentary or miniscule, means certain death. The essence of this story is about what it means to literally tackle "the mountain"- to face your very real fears. And in facing those fears to let your only response be a complete surrender to accomplishing your goal.

See this film before it leaves the big screen. you won't regret it. The best movie I've seen in 2018.

Review by Kim Gentes 

Juliet, Naked (Jesse Peretz)- Rose Byrne, Ethan Hawke, Chris O'DowdHardly Worth Missing

Summary: A romantic comedy of sorts.

"Juliet, Naked" is just about enough to charm you into believing the money you spent was not thrown away. It is filled with all the hot-button topics that I'd think would invigorate an artsy, middle-aged movie group: 60/70's pop culture & music, a small ocean front English town, a love-starved British woman with ego-centric man finds spark of love with tragically flawed (and aged) American rock star reborn to the responsibilities and cares of others, and the banality and self-interest of online "critics" getting its "due" judgement.

Rose Byrne plays Annie- the perfect, optimistic, love-star, with warm smile and purest heart, pining against the drab world of reality that seems to have her trapped as the curator of the tiny museum in her small English port town.

Ethan Hawke plays the crusty, failed but learned American rock star that has a tiny cult following reprised in internet chat rooms and blog sites.

But the best character is Chris O'Dowd's sniveling, self-absorbed, small-town college professor whose ignorance of personal responsibility plays a close third place to his single digit emotional IQ and gaping black hole of self-awareness. You don't just love hating him, you love yourself for hating him. Not since M*A*S*H's Frank Burns have we seen such a childishly devolved emotional man. But this time, it isn't for humor. At least not primarily. He gives us the reason for Annie's connection and launch into a love interest with Hawke's character.

Ah, the obvious rom-com joy...

The weaker performances in this movie are put in by the director and the cinematographer.  In a movie that has a funny and inventive script, with actually skilful acting, the director seems to be asleep at the helm. I kept thinking that juxtapositions, twists and shots would be waking me up from the sleepy surroundings of the scene settings. But nothing. And for a film set primarily on a coastal town, we see remarkably nothing of scenic vistas, charming pull-away shots or venturesome offbeat "life" shots from the supporting cast of the movie. One wonders what happened to leadership of this film .. sleep? Too many pub visits?

That said, I did like the film for what it is, a stumbling little romantic comedy that does get you to smile in the end..

Review by Kim Gentes 

I Can Only Imagine (Irwin Brothers)- J. Michael Finley, Madeline Carroll, Trade Adkins, Dennis Quaid, Priscilla Shirer, Cloris LeachmanA Movie of Honesty and Redemption

Summary: In the last 5 years, I've seen literally hundreds of movies. This last week I saw "I Can Only Imagine". For the first time since "Passion of the Christ", I felt like I watched a movie about the Christian faith that didn't ask me to excuse it from the expectation of high production values, strong story, well-written script, good acting and great music. I am unapologetically recommending this movie!

I both enjoyed and applaud the efforts of the creative crew who made this film. If you are someone who wants to know if a film is worth your cash, this is one I think is.

Bart Millard is the songwriter of the song, "I Can Only Imagine", an anthem that went on to become the most popular single in the history of Christian music. He is played by actor J. Michael Finley. If you don't recognize him, that's ok. Most people will not have heard of him outside of Broadway and other stage play venue appearances to his credit. This quieter public imprint doesn't stop Finley from performing admirably as Bart, a real life character that Finely portrays well and believably. And Finley is hardly alone on this film, as he is flanked by a solid support cast of screen veterans Dennis Quaid, Trace Adkins, Cloris Leachman, and Madeline Carroll.

Dennis Quaid plays Arthur Millard, the father of the MercyMe frontman Bart Millard, and puts in a performance that is both believable and powerful. The movie is a very personal story and doesn't shy away from the reality of real relationships. Ultimately the story is about redemption, not just of the spiritual kind you'd expect but between an abusive father and a searching son- both of whom become broken by life's journey.

I won't say more, except this- go see this movie. You won't regret it..

http://www.icanonlyimagine.com/

Review by Kim Gentes 

"The Greatest Showman" a great musical. Of the 50 or so movies I've seen in 2017,  The Greatest Showman  is the top of my list. All the presence of what Hollywood does best: great music, character and show. But without what Hollywood does worst: the pretense or self-congratulatory tone of art looking admiringly at itself.. [detailed review...]

"Three Billboards Outside Ebbing, Missouri" - The 2nd best, and weirdest, movie of 2017. Three Billboards Outside Ebbing, Missouri  is at once tragic, humorous and ridiculous. Martin McDonagh's film is a redneck myth that somehow mingles the irreverence of the Coen brothers and the strange darkness of Guillermo del Toro. Using the blunt instrument of southern prejudice, writer/director McDonagh hammers out a tale of hyperbole, irony and overstatement that cracks open the viewer for a few moments of epiphany. Note: definitely an R movie due to language. [detailed review... ]

"Darkest Hour" is the third best movie of 2017, in my opinion. Gary Oldman's rendition of Churchill is both clear and complex. He masterfully delivers the best character movie of the year, while the directory/script keep the task narrowed in on the ascension of Churchill to the Prime Minister post and the immediate handling of the initial few days of the war effort while in office. Worthwhile and enjoyable yet without hyperbole.

