Movie review

Review of “The Hunger Games: Mockingjay – Part 2

Following the near fatal attack by Peeta Mellark (Josh Hutcherson), Katniss Everdeen (Jennifer Lawrence) is shaken that President Snow (Donald Sutherland) has somehow hijacked her friend and lover from the 74th Hunger Games and turned him into an assassin with her as his only target. Katniss’ concern for Peeta complicates her relationship with Gale Hawthorne (Liam Hemsworth). Leader of the resistance Alma Coin (Julianne Moore) wants to use the Mockingjay as a propaganda tool to encourage others to join their cause and keep Katniss off the front lines but her anger at Snow for what was done to Peeta makes Katniss find a way to be a part of the assault force that is moving through the Capital. Their journey through the deserted street is complicated by a series of booby traps set up by the game designers.

I wasn’t a fan of the first “Hunger Games” movie. The whole concept of the poor and oppressed fighting to the death for the entertainment of the rich and powerful left a bad taste in my mouth and a less than favorable opinion of the series in general. Of course, one needs only a tiny bit of historical knowledge to see the parallels to ancient Rome and the gladiators of the coliseum with the “Hunger Games” series of novels and movies. Some could argue the same thing happens today with politicians pitting their constituents against the supports of the rival party. The whole thing is a very dark and depressing look at what can happen when power and revenge run amuck. The second film in the series won me back as the oppressed begin to fight back and the third film sets up what is the final push to the Capital and the fourth movie pays off everything that has come before with a few surprises thrown in. Does it end the franchise in grand style or do the characters and story limp to the finish line?

“The Hunger Games: Mockingjay – Part 2” is a mixed bag with a tone as dark and depressing as the first film. Characters die, Katniss starts injured and gets more injured along the way, things become bleak then bleaker and lovers are tested. What few moments of happiness are shown are quickly ground into the dirt. It makes one question which would be worse: Losing the war or winning it?

Jennifer Lawrence continues her great work as Katniss. The character’s spirit, determination and bravery are tested by the trials forced upon her by the machinations of both President Snow and Alma Coin. Lawrence is able to breathe some life into a sad character in a dour situation. While the entire situation stretches credibility, Lawrence is able to keep the character grounded and believable. Her work as Katniss Everdeen will likely not win her any major acting awards but it is something of which she can be proud.

The rest of the cast is largely window dressing as nobody is on screen for any significant amount of time; however a couple of performances do deserve some praise. Liam Hemsworth gives a strong performance as Gale. His heartbreak at Katniss’ interest in Peeta’s recovery from brainwashing is etched onto his face. One of his scenes late in the movie (no spoilers) is brief but devastating. Josh Hutcherson is allowed to stretch and be more than “the other guy.” The pain and confusion caused by the mind games played by Snow on him leads to some surprises along the way. Hutcherson has been a part of the films since he was in his late teens. His growth as an actor is clear and this might be considered something of a graduation.

While I enjoyed the film and the performances there were a few things that troubled me. First, the film feels all of its 136 minute running time. With all the effort to give attention to the emotional parts of the story along with the action, there are times when the film seems to come to a complete halt. All narrative momentum is sacrificed so the audience can experience the feels. It seemed forced and an effort to play to the fans of the books instead of the fans of the movies.

It’s time once again for “Thinking about the Details Too Much.” There have been some nagging questions about the logistics of how the world of “The Hunger Games” works that really came to the forefront in this film. First, where do the rebels get all the fuel they need to fly their planes and drive their trucks? I know there was a cache of weapons and equipment they captured earlier but fuel is something that is very difficult to produce in a way that isn’t vulnerable to attack. How they get their food is also something that confuses me. With the disruptions caused by the rebellion, it seems like no one in Panem would be working to make food that might fall in the hands of either side. Perhaps there are stores of rations saved up for emergencies but that wouldn’t last very long in an ongoing war and would also be a target for attack. And that concludes “Thinking about the Details Too Much.” Thanks for listening.

“The Hunger Games: Mockingjay – Part 2” is rated PG-13 for intense sequences of violence and action, and for some thematic material. There are numerous battles between armed groups. We see one person killed by a landmine. Another couple is killed in various ways by booby traps. There is another death caused by poison and a character is shown coughing up blood. Katniss kills a couple of people with arrows. Various explosions cause more death. There is no gore. We see some of the injuries sustained by Katniss mostly consisting of bruises on her neck and her ribs. I’m not sure what the reference to “thematic material” is other than a character is disfigured after disappointing a person in power.

Some might consider “The Hunger Games: Mockingjay – Part 2” to be more of the same: Characters pitted against a powerful government with only their determination and imagination to help them. That is largely correct; however, this final entry into “The Hunger Games” film series is consistent in tone and style and manages to wrap up the story in an exciting, entertaining but still dark way. While it is probably about 15 minutes too long, fans of the books and the movies should find this a satisfying conclusion.

“The Hunger Games: Mockingjay – Part 2” gets four stars out of five.

The Thanksgiving holiday means a midweek release of three new films. I’ll see and review at least one of them.

Creed—

The Good Dinosaur—

Victor Frankenstein—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “Spectre”

For movie fans “sequels,” “prequels” and “reboots” are often looked at as dirty words.  The complaint usually goes something like, “Aren’t there any original ideas in Hollywood anymore?”  An exception to this criticism is the James Bond franchise.  After six actors and 24 movies, fans of the series wait for the next installment with nearly unbearable anticipation and the worldwide box office for these films continues to grow to record heights.  After the brilliant “Skyfall,” expectations were understandably high for “Spectre” considering the name of a classic Bond villain was the title of the film.  At the same time, is it possible to make a movie as enjoyable as its predecessor?  Let’s find out.

After creating chaos and destruction on an unauthorized trip to Mexico City, James Bond (Daniel Craig) is suspended by his MI6 boss M (Ralph Fiennes).  M is also facing a shake-up in British intelligence with a new boss, Max Denbigh (Andrew Scott), overseeing a recently merged MI5 and MI6.  Denbigh thinks the double-0 program is a relic of the past and wants it discontinued.  He also is spearheading a new intelligence sharing initiative involving nine nations.  Enlisting the aid of Q (Ben Whishaw) and Moneypenny (Naomie Harris), Bond continues his off-the-books investigation he started in Mexico into an organization that appears to be involved in numerous terrorist attacks around the world.  Along the way he meets the widow of a man he killed in Mexico (Monica Bellucci), the daughter of a man that has plagued him since he became 007 (Lea Seydoux) and Mr. Hinx (Dave Bautista), a mountain of a man who doesn’t think twice about killing anyone in his way.

Comparing “Spectre” to “Skyfall” is a bit unfair as the previous film had an unexpected gooey center of emotion with the relationship between Judi Dench’s M and Bond.  “Spectre” lacks that humanizing element as this adventure is a more straight-ahead action picture.  While there is romance it is more of the love-‘em-and-leave-‘em variety we have grown to expect from Bond.  Also, “Spectre” is more of an effort to reboot the mythology of Bond as this is the first time in over four decades the filmmakers have been allowed to make reference to the criminal organization of the title after a long court battle.  Connecting events across three previous films that were not necessarily written to be connected might be seen as a stretch to some; however, the references to the previous films are handled mostly visually and it isn’t the kind of distraction it might have otherwise been.

