Category Archives: Reviews

“ParaNorman” reanimates stop-motion fun

With computer effects continuing to dominate the animated movie scene, it’s good to see an old-fashioned stop-motion animated picture on the big screen. Especially when said animated film features reanimated corpses, ghosts and other supernatural creatures.

Norman (Kodi Smit-McPhee) and his gang experience another fright in "ParaNorman"

Much like 2009’s Coraline, Laika‘s ParaNorman is a 3-D horror adventure based on a book (written by Elizabeth Cody Kimmel and illustrated by Ross Stewart). Norman (Kodi Smit-McPhee) is an unintentionally macabre little boy who lives in the equally morbid New England town of Blithe Hollow, which thrives off tourists’ curiousity about the witch hunts that took place there hundreds of years ago. Given its haunted history, Blithe Hollow is naturally filled with the spirits of those who have died with yet-to-be-settled business in the mortal world. And Norman has a sixth sense, which means he sees these ghosts as he walks to school, watches TV or performs in school plays.

You’d think such abilities would be admired, especially in a town like his. But instead, Norman is an outcast at school and a disappointment to his parents (Jeff Garlin and Leslie Mann) who spends most of his time watching horror movies while having conversations with his grandmother (Elaine Stritch), whose ghost sits on the couch behind him. When crazy uncle Prenderghast (John Goodman) gives Norman the task of breaking a witch’s curse (just after comically keeling over, no less), Norman’s talents are suddenly appreciated as he is the only one who can communicate with the ghost of the witch (Jodelle Ferland) who wants her revenge on the town that cursed her to an unjust demise.

Norman (Kodi Smit-McPhee) attempts to break the witch's curse in "ParaNorman"

Norman races up witch mountain, encounters a bunch of zombies and is eventually saved by his vapid older sister Courtney (Anna Kendrick), his chubby friend Neil (Tucker Albrizzi), Neil’s jock brother Mitch (Casey Affleck) and Alvin (Christopher Mintz-Plasse), the school bully. The whole thing turns into a Goonies-like adventure as this unlikely gang fights off zombies, evades the police and tries to break the witch’s curse before she destroys the town. But no matter how many years have passed since those horrific witch trials, it doesn’t take long for the people of today’s Blithe Hollow to wage a new witch hunt as these supernatural events become harder and harder to ignore. And that only complicates things for Norman, who is suddenly tasked with more responsibility than he’s ever known before.

ParaNorman is definitely safe for kids, even with darkly comical moments including a segment when Norman is trying to pry a book out of his dead uncle’s hands, resulting in an awkward dance between child and corpse. But the references to classic horror movies ranging from Night of the Living Dead to Halloween will keep older horror fans happy, as will the sometimes crude dialogue. The redemptive quality of the story (not only for Norman, but for the witch and her one-time oppressors) keeps things lighthearted amidst the whimsically dark atmosphere. And while CGI has worked for similiar movies such as Monster House, ParaNorman probably wouldn’t have been given such vibrant life had it not been done in the stop-motion style.

ParaNorman. Directed by Sam Fell and Chris Butler. Starring Kodi Smit-McPhee, Tucker Albrizi, Anna Kendrick, Casey Affleck, Christopher Mintz-Plasse, Jeff Garlin and Leslie Mann. Rated PG. www.paranorman.com.

“The Awakening” opens viewers’ eyes to hauntings of a different kind

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Robert (Dominic West) attempts to comfort Florence (Rebecca Hall) in "The Awakening"

There are many theories on whether or not ghosts actually exist and, if they do, what causes these lost souls to stick around rather than moving on. The idea of proving or debunking their existence has become the subject of numerous reality shows such as Ghost Hunters, where experimental scientific methods are used to investigate paranormal activities. The British film The Awakening (not based on the feminist novel by Kate Chopin) takes ghost hunting back almost an entire century as strange occurrences at a preparatory school for orphans culminate in the death of one of its students.

