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Seventeen year old Adele’s life is changed when she meets Emma, a sapphire haired university student, and her path changes from adrift high school student to a woman discovering herself and sexuality in Blue is the Warmest Color. Beautiful and honest, Blue is the Warmest Color is a realistic love story. I find it quite hard to say what it is about without it sounding banal. Adele is a confused girl, unfulfilled in her life, trying to figure out what she desires. Then, girl meets girl, girl likes girl, girl falls for girl, and girl’s relationship with girl follows its destined course. In the meantime, girl comes to grips with her desire, sexuality and identity. But it is poignant, sweet, sad, unflinching, The more naive and inexperienced of the two is Adele, played by Adele Exarchopoulos. She does a wonderful job of being both unsure and youthfully headstrong. I enjoyed her character being so blase about pretenses and frivolity in the superficial. She is hilarious to watch eat food, Adele ravenously devours meals as if her appetite for sustenance is insatiable. Emma, played by Lea Seydoux, is the slightly older college student who Adele befriends, at first as a confidante and mild mentor, but soon that friendship evolves. Emma is free-spirited and confident without being pretentious or judgmental and Seydoux’s character warrants Adele’s infatuation. The film is raw, the sex scenes enthralling without being gratuitous and what you get essentially from Blue is the Warmest Color is a coming of age lesbian love story. More reviews of recent releases can be found at our website.

Based on the true story from 2009 of a cargo ship captain being hijacked by pirates off the coast of Somalia, Captain Phillips is film full of suspense. Tom Hanks plays Captain Phillips as he prepares the best a person can prepare for the inevitability of pirates attempting to take his ship ransom. Quickly the movie sets the foundation for Captain Phillips background, a captain who is doing a dangerous job, despite his wife’s wishes, because there would be a line of men willing. Simultaneously the foundation is set for the pirates, boat loads of Somali men volunteering to hijack a ship, because this is a somber reality of life with no true alternative for livelihood. The crew, Navy, and audience wait as Richard Phillips is put in the perilous position of negotiator and hostage. The pirates are never as brutal as they have to be and the American crew members are never as heroic as they need to be. Hanks does a more than adequate job as a sympathizer to the pirates, trying to get everyone out of the situation intact and alive. This selfless and heroic character is probably not accurate to the real Captain Phillips persona, but necessary as a counter view to the pirates’ story. I found myself identifying with the pirates, hoping they would have some sense, despite knowing the end to the story. This is thanks in part to the main Somali pirate, Muse, played by Barkhad Abdi. I am thankful he has received as many accolades as he has, though not a trained actor, he turns out a multi-layered character under tragic circumstances. This movie easily could have been a one-sided telling of the brutalities of the pirates, instead you get a multidimensional story that is more about the current effects of globalization than the thrilling encounter. More reviews of recent releases can be found at our website.

A magnificent and beautiful film to watch, The Great Gatsby captures the opulence but little else. I purposely did not reread the book prior to watching the movie, having last read it some ten years ago, wanting to give Baz Luhrmann as much leniency toward a successful interpretation as possible. Even still, I recalled dialogue and characters torn from the book and it sounded wrong. The storyline is simplified into a doomed and tragic love story when it is, in fact, more complex. I recall traveling with Nick Carraway to the parties, at first drunk by the wealth and extravagance. But, then, like Nick, disillusioned as the characters’ true faults become clearer as you are able to see past their lavish lifestyles, all the while feeling like an outsider due to the social divide. This growth is virtually nonexistent in the Baz Luhrmann invention. Carey Mulligan as Daisy Buchanan, captured the vulnerability and desperate desire for love without becoming some feeble caricature. Though I recall disliking Daisy because she was indecisive, self-absorbed and therefore almost seemed manipulatively aware of the trouble she centers. Mulligan is the only one who produces a fully thought out character; all other characters from F. Scott Fitzgerald’s novel are shells. Joel Edgerton’s Tom Buchanan is an arrogant brute throwing his stature and prestige around, but there is little else. Tobey Maguire does a good job as a narrator but his Nick Carraway is half-formed; pliable and weak instead of easy-going and optimistic though slightly naïve. Jay Gatsby and Leonardo DiCaprio are mystifying, but not the ruthless man, startlingly, unwaveringly obsessive toward attaining what he wishes. The sets and costumes are engrossing, intoxicating and wonderfully garish. The music is fun and modern yielding a transportive film. It is a great story, great film, but not the one F. Scott Fitzgerald wrote. More reviews can be found at our website.