As we’ve come to expect, Daniel Craig is the epitome of detached cool as James Bond.  The character is given a few more one-liners than in previous films and Craig is more than up to the challenge of being funny in the face of beautiful women and dangerous henchmen.  Craig has been the honest face of James Bond.  He looks world-weary, tired and suspecting of everyone he can see.  Craig is the Bond I will most miss when his run is over as he is to me the most believable in the role.  I know there are those that are fans of Connery or Moore and have been unhappy with every actor chosen to play the part since; however, the difference between those films and Craig’s is so striking they may as well have been about the Revolutionary War.

Now for my issues with “Spectre:” While both Christoph Waltz and Dave Bautista are excellent as Franz Oberhauser and Mr. Hinx respectively, they are criminally underused in the film.  I understand keeping your main villains in the shadows of your trailers and TV spots but your antagonists should be front and center in the film.  The movie is nearly two and a half hours long and, while I didn’t have a stopwatch keeping track of their time, I believe both Waltz and Bautista are on screen less than most Bond baddies.  Bautista has one word in the script but he doesn’t need more as his physical presence speaks volumes.  Mr. Hinx has a fight on a train with Bond that seems to have some real danger to it.  Perhaps it was the close quarters or Hinx physical domination of Bond that made it seem so personal and perilous.  Hinx is a henchman I hope we get to see again.  Waltz is charismatic and intense in the role and should have had a greater chance to shine.  While he makes the most of his limited time I would have liked to see him more.

The underused villains are connected to my next issue with the movie:  The story seems to have been given less thought and in other films.  I can’t give too many details for this as I don’t want to spoil the movie; however, there are things I expected to see in the movie, things suggested by history and the plot, that don’t materialize and other aspects that spring from very little.  Some characters are dispatched in ways that suggest they may return but don’t.  Romances blossom in ways that aren’t supported by events.  Plot twists are telegraphed in less than subtle ways.  It sometimes feels like the locations and the stunts received a great deal more attention than the story.

As with all Bond films, the cinematography and locations are spectacular.  From a Day of the Dead parade in Mexico City to the Spectre headquarters in the middle of the desert, the movie is a travelogue of beautiful scenery shot with remarkable care.  Even the interior of a train looks luxurious and inviting when it isn’t being torn apart by a fight between Bond and Hinx.  Despite what is likely the dull nature of actual spy work, the Bond films make it look like the ultimate worldwide vacation with the occasional fight to the death thrown in to make it interesting.

“Spectre” is rated PG-13 for language, intense sequences of action, sensuality, some disturbing images and violence.  From planes chasing SUV’s to two sports cars tearing through the streets of Rome, there are several action set pieces in the film that might upset the youngest and most sensitive viewers.  There are also several fights between Bond and various people.  The most intense is the one on the train with Mr. Hinx.  There is a scene of torture that isn’t graphic but is troubling.  A couple of people get pushed out of a helicopter to their deaths.  Bond has two sex scenes but, in traditional Bond style, there is very little nudity.  Foul language is scattered and mild.

I liked “Spectre” a great deal; but, it works for the most part as a fairly standard Bond adventure.  After the enormous success of “Skyfall” there was very little chance we wouldn’t be a little disappointed by the next installment of the franchise.  With all the promise of the title and the expectations of what we might get “Spectre” comes across as somewhat paint-by-numbers when we all wanted a Picasso.  All that said, it is still a very good action/adventure movie with some interesting concepts and the promise of another chapter of the story still to be told in what would likely be Daniel Craig’s last time in the tuxedo and sports car of Bond…James Bond.

“Spectre” gets five stars but not without a few reservations.

This week, it’s the end of a franchise, a possible new holiday tradition and a crime thriller all hoping to get your entertainment dollar. I’ll see and review at least one of these films.

The Hunger Games: Mockingjay – Part 2—

The Night Before—

The Secret in Their Eyes—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “Our Brand is Crisis”

Former political strategist Jane Bodine (Sandra Bullock) is out of politics after several successful, and not so successful, campaigns. She has suffered with depression and substance abuse (leading to her nickname Calamity Jane) and being away from the stress, doing pottery in her cabin in the woods, has helped calm her mind. Nell and Ben (Ann Dowd and Anthony Mackie) visit Jane hoping to get her to join their efforts on the campaign of Bolivian presidential candidate Senator Castillo (Joaquim de Almeida) who is way behind in the polls with about three months left before election day. Advising the leading candidate is Jane’s rival Pat Candy (Billy Bob Thornton). Pat is more than willing to do anything to help his candidate win, a lesson Jane has learned several times already. Every time she has faced him, Jane has lost. Ben impresses upon Jane the importance of the election for the people of Bolivia which has a history of violent uprisings and bloody coup d’état. Feeling the rush of a political campaign quickly envelopes Jane in the excitement and fervor of competition and dirty tricks and soon some of her old habits begin to resurface.

“Our Brand is Crisis” is based on a 2005 documentary of the same name that followed American political consultants as they worked with candidates in the 2002 Bolivian presidential election. Having not seen that documentary I can’t say if the level of dirty tricks and shenanigans match up with what is in the movie. I can say the movie plays a bit of a dirty trick on the audience as it pounds the message of “win at all costs” for most of its running time then tries to become a feel-good story of redemption in the last few minutes. Like many sudden changes of heart, I didn’t buy it.

Sandra Bullock is fantastic in “Our Brand is Crisis.” Her intensity and comic sensibility mix well to make Jane Bodine a fascinating character. Starting out as a bit of an emotional and physical wreck, the pace and seriousness of the campaign begins to bring Jane back to life. Before long, she is a huge cheerleader for her candidate and it sweeps the other characters and the audience along whether we like it or not. Bullock is the soul of the film. It doesn’t work if the audience doesn’t accept Jane as a juggernaut, throwing out ideas and strategies while working with a candidate that doesn’t always believe in her plans. This leads to some of the best moments in the film when Jane must make the candidate agree with her ideas even when they go against his personal beliefs. Sometimes the dirtiest tricks are played against the candidate for whom you work.

Movies like “Our Brand is Crisis” and “Primary Colors” give what feels like an inside look at how modern political campaigns are run. As the old saying goes, “Don’t ask how the sausage is made.” While it is likely the film is highly fictionalized and the kinds of things shown don’t actually happen it does paint a picture that is somewhat damning of the campaign process and how easily the electorate can be swayed or distracted by meaningless controversies. “Our Brand is Crisis” takes a cynical look at modern politics and is, for the most part, highly entertaining.

Where the movie lost me is in the final few minutes. Without giving too much away, we are shown a driven, dedicated soldier that charges the enemy with no mercy then at the end we are shown the equivalent of that same soldier now walking a picket line protesting against everything she used to stand for. The movie wants us to believe everything Jane has done leads her to a moral awakening. The movie uses a friendship that develops between Jane and a young volunteer she names Eddie, played by Reynaldo Pacheco, as the catalyst of that awakening. Considering how long Jane has been fighting in the electoral trenches, it doesn’t seem like enough of a motivation for her to lay down her rhetorical weapons and begin fighting for the other side. It feels like an attempt to turn this political machine into something touchy-feely and it makes everything that comes before it meaningless. Perhaps that is the point: That everything she has done before was meaningless and now she is trying to make a positive impact on the world. If that was the message then the script writer didn’t do a good enough job of making the case that Jane was ripe for a conversion. Instead, it feels more like a sell out and a cheap attempt to force a happy ending on a film that didn’t necessarily need one.

