Being John Malkovich Review

Film-o-Rama Review by August Meyer

It is now time for a little retrospective movie reviewing, with Being John Malkovich at the center of this effort. Through the divine glory that is Netflix, I recently watched this film. I strongly advise anyone with a penchant for film or even a half-hearted interest in good movies to give this one a watch. In its relatively brief run-time, Being John Malkovich tackles more ideas effectively than ten normal films could even begin to hope to properly convey. It is simply astonishing how powerful, hilarious, and greatly thought-provoking this film proves to be.

Failing puppeteer Craig Shwartz (John Cusack) finally decides to give up on his dream and settle down to a desk job on the 7 1/2th  floor of a New York office building. While performing the duties of his boring filing job, Craig stumbles upon a portal to none other than the head of "famed actor" John Malkovich, or as Craig mistakenly refers to him; "that guy from that jewel thief movie". With the help of the office hottie who (married) Craig is head over heels in lust with (played by a never more confident and seductive Catherine Keener), the two set up an under-the-radar business of allowing paying customers entrance into the mind of Malkovich for exactly fifteen minutes at a time. Cameron Diaz plays Craigs extremely homely zookeeper wife Lotte, who develops a somewhat unconventional relationship with Keener; who will only be with her if she's "inside Malkovich" at the time. The plot takes some mind-bending turns that I won't spoil here, and ends in as poetic a manner as any of the great classics that have graced the silver (or in my case, laptop) screen.

The magic truly is in the dream-like combination of director Spike Jonze (in his directorial debut) and screenwriter Charlie Kaufman. If you've seen Adaptation or Synecdoche, New York, you'll know what utter brilliance to expect. Some of the ideas touched on in the film are as far fetched as one may find in a science fiction movie, as heartbreaking and tear-jerking as could be found in a serious drama, or as humanly, hilariously bizarre as could be found in a Woody Allen film. Through Jonze's masterful command of the screen and Kaufman's human awareness, the film takes each and every one of these concepts and puts them through the human perspective; making the ridiculous seem just as every-day as the other-worldly.

Being John Malkovich is an experience unlike any other. It goes places few films dare to go, and confidently soars from hilarious to mind-bendingly surreal from one instant to the next. Be prepared; you're not likely to see one like this again.

Author's Note: Being John Malkovich is available to watch instantly on Netflix Instant, and the author of this blog would like to urge you to watch it at your earliest convenience. Seriously, the subscription fee to this service is worth it for this film alone.

The Avengers Review

Film-o-Rama Review by August Meyer

Just over two weeks ago, one of the most successful films ever made was released. Just about every person I've spoken with has either seen the movie once, twice, or plans on seeing it as soon as they can. Without scaring some audiences away by pushing too heavily on niche-genre elements like science-fiction or hardcore comic book lore, the film appeals to a huge demographic of people. It's like Avatar all over again, but with more Robert Downey Jr. one-liners and less subtle references to the displacement of the Native American people. Much like it's monstrous-amounts-of-money-making-counterpart, The Avengers isn't exactly perfect.

The movie's got the "wow" factor, I'll give it that. The special effects are nothing short of brilliant, and blend perfectly with the action of the world around them. The fight-scenes (and there are plenty of them) don't seem contrived at all; a fresh quality to have among the Michael Bay/Michael Bay explosion-ridden knock-offs our theaters are usually filled with. Director Joss Whedon commands our attention with eye-catching moments and a healthy mix of humor throughout. This is one of the areas that the film shines in most; the balancing of humor and action. I can't think of one scene where a sense of overwhelming drama or hard-hitting action isn't met and relieved by some sort of well-placed slapstick or intelligent one-liner that is almost always effective at getting a good chuckle out of the entire audience. The Avengers, as odd as it may sound, is a genuinely funny movie. Just take a look at any of Joss Whedon's other works, and you'll see where this is coming from.