A truly great movie is one that stays with you long after it is ended. A truly great movie is one that stays with you long after it is ended. The emotions and story unshakable; hours, days, weeks and 12 Years A Slave is such a film. From the moment the film opened on the first scene I was racked with anxiety. Not having read any reviews for 12 Years A Slave, I only knew it was fearlessly honest about the story of a free man from the North, kidnapped and sold into slavery in Louisiana. Such clear purpose and vision could only produce a story of unwavering fortitude such as this. Steve McQueen, the director, is an artist and true visionary for his unflinching portrayal of Mr. Solomon Northup’s story and the unending brutalities and injustices encountered by those in slavery. The knot that persisted in my stomach from start to finish is a direct result of his firm ability to never look away. I felt compelled to honor those who had endured such unspeakable horrors that were once their life by watching and also not looking away, likely Mr. McQueen’s goal. From the moment Mr. Northup is sold, as Platt, you hopelessly seek out for some person to be a refuge as he fights to survive. The story is beautifully told, never allowing you to fully become immersed in the slave’s life, never truly forgetting the freedom that was once had – with the use of flashbacks and remarks reminiscent of a previous life. No scene is wasted, no filler, no false emotions spurred from music, just the hard truth of one man’s life. The saddest truth is Mr. Northup’s story is unremarkable in comparison to thousands of other men, women and children forced and born into slavery. Every actor deserves not just a nomination, but an award, to honor their brave and ultimately successful choice to take on such an insurmountable task of each role. Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong’o, Sarah Paulson, Benedict Cumberbatch, Paul Dano, Adepero Oduye and the countless actors who I failed to list or those who played minor roles were impeccable and steadfast and a direct contributor to the movie’s achievement. If you are emotionally mature enough to endure such a dramatic, honest and truthful story then I implore you to set apart a day and watch 12 Years A Slave. A day is necessary to allow yourself to process such a magnificent film that is truly in a class of its own surpassing all other films released this year. I do understand if you do not, as the movie was incredibly difficult to watch. More reviews of recent releases can be found at our website.

Inside Llewyn Davis is a depressing comedy, a glimpse into a struggling folk singer’s life during one week in the 1960’s. The first half of the movie is slow as Llewyn ping pongs around the Village and New York, causing disruption everywhere he goes. Oscar Isaac unflinchingly plays the dislikeable title character a, sincere to a fault because it impedes upon his ability to be successful, freeloading folk singer newly solo due to the suicide of his duo partner Mike. Frustrated, dejected and broke, he leaves on a road trip to Chicago and the story’s components converge to a chaotic culmination one expects from an Ethan and Joel Coen film. Teeming with talent and thoroughly Coen, the movie is full of quirky characters of a beatnik persuasion. Unfortunately, with the rare exception, most portrayals are forgettable – Carey Mulligan, John Goodman, and Garret Hedlund included. Justin Timberlake is ultimately the least successful of the bunch and his casting is a misstep. His acting is an out of place self-aware parody of a folk singer from the 1960’s. With the exception of Oscar Isaac, Adam Driver, whom most know as the love interest of Lena Dunham’s character in Girls, is hilariously sincere and scene stealing in the minor role of Al Cody. Inside Llewyn Davis contains all the successful ingredients typical of a Coen Brothers motion picture but is lacking the charm that typically enamors viewers. It is artificially bleak, reliant upon post-production, and fundamentally contrived. More reviews of recent releases can be found at our website.