“Our Brand is Crisis” is rated R for some sexual references and language. The sexual references are rather mild and there aren’t many of them. Foul language is scattered but sometimes intense.

I could almost overlook the ending of “Our Brand is Crisis” because Sandra Bullock is so good as Jane Bodine. The rest of the cast does a great job as well with kudos to Billy Bob Thornton for giving us a slimy but likable villain; however, the ending works so hard at trying to make us feel bad about enjoying the hijinks of the main characters it’s like a parent wagging a finger in your face for doing something bad. I don’t appreciate being scolded by my entertainment when it does such a great job of making Jane and Pat so amusing in their deviltry. The movie tries to have it both ways but fails to make a strong enough case for the main character’s conversion to philanthropy.

“Our Brand is Crisis” gets four stars for everything except the last five minutes.

This week it’s the return of Brown…Charlie Brown. There’s also some British spy movie coming out. I’ll see and review at least one of them.

The Peanuts Movie—

Spectre—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Reviews of “The Last Witch Hunter” and “Steve Jobs”

The Last Witch Hunter

After the death of his wife and child, Kaulder (Vin Diesel) joins other 13th century witch hunters in the search for the Witch Queen (Julie Engelbrecht) responsible for the plague that killed their families. Within a massive tree, Kaulder finds the Witch Queen and runs her through with his burning sword; however, before she dies she curses Kaulder with immortality. Eight-hundred years later there’s a truce between the priests that oversee Kaulder as the last witch hunter and witches. As long as they don’t practice magic on humans they won’t be hunted, tried before a council and locked up in a prison below the church. The priest that works directly with the witch hunter is called a Dolan. He acts as a guide, confessor and scribe writing down all of the hunter’s adventures. The 36th Dolan (Michael Caine) is retiring and will be replaced by the 37th Dolan (Elijah Wood). On his last night the 36th Dolan dies in his apartment, apparently of natural causes; but Kaulder is suspicious. Looking for the signs of magic, Kaulder finds the elder Dolan was put under a spell that mimics death and was tortured for information. He left clues behind telling the witch hunter to relive his death inside that tree. Needing a potion to help him remember what happened right after the death of the Witch Queen, Kaulder seeks the aid of a young witch named Chloe (Rose Leslie) at a bar that is exclusively for witches. Chloe creates the potion but Kaulder is attacked by a powerful witch named Belial (Olafur Darri Olafsson) trying to stop him. Strange and dangerous forces are trying to keep Kaulder from seeing what happened after the Witch Queen cursed him. The question is why?

With a Rotten Tomatoes score in the mid-teens I was surprised I enjoyed the first half or so of “The Last Witch Hunter.” The writers of the film had created an interesting world largely populated with unique characters doing strange and fanciful things. Had it continued that way I might have been one of the movie’s loudest supporters. As it is, I’m lukewarm on the latest Vin Diesel project because it trades in imagination for generic action thrills.

Diesel actually manages something akin to warmth in parts of the film. He has a brief interaction on a plane with a child and shows a bit of charm. His scenes with Rose Leslie don’t devolve into an uncomfortable romance as I was afraid it might but the pair has a rough chemistry that serves the story. The father/son relationship between Diesel and Michael Caine felt a bit forced but still managed to seem like a friendship that had been around for a while. Elijah Wood is under used in his role so he and Diesel’s characters never feel like they are really partners. Perhaps that was the goal. No one in the movie does a bad job in their role. Sadly, they aren’t given that much to work with.

The film is let down by a third act that is just scaffolding to get to the action/sfx scenes. We get a few brief glimpses at what Kaulder has lost at the hands of the Witch Queen and the events in that third act contradict what we’ve seen before. I’m trying to avoid giving away too many plot details; but the story kind of reverses itself in a blatant attempt to create a need for a sequel. With opening weekend domestic box office of less than $11-million, that seems unlikely.

“The Last Witch Hunter” is rated PG-13 for sequences of fantasy violence and frightening images. We see people stabbed with swords and knives. There are a few large, ugly creatures. The Witch Queen will be scary for the very youngest viewers. A character is impaled on a spike through the shoulder. A character is consumed by vines at the base of a tree. A character is shown ripping their skin off to reveal a different creature inside. Foul language is widely scattered and very mild.

The world of “The Last Witch Hunter” could have been fascinating if the vision of the writers early in their script has been carried through to the end. As it is, the movie becomes a predictable action/fantasy with some decent visuals but is nothing special. I wish it had been the kind of film that put a spell on me but alas, it’s all just a cheap trick.

“The Last Witch Hunter” gets three stars out of five.

Steve Jobs

Preparing to give a public demonstration of the new Macintosh computer Steve Jobs (Michael Fassbender) is berating Andy Hertzfeld (Michael Stuhlbarg), one of his engineers, because the vocal program is having a hard time saying “Hello.” Jobs wants to show how friendly the Macintosh is and refuses to pull it from the demonstration. His long-suffering personal assistant Joanna Hoffman (Kate Winslet) is attempting to coordinate the presentation while wrangling the taciturn Jobs. Steve Wozniak (Seth Rogen) is trying to get Jobs to thank the Apple II engineers during the presentation but Jobs refuses saying it looks back in the past and the Macintosh is the future. Waiting backstage is Chrisann Brennan (Katherine Waterston) with her daughter Lisa. Based on a blood test a judge ruled that Jobs was Lisa’s father but he denies that. In a magazine article, Jobs says that up to 28% of the men in America could also be Lisa’s father. This angers Chrisann as it appears Jobs is saying she sleeps with many different men. Chrisann wants money over and above the child support the judge granted her. Jobs only pays attention to Lisa when she takes an interest in the Macintosh in the dressing room.

“Steve Jobs” tells a story about the face of Apple using three product launch events in front of hundreds of adoring fans. Jobs could do no wrong in their eyes and everything he touched they thought was the next big thing. In the film, Jobs seems to only be comfortable on the stage in front of those that didn’t know him. In the film, being a part of Steve Jobs life seemed like a less than pleasant experience. The movie also is less than pleasant as it loses its belief in itself and tries to turn Steve Jobs into a misunderstood teddy bear.

Michael Fassbender may get some awards season love for playing the title role. His performance is mesmerizing. Jobs is a ball of energy that can become dangerously focused on anyone that he feels has done him a disservice or isn’t living up to his expectations. Jobs is shown in the film as a man with a singular vision he feels must be put forth unadulterated. It’s the same whether he’s involved in business or personal matters. Fassbender is absorbed in the role and it must have been emotionally taxing for him. Playing a person of such conviction and willingness to mow down anyone that might get in the way has to take its toll. Fassbender manages to be charismatic even when making threats or explaining something that doesn’t need explaining. His performance, and the performances of Kate Winslet, Seth Rogen, Jeff Daniels Katherine Waterston and the rest of the cast, is outstanding. Sadly, they are all let down by a script that doesn’t believe in its own convictions.