The acting is not as consistent as the comedy and action of the film, however. Chris Evans mucks around as Captain America and is more effective as an awkward lampoon of conservative America than he is as the unflinchingly heroic leader the comic books depict. Evans somehow manages to take a brilliantly written hero from a beloved series and turn him into some sort of an ignorant and cheesy mess of a character. Luckily, this is the only real low-point of the cast. Robert Downey Jr. is just as good as we've come to expect after two Iron Man films, and delivers his hilariously arrogant (and deservedly so) dialogue like a pro. The film is worth it for Downey Jr. alone, really, but the talent doesn't stop there. Chris Hemsworth plays Thor better than anyone else I can think of. He's got the look, the voice, and the swagger that one would expect from the God of Thunder. Mark Ruffalo (a replacement for Edward Norton's Hulk due to some creative-differences) does a stellar job as the new Bruce Banner, and is by far the best we've seen yet. He's reserved, awkward, and has a fiery anger pulled back just enough to make the scenes where he busts out of his normal-person clothes into a giant green fighting machine that much sweeter. The biggest surprise of the film is Scarlett Johanson's Black Widow. She plays her heroine with a sincerity and genuine vulnerability that comes completely out of the blue, and is a stark (pun intended) contrast to the butt-kicking, skin-tight-jumpsuit-clad S.H.I.E.L.D. agent she can bust out as quickly as she can the more sensitive side of her character. Jeremey Renner is just okay as Hawkeye. For a lesser-known Avenger and a relatively smaller role, he gets the job done. There's really just nothing too memorable about him; he doesn't get into the audiences head like Johanson does, or have our sides nearly split with laughter like Downey Jr.. In all honesty, he seems like just another generic, emotionless action-hero than anything. Samuel L. Jackson is supremely intimidating as Nick Fury, Director of S.H.I.E.L.D.. He's a veteran actor who's created some of the most memorable characters of all time, and he plays this role like he would a classic. The trenchcoat and eyepatch he dons are sure to become just as iconic as each of the Marvel heroes who headline the movie.  The only real "bad guy" of the movie is very effective in his role. Tom Hiddleston's Loki embraces his assured antagonist with just enough malice to make us root for his defeat. His performance is miles away better than his portrayal of the same character in "Thor"; some serious evolution of character has gone on, and the whole movie benefits from it. He also happens to have the best wickedly sinister evil grin that's graced the silver screen in ages. This is the stuff of comic book movie legend.

By far the best movie Marvel has pushed out to date, The Avengers is definitely worth a watch. It's not perfect by any means, but that really is part of the magic; The Avengers are known for their super-faults just as, if not more than they are for their super-feats. Joss Whedon brings to life a magnificent movie and a refreshing summer blockbuster that casual and die-hard fans alike are sure to enjoy. Be sure to stay after both the short cast credits (accompanied by some slick CGI) and the long, traditional credits. The final scene is the debris-covered cherry on top of the movie you'll be remembering fondly for a long time to come.

Jeff, Who Lives At Home Review

Film-o-Rama Review by August Meyer

This is one to think about. Jeff Who Lives At Home takes its relatively meager resources (a budget at around $7,500,000) and creates something wonderful. There's something to be said for a film that draws upon it's audience's emotions like this one does. Somehow it manages to be an effective comedy, drama, and philosophical journey. Think a less funny, more serious Big Lebowski.

I can't think of a more perfect role for Jason Segel. He plays the title roll in this friendly smack to the face of a film. Jeff, as you may have guessed by this point, lives at home. He's a thirty-something year old slacker who spends his days smoking pot, watching infomercials, and stinking up his mother's basement. It's this intense isolation that leads him to become the constantly ponderous thinker we see in the movie. His mother's basement evolves from a sanctuary for all things mediocre to a cannabis-filled underachiever's think-tank. The film starts out with a monologue describing the significance of M. Night Shyamalan's "Signs". Jeff meditates on how a string of seemingly random events can culminate into something beautiful and life changing. Jeff's life is this jumble of randomness, and he's looking for some meaning to make something out of it. That's exactly what happens when his mother sends him on an errand to fetch some wood glue. This carpenter's adhesive is the catalyst that sets into motion the chain of events that will give Jeff exactly what he's looking for, and is what drives this stunning reflection on the significance of the lazy mediocrity rampant in our day and age.