"The Shape of Water" is the latest movie from Guillermo del Toro (Mimic, Pan's Labyrinth, Pacific Rim). A wonderful film of love between us regular humans, some mean humans, and a strangely alien terran whose own humanity seems to exceed that of the human persecutors he is subject to. An odd movie, for del Toro's intentionality about exposing people's quirkiness, but equally odd for its plot and character conclusions. Definitely worth seeing, if you can handle this final note- Note: an R movie due to nudity and situations.

"All The Money In The World" seems like it should be about excess and avarice. But it isn't. It's about the poverty of mind that leads the richest man in the world to despise his own flesh and blood for the sake of a few more talents of gold. Well-acted, well shot and interesting. The true story (with another "based-on-real-events" caveat) of billionaire Jean-Paul Getty and the kidnapping of his teenage grandson in the 70's. Christopher Plummer and Mark Walberg make this good enough to go to the theatre to see.

"Wonder" is a movie that doesn't lament its feel-good status. And neither should you. Good enough to watch, and honest enough to keep you watching, it does descend to emotional pleas. Still I never felt the movie absconded with reality to make you feel something. A boy changed by a birth condition takes on the world. He's changed, his family's changed and you smile at the end. If that sounds pedantic to you, you won't venture here. But if you watch it, you will discover some good scenes and characters. Only the poorly cast Owen Wilson requires any sympathy and lament, as he seems to stumble unbelievably with properly portraying emotional liminal space.

"Downsizing" has nothing to do with being fired. But one hopes that it does have that effect on whoever brought this idea to the studios. It's a movie about shrinking people to save the planet. Not actually a bad idea, but so disastrously scripted and plotted that you find out the only thing worse than saving the planet is saving human lives. We, after all, are the problem with ourselves, our planet, our universe. Yet, at the same time, if you are one of the truly "good" people inside, then maybe you shouldn't be illuminated like a bug. Hmmmm. Aside from the fascination of seeing a human as small as the size as saltine, the movie loses interest beyond that.

"12 Strong" is another "based-on-a-true-story" action flick that heralds a heroic military exploit and the people who survive it. Poorly developed characters are enabled by a "series of unfortunate events" in which a company of 12 soldiers manage to wipe out a strongly-armed but stupid adversary.  It seemed like a good, unique story put in the hands of a poor director. The only actor with possible chops to save the movie (Michael Shannon) finds his character turned into the only one who is nullified for the most important parts of the story. I am guessing the book or real story was a better read than this movie is to watch. Even the god of thunder (star C. Hemsworth) couldn't make lightning strike on this movie.

"Jumanji: Welcome to the Jungle" is a better-than-expected redo of the 1995 original with Robin Williams. Not worth the full entrance price of a theatre, but a fun Netflix queue addition nonetheless. Funnier, more intriguing and better acted than I expected, but still a C+ film.

"The Commuter" is Liam Niessen in yet another role where he "has a particular set of skills". A collusion of "Speed" and "Murder on the Orient Express", this movie has the typical expectation of one unbelievable twist after another, none of it making for suspense or interest. The surprises are never surprises and the whole narrative ends up being a self-fulfilling, prophetic symbol of what the movie really is: a train wreck.

"Star Wars: The Last Jedi". Earth discovered the largest blackhole in the universe on the night this movie released: a galaxy sucking void left by abandoning George Lucas' legendary space epic for a few chuckles, some Disney penguin toys, visionless direction and a cast with no onscreen presence in exchange for $10.50. Goodbye Star Wars.

"The Big Sick" is easily one of the best movies of 2017, imo, but its humor language (profanity) will be uncomfortable for many. That said, it's pithy without turning into a self-absorbed "look at my struggling career” comedian introspection. Using humor, it presents the story of a Pakistani comedian who courts a white American who ends up in a coma- plenty of one liner fodder if ever there was any.

"Valarian" is a good CGI wrangle. In fact, its entre-de-force is the fact that it plays a CGI virtual movie in which the characters themselves start off in an adventure in a CGI/virtual world … and return to that kind of motif several times. The characters are shallow and the action is sporadic. The plot is predictable and uninspiring. But, hey, it's cool and has so many homages to Star Wars I stopped counting.

"Dunkirk" is a poorly rendered multi-threaded story that has great music and audio, but tries to emulate a Crash (2004) story time/line device and fails to create an actual narrative that you care about despite the very compelling possibilities in the subject matter.

"War for the Planet of the Apes" is the "final” installment of the prequel or whatever they were trying to do to lead up to the original. Lots of blowing up stuff and discrimination topics. I moderately liked it. It was worth watching if you like apes acting like humans. Reminds me of home life and my 3 sons. Anyways..

"Spider-Man: Homecoming" is the 27th remake to hit the same story. Sony just can't stop cashing in on this franchise. Each time, the movie makes another swipe at the young web-slinger. Each time, it gets somethings wrong and right relative to the comic book hero I read growing up. Not worth the big screen, but fans will check out the rental/Amazon/Netflix.