It is the mid-80s and the AIDS causing virus is swiftly become a concerning epidemic in America. Little is known about the disease, littler known is its treatment, and its latest victim is Ron Woodroof – a blue collar, hustler and straight-up Texas cowboy and he going out swinging hard, creating the Dallas Buyers Club. At a time when HIV was poorly understood and research to treat the virus was slow moving, in part by the FDA, diagnosis was a death sentence. With a startlingly low 30 day prognosis, Woodroof is just bullheaded enough attempt to outlive his prognosis, by any means necessary despite the legal ramifications. Based on a true story, Dallas Buyers Clubs tells of Woodroof’s quest for medication, bypassing regulation, by heading straight to Mexico. Along the way he sees a booming market of desperate people, and creates a members-only club with an unlikely business partner Rayon, a trans woman. Matthew McConaughey plays the machismo Ron Woodroof and his casting could not be more on point. Who else can play a Texas cowboy than Hollywood’s own leading man? His commitment to the character is obvious due to his physical transformation and withered frame of a deathly ill man. The role was made for him and that might be the problem – it feels like he is just being Matthew McConaughey with AIDS. The real star of the film is the trans business partner Rayon. Jared Leto is pure and true in his portrayal of the trans Rayon, albeit a bit hokey. He is transcendent, there is absolutely not a drop of Leto visible, not for even a fraction of a second. Once Leto’s character is introduced the movie takes a powerful step in the direction of captivating Oscar worthy cinema. In less capable hands this story could have easily been sappy, bland, and straight-forward. Its lack of insipidity is thanks in part to the relatively unknown script writers Craig Borten and Melisa Wallack. and director of the film Jean-Marc Vallée. In the end it is a human interest piece masked as a drama and worthy of your time and viewership. More reviews of recent releases can be found at our website.

Medical engineer Ryan Stone works feverishly to repair her shuttle hundreds of miles from the Earth’s atmosphere after a catastrophic collision with orbiting debris damages her likelihood of reentry and survival in Gravity. Watching this movie you want to use terms like cool and awesome because, technically speaking, this movie is magnificent and awe-inspiring to watch. The purely computer generated images of the vast abyss of space, a cusp of Earth’s surface and a gleaming sun astronomically farther away in the background is spectacularly beautiful. With limited knowledge of space and aeronautics, this is about as real as I can imagine, though I know experts disagree – I’m looking at you Neil deGrasse Tyson. Beyond the aesthetically pleasing set design, I find little else in this picture remarkable. While beautiful, its artistry in scenery makes the film detached and voyeuristic. Gravity starts almost immediately with the collision and has very minimal character development initially. These factors led me to be unable to suspend disbelief and truly immerse myself in the story nor become invested in the main character’s survival. Further, the plot is tired and worn out. Several movies of a similar plot precede Gravity - which is basically a disaster survival story in space (most notably 2001: A Space Odyssey and Apollo 13, among others). I can’t help but imagine the executives at Warner Bros. and how this film came to be: We need a hit film, a huge money maker, but something new, fresh! CGI, its all about that CGI, that’s what sells movies…we’ve just got to take it to the next level! Yeah, but we’ve done just about everything on earth… That’s the problem! On Earth…space! Brilliant, and we will make it in Imax, get even more money for the tickets. Yeah, but we have to get actors that get a huge draw in the box office. Who is hot right now? Robert Downey Jr.? Angelina Jolie? Nah, Jolie has something scheduled already. Downey probably won’t want to do it, he’s too improvisational, won’t be his style. We could get Clooney? Everybody loves George. But what about the girl? Who won best actress last year? Jennifer Lawrence? Too young. Meryl Streep? Too old. Natalie Portman? Not likeable enough. How ’bout Sandra Bullock? Sandy will probably do it. But who is going to take the risk of making this movie? It could tank. Well, he will have to be a relative unknown, but made a hit before, international, so hungry to break into mainstream Hollywood. Alfonso Cuarón? I think he wanted to be an astronaut when he grew up. Isn’t he shopping a script set in space? And the rest is history… In all seriousness, the movie never connected with me, while visually brilliant, it is lacking in all other regards. If you are into special effects and the sheer technical breadth of the undertaking of that crew, whom I commend, then I suggest this movie. More reviews of recent releases can be found at our website.