Florence (Rebecca Hall) has made a career out of using scientific methods to track ghosts. Only her methods have been effective in not only disproving hauntings, but also uncovering fraudulent mediums using hoaxes to prey on those looking to reconnect with loved ones who have passed on. Her dedication to the subject has made her a famous (or infamous, depending on who you talk to) author bent on proving that there’s no such thing as ghosts. But when Robert (The Wire‘s Dominic West), a teacher from the boarding school, asks Florence for her assistance with the reported ghost sightings that resulted in the death of one student, she agrees to help. After her initial hesitation, Florence is inexplicably drawn to the school, and especially one young boy named Tom (Game of Thrones‘ Isaac Hempstead-Wright).

Florence (Rebecca Hall) endures physical and emotional distress in "The Awakening"

After her first night at the school, Florence is able to unveil a prank by some of the students, and it seems that the mystery has been solved. But after she also exposes one teacher’s abusive disciplinary methods, she starts to experience unexplainable occurrences for herself. As it turns out she, herself, is haunted by the loss of her lover in World War I. But that doesn’t fully explain the odd sightings and flashbacks that become more and more frequent the longer she stays at the school. When she insists on continuing her investigation even after Robert and Maud (Imelda Staunton), the housekeeper, are convinced that the prank explains everything, Florence’s own sanity begins to be questioned. And she gradually begins to realize that it’s not just the guilt and grief of having lost her lover that is haunting her, but something from much earlier in her life that has been repressed for many years.

By the time she figures out the source of these ghosts, chaos has broken out for those remaining at the school while the students are out on holiday. And in the tradition of The Sixth Sense and The Others, there is a big twist (or should I say, “an awakening”?) as the film reaches its climax. But The Awakening‘s big surprise is not the same surprise found in those movies. Instead, this film takes things one step further, surprising the viewer yet again just when he thinks he has it all figured out. And after all the suspense leading up to the big revelations, it’s kind of like the uneasy relief you might feel if you pulled the sheet way to find that there was never anyone underneath after all.

The Awakening. Directed by Nick Murphy. Starring Rebecca Hall, Dominic West and Imelda Staunton. Rated R. www.cohenmedia.net.

Fantasy becomes romantic comedy reality in “Ruby Sparks”

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Writer’s block can be a tough obstacle to overcome, especially when you’re also lacking a muse for inspiration. But such is the case with Calvin (Paul Dano), a modern-day J.D. Salinger who was catapulted to the top of the literary world after dropping out of high school and writing one of America’s most celebrated contemporary novels. Now celebrating the tenth anniversary edition of his acclaimed book, Calvin feels ever increasing pressure from his friends, family, agent and publisher to break out of his reclusive spell and write another book.

Calvin (Paul Dano) hides from the product of his imagination in "Ruby Sparks" (photo by Merrick Morton)

Then Calvin suddenly starts having dreams about a cute redhead whose irresponsibility and character flaws make her all the more adorable. He begins putting these endearing qualities to paper and before long he realizes he’s falling for this imaginary girl. But when he wakes up one day to find the girl of his dreams in his kitchen cooking him breakfast, he thinks he has finally gone mad. Previously convincing himself that the mysterious appearance of women’s undergarments and other strange items have been the result of his dog digging through the neighbor’s garbage is one thing. But when there’s a living, breathing fictional character standing in front of you as if everything you’ve written about her has actually happened, that’s a little harder to explain.

But there she is. Ruby Sparx (Zoe Kazan, who also wrote the screenplay), the somewhat wild-spirited painter who sometimes forgets to open her mail. The girl Calvin’s brother (Chris Messina) says sounds unbelievable on paper, but who is unbelievably real when she is cooking him dinner a few days later. Once Calvin gets over the initial shock of his situation, he then struggles with how to handle such power. His brother suggests he have as much fun as possible with the scenario, pointing out that Calvin could make her boobs bigger. But Calvin takes the ethical route and decides to stop writing about Ruby.