While Steve Jobs is shown to be able to express a tiny amount of warmth and compassion, the majority of the movie’s two hour running time is spent showing the man as the lowest form of life. He’s rude, egotistical and doesn’t take anyone’s feelings into consideration. If he was anything like portrayed on screen it’s a miracle someone didn’t put a bullet in him at some time in his life. Writer Aaron Sorkin does a good job of making Jobs unlikable. Then, out of left field, we get a scene that could best be described as redemptive. For me, it completely didn’t work. It is pounded into our minds what a dirt bag Jobs is. He denies Lisa is his daughter, he threatens to have Chrisann killed, he is prepared to embarrass one of his engineers in front of an auditorium full of people if the Macintosh voice synthesizer doesn’t work and that’s just a few of the things shown in the movie and then, without any set up or evidence to the contrary, we are shown a warm and fuzzy Steve Jobs. Perhaps, as he aged, Jobs become more human. The movie doesn’t give us any indication that it happens or why. One of the most brutal confrontations occurs not long before this miraculous conversion. Jobs is as blunt and biting as he is in any other scene in the movie and then, a few minutes later, he’s overflowing with love, compassion and contrition. It takes what is a scathing portrait of a well-known figure and cheapens it into a feel-good family melodrama.

“Steve Jobs” is rated R for language. Foul language is infrequent.

I realize I’m in the minority on this one but “Steve Jobs” isn’t the brave and searing portrait of one of the best known tech giants in history; instead, it shows us a flawed but brilliant man and tries to redeem him using cheap emotional tricks. Jobs deserved better.

“Steve Jobs” gets three stars out of five.

Three new movies close out the month of October looking to scare up some business. I’ll see and review at least one of them.

Burnt—

Our Brand is Crisis—

Scouts Guide to the Zombie Apocalypse—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “Bridge of Spies”

Rudolf Abel (Mark Rylance) is a Soviet spy operating out of his Brooklyn, New York neighborhood. He is captured by federal agents and, after failing to get him to cooperate and become a double agent, plan on putting him on trial for espionage. If convicted, he would likely be executed. James Donovan (Tom Hanks) is an insurance lawyer with a major New York firm. He is approached by the government to act as legal counsel for Abel. Despite not having practiced criminal law in decades, Donovan agrees. Meanwhile, the CIA is interviewing Air Force pilots to fly the U2 spy plane over Soviet territory and take pictures of various installations. One of those pilots is Francis Gary Powers (Austin Stowell). Powers and several others are accepted into the program and trained on how to operate the aircraft and what to do should they be shot down: Set the self-destruct mechanism in the plane and, if they are near a friendly border, bail out. Otherwise, they are instructed to go down with the plane. If they do bail out and face capture, they are supposed to commit suicide using a poisoned needle. Abel goes on trial and despite Donovan’s best efforts is convicted. He is sentenced to 30 years in prison. Powers goes up on his first mission and despite assurances the plane flew higher than Soviet defenses could shoot, his plane is hit by missiles and the damage blows him out of the cockpit, preventing him from setting off the self-destruct. Powers is captured and put on trial where he is found guilty and sentenced to a long term in a Russian prison. A cryptic letter received by Donovan from someone claiming to be Abel’s wife sets in motion a series of events that leads him to becoming the unofficial negotiator of a prisoner swap between the United States of America and the Union of Soviet Socialist Republics: The spy Rudolf Abel for the spy plane pilot Francis Gary Powers with the exchange to take place in the newly walled off East Berlin.

“Bridge of Spies” is not a film to watch if you are looking for action and adventure…at least the way it is depicted in the run-of-the-mill Hollywood movie. The excitement of “Bridge of Spies” comes from the knowledge that much of what is being shown on screen actually happened. A common man with no connection to the government was called upon to defend an accused Soviet spy at the height of the Cold War when doing so likely made him, in the eyes of the country, a traitor. He argued for the rights of a man that wasn’t a citizen but should be given every privilege the Constitution provides in regards to his criminal case. It was a brave stand to take at a time when just being connected to the American Communist Party could get you fired from your job.

There’s no better person to portray a man of singular courage and strongly held beliefs than Tom Hanks. Hanks makes Donovan an everyman with an uncommon sense of fairness. With the twinkle in his eye and the soft spoken delivery we’ve come to know, love and expect, Hanks portrays Donovan as a zealous advocate that can verbally beat you to death with logic and knowledge and make you feel the better for it. Even when he comes up against a judge that has already made up his mind and ignores all of his constitutionally based arguments about the evidence, Donovan maintains his cool despite his abhorrence at the miscarriage of justice being forced upon his client. Donovan doesn’t mind being less subtle when he’s pressured by a CIA agent to tell him what Abel has said in their meetings. Hanks can fix a stare at the target of his wrath that could peel paint off a wall; yet, when he schools the agent on the constitution, it is done with firmness but gentleness.

Hanks is a fantastic actor that seems like a fantastic person. I’ve heard him interviewed by Chris Hardwick a couple of times on Hardwick’s “Nerdist” podcast. Hanks appears as down to earth and average as any of his roles. Whether he’s playing a ship captain being held at gunpoint by Somali pirates or the lead astronaut on a trip to the moon that goes horribly wrong, Tom Hanks always seems to play his role with understated strength and calm that makes the moments when his character loses that calm all the more affecting. (Spoiler Alert) At the end of “Captain Phillips,” when he’s been rescued and is finally safe, Hanks does a slow meltdown that gives me chills to this day when I think about it. The veneer of control that slowly melts away into unbridled shaking and tears is one of the greatest and most emotional pieces of acting I’ve ever seen. It breaks your heart thinking about what could drive a man to such a break down and, even though we’ve seen all he’s been through and completely understand, it still hits you like a bolt from the blue. While the deeply emotional scene in “Bridge of Spies” isn’t as striking as “Captain Phillips” it resonates all the same because of how we see Donovan behave throughout the film. This may not have been as wrenching a performance as his AIDS suffering lawyer in “Philadelphia” or as sympathetic as “Forrest Gump,” Hanks is still likely to be in the running for a nomination when awards season rolls around.

While Hanks is the focus of the story, the other terrific performance in “Bridge of Spies” comes from Mark Rylance as the stoic Russian spy Rudolf Abel. The scenes he and Hanks share are usually brief but they are powerful. Rylance gives a quiet performance that makes Hanks almost look like Jim Carrey in “The Mask.” His Soviet spy is resigned to whatever fate is to befall him, sometimes at the chagrin of Donovan. More than once in the film Donovan asks Abel if he is worried. Each time the answer is “Would it help?” The unspoken answer is of course no. Rylance plays Abel as both a confused old man as well as a crafty operative. Once he’s caught, the cover of confusion is cast aside and he’s strictly business. The way Rylance plays Abel made me curious about the character. I’d like to see a movie about how he became a Soviet spy and the adventures he had. While the spy world isn’t nearly as glamourous and exciting as we see in “James Bond” movies, I’m certain in the hands of someone like “Bridge of Spies” director Steven Spielberg the story would be more than worth watching.

The movie could be seen as commentary on how easy it is to question ones patriotism in a time of crisis. Donovan’s allegiance to America is questioned a couple of times in the film because he fights for Abel’s rights as a defendant in the courts. Since the attacks of 9/11, the loyalty of Americans has been questioned that believe those being held on terrorism charges in Guantanamo Bay should be accorded the right to representation and trial by jury. Others don’t see the problem of collecting the phone calls, emails and internet history of average Americans without probable cause asking, “Why should I worry since I have nothing to hide?” Despite the “common sense” appeal of that sentiment, Ben Franklin is often quoted as saying “Those who would give up essential Liberty, to purchase a little temporary Safety, deserve neither Liberty nor Safety.” Franklin’s quote, taken out of context from a letter to the Pennsylvania colonial governor, has very little to do with what we associate it with today; however, the conflict between Donovan and those that wish he wouldn’t try so hard to defend Abel and those that want terrorism suspects quickly tried and convicted and those that believe they should be given the same fair trial as an American citizen is painfully similar. Your opinion of the film might depend on your feelings about that argument.