The cast is a kind of a dream team. Ed Helms and Jason Segel play off each other with a great combination of fierce animosity (mostly on Helms' part), and nearly-forgotten brotherly love. As Jeff's "successful" brother Pat, Helms' character sees himself as above the ever-positive pothead philosophy his little brother spouts. He does a wonderful job of  attempting to hide his fascination with Jeff's undying optimism, and just barely masking the bitter depression he harbors over what his life has come to. The emotional highs and lows of Helms' performance are really something. Susan Sarandon plays the pair's at-the-end-of-her-rope mother. She longs for the days where her family was together and her boys were cute. "What happened?", she reminisces to a friend at her nine-to-five grind. Sarandon does an excellent job of conveying the feelings of a forlorn mother who just wants to see her children, and herself, happy again. The subtle romance her character take part in is a nice touch, too. Judy Greer is a pleasant surprise as Pat's miserable housewife. Like Sarandon's character, she's just kind of done with it all. She's tired of the passive aggressive relationship she shares with her husband, her small apartment, and the person all of these things have turned her into. She's a scene-stealer, and a shining example of the brutal honesty that makes this film great.

Directors Jay and Mark Duplass put a smile on the faces of the audience I was apart of, and I imagine the same thing can be said for audiences across the country. The only thing I can really find to complain about the film is how brief it's stay on the screen is. It runs at a meager hour and twenty three minutes, but it really does make the most of it's time in front of audiences. It's a feel-good movie that strays away from Hollywood fluff, speaks to the quiet dissatisfaction of our generation, and toys with the idea that just maybe there's some sort of reason to the randomness of how we all fly about the universe. See it while you can.

Rise of the Planet of the Apes Review

Film-o-Rama Review by August Meyer

Strolling into the theater with a good friend of mine, I knew for sure that "Rise of the Planet of the Apes" was going to be a good time, but had understandably low expectations for the overall quality of the film. What with all of the recent action-movie blockbusters (*cough* Transformers, *cough*), I couldn't help myself from targeting the film with considerable cynicism. Luckily, I was in for a pleasant surprise...for the most part.

Rise of the Planet of the Apes is a direct prequel to the original, starring one of America's biggest up and coming movie stars; James Franco. Even though Franco's name headlined the cast, upon seeing the trailer for the movie months ago I found myself doubting his devotion to the film, thinking he had sold out in a way. I was absolutely positive it would not come within a mile of his powerhouse performance in 127 Hours, and his completely acceptable role in the first two Spiderman movies...let's just pretend the third one never happened.

As it turned out, my prediction was right. Franco's performance is stale, and without a doubt could be played by any number of generic actors. Channing Tatum would have sufficed. But it isn't the humans in the movie you should pay attention to; it's the apes. Andy Serkis's motion-capture performance as Caesar, the lead ape in the film, is ridiculously brilliant. He brings just as much powerful emotion and complex psychology to the role as he did with "Kong" in Peter Jackson's King Kong a few years back, and as "Gollum" in Jackson's Lord of the Rings trilogy. His beyond spectacular job should bring serious consideration from the Academy towards including such currently trending "non-live-screentime" performances in their annual awards ceremony from now on. If Serkis doesn't receive a nomination, it would be an unforgivable atrocity on the Academy's part.

Serkis isn't the only stellar human-ape-actor. The entire cast of motion-captured mammals deserves some major credit. Who knew watching a bunch of apes running rampant in San Francisco could be so well done and intensely entertaining?

Director Rubert Wyatt proves to audiences everywhere that even AFTER Tim Burton's disgrace of a remake, the Planet of the Apes saga is not over yet and leaves us itching for a sequel...a rare occurrence in today's film environment. The movie does what it set out to do effectively. It makes us think, and brings us on one hell of a ride while it's at it. Though the human cast is mediocre, the apes more than make up for it with shining excellence. And the fact that a certain character in the film fantastically delivers Charlton Heston's eternal words, "Get your paws off me, you damn dirty ape!", doesn't hurt either.

Super 8 Review

Film-o-Rama Review by August Meyer

Super 8 is not a movie unlike any we have ever seen. Rather, it a confection of multiple films, blended into one completely enjoyable mixture that perfectly suits our current movie season.

Through his prowess at the director's chair, J.J. Abrams brings forth a wonderful monster movie, with the heart of films of an era almost forgotten. With blatant notions of movies such as Stand By Me, E.T., and Cloverfield, an odd mix by anyone's standards, Super 8 accomplishes what it sets out to do...be a great, albeit slightly predictable film.