Calvin (Paul Dano) and Ruby (Zoe Kazan) have a very real relationship moment in "Ruby Sparks" (photo by Merrick Morton)

As Spider-Man has taught us, with great power comes great responsibility. And when Calvin’s relationship with Ruby progresses into the inevitable stages of her needing more space and wanting to be independent, Calvin can’t help but “fix” the situation with a few quick clicks of his typewriter. But just like any real relationship with a real person, working through such times is never as simple as he’d like it to be. And even with the ability to change Ruby’s actions and personality traits, she is still human, which means she still sometimes has inexplicable mood swings, can be desperately needy and might just strip down to her underwear at a friend’s party.

In much the same way that Eternal Sunshine of the Spotless Mind (and, to a lesser degree, Total Recall) illustrated the philosophical struggles that come with the ability to pick and choose things such as human emotions, damaged egos and the natural progression of relationships (even under such unnatural circumstances), Ruby Sparks takes a similarly humorous look at the complicated subjects of human interaction and companionship. Like most any relationship, there are some fun times, some dark times and some mundane times. And even with the literal luxury of starting over, erasing the past or creating a new future, Calvin realizes certain things are inevitable and life often comes full circle.

Ruby Sparks. Directed by Jonathan Dayton and Valerie Faris. Starring Paul Dano and Zoe Kazan. Rated R. www.makerubyreal.com.

Gotham’s secrets arise in “The Dark Knight Rises”

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Bruce Wayne (Christian Bale) contemplates gearing up as Batman again in "The Dark Knight Rises" (photo by Ron Phillips)

From Gothamites’ speculation on who wears the cape and cowl to comic book and movie fans anticipating the next twist or dark revelation, Batman has always been a character of mystery and intrigue. Perhaps more so than any other movie in recent memory, The Dark Knight Rises is surrounded by the same kind of cautious speculation and protective tactics that have kept Bruce Wayne’s secrets safely hidden for more than 70 years. And much like those who speculate, but would rather not verify, that Wayne and Batman are one and the same, most of those waiting with fervent curiosity to see how this latest big screen adaptation will end would rather find out for themselves than be informed by a review such as this one.

With that in mind, The Dark Knight Rises sees a hobbling Howard Hughes-like Wayne (Christian Bale) seemingly retired from crime fighting eight years after the tragic conclusion of The Dark Knight. Wayne Enterprises is suffering as a result of Wayne’s reclusiveness, but Gotham City is in a time of peace thanks to the Dent Act, which has kept many of Gotham’s most violent criminals behind bars. Commissioner Gordon (Gary Oldman) struggles with revealing the truth about Dent, but realizes Dent’s legacy provides Gotham with the hero it needs. The struggle between keeping secrets or exposing the truth is naturally an ongoing struggle in the Batman mythos, but in The Dark Knight Rises it’s a heavier-than-usual topic in that practically no one is who they seem to be and almost everyone is harboring a darkness of his or her own.

Selina Kyle (Anne Hathaway) slinks her way into Batman and Bruce Wayne's life in "The Dark Knight Rises" (photo by Ron Phillips)

From the concern for Wayne’s personal well being that has always haunted his butler Alfred (Michael Caine) to the true intentions of Gotham’s newest (and perhaps most dangerous) villain Bane (Tom Hardy), these secrets gradually work their way to the surface (literally and metaphorically). Throw in a couple of new love interests for Wayne, including Selina Kyle (Anne Hathaway, who is never directly referred to as Catwoman, but whose sly, emotionless demeanor is all too familiar to the man who knows a thing or two about repressing feelings), and emotions arise in even more ways. But when the fate of an entire city and its citizens is at stake, these romantic interactions are a bit hokey and unnecessary at times.

Even with Batman, Bane and Catwoman, the real star for much of this film is Gotham City itself. Not the physical landmarks that make up the city (though they are also crucial to certain scenes), but the people of Gotham (including a hot-headed young police officer played by Joseph Gordon-Levitt whose past isn’t all that different from Wayne’s) and how they collectively cope with the anarchy that ensues when Bane obtains some of Wayne’s most destructive gadgets and plunges the city into a war zone. In fact, there’s a good portion of the movie in which Wayne/Batman is hardly seen, leaving Gotham to really show what it’s made of.