“Bridge of Spies” is rated PG-13 for brief strong language and some violence. Gun shots hit Donovan’s house in an attempt to intimidate him. We see Francis Gary Powers roughed up a little by Russian interrogators. We see some people trying to get over the Berlin Wall shot by guards. There are other brief bits of violence. Foul language is scattered and mostly mild but the film does get its maximum allowed number of “F-Bombs.”

Many may find “Bridge of Spies” to be dull as it mostly consists of people talking. I would argue anyone that finds this movie dull is not paying enough attention. The stakes faced by the characters, the time in history and the brilliant acting make the film a true gem in what is often a mound of coal lumps. If you care nothing for the past, the old Soviet Union and the threat of mutually assured nuclear annihilation then you should avoid this film at all costs. If you have even the slightest curiosity about what America was like during the hottest part of the Cold War, then “Bridge of Spies” is a must see. I would also recommend it if you just like really well done movies.

“Bridge of Spies” gets five enthusiastic stars.

Four more movies hit theatres this week and I’ll see and review at least one of them.

Jem and the Holograms—

The Last Witch Hunter—

Paranormal Activity: The Ghost Dimension—

Rock the Kasbah—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “Pan”

Left on the doorstep of an orphanage not long after his birth, Peter (Levi Miller) is raised under the harsh care of nuns. Peter and his buddy Nibs (Lewis MacDougall) noticed some of their fellow orphans have disappeared recently. The nuns tell them the other boys have been adopted but Peter and Nibs don’t believe it. They hide one night after everyone has gone to bed to see what’s going on but don’t notice anything and decide to go to bed. Just after they lay down, men on ropes drop through the ceiling grab boys and pull them through the roof. Peter and Nibs are also grabbed by the men who are pirates in a flying ship. Nibs is able to escape but Peter is afraid of heights and won’t jump off the ship onto the roof. The ship has to evade British fighter planes as World War II is going on and eventually ends up in what looks like a giant hole in the ground. Peter learns he is in a place called Neverland and is a prisoner of a pirate named Blackbeard (Hugh Jackman). The hole is a mine where thousands of boys and men are digging for fairy dust, also called pixum. Peter talks with another miner named James Hook (Garrett Hedlund) about what’s going on; but Hook doesn’t want to be anyone’s friend. Peter finds a piece of pixum that is immediately stolen by an adult. When a mine manager intervenes, Peter is accused of making a false accusation about the adult and is scheduled to be judged and punished. Blackbeard lets the crowd decide and they choose for Peter to die. Blackbeard pushes Peter off a plank and he falls hundreds of feet but stops just before hitting the ground and floats for a few seconds before landing. Blackbeard tells Peter about a Neverland legend of a boy that can fly and will lead a rebellion against him. Landing in prison, Peter is soon joined by Hook in the next cell. Hook has snuck in a blasting cap and breaks them both out of prison. Getting help from another mine manager named Sam Smiegel (Adeel Akhtar), the three commandeer a ship and fly into the forest where they are found by the natives lead by Tiger Lily (Rooney Mara). Learning that Peter is possibly the fulfillment of the prophecy, Tiger Lily’s people agree to help Peter if he can prove he can fly in the next three days.

“Pan” is obviously the first film of a franchise. The story arc seems to be establishing the friendship between Peter and Hook in the first film that is strained in the second film and is completely shattered in the third when Hook loses his hand to the crocodile and blames Peter for it. It seems like an attempt to wring more money from a story that has been told in various ways since the debut of the J.M. Berrie play in 1904. Unless foreign markets fall in love with the movie the other two films won’t be made as “Pan” is tanking at the box office. Perhaps if they had made a better movie Warner Brothers wouldn’t be looking at taking a huge loss and there would be a couple more fantasy films on the horizon.

The creators of “Pan” make some odd choices in building the world of Neverland. First, while Hugh Jackman is working hard through lots of makeup and flowery dialog, he spends a great deal of time on screen accomplishing nothing. In his early appearances, Blackbeard is leading a giant singalong of Nirvana’s “Smells Like Teen Spirit,” which is certainly weird enough considering the film is set in the early 1940’s, and giving a pep talk that is almost immediately contradicted by his actions, yet he seems to have the undying approval and support of everyone in the mine. Nothing in the early parts of the film set in Neverland makes a great deal of sense and it doesn’t get much better as the film goes along.

While the movie is visually stunning (even in the 2D version I saw) “Pan” stumbles anytime any character speaks. Garrett Hedlund’s James Hook sounds and looks much more like a cowboy than a future pirate. Rooney Mara was apparently told to play Tiger Lily as bland and vacant as possible. During her fighting scenes Mara appears to be on autopilot. Even young Levi Miller, who gives a perfectly fine performance, is hamstrung at times with odd emotional responses and a lack of clear direction of his character’s evolution.

“Pan” should have some big emotional moments as the core of the story is about an abandoned little boy searching a strange land for his long-missing mother. Instead of heart and feeling, “Pan” is stuffed full of special effects and big action set pieces designed to keep our attention away from the story’s shortcomings and attempt to dazzle the audience into forgiving all the scripts faults. It doesn’t work. There are at least two moments when I should have shed some tears for this poor little boy. Instead, I got flying pirate ships, bouncing warriors, bony birds, huge crocodiles and massive crystal caves. All of these visual treats are appreciated but they should have been surrounded by a story that made me feel something…anything. Instead, all I felt when the credits started rolling was relief.

“Pan” is rated PG for language, fantasy action violence and some thematic material. There are numerous battle sequences and fights. Some characters are shown being shot and bursting in a cloud of brightly colored powder. The idea of parental abandonment and child abduction might trouble younger viewers. There is also a death that is handled in a fantasy setting that could be troubling as well. Language is very mild.

It could have kicked off a very lucrative film series; but “Pan” will likely go down as a giant money pit. If the studio had taken as much care with the script as they did with the visual effects, they might have succeeded in creating a film both beautiful to look at and meaningful to watch. As it is, they got it about half right. The script is such a mess it even contradicts itself involving a major portion of the plot. It boggles my mind that so many people can work so hard on a movie, all with the intension of creating something good, yet manage to screw it up so royally. While not a catastrophe on the scale of Fox Studio’s “Fantastic Four,” “Pan” is certainly an opportunity missed by a wide margin.

“Pan” gets three stars, solely for the visuals, out of five.

It’s a big week with four new releases. I’ll see and review at least one of them.