From the moment we open on Blue Jasmine the tension is palpable. Married to a real estate swindler, Jasmine is disgraced, broke and in the midst of a nervous breakdown, forced to stay with her sister in San Francisco. We learn of her affluence and downfall through flashbacks and neurotic story-telling to no one in particular – rehashing what was and has been, unable to come to grips with the truth of her situation. All the while we wait for the inevitable culmination as Jasmine continues to live beyond her means while staying with her sister, someone her husband defrauded. Jasmine drowns herself in vodka martinis and is absolutely loathsome and irredeemable as the dishonored socialite. The pain and turmoil is clear in every scene featuring Cate Blanchett, though in the end it is impossible to sympathize for she is as unethical as her former husband clinging to her Hermès bag while donning a Chanel coat, all deliberate costume choices. Ms. Blanchett really is immaculate in this film and carries it throughout. Though aspects of the character seem a bit repetitive in comparison to former roles, which might detract from her ability to garner wins in the ‘best actress’ category. Further, every role is perfectly casted, especially her sister Ginger, played by Sally Hawkins, and Ginger’s love interests in the movie, played by Louis CK, Andrew Dice Clay and Bobby Cannavale. With all Woody Allen films, the story telling is heavily reliant upon dialogue; and despite its California setting, Allen cannot shake the New York feel, no matter how brightly the movie was shot. It is a good movie with a superb tragic protagonist, a female in the grips of despair and how those around her react as it affects them. But, the pinnacle and conclusion and story itself is dissatisfying, as no true resolution occurs. We, as the viewers, discover Jasmine’s culpability and everything continues just as it began. Audiences will probably not go back to it and I doubt it will have the longevity of greater movies released this year. More reviews of recent releases at our website.

All is Lost is the movie that the Academy Award basically forgot this year. The seemingly hopeless undertaking of an older man’s fight for survival through unrelentingly dire circumstances after his boat’s hull collides with an abandoned shipping container at sea. Containing only 2 lines and a voice over, the movie is a triumph of cinematic skill and acting. All is Lost is minimalistic, having very few ‘tricks’ to rely upon, and still the film is captivating. It is beautiful, serene, despairingly expansive and gray. While some may feel Robert Redford’s portrayal of the nameless mariner to be dull and rife with improbabilities and inaccuracies I found his stoic nature to be appropriate and drawing. His resilience and resourcefulness despite the harrowing conditions would otherwise fail to immerse the audience. Instead we feel a part of the survival story, with bated breath, thinking ‘would I make it this long without giving up?’ The ending to All is Lost may be frustrating to some but I appreciate its ambiguity. What you take from the ending says much more about your true self than the movie’s actual conclusion, a deliberate choice done by the writer and director of the film J.C. Chandor. Trying not to spoil anything – I found that I am an optimist. More reviews of recent releases can be found at our website.