Abrams' attention to detail is almost uncanny...almost. The setting is beautifully quaint. Taking place in a 1970's suburb in Chicago, Super 8 follows the escapades of a group of children faced with a mystery none of them could ever begin to imagine alone, but some minor plot points feel a little underdeveloped. I will not go into detail here, being as it will give away certain parts of the movie, take my word for it that some things just don't seem to add up. As you may have seen in the trailers that have as of late been violently shoved down our throats through almost every media outlet, a train crashes and consequently explodes while "the gang" is filming a cheesy zombie flick in the middle of the night. What follows is a series of events that mostly involves this group of children riding around on their bicycles observing and quietly discussing the aftermath of this "accident". This entails a disgruntled and shady Air Force lieutenant arriving with a battalion of discreet soldiers, strange disappearances throughout their small town, and an unlikely, and undeniably adorable friendship that takes shape between the childhood innocence-ridden protagonist, Joe, and the local girl who everyone seems to have a crush on, Alice.

As the plot unfolds, we are drawn into a totally engaging storyline, but once the film reaches it's one hour mark, things start to fall apart...script AND story-wise. We completely expect what happens throughout the remainder of the film, although the inclusion of sleek and chaotic (in all the right ways) special effects is nice. No main character loses his or her life, and obviously *SPOILER ALERT*, the thing plaguing the town is a giant, albeit intelligent and kindhearted, Cloverfield look-a-like monster.

Super 8 is absolutely enjoyable and is a terrific popcorn flick, just don't expect anything amazing. J.J. Abrams and his pal Steven Spielberg bring a monster movie to theaters with a heart of gold; a welcome requiem from atrocious films such as "Something Borrowed" and "Fast Five". Do yourself a favor and watch it. Do yourself another by staying until after the credits.

Jumping The Broom Review

Film-o-Rama Review by August Meyer

Jumping The Broom is a frivolous, dim-witted, but undeniably fun movie. Posing as some sort Madea-esque, slightly serious wedding comedy with a half-hearted soul, Jumping the Broom comes off as insincere and superficial. With a cast that does nothing but leave much to be desired, the film doesn’t really pull anything off at all, aside from acting as a cheap escape for about two hours. With that, it shines, but that’s really not saying much with all of the other mediocre, yet entertaining movies currently released. What Jumping The Broom ultimately brings to the table is dull dialogue, completely forgettable characters, and an even more forgettable storyline. For a matinee, it’s passable, but for a full-priced ticket, don’t even think about it. Truth be told, you’ll get more for your money with movies like Fast Five…and even the dreadfully dumb Something Borrowed.

The Lincoln Lawyer Review

Film-o-Rama Review by August Meyer

Walking into a movie with virtually no expectations at all has it’s upsides, and it’s downsides. One of the upsides is movies like The Lincoln Lawyer. At first thought, the notion that Matthew McConaughey is actually in a decent movie this time around sounds absolutely absurd. But believe it. McConaughey gives such a powerful and surprising performance, that it just about redeems him for some of his past transgressions (i.e. Ghosts of Girlfriends Past and Fool’s Gold).

The Lincoln Lawyer kicks off with Mick Haller, a slick, hotshot lawyer keeping the dregs of society out of prison and on the streets, where he convinces juries they belong…for the right price. Maggie McPherson, played by the always fantastic Marisa Tomei, is his prosecutor ex, who is the single mother to their young daughter. Enter Louis Roulet, the spoiled rich boy accused of brutal assault who asks specifically for Haller to represent him, given his subjectively stellar track record with cases like his. At first this is all fun and games for Mick, who sees this as just another case, but one thing leads to another, and his life is consumed with lies, deceit, betrayal, and murder.

Although McConaughey delivers a commanding performance, it is the supporting cast that really makes the movie. Marisa Tomei brings a performance with comparable gusto and sensuality to her role in The Wrestler. William H. Macy and John Leguizamo also appear in small, yet satisfying roles that add a little extra oomph to this powerhouse of a movie.

The Lincoln Lawyer is in no way in the running for an Academy Award, but it does pack enough smarts and class to have movie-goers come out satisfied and itching for more. This film is a welcome reminder that not all movies have to sell their souls to fill theater seats. Fast Five on the other hand…