Bridge of Spies—

Crimson Peak—

Goosebumps—

Woodlawn—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “The Martian”

Botanist and astronaut Mark Watney (Matt Damon) is part of a six-person crew exploring the surface of Mars as part of the Ares III mission. Commander Melissa Lewis (Jessica Chastain) is informed by crew member Beth Johanssen (Kate Mara) of an approaching dust storm that has intensified since the last weather update and may cause their return vehicle to topple over. Lewis orders the crew to head to the launch vehicle and prepare to return to their mothership Hermes in orbit. As they walk from a habitat module to the return vehicle, a piece of equipment is picked up by the wind and strikes Watney with such force that it carries him away from the others. Unable to see him in the blinding storm and receiving telemetry that his suit has been breached, Lewis makes the decision to leave him behind since it appears he is dead. The crew launches and begins the nine month trip back to Earth. Watney wakes up, injured but alive. He returns to the habitat and assesses his situation. He can’t contact Hermes or NASA since his communications equipment was destroyed in the storm. He is in a habitat designed to last 30 days with a limited food and water supply and he’s looking at a minimum of four years before the next mission is scheduled to arrive. Watney begins thinking of ways to extend his food and water supply. Back on Earth, Mars Mission Director Vincent Kapoor (Chiwetel Ejiofor) asks NASA Director Teddy Sanders (Jeff Daniels) to use satellites orbiting Mars to look at the Ares III landing site but Sanders refuses fearing images of Watney’s body on the surface would turn public sentiment against the space program. Kapoor asks an operator in Mission Control to redirect a satellite to look at the Ares III location and notices a rover has changed locations. NASA realizes Watney is alive and begin working on plans to send him supplies. Using his remaining supplies and repurposing the equipment to which he has access Watney does everything he can to stay alive and have the best chance at rescue.

“The Martian” is more than a science-fiction movie. The story wouldn’t be hugely different if the setting was in the wilderness and a lone character had to figure out how to survive with just his wits and limited supplies. While the potential wait for rescue would be significantly shorter, the basics would remain the same. That’s what makes “The Martian” a movie that appeals to those that like sci-fi and those that don’t, as shown by the large take at the box office. It is a film that focuses on one man’s struggle to survive in an environment that has several different ways it can kill him. While the locale is out of this world, the struggle is completely relatable.

Matt Damon is such an everyman he easily fits into just about any role. From a troubled mathematical genius to an amnesiac super spy to a stranded astronaut, Damon finds the humanity in all his characters no matter what insanity might swirl around them. His work in “The Martian” is no different. Damon plays Watney as a brilliant man, cool under pressure, but not someone that doesn’t have doubts about his chances from time to time. The strain of being alone takes its toll on Watney and Damon unapologetically shows us his fear and anger. It’s a brilliant performance on which the entire movie rides.

That isn’t to say the rest of the cast isn’t given a chance to shine. Large chunks of the story take place on Earth and on board the Hermes. As the characters deal with the pressures of figuring out a way to save their stranded comrade and the guilt of having left him behind, we see the kind of political, personal and public relations decisions that go on behind the scenes. There are hard choices that have to be made and difficult calculations on the worth of one man’s life. Is the risk of saving Watney worth the cost in materials, manpower and possible bad PR? It’s the kind of questions the real space program hasn’t had to answer publicly but I’m sure discussions about all the possible outcomes of missions have led to some heated debates. It’s that sort of real-world consideration along with the excitement and tension that make “The Martian” such a grounded story for a sci-fi movie.

“The Martian” is rated PG-13 for injury images, brief nudity and some strong language. We see Watney’s injury and his self-surgery to repair the damage. There are a couple of views of Watney’s bare backside. Foul language is widely scattered but the film does use its maximum allowed number of “F-Bombs.”

“The Martian” is based on a book of the same name by Andy Weir. According to an interview in the podcast “SciFi Geeks Club,” Weir says screenwriter Drew Goddard consulted him on certain aspects of the story and the movie is about 95% faithful to his book. That is almost unheard of in making books into movies. That kind of adherence to the source material may play some part in why “The Martian” is such a great movie. It doesn’t dumb down the science and it keeps the characters grounded with real emotion along with humor to keep the threat of impending death from making the movie too grim. It is well worth your time and money whether you enjoy science fiction or not.

“The Martian” gets five guitars out of five.

This week, there is only one wide release film and that’s the prequel story of Peter Pan. While I may see that visual effect extravaganza, there are some smaller films that look interesting as well. I’ll see and review at least one of the following:

Grandma—

Hell and Back—

Learning to Drive—

Pan—

Pawn Sacrifice—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “The Green Inferno”

Justine (Lorenza Izzo) is a freshman in college. She finds herself attracted to the charismatic leader of a social justice group named Alejandro (Ariel Levy). Jonah (Aaron Burns), a member of the group, hears Justine express her concerns for women subjected to genital mutilation in a class they both attend and invites her to the next meeting. At that meeting, Justine hears Alejandro outline his plans to stop a logging operation in Amazon that will soon wipe out a tribe of primitive indigenous people deep in the rain forest. Despite the objections of her father, a lawyer at the United Nations, Justine hops on a plane with several other students, Alejandro and his girlfriend Kara (Ignacia Allamand) and heads for the logging site. After a lengthy trip using a small plane, scooter rickshaws and boats, the group arrives. The plan is to chain themselves to bulldozers and trees using their cellphones to live stream everything to a hacked satellite feed on several environmental websites. The logging operation is protected by an armed militia. Justine can’t get her padlock to close and is held with a gun to her head by a militiaman. Alejandro makes a speech about how the world is watching and will react badly if he kills the daughter of a U.N. lawyer. Justine realizes she’s been set up to be the sacrifice of the protest. The militiaman’s cell rings and he is ordered to tell his men to lower their weapons and let the protesters go. Put on a plane by the state police, the group celebrates but Justine is still fuming about being nearly killed. Alejandro is unapologetic and continues to celebrate with the rest of the group. During the flight, the engine develops problems and the plane crashes, killing the pilot and a couple of others. Soon, the survivors are attacked by the primitive tribe with most of them tranquilized by blow darts and Kara killed by spears. Justine, Alejandro, Jonah and four other survivors are taken back to the tribe’s village. As they are walked to the village surrounded by tribespeople all covered in red body paint, the survivors notice mostly decomposed bodies on poles along with heads on stakes. They are being held by a tribe of cannibal headhunters.

The making of “The Green Inferno” was difficult as writer/director/producer Eli Roth filmed in the rainforest using an indigenous tribe that required several hours travel to reach. There were also problems with a torrential downpour wiping out a location and the added snag of a team of Christian missionaries arriving on the first day of shooting, trying to convert the locals and stop production of the film by blasting religious music from loud speakers. Compounding the shooting difficulties, the original production company had money problems forcing the release to be delayed a year. These are the kind of birthing pains that can make a great movie all that much more entertaining to watch when it finally sees the light of day. In the case of “The Green Inferno,” all the roadblocks to getting it to theatres could be viewed as an omen of what a difficult task it is to sit through since the film it is such a giant turd.

Every character in “The Green Inferno” is obnoxious and annoying to one degree or another. Justine is easily manipulated and a bit of a spoiled brat. Alejandro is a misogynist with a Napoleon complex that uses intimidation to keep his followers in line. Jonah is desperate for love and acceptance. He’s willing to overlook Alejandro’s shortcomings to be a part of a group. He also has a crush on Justine while she is lusting after Alejandro. The other non-native characters in the film each possess some trait or behavior that makes them just as loathsome. It is a group of people I would have happily seen die at the hands of their captors. The fact they all don’t is something of a disappointment.