Although Bane doesn’t have quite the history with Batman as someone like the Joker, he has been responsible for some of the Dark Knight’s biggest physical and mental defeats. So when he and Batman do battle in The Dark Knight Rises, it is a truly tragic moment capable of sending chills down the viewer’s spine (while doing much worse things to the Bat’s spine). Hardy adequately captures both Bane’s physical brutality and his terroristic intellectualism as he relentlessly cripples Gotham for several weeks. But since Batman is such a big part of what makes Gotham the great city it is, I don’t think I’m spoiling anything by revealing that he does eventually return to save the day (though there is a huge flaw in his return that is hard to overlook).

Tom Hardy captures the intellect and brutality of Bane in "The Dark Knight Rises" (photo by Ron Phillips)

At the beginning of The Dark Knight Rises, many are still distrusting of Batman, holding him responsible for Dent’s death in The Dark Knight. But upon his return to Gotham, he now has an army of disgruntled police officers and other citizens following him into battle, realizing he is likely their last hope. He also has a new flying toy that Lucius Fox (Morgan Freeman) calls “The Bat” that plays a big part in Gotham’s fate. But, again, the most important things at play in The Rise of the Dark Knight aren’t the most obvious ones. Who lives and dies is almost irrelevant to who these people are at their core, and how their histories intertwine. Nolan definitely brings things full circle in The Dark Knight Rises, with direct references to Batman’s origin story from Batman Begins. But he does so in such a way that each time you think you’ve figured out what’s going on, you’re given another tidbit of history that makes the darkness that much clearer. And even though this is supposedly Nolan’s finale, he leaves many things open-ended enough that I can’t help but wonder if he has been keeping more secrets than we realized when it comes to the outcome of The Dark Knight Rises.

The Dark Knight Rises. Co-written and directed by Christopher Nolan. Starring Christian Bale, Tom Hardy, Anne Hathaway, Michael Caine, Gary Oldman, Morgan Freeman and Joseph Gordon-Levitt. Rated PG-13. www.thedarkknightrises.com.

“The Amazing Spider-Man” spins a somewhat darker new web for Spider-Man mythos

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Spider-Man (Andrew Garfield) reveals his secret to Gwen Stacy (Emma Stone) in "The Amazing Spider-Man" (photo courtesy CTMG./ImageMagick)

Though it does seem odd to already be re-spinning the Spider-Man web, there’s not much else to complain about in The Amazing Spider-Man. In theaters July 3, this reboot retells a familiar tale, focusing on different aspects of Peter Parker’s past to give it an entirely different feel than the Sam Raimi trilogy from just a few years ago. And while the origin story is mostly the same, director Marc Webb (whose last name alone could have qualified him to direct this film) seems to be more interested not only in who Peter Parker is, but why he does some of the things he does and, more importantly, why he becomes Spider-Man.

The new Spider-Man is The Social Network‘s Andrew Garfield, whose gawkiness makes the teenage Peter Parker’s awkwardness all the more apparent. But Garfield’s take on Parker is more of a rebellious outcast than a social one. He stands up to the hallway bully, he rides a skateboard and he catches the attention of the equally dorky cutie Gwen Stacy (Emma Stone). The nervous tension between the two is quite adorable, and it only gets more strained when Gwen learns of Peter’s secret.

Dr. Connors (Rhys Ifans) doesn't realize the side effects of the otherwise positive results (photo by Jaimie Trueblood)

But perhaps the most interesting difference between Raimi’s and Webb’s take on Spider-Man is how he comes to acquire his powers. In The Amazing Spider-Man, Parker is trying to find out why his parents left him with his Uncle Ben (Martin Sheen) and Aunt May (Sally Field) at a young age, and why his father’s past is so mysterious. A science wiz himself, Peter uncovers a secret formula his father had come up with that could be incredibly positive or devastating, depending on who else possesses this knowledge. In order to find more answers, Peter tracks down Dr. Curt Connors (Rhys Ifans), a prominent Oscorp scientist who once worked very closely with Peter’s father. It is upon a visit to Oscorp that Peter is bitten by a genetically-enhanced spider (also the result of his father’s previous research). Though Connors seems like a trustworthy person to reveal his father’s secret to, Connors’ interest is not purely professional as it could result in the regeneration of his missing limb. And when Oscorp decides to shut down Connors’ research efforts (while claiming all of his progress as its own), Connors resorts to drastic measures that result in a Godzilla-like rampage through New York City.