"Wonder Woman" is the best superhero movie in 2017. Well done, good acting and fun. Nothing surprising here, other than the fact that they didn't screw up the character from the original comics but still managed to make her come alive and have dignity beyond the silly TV representations formerly played by Linda Carter. Both her and Gal Gadot are stunningly beautiful, but this modern movie makes much more of the comic-book accurate story of Wonder Woman's origins and her traversal into (and through) the 20th Century. DC aficionados will think this is one of the best renderings on film of any DC character. Much better than all the Superman movies, and just behind the Christopher Nolan trifecta of the Batman.

"Baby Driver" is violent, profane rich and ridiculous as an action movie-not that it would stop an action fan from liking it. It has an interesting core character and love interest with a slight disability who's inner ear ringing forces him to listen to music constantly… if car movies are your thing, throw it on the Netflix queue.

"Transformers: the Last" blah blah blah… don't go. Die first. Then still don't go. I'm glad I love popcorn and work out a lot. It's the only reason I didn't demand my money back.

"The Hero" is actually a decent character movie. Not great, but good. Old actor tries to come back. Meets with challenges on many levels. Be warned, though- some vulgarity and drug use. Despite that, I think it is worth seeing.

The Greatest Showman (Michael Gracey)- Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, ZendayaA great musical!

Summary: Of the 50 or so movies I've seen in 2017,  "The Greatest Showman"  is the top of my list. All the presence of what Hollywood does best: great music, character and show. But without what Hollywood does worst: the pretense or self-congratulatory tone of art looking admiringly at itself.

Hugh Jackman plays a rose-colored-glasses version of the famous (infamous to some) P.T. Barnum, whose iconic life and business would later become what most people consider the fountainhead of American show business: The Barnum & Bailey Circus. Most movie-goers will recognize Jackman from the popular X-men movies and follow-ons like the Wolverine films. In "The Greatest Showman", Jackman brings his full talents to the silver screen: brilliant vocals, dance and stage presence. You don't have to believe the veracity of this script to be pulled into the energy of this cast's theatrical chops, of which Jackman leads with unapologetic prowess.

Without doubt the centerpiece of this film is its top notch musical score and award-winning song writing. Academy Award winning Benj Pasek & Justin Paul ("La La Land") write the melodic bliss that is the 11-song musical track for "The Greatest Showman". What I loved about this music is not only its stellar workmanship in songcraft but the lyrical honesty that comprised so many of the pieces. From "A Million Dreams" to "Come Alive", "Never Enough" and "This is Me", Pasek and Paul articulate the lines of the film's characters with the perfect balance of emotion, honesty and art. Those lyrics, set on perfect rhythms and melodies, fill film with the sinews of theatrical reality needed to make this body of work not just move but dance across the mind and enjoyment of the audience.

Where "La La Land" acquiesced to nostalgia and Hollywood penchant for self-aggrandizement, "The Greatest Showman" pushes past the time period context it is set in to blast its message into the visual and auditory space of the 21st century. Pristine songwriting and composition combine with soaring and virtuoso voices to give us the best movie soundtrack since Elton John and Tim Rice's efforts on "The Lion King". Yes. It is that good.

You don't have to agree with history of PT Barnum's life given here to enjoy the best movie of 2017 for what it is- a spectacular yarn, brilliantly sung, danced and presented.

This film is PG and that is appropriate.

While I think this is an amazing film for anyone, I'd especially recommend it to artists of all disciplines. Songwriters especially will find a near dozen top notch examples of pop-based works that demonstrate masterworks created by masters at the top of their careers.

http://www.thegreatestshowman.com/

For those who are interested in the musical sound track, definitely check out:

Review by Kim Gentes 

Three Billboards Outside Ebbing, Missouri (Martin McDonagh)- Frances McDormand, Woody Harrelson, Sam RockwellThe best, and weirdest, movie of 2017

Summary:  "Three Billboards Outside Ebbing, Missouri"  is at once tragic, humorous and ridiculous. Martin McDonagh's film is a redneck myth that somehow mingles the irreverence of the Coen brothers and the strange darkness of Guillermo del Toro. Using the blunt instrument of southern prejudice, writer/director McDonagh hammers out a tale of hyperbole, irony and overstatement that cracks open the viewer for a few moments of epiphany.

From Frances McDormand as the grief-crazed mother to Woody Harrelson as the heroic hick-town Missouri sheriff to Sam Rockwell as the dimwitted, bumbling, racist officer, this perfectly fitted cast imbues this sardonic yarn with the power and credibility needed to get past its intentional awkwardness.

I began this review by saying this movie was "weird". Let me explain. It's not weird in the sense that "The Killing of a Sacred Deer" was weird. Instead of using horrific moral ultimatums, it uses the smoldering anger of a broken mother to make a point. It's not metaphorical, though it uses some metaphors. It's not enigmatic and mythical, at least not in the obvious ways "Sacred Deer" push for. "Three Billboards" is absurd, but real. You know the story can't be real, but you still believe it is talking about what real people are like and what is underneath them. It can run at two or three levels at once. As long as no one demands that everyone see it from their perspective, "Three Billboards" will be food for thought at any mental meal.