Aside from their taste for human flesh, there’s nothing all that interesting about the native tribe. The two members of the tribe featured in the advertising, a one-eyed woman that appears to be in charge and a large man painted black with a yellow face and bone through his nose that acts as the enforcer, are actors while the rest of the tribe are actual natives. Roth treats the natives as some kind of homogeneous mass that largely moves together in the same direction with no individual doing anything to set itself apart from the rest of the tribe aside from a small child that appears to be interested in a piece of jewelry worn by Justine. This is likely done to give the audience some human connection to the local people and not just view them as mindless cannibals; however, Roth undermines that with a scene late in the film that shows the children of this tribe are just as deadly as the adults. It seems the writer/director/producer can’t decide on just what direction or tone he wants his movie to have.

“The Green Inferno” is rated R for torture, language, aberrant violence, grisly & disturbing images, brief graphic nudity and sexual content. Where to begin…there are stabbings, throat slashings, beheadings, dismemberments, people eaten alive, tree limbs through chests and heads, a guy walks into a spinning propeller, a woman has a spear thrown through her neck and her head, a guy while alive has both eyes gouged out and then his tongue cut off and they are all eaten as they are removed, three women are sexually violated by what looks like a large animal claw and there’s probably more that I just can’t remember. We see part of a man’s sex organs as well as a fully nude woman. None of it is sexual in nature. One character masturbates on screen with all of his bits hidden behind his leg. Foul language is fairly common.

Most of Eli Roth’s films have some level of gore in them. From “Cabin Fever” to the “Hostel” films, Roth can usually be counted on to deliver buckets of blood and guts. He opens the tap in “The Green Inferno” but what comes out fails to deliver the kind of ick factor films like this need. None of the beheadings, limb amputations or other disemboweling delivers the shiver up the back fans of this genre expect. Perhaps the location made it too difficult to use the best special effects to do the job right. Maybe the unlikable characters and slow-moving story made watching the atrocities less impactful than they might have been otherwise. Whatever the reason, the gore in “The Green Inferno” makes for only a mild visual diversion from what is otherwise a dull slog.

“The Green Inferno” gets one star out of five.

There’s only one movie in wide release this week and that’s “The Martian” with Matt Damon. I will definitely be reviewing it. There’s a second film that is getting a special limited one night release and that’s the first part of the live action version of the Japanese anime “Attack on Titan.” If you’ve seen the anime on Netflix then you know just how insane creating a live action version must be. The trailer looks pretty faithful to the style and look of the anime. I might just have to check it out.

The Martian—

Attack on Titan – Part 1—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “Black Mass”

James “Whitey” Bulger (Johnny Depp) is a violent mobster that runs most of the crime in South Boston. His brother William (Benedict Cumberbatch) is a state senator with no connection to his brother’s criminal doings. FBI agent John Connolly (Joel Edgerton) grew up with the Bulger brothers in the same low income project. Whitey even saved Connolly when he was getting beat up by a gang of neighborhood boys. Now stationed in the Boston office, Connolly believes he can use Whitey as an informant to get valuable information about the Angiulo Brothers, a powerful crime family with ties to the mafia. Connolly approaches William hoping he will talk to Whitey on his behalf. Initially reluctant, William does mention Connolly to Whitey. When they meet, Whitey is resistant to the idea of helping the FBI but figures he can use them to take out his rivals in the Italian mob. Connolly promises Whitey his gang will have a wide berth with the FBI as long as they aren’t involved with drugs and don’t kill anyone. Whitey provides the location of the Angiulo Brothers headquarters and the FBI plants listening devices to gather intelligence. Whitey then uses what is essentially protection from the FBI to expand his operations and fill the vacuum left by the dismantling of the Italian mob. As time goes by Connolly’s boss Charles McGuire (Kevin Bacon) and his assistant Robert Fitzpatrick (Adam Scott) notice much of the information attributed to Bulger is actually copied from reports given by other informants. Connolly, who never had any real control over Bulger, is actually giving the mobster information that is leading to the deaths of any FBI informant that gives the agency dirt on Bulger. Connolly’s life is spinning out of control and both Bulger and the FBI are putting pressure on him to deliver results.

Real life crime dramas, or those that feel like real life, have a special place in my heart. Watching the events of “The Godfather” or “GoodFellas” play out, getting to know the characters, seeing them enter into a life of crime believing it to be easily manageable and then finding out it is all consuming and the toll it takes on their relationships and sanity is, if done well, absolutely fascinating. Based on the book “Black Mass: The True Story of an Unholy Alliance Between the FBI and the Irish Mob” by Dick Lehr and Gerard O’Neill, Johnny Depp stars in “Black Mass” as James “Whitey” Bulger, the eye of the hurricane, the center of calm surrounded by chaos and destruction. While Bulger doesn’t mind getting his hands dirty from time to time, he leaves most of the death dealing to his associates. Bulger maintains an air of control and absolute knowledge, instilling fear in his underlings by making those he suspects of disloyalty disappear from the face of the Earth. Bulger is never to be questioned, teased, threatened or shown disrespect under threat of death. Depp is consumed by the visage of Bulger, displacing any resemblance to Capt. Jack Sparrow and Charlie Mortdecai and Tonto and Willy Wonka. This is not a man to be trifled with. This is evil with thinning hair and scary blue eyes. This may be the best character work in Depp’s career and he may be up for an Oscar.

“Black Mass” lives and dies on Depp’s performance and the film has plenty of health to spare. The rest of the cast also pumps life into the rest of the characters. Joel Edgerton, Benedict Cumberbatch, Kevin Bacon, Adam Scott and, in smaller roles, Julianne Nicholson, Dakota Johnson, Rory Cochrane and others flesh out parts with quality acting work despite limited screen time. The one scene Depp has with Connolly’s wife, played by Nicholson, could have been considered a bit of throw away business; however, the tension and implied threat by Bulger towards his FBI handler’s wife is so thick and menacing, it sticks out as a highlight of a film filled with memorable scenes.

Not all the best parts involve violence and threats of violence. Depp’s Bulger is a doting father in his own way. He has a son with Lindsey Cyr played by Dakota Johnson. He gives the boy some godfatherly advice about handling a situation privately. After all, if no one sees you do something, it didn’t happen. Bulger’s gentleness extends to his neighbors in South Boston, helping an elderly woman get her groceries inside her home and telling his thugs to make sure she has everything she needs. He also has a playful relationship with his mother, letting her win a few hands of Gin while sweetly teasing her about cheating. These moments of normalcy provide sharp contrast and welcome relief from the violence that permeates Bulger’s business dealings.

The entire film is a fascinating look at how sometimes law enforcement enters uneasy alliances with criminals. While Bulger did give the FBI some information that helped bust up the local Mafia, the film says he used his relationship with his former neighbor and now FBI agent to better his own criminal business. The story of how law enforcers and law breakers can make the line between them disappear is certainly troubling but it also creates a myriad of emotional conflicts and ethical compromises that “Black Mass” uses to turn the good guys into questionable characters and the bad guys into borderline heroes. While the story is fairly simple and easy to follow it weaves a complicated tapestry of loyalty and lawlessness and how one can lead to the other.

“Black Mass” is rated R for brutal violence, language throughout, some sexual references and brief drug use. There are numerous on-screen killings including strangulation, multiple gunshot wounds to the body and head shots as well as a couple of bloody on-screen beatings. There is one slang reference to oral sex as well as a slur calling someone a homosexual. There is a brief scene of a character snorting cocaine. Foul language is common throughout the film.