Stylistically, The Amazing Spider-Man is just as impressive as Riami’s interpretations, but in very different ways. Spidey’s costume has a more sleek appearance (thanks to Cirque du Soleil designers) and even though there’s no wrestling match against Randy Savage like we saw in Raimi’s first film, Peter’s decision to wear a mask is inspired by luchador imagery. Though all of his powers aren’t genetic this time around (Peter actually makes the wrist-worn web slingers, as was the case in the original comic book story), it is interesting to see Spider-Man’s behavior and mannerisms becoming more and more like those of an actual spider. Webb continues to play on the natural tendencies of spiders, as well as Connor’s lizard-like traits, as much of the action takes place in subterranean sewers (a natural urban habitat for spiders and lizards). But whether it’s underground, on street level or high above New York skyscrapers, The Amazing Spider-Man has some, um, amazing stylistic shots, including some very Nosferatu-like shadow play in the sewers.

Spider-Man's luchador-inspired look was designed by Cirque du Soleil (photo by Jaimie Trueblood)

To make Parker/Spider-Man’s journey for self discovery all the more complicated, it turns out that Gwen’s father (Denis Leary) is also the police captain who thinks Spider-Man is a menace rather than a hero. But despite Captain Stacy‘s attempted smear campaign, the rest of New York recognizes Spidey’s heroism and rallies behind him in his final battle to save the city (and Gwen) from the Lizard’s evil plot to turn everyone into monsters like the one he has become. Such an empowering gesture is not lost on Peter, an outcast not used to having the support of so many people, especially when he’s dressed in a skin-tight outfit and swinging from skyscrapers and cranes.

The Greek-like comedy and tragedy that have become woven into the Spider-Man mythos remain intact here, and Webb really seems to have fun with the interaction between the characters and Peter’s attempts at understanding and harnessing his newfound powers. None of the characters are completely good or evil, which adds a sense of realism to the otherwise appropriately comic book-y tone. And with a closing-credits hint at who Spider-Man’s next opponent will be, it seems that a new Spider-Man franchise has been born (at least until someone decides it’s time for another reboot or whatever).

The Amazing Spider-Man. Directed by Marc Webb. Starring Andrew Garfield, Emma Stone, Rhys Ifans and Denis Leary. Rated PG-13. www.theamazingspiderman.com.

Ted brings Seth MacFarlane’s potty humor to life on the big screen

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If you’ve seen the trailers for Ted, you’re going to find this movie hilarious. If you haven’t see any trailers for Ted, your going to find this movie ridiculously hilarious.

Ted is a story of a man named John (Mark Wahlberg) and his lifelong friend Ted (Seth MacFarlane). After receiving a teddy bear for Christmas, a 12-year-old John makes a wish on a magical shooting star that brings Ted to life. It’s weird for everybody, but soon enough the world accepts that he’s a talking, walking teddy bear. And then the real fun begins.

Ted (Seth MacFarlane) and his best buddy John (Mark Wahlberg) in "Ted" (photo courtesy Universal Pictures/Iloura)

Ted is John’s best friend (“Thunder buddies for life!”). But when John grows up and meets a girl (Mila Kunis), tensions arise and John must choose between his best friend and his best girl. Just as MacFarlane’s animated shows such as Family Guy and American Dad! are intended for adults, Ted is not for kids. Yes, it has a talking teddy bear. But this teddy bear has a dirtier mouth than George Carlin. He’s crude, brash, rude and utterly hilarious. But he’s not for kids, hands down.

Seth MacFarlane co-writes, directs and stars in this movie, so fans of his work should know what to expect. For those of you unfamiliar with his work, this movie is still highly recommended as good old fashioned slapstick, combined with smartly written vulgarities and poop jokes. Trust me, it’s a lot funnier than it might sound. I’d even venture to say that Ted might be this summer’s funniest movie.