If I told you the narrative of this movie, you probably wouldn't take a chance on seeing it. But go see it.

"Three Billboards" isn't "the" new epic film but it is a completely worthwhile picture. This is an "R"-rated film that is not appropriate for children of any age. The themes and vulgar language of the movie will manage to offend many. Don't let that keep you away.

Just go. See it.

http://www.threebillboardsoutsideebbingmissouri.com/

Review by Kim Gentes 

Spotlight (Tom McArthy)- Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Stanley TucciThe best movie of 2015, by a landslide..

Summary:  Spotlight is big screen "true story" of the investigative reporting team that uncovered the systemic coverup of sexual abuse of children by Roman Catholic priests in the Boston archdiocese. This film is unflinching and powerful, while remaining emotionally responsible. The best film of 2015.

Full Review: While I was aware (through the TV news) of the scandal that had taken place in the early 2000s regarding the Roman Catholic church and molestation of children by it's priests, I did not know how the story came to light and how it had been investigated.  This movie is the brilliantly directed effort to tell that story. With one of the best acting crews in the last 5 years Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery and Stanley Tucci engulf this story with passion and credibility. Each cast member rings honest and no character is turned into a faultless hero.

With horrific material details surrounding this script, it would have been easy to think the movie would have spun out recklessly on the intensity of the emotional aspect of this controversy. But writer/director Tom McCarthy (and co-writer Josh Singer) keep a disciplined hand on the script, refusing to discredit the power of this narrative by suffusing lurid details of the individual cases. Instead, the cases are represented by a few powerful interviews and the remainder of the film centers around the painstaking efforts of the Boston Globe's Spotlight team (investigative reporting group) to discover the details, perceive the dark pattern of abuse, and correlate an understanding of an even darker delusion within the Catholic Church hierarchy to cover up the evil deeds of its priests.

The acting, the script, the directing and the cinematography are all perfectly done. On a topic that deserves the very best from our creative community, it received a stellar achievement from McCarthy and his cast.

That said, for parents thinking of taking their children, they should be aware that there is some instances of strong language in this film and some brief but painfully descriptive dialog of sexual abuse. There are no graphic scenes or re-enactments, no nudity and no violence. But the topic and its nature are not shied away from. I would recommend that no child under 13 should be allowed to see this movie. The flim deserves the R rating for the subject material that underpins it.

This film just made wide release this last weekend, and I saw no advertising for it. Do not let that stop you. See this film.  If you decide you will see one movie this year, Spotlight should be it.

http://spotlightthefilm.com/

Review by Kim Gentes 

Love The Coopers (Jessie Nelson) - Diane Keaton, John Goodman, Ed Helms, Alan Arkin, Marisa TomeiYou can't get this 105mins back..

Summary:  Love The Coopers is a waste of time. Do not see it. This is the most generous summary possible for a film of such low caliber.

Full Review: Plotless, aimless, emotionless, thoughtless dibble wrapped in pretentious philosophical cliches. It appears the answer to a Christmas movie in 2015 is to imagine 150 conversations with no humor, no acting, no character development, and no storyline all wrapped in a cast of great talent and exercising precisely none of it, and culminating in two apex moments involving a dog farting at a dinner table and a family dancing spontaneously (while hating one another) at an airport cafeteria. The best part of this film was, quite literally, the credit roll- which at least accomplished the purpose for which it was designed.

Save your money for Hunger Games latest or the upcoming Star Wars installment. Ignore me at your peril. The worst film I've seen in a very long time.

Exodus: Gods and Kings (Ridley Scott) - Christian Bale, Joel Edgerton, John Turturro, Aaron Paul, Ben Mendelsohn, Sigourney Weaver, Ben KingsleyLet my people go to Hollywood...

Summary:  Christian Bale and Joel Edgerton try to lead this film out of the slavery of Hollywood cliché, but unlike the protagonist and the Hebrew people of the story, this project starves in the wilderness of dry, empty characters and thoughtless dialog just before drowning from poor direction amidst of a sea of dazzling CGI.

Full Review: Exodus. More than just being an iconic narrative of faith, it is the epic of freedom and struggle, representative of individuals, peoples, and cultures across history and across the world. Envisioning such an epic requires true thought, true vision. Either try for something revolutionary or keep to the story and make it work on the level of character development. Ridley Scott does neither and fails big. The acting, characters and story-line were weak. I fault the director for taking what is basically the major epic narrative of 3 world religions and treating the project like he was distracted and just trying to get it done.

The characters (in contrast to their historic epic) are all one-dimensional, predictable and unconvincing. They show no humanity- just stereotyped ransacking of what could have been thoughtful roles. Moses' character is turned into (like Darren Aronofsky's Noah) an educated, but basically psychotic, lunatic with luck on his side, who leads a military foment of slaves to an uprising. Along the way, lots of amazing things happen, that are all attributed to natural phenomena and don't hold anything like the narrative punctuation of the original book of the same title from the biblical text. Don't misunderstand me- I don't fault Ridley Scott for taking what is essentially an "enlightenment" stab at the Exodus work- no one who believes or considers the story in any sense "real" will likely accept his revision. But that is art. However, what is not art is the emotionless, boring, and even schmaltzy portrayal of characters that role across the silver screen.