A beast of a movie, The Wolf of Wall Street, is a monstrous three hour Martin Scorsese creation that is absolutely enthralling and mesmerizing. Jordan Belfort is the repugnant stock broker who ‘steals from the rich and gives to himself’. An ostentatious super-rich man dripping in excess, achieved through deceit and fraud, and we follow along on his rise and inevitable fall. The whole movie is garish, every single wonderful second and screams of Scorsese style. It is not for everyone and certainly not the faint of heart given the prevalence of nudity, sex and drugs (oh, the drugs!). It is loud, bold, and just shy of ludicrous but equally hilarious, anchored by the performances of Leonardo DiCaprio as Jordan Belfort and Jonah Hill, Belfort’s right hand man Donnie Azoff. It is nominated for five Academy Awards, a sizable number worthy of pride for all those involved. Though, if it doesn’t win for at least one of the categories in which the picture is nominated, given the sheer undertaking of the film, then the whole award show is a sham because it deserves some recognition. I want to explain why, I want to reference scenes to prove my point, I really do, but if I did I would be spoiling the experience. So just watch it and see. More reviews of recent releases can be found at our website!

Mandela: A Long Walk to Freedom tells of the lengthy path toward ending apartheid and the racial war in South Africa The title of the Nelson Mandela biopic is befitting of the arduous task faced by Mr. Mandela. Mandela: A Long Walk to Freedom tells of the lengthy path toward ending apartheid and the racial war in South Africa spanning some seventy years from childhood to inauguration. Most people know Nelson Mandela as he was portrayed by the media later in life; the seemingly soft spoken man who emerged from prison, endearingly called Madiba by his people. The Nelson Mandela portrayed by Idris Elba in Mandela: A Long Walk to Freedom is a far more complex person, realistic and humanistic. Idris Elba does a commendable job at portraying Mandela though I found his accent to be a bit distracting. The acting is sublime by Naomie Harris who plays Winnie, Mandela’s second wife and I am disheartened that she was not formally recognized with a nomination for best supporting actress. There is something about the movie that feels slightly disconnected, as though character development was missing. I believe the issue with character development arises out of the inability to properly convey the urgency in needing change in South Africa. South Africa’s desperation and growth from apartheid is just as important as a character, and being a story about Nelson Mandela, the plot’s focus is lacking clarity. The story spans from Mandela’s childhood to inauguration, some seven decades, and in the process feels a bit slow moving, a highlight reel of sorts. It is a difficult task but marvelous attempt leaving the viewer with a good drama that feels like a historical documentary. In the end you feel as though you know Nelson Mandela but only part of the story of South Africa. More reviews of recent releases at our website!

Philomena is a triumph in storytelling and laudable film warranting all nominations garnered this year. An elderly Irishwoman, Philomena, is taken on a journey on a search to find the lost son she was forced to give up for adoption as a teen by a journalist on the decline in search of a story. The injustice of lost years, guilt, sin, and manipulation angers viewers as they follow Philomena and Martin along the journey. Judi Dench proves again she is worthy of the Academy Award for best actress. She is truly deserving of a win though I do not believe she will be victorious over the more blaring and conspicuous performances from the other actresses nominated this year. She is sweet as the titled Philomena with a constant undercurrent of sadness with a nuanced portrayal of a slight nature arguably caused by the emotional turmoil of experiencing her son being purloined as a teen. I am equally glad they recognized and nominated Alexandre Desplat for his original score for the film. It is understated and complementary; adding to the tone of the scenes instead of doing what most music does in films – forcing emotion that isn’t created organically. All in all, it is a compelling and attention keeping story with a clear direction and purpose. Philomena is a triumph in storytelling and laudable film warranting all nominations garnered this year.