Ted. Written and directed by Seth MacFarlane. Starring Mark Wahlberg, Mila Kunis and Seth MacFarlane. Rated R. www.tedisreal.com.

“Magic Mike” reveals more than just hard bodies and party lifestyle

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Tito (Adam Rodríguez), Big Dick Richie (Joe Manganiello), Adam the Kid (Alex Pettyfer), Dallas (Matthew McConaughey, Magic Mike (Channing Tatum), Tarzan (Kevin Nash) and Ken (Matt Bomer) offer a unique salute in “Magic Mike” (photo courtesy Warner Bros. Pictures)

If it seems like Channing Tatum was made for the role of Mike Lane in Magic Mike, it’s because he was. Before he was the charmingly chiseled star of chick flicks, dramas, comedies and action movies, he spent some time on the stage of a Tampa strip club. And since this ultimate girls-night-out indulgence is about an exotic dancer starring in a male revue at a Tampa strip club, this truly is the role Tatum was meant to play (mostly because he already has).

But as is the case with most strippers (male or female), dancing is just a means to an end for Mike, who hopes to utilize his talents as a furniture designer to get out of the club world before it’s too late (and before he’s too old). And when he meets Adam (Alex Pettyfer), a good-looking kid struggling to secure an income while freeloading off his sister (Cody Horn), it seems like it’s only a matter of time before Adam replaces Mike (already in his 30s, which is ancient in this world) as the star of the show. It looks like one big cheesy cliché, and it is in many ways. But somehow it’s not as gratuitous as it seems, with intriguing characters and plot that have depth while remaining superficial enough for those looking for a bachelorette party without needing a stack of ones.

Mike (Tatum), Brooke (Cody Horn) and Joanna (Olivia Munn) have an awkward moment in “Magic Mike” (photo by Claudette Barius)

What I didn’t realize before seeing Magic Mike is that it’s directed by Steven Soderbergh, who previously worked with Tatum on 2011’s Haywire (read my review here). And just as he’s done with the Ocean’s Eleven series, Traffic and other films, he handles this ensemble cast (Matthew McConaughey, Matt Borner, Joe Manganiello, Gabriel Iglesias, Adam Rodríguez, Kevin Nash) rather adeptly. But given the subject matter, Magic Mike strikes a balance between comedic ridiculousness and the grim realities of a man who works odd jobs by day, but whose professional life (and social/sexual escapades) revolves around a dangerous and empty lifestyle.

That being said, Magic Mike never falls into the typical stripper movie trappings of getting too depressing. Sure, Adam (usually referred to simply as “The Kid”) gets caught up in the lifestyle while also becoming the favorite of Dallas (McConaughey), the former dancer now running the show. And while Mike’s charm allows him to work such magic as the occasional threesome with his regular booty call (Olivia Munn) and working roomfuls of horny women into a frenzy, he struggles to maintain any meaningful relationships or achieve his real creative passion. But we’re still talking about male strippers here, so even if seeing a guy shave his legs for the first time and put on a patriotic thong wasn’t funny enough on its own, Soderbergh and his cast deliver such scenes with enough lighthearted comic relief to counter the otherwise depressing reality of it all.

Kevin Nash as Tarzan in “Magic Mike” (photo courtesy Warner Bros. Pictures)

Not that most people will be paying much attention to him, but Nash‘s performance here is about as good as his last few in-ring showings (which is to say that he has a hard time keeping up with the moves of the much younger and more athletic guys around him). But given his character Tarzan’s obvious age difference and his predisposition for an occasional overindulgence, Tarzan’s tear-away pants fit Nash pretty well. And as the layers are gradually peeled off the nervous chemistry between Tatum and Horn, we see that opposites really do sometimes attract, especially when they realize they actually have similar interests (and not just a love for breakfast food). So don’t let Magic Mike‘s outer appearance fool you; once you see what’s underneath it’s a lot more than just hard bodies and fast living.

Magic Mike. Directed by Steven Soderbergh. Starring Channing Tatum, Alex Pettyfer, Matthew McConaughey and Cody Horn. Rated R. magicmikemovie.warnerbros.com.