Christian Bale does have the thoughtfulness to try to fill his dialog with some passion, but he is working with a script that feels as authentic as the $25 press board desk I put together when I was in college. Aaron Paul hardly has to earn his credentials for playing a passionate supporting role, but his part literally gave him nothing to work with. Sigourney Weaver seethes of contempt as she literally looks like she'd rather be infested by an alien than say the lines she was handed out. Joel Edgerton seems like he took his role seriously, but his court is such a mockery that one has to wonder how he could hold any sense of presence in a such a vilified supporting staff. And finally John Turturro looks like he is about a half second away from cracking up laughing on literally ever single line. Ben Kingsley has a chance at being the one rock in the film, playing a sagely Jewish elder. But he is shoehorned into a few quick segments that give him no space to develop his character.

Here is my point- we all know the story. If you are going to rewrite it, you need do a better job in some aspect than the original. And if you are going to rely on atheist philosophy when you are telling the narrative of a creator God directing his chosen people, then at least have the presence of mind to use good art- develop some great characters, use thoughtful dialog, give us a human interest in the film.

I can't imagine this film made anyone happy other than the various unions who were employed in its production. Save your money. Wait for the Netflix/Amazon free stream or when it hits your local cable free movie feature.

Amazon Link: http://amzn.to/1yOfkmt

Review by Kim Gentes

Nightcrawler - (Dan Gilroy) Jake Gyllenhaal, Rene Russo, Riz Ahmed, Bill PaxtonWork hard. Pay your dues. Don't cut corners. Succeed.

Summary:  Jake Gyllenhaal assumes complete mastery of his role as fledging video news videographer, Lou Bloom. Everything you always feared about modern news reporting comes to vivid life in the most gripping persona of evil since Javier Bardem's Anton Chigurh (in No Country For Old Men).

Full Review: Dan Gilroy has a stellar debut in the director's chair with Nightcrawler. A screen/TV writer for over 10 years, Gilroy commands the storyline (which he also wrote) by a vivid videography of intense "realistic" style that superimposes the kind of professional seriousness that is echoed in the obsessive protagonist of the movie.

The story is simple. Jake Gyllenhaal plays a small time thief that is looking for a focus to his obsessive energies. Through a happenstance encounter, he realizes the thrill and potential rewards of video-taping crime and mayhem in the night life of the LA basin.  Gyllenhaal's character, Lou, shows a fanatic demand for detail which results in acquiring some much sought-after footage of gruesome car crashes, bleeding attack victims and other tragic scenes. His stock with local TV station news rises sharply and he uses it to his full advantage.

At first blush, Lou appears demanding and intense, with an almost uncaring sense of fairness and justice. But his amoral sense of duty and hard work quickly are set aside for the fruits of an immoral rampage to gratify Lou's desperately hungry ego, and the accompanying monetary rewards. The film is very dark, but a couple of times grasps unrealistically at trying to convey the depravity of Gyllenhaal's character when plot twists allow him to get away with obviously criminal acts.

Nightcrawler is not a film for everyone. It will be too dark for some. But those who liked Crash or characters such as Walter White (Breaking Bad) or Dexter Morgan (Dexter) should think of Nightcrawler as the next evolution of the darkest form of antihero. Technically speaking, the cinematography, acting, directing and writing are some of the best you will see anywhere, in any year.

The language, violence and themes of this film are easily "R" in rating. But I would not allow any child under 18 to see this film. For me, the rating should have been NC-17.

This film is powerful, convincing, but very dark. For those whom it fits, it will be the single "must see" movie of the year. One which you should not wait to see on video- this is powerful, intense and important silver screen visual overload. That said, do not go if you have a queezy stomach or need a heroic and moral character. For those things you will definitely be disappointed.

Perhaps the best film this year.

Amazon Link: http://buff.ly/1uTLf0W

Review by Kim Gentes

Interstellar - Christopher NolanTravel to where no man has gone before.. or has he?

Summary: Every story we tell, will always come back to the original one- where did we come from and where are we going to end up?

Full Review: For true modern sci-fi (not the 50s/60s comic/horror kind), everything begins and ends with 2001: A Space Odyssey. And every attempt at modern philosophical inquiry through the lens of science fiction has thus been held up to the standard that Kubrik brought us in his 1968 epic film.  Interstellar is the latest film to reach out of our realm and try to grapple with the real questions of humanity- our origins, our struggles and our destiny. 