Johnny Depp had been a on a bit of a losing streak recently with less than successful films such as “The Lone Ranger,” “Transcendence,” and “Mortdecai” all losing money (and in the case of “The Lone Ranger,” a great deal of money). While he can always depend on the next installment of the “Pirates of the Caribbean,” films, due in 2017, to do well at the box office, Depp probably also needs a film that is a critical success to maintain his status as one of the most in demand actors in the world. “Black Mass” should be the critical darling that allows him to maintain his popularity among film executives. Its relatively low production budget of $53 million probably means a film that will turn a profit after worldwide distribution. This is all good news for Depp; but it also works out well for moviegoers since “Black Mass” is a riveting experience best seen on a big screen. And unlike most other releases at the local multiplex it’s a film you will think about after leaving the theatre.

“Black Mass” gets five stars out of five.

This week, hungry natives, friendly bloodsuckers and an older than average intern desire your attention at theatres; I’ll see and review at least one of them.

The Green Inferno—

Hotel Transylvania 2—

The Intern—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “The Visit”

Becca and Tyler (Olivia DeJonge and Ed Oxenbould) have never met their grandparents on their mother’s side. Paula (Kathryn Hahn) left home at 19, against her parent’s wishes, when she fell in love with one of her high school teachers and ran off with him. Her last interaction with her parents was ugly and she’s never talked about it nor has she spoken with them. Now divorced from Becca and Tyler’s dad, Paula is in a new relationship. The kids like her boyfriend and want them to be able to spend time together so they ask to visit their grandparents while mom and her boyfriend go on a cruise. Becca, an aspiring filmmaker, wants to video everything on their trip and turn it into a documentary. Arriving via train, Becca and Tyler are met at the station by Nana and Pop Pop (Deanna Dunagan and Peter McRobbie). They arrive at their grandparent’s farm house way out in the country with no cell reception. Nana is constantly cooking and cleaning in the kitchen and Pop Pop is doing chores around the farm. Pop Pop explains bedtime is 9:30 p.m. since they are old. He also warns the children they shouldn’t leave their rooms after bedtime. Wanting some more of Nana’s cookies, Becca tries to sneak downstairs to the kitchen an hour after lights out but sees Nana walking around the living room vomiting. Asking about it the next day, Pop Pop tells Becca Nana had a touch of stomach flu. Tyler sees Pop Pop putting something in a storage building away from the house. Investigating, he finds a table filled with soiled adult diapers. Nana explains that Pop Pop has incontinence and puts the diapers in the storage building and burns them in the fields later. The pair also sees Nana wondering around the house after bedtime naked and scratching at the walls. Pop Pop says she has a form of dementia called Sundown Syndrome and that’s why they shouldn’t leave their rooms at night. Becca is satisfied with the explanations but Tyler is suspicious that there’s more going on.

The last film directed by M. Night Shyamalan I saw was “The Last Airbender” in 2010. It took the Nickelodeon cartoon and turned it into a choppy and chatty mess. I had hoped after the disaster that was “The Happening” that Shyamalan would bounce back with his take on a cartoon; but sadly, it was quite the disappointment. I have to say I didn’t hold out much hope “The Visit” would be worth the price of a ticket and my time but fortunately the director that gave us “The Sixth Sense” and “Signs” appears to have found his groove again.

“The Visit” is being sold as a horror movie but once you see it, you’ll realize it is almost as comedic as it is scary. Sometimes the humor is generated intentionally like when Ed Oxenbould’s Tyler busts out some freestyle. Watching this cherubic white kid attempt to channel the spirit of Dr. Dre is a hoot. Other times the humor comes from the horror such as when the kids are playing hide and seek under the house and discover Nana is down there with them, crawling around and growling. When they all get outside, Nana giggles and tells them what she’s making for dinner then turns to walk in the house showing her skirt is ripped up the back and half her behind is showing.

Humor is scattered throughout “The Visit” and that’s quite a departure from some of the most recent works of Shyamalan. Both “The Village” and “The Happening” take themselves very seriously. Even “The Last Airbender” was devoid of the lightness and joy that made the cartoon so appealing. Perhaps some knowing winks at the weirdness of what is going on would have helped make those films somewhat more watchable.

The cast of “The Visit” all turn in stellar performances. Both Olivia DeJonge and Ed Oxenbould make their characters, written like stereotypical sitcom too-smart-for-their-own-good teenagers, rise above the cuteness of the script and actually show us some interesting people. DeJonge’s super artsy Becca is burying a lot of pain under the façade of her wannabe auteur. A scene where that is teased to the surface by Tyler is heartbreaking to watch as Becca comes to grips with the anger she feels over her father leaving the family. Oxenbould’s Tyler is dealing with some abandonment issues of his own. They present themselves as a germ phobia and his bravado when it comes to girls. Tyler also tells a story about a peewee football game that shines a light on how a child can connect two events and come to a conclusion of they are to blame for being left by a parent. While not as gut wrenching as Becca’s realization, Tyler’s pain is brought into sharper focus with the story. Both these young actors add a level of relatability to what is an otherwise fantastical situation.

While I enjoyed the movie very much there were some aspects of the story I found a little contradictory. It’s time for what I like to call “Giving Too Much Thought to the Story.” First, the grandparents live on a farm in the middle of the country in an area that doesn’t have cellphone service; yet, they apparently spring for broadband internet since the kids converse with their mother over the computer via Skype. There isn’t a desktop or laptop to be seen anywhere in the grandparents’ house but we are told they run a counseling service online. The kids never went to the site since they have no idea what the grandparents look like they are very connected to the internet so it would seem they would have at least checked to see if their grandparents’ pictures were posted. As the situation deteriorates, Becca and Tyler never give voice to stealing their grandparents’ car in an effort to get away. While Becca is supposed to be 15 and wouldn’t have her license yet, there aren’t many 15-year olds that haven’t logged at least a little time behind the wheel. Also, Becca is very smart as she is editing her video on her laptop as she is shooting it. Even with my little experience at video editing, I know it is far simpler to drive a car than to learn most editing software. And that’s been another edition of “Giving Too Much Thought to the Story.”

“The Visit” is rated PG-13 for disturbing thematic material including terror, violence and some nudity, and brief language. There are numerous scares in the movie including naked Nana scratching at the walls and running around the living room vomiting. The discovery of the dirty adult diapers is rather disgusting. A dirty diaper plays a big part in the film’s conclusion. We also briefly see a woman hanging from a tree and two bodies in a garbage pile. There is also a stabbing that is seen in bits and pieces. Foul language is wide scattered and used almost exclusively by Tyler.

Despite my lack of faith in director and script writer M. Night Shyamalan, “The Visit” delivers some quality scares and healthy laughs. It also knows how to mix and match the fright and humor to keep the audience guessing at what they will get next. It’s a winning formula that I hope Shyamalan is able to maintain and refine to put himself back on top. We need more quality scary films that also include some lighter moments just to keep the viewer off balance. This winning combination makes “The Visit” worth the trip.

“The Visit” gets five stars out of five.

This week, the highest peak, the lowest life, the hardest trial and a test of faith all come to theatre screens. I’ll see and review at least one of these films.

Black Mass—

Captive—

Everest—

Maze Runner: The Scorch Trials—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.