A con artist and his con artist mistress, being blackmailed, after being caught conning, to con an unsuspecting politician in the hopes of catching the big time cons – this is the plot of American Hustle. Richie DiMaso is the FBI agent, hungry to make a name for himself, not happy with catching two small time crooks, Sydney Prosser (Lady Edith Greensley) and Irving Rosenfeld. Instead he uses these con artists to help him catch more in exchange for immunity from their crimes, continually upping the stakes. Not satisfied until he has several politicians and the mob within his reach. David O. Russell reminds me of the directors of the past that had a reliable inner circle of actors he recycled over and over in movies – clearly favoring Bradley Cooper and Jennifer Lawrence. Both talented actors who seem miscast in their roles as neither are able to fully become their characters. You, as the viewer, can’t help shake that it is Bradley Cooper being the hungry FBI agent Richie DiMaso and Jennifer Lawrence pretending to be the unstable wife Rosalyn Rosenfeld, the latter being far worse than the former. Amy Adams’ multilayered portrayal of the master con artist manipulator Sydney Prosser (aka Edith) steals the show in the role. Unfortunately, this is not particularly difficult given her costars’ performances. The character development is there for all roles, but just not brought to life. Better equipped, though lesser known, actors would have elevated this movie to a point where it was a runaway for the Oscars. I was absolutely charmed by the costume design by Michael Wilkinson and believe that his innate ability in capturing the late 1970’s helps captivate the audience, drawing them into this comedic drama. I am sure true fashionistas knowledgeable in style trends will point out flaws but the polyester clad bodies, exposed chests and prevalent curlers will be awesome fun for the ignorant viewer. All in all, it is a fun movie filled with good music and an entertaining story line as you root for unlikely con artist protagonists. Hoping they get out unscathed for their ‘happily ever after’. More reviews of recent releases at our website!

Adapted from the 2008 Pulitzer Prize winning play of the same name, August: Osage County is what you expect in an Oscar nominated film. The tale of the troubled Weston family told over the course of a few weeks in Oklahoma as a disjointed family comes together when the sole male and patriarch goes missing. Dysfunctional is almost an understatement when it comes to the Weston family’s problems. You name the depressing affliction and they have it. Incest? Yup. Cancer? Yup. Molestation? Yup. Suicide? Yup. Drug addiction? Yup. Divorce and Separation? Yup. Infidelity? Yup. Racism? Yup. Child Abuse? Yup. While this ‘everything but the kitchen sink’ mish-mosh of gloomy subject matter is not entirely the fault of the director, since it is an adaptation of Tracy Letts’ creation, it comes across as heavy handed and excessive in the film. The acting can partially be to blame, as it is as graceless as the plot. Meryl Streep does as she always does, she transforms. But you cannot shake that underneath the wig and make up it is still Meryl Streep playing the pill popping verbally abusive matriarch, Violet Weston. Julia Roberts does a better job playing the daughter who got away, Barbara. I believe the star is Julianne Nicholson, who plays Ivy, the dismissed and criticized daughter burdened with the task of caretaker of the house. Hopefully this film can act as a catalyst for her career because she shines, as does her partner in the film, Benedict Cumberbatch. The film reeks of “Academy Award” material as a product of the Weinstein brothers, but is undeserving of taking home the prestigious accolade in any category. Though fine as a dramatic film it is no tour de force. It lacks the longevity of presence and will probably be forgotten within a few years. Find more recent movie reviews at our website!

In Nebraska; Woody is a boggled drunkard convinced he has won millions. He embarks on a trip from Montana to Lincoln Nebraska to collect the millions, untrusting of the post, with his son David in tow acting as his guardian. The entire movie is bleak, portrayed entirely in black in white, though that directorial choice by Alexander Payne is not necessary. Casting, acting, script, costume and set design suffice to convey a dreary lower middle class existence. What starts as plot about a son attempting to take care of an unmanageable father quickly changes tone when they end up at Woody’s hometown. Bruce Dern is nuanced as the slightly senescent and doddering central figure of this film as Woody. I will not be surprised if he scoops up the Oscar for Best Actor in a Leading Role. His character is not likeable, and yet, you do not hate nor blame him because of his sincerity in conviction. Kate is far more disagreeable as his harsh, crude, judgmental wife. June Squibb is unwaveringly on point as this highly realistic personality. Both actors show a commitment to their craft in a subtlety that is typically lost in films nowadays – worthy of their nominations and even potential wins. As a whole, the average moviegoer will probably not choose to watch this film. It is far too realistic in subject matter, which is a shame. But, for those film buffs who appreciate a superb and fleshed out story, this movie will be a treat. Find more recent movie reviews at our website!