Like recent touchpoint sci-fi contenders Terrence Malik's The Tree of Life, Josh Trank's Chronicle, and the Alien prequel Prometheus, Interstellar maps its path to deeper truth by unlocking some of the universe's secrets. At least that is what Christopher Nolan seems to be trying to portray as he unravels quantum physics in a bid to make his film plausible. Much of what is presented in the film is based on the premise of solving many current impossibilities regarding interstellar travel, and the writers try to achieve this by having humans contacted by a superior life form that has learned to exist and manipulate 5 dimensions. The mishmash of scientific jargon centered around relativity is less effective than I was hoping for. While the film employs a real scientific basis in its research (via theoretical physicist, Kip Thorne), aside from a few excellent graphical representations of worm holes and blackholes/neutron stars sucking in light from other cellestial objects, only a few keywords are echoed in the script. I suppose this is unavoidable, as a more indepth treatment in the film would have droned on enough to make most viewers fall into boredom (and, in any case, Thorne collects this information in an ebook spinoff The Science of Interstellar: Thorne/Nolan). That aside, little else in the film fails to lift itself out of earth's orbit. The direction is essentially focused, with Nolan undertaking the task of visualizing both a bleak earth homeworld and a transcendent star system as an explorable destination. 

But the framework of the movie is not the science fiction. Overall, the weakest part of the movie is the relational story between a father and daughter. It is kept terse with the intention of it being powerful- daughter is head strong; dad is explorer type. Dad flies off in spaceship to save the world. Girl is mad at dad. This plot feels thinner than you'd hope for, given the backdrop of human survival, but its theme is re-echoed no less than 4 times throughout the movie in various ways. The relational fabric of people's perceived connection seems to constantly get in the way of saving the human race.  It is an interesting approach and one that goes juxtaposition to Kubrick's 2001, which aims to pit humanity against the glorification of his own progress- machine.

I absolutely loved the imagery of the film. Top notch. The acting is also excellent. And while the story portends its conclusion several times it feels forgivable since humanity lies in the balance. The core story line of the movie is essential, but, in this reviewers opinion, childish. Despite this, this film crosses over the line of being gadgetry and tech sizzle into the philosophical questions we have long asked. It does not, however, answer any of these questions with the majestic power of 2001 or the raw focus of Tree of Life. In fact, Interstellar doesn't actually answer any questions about origins or destiny, except to keep alive the viceral reality that we are powerfully, humanly and wonderfully flawed. And it is at this point that Nolan seems to make the film triumph in ways that make it a strong addition to the modern science fiction art form.

Do not wait to see this film on DVD or Netflix. See it on the big screen. 169 minutes of absolute bliss to the eyes and ears. One of the best films of the year.

Amazon Link: http://amzn.to/1xes458

Review by Kim Gentes

Nebraska - (Alexander Payne) Bruce Dern, Will Forte, June Squibb, Bob Odenkirk, Stacy KeachThe false dreams of Americana. It's hopes, failures and resiliency.

Summary: Few stories are told with impact when highlighting the mundane, the common and the broken. This film unabashedly suffuses the screen with the image, language and lives of a mid-American family. It is this unstoppable honesty that makes Nebraska not a heroic film, but an honest one. Brilliant film-making and unquestionable acting.

Full Review: Bruce Dern is in his best role ever, as Woody, an aged, honest and cantankerous father and husband who believes he has won a $1 million sweepstakes prize (as notified by a typical postal mail letter). His son, David (Will Forte), is drawn into the plot and (knowingly) acquiesces to drive Woody to Lincoln, Nebraska to collect his "winnings".

The trip is a plot device from which a recital of Woody's life can be hung and revisited. In the trip, the father/son duo venture to Woody's hometown of Hawthorne, Nebraska on their drive to Lincoln. In Hawthorne, all the clichés come to life- the old girl friend, the jilted business partner, the crazy relatives- in a portrayal that would seem plastic if it weren't so honest. The brilliance of this film lays at three main levels- the dialog, the direction and the acting.

The dialog here is so pregnant with rural life idiosyncrasies it might seem alien to those who haven't experienced it. But to the native-born, Nebraska will be an almost eerie nod to daily life. The speech, the references, the values and the conflicts all make pinpoint accuracy of the story of the rural mid-American family. There are several strong segments, but the most poignant is an interaction with Woody and David at an old tavern in Hawthorne. As they sit down, Woody orders a beer. David recoils, not wanting to join in. Woody says to his son, "C'mon, take a beer with your old man. Be somebody." The brevity and matter-of-fact harshness of the dialog rips open the idea that this movie is a "comedy" in the popular American comedy sense. There are some powerful things said here, and they need to be heard.

The direction and production of this film is perfect. Filmed in black and white, the nuance of texture becomes so important to understanding the people and their lives. There is no assumption of hope here, but there is always the unacknowledged homestead mentality that never quits.

Finally, the acting is absolutely perfect. Bruce Dern and Will Forte are unquestionable in their characters. This may be the best character Stacy Keach has ever played.

While I think this is a great film, it does have some foul language- commensurate with the standard verbal repertoire of its portrayed characters.  You won't want your children watching this film, as the "R" rating for language is modestly deserved. Parents who find this film to be within their tastes may well want to watch it with their older teenage children (especially father/sons), not because of the redeeming nature of the characters, but perhaps in spite of that.

If you grew up in rural towns or mid-America, this film will be as much about dealing with your issues as it will be about watching these characters wrestling with theirs.  If you haven't seen this yet, this film should immediately be placed on the top of your Netflix or Amazon Video queues. One of the few films I will buy a BluRay of. I will be watching this for many years.

One of the best films in the last decade.

Amazon Link: http://buff.ly/1qQhO1o

Review by Kim Gentes

Disconnect...the dark story of digital man.

Summary: Lost in a world of overloaded connection, the real and virtual realms converge in four stories that are profoundly human.

Full Review: Past movies have sought to exploit the online world as the new setting for a film, but Disconnect provides us with the one of first films to go beyond demonizing the technology or showing its exploitation by purely evil antagonists. This movie is a multi-threaded quadrilogy of age-old stories of fathers and sons, husbands and wives, and the exploited and exploiters. 

Disconnect is, in many ways, a sister to the movie Crash with its dense realism and intense topics. And looking within the story lines presented here you find many of the same themes- loss, lack of communication, disconnection, isolation and pain. Disconnect is as much the exploration of these cycles in our era as it is an indictment of the technology that allows us to mask these cycles within the self-medicating world of online "connection"- a misnomer if ever one existed.

The film has a very competent cast, consisting of Jason Bateman, Jonah Bobo, Andrea Riseborough, Frank Grillo, Alexander Skarsgård, Max Theriot and Hope Davis. There are other strong characters too, and it is partly because this is an interwoven story that draws on four separate narratives that we don't have truly one or two main stars in this film. All the better. Every part is played with power and realism. Nothing seems out-of-place or contrived, save one of the closing scenes where Bateman and Grillo's characters fight only to (surprisingly) just walk away with no realistic resolution. We understand the moral and ethical truisms of their stalemate, but practicality of it belies the otherwise solid realism of the rest of the film. 

But that is a small aberration from an otherwise stellar film. I won't, though tempted, detail each storyline for you, for the simple fact that the discovry of these narratives is part of the power of the film. The presentation is as cunning as the acting is perfect. Nevertheless, the four main plots are easily seen, and they do not, as Crash and other movies do, converge on a single point in time or with a single pinnacle of resolution. Instead, these stories are interconnected, to be sure, by the realm of their happenstance- real people, work, school, relationships, pain, loss and the swirling need for connection with binds it all together.

Thus far, Disconnect is the best film of the year for this reviewer. Its story, acting and presentation are all top notch. See it now. If you don't discover it until it's available on-demand or blu-ray, be sure to rent or buy it. It is well worth the cost.

For parents, this movie should be looked at in two ways. First, the movie has explicit scenes of nudity, sexual activity, explicit talk and even drug use.  The movie's MPAA "R" rating is strong and appropriate warning to its graphic nature.

That said, for those parents who might be willing, I would suggest an alternative consideration for this film- see it first, then consider seeing it with your teenager. This may come as a shock for some, as certainly the movie has difficult topics being covered, not the least of which is exploitation of minors in the sex trade. But taken from the view that this movie is a look into the pain and damage caused by the pervasive nature of our culture's enamored approach to "online technology", Disconnect provides a powerful, realistic and even hopeful view that facing the root of these problems (real relationships) may finally be in order. I do not think any parent should take their child to this film without watching it first. But having done that, I believe that children 16 and over may well learn, with a parent's pre-screening, accompanying presence and later discussion, something profound through watching this film. However, every parent must and should not leave this judgment to a movie review- see the film yourself, and consider your own children, your own situation. Most North American children at age 16 and over will likely not be shocked by the content here, but may well be impacted by the power of the story. That is my hope. Again, if my suggestion here sounds ill-advised or frivolous, ignore it.

That said, this movie (for adults able and willing to see it) is powerful, even exceptional, both as art and as narrative in the mode of film. I am not blind to the fact that Hollywood's job is normally to make money for their shareholders, not to help teach or infuse a moral compass in society. But this film seems to be ready to leave some points concluded while other points unresolved, with pain hanging at the air. And it seems this is done for the very good reason of leaving us with the belief that this might be how "real" life and relationships actually work. If you have the constitution for it, Disconnect may well be the best film you will see this year.

Amazon DVD Link: http://amzn.to/ZODvhW

Review by Kim Gentes

Safe... for heaving your cookies.

Summary: If you absolutely must see a romantic drama, I suppose you won't be committing complete artistic and intelligence suicide by watching this film. But almost.

Full Review: You know the drill. It's date night. It's time for the little lady to pick out some romantic comedy or drama squeeze to appease the cupid-impulse that seems to be prodded back to life almost monthly by silly things like Valentine's Day, Anniversaries and birthdays. This time, she picks out the latest love story that most reminds them of some even more terrible love story from past theatre visits. "Oh no", you think to yourself, remembering back to The Notebook, "I can't be the only guy in the theatre again, with all those weeping women crooning over a sappy plot." 

But you know what? You love this woman. You aren't going to sit by and let some salute to machismo keep you from showing her that she is worth a couple of hours of humility just to be by her side. So you muster up your courage and face it like a man.

"Damn it, Jim", you think, "we're putting the engines at 110%".

So off you go, driving like mad to make the movie on time. You get there. The parking leaves you about 16 football fields away from the front entrance. You sprint ahead to get the tickets. She walks calmly to the theatre entrance. You wince ever-so-slightly as they rake you for $23.00 for two tickets. You smile and let your sweetheart go sit down in the theatre while you take another beating for a small bag of stale popcorn (that someone had stored in a garbage bag, no less) and watered-down soda. After rushing into the theatre, you realize you aren't late at all. In fact, your slight happiness turns sour after 25 minutes of previews that play after the supposed start time of your feature film.

Finally, it starts. Queue the opening scene. Abused wife running away from terrible home life. Escape to stereotypical "little-town" on the Carolina coast. Start new life. Find tall, handsome, single dad who is raising two kids- and who somehow seems to know less about kids than the beautiful, run-away wife who never had kids. The whole thing unfolds like the seeming clockwork of a widget factory from the 1950's postwar industrial machine. One shiny, predictable romance coming right up!

You enjoy the odd cutsie line, laugh at the two or three well-placed chuckles, and smile at the real love of your life sitting next to you, knowing that the agony and pain of this scriptless, thoughtless film will be over soon. Even though the romance movie was corny, you feel like you have dodged a bullet. You might even give the film a "C-" rating just because your sweetheart liked it and you didn't completely convulse through the entire film (as you did with The Notebook).

And then it happens- the most stupid, idiotic, half-baked, tag-on ending you've ever seen. Some marketing whiz who can't be bothered to write a real book or movie script thinks they will throw a "hail Mary" in to try to make this movie about something deeper, more important. But their attempt at quasi-spiritual transcendence is so inane, so inconsistent to the plot, and so unbelievable as any real art, it makes you want to tear your jacket and bite through the plastic arm of the chair that you are sitting on.

For those who don't escape seeing this movie from just plain old common sense, (or because you think that seeing "Safe Haven" will be a requirement for your love life) I have just one recommendation- leave after the appropriate people are rescued and the story seems to be happily concluded. Don't watch the last frames of this movie where the man gives his beauty a letter. It's pure BS. You've been warned.

For parents, the danger in seeing this movie is less about the offensive material they will see- though there is threatening behavior and violence- than it is about the questionability of any parent who would allow their child to see such dumb film making. Heed the movie's MPAA "PG13" rating, if for no other reason than limiting the damage to our future artisans in the next generations.

Amazon DVD Link: http://amzn.to/VBTDl5

Review by Kim Gentes

 The hunt for UBL. Zero junk. Lots of dark controversy.

Summary: The hunt for Usama Bin Laden is the modern epitome of our hunt for evil. This is the Hollywood dramatization of that story. It is gritty, but not overplayed. It is political, but not harshly partisan. It's a very good film that stays, like the protagonist, in the hunt of its target.

Full Review: "The Hurt Locker" is one of the most intense modern war films of our era. It's director, Katherine Bigalow, is the director of "Zero Dark Thirty".  The movie is fine-tuned to present the lighting, action, and dialog of what real special ops missions are truly about. Add to that the CIA investigation and tracking of Usama bin Laden (labeled coldly as UBL throughout) and you have a convincing, engrossing and controversial movie.

I have to admit that I saw "Argo" recently and it was hard not to think in parallels of what was being attempted with this film. But in its sheer weight, action and story "Zero Dark Thirty" is a clear winner. While the plot of the movie culminates in 30 minutes of action, as the operation is engaged and UBL is hunted to his death, the main narrative centers around the character Maya. She is the CIA analyst who spends her entire career hunting down UBL from her desk and gathering evidence from interviews of others in the Al Qaeda terrorist organization. Maya becomes the hero in this film, though critics have notably downplayed the role of individuals, saying there was a huge network of information and work that made the hunt successful.

Like most based-on-reality films, "Zero Dark Thirty" is not a precise retrace of the exact story, but is supposedly very close to events. As a movie-goer, I am less interested in each and every detail of the hunt, but want to know the general storyline. Jessica Chastain (who plays Maya) is a unrelenting CIA agent, whose portrayal, while heroic, sometimes seems unbelievable in the professional/government world.  Her dialog with superiors feels unrealistic and might have well had her fired. Whether it is accurate to the word, I am doubtful. But the details of she helps to catches the mastermind terrorist and works to have action taken on the target- this feels vivid and real. The ensuing operation to finally take down Usama bin Laden also feels believable and is certainly engaging and human.

But, I am guessing the big "talking point" of this film be none of those things. Likely the big controversy will be over detainee torture methods, and the film's point of its effectiveness, will be the loud screaming topic from the follow-on conversation for this film. Even if just for that, it is an excellent film to see. You will likely not leave without an opinion.

For parents, this movie should be reserved for children that are 16 and over. While the action is haunting and violent (targets are shot to be killed, without being offering any surrender), it is the scenes of prisoner torture that are most gruesome and degrading. Parents should heed the movie's MPAA "R" rating. 

Amazon DVD Link: http://amzn.to/X226za

Review by Kim Gentes