Jake’s Review of Crimson Peak

Director Guillermo Del Toro is widely known for his crafty and artistic vision on dark or relatively dark films. He also clearly has an eye for fiction and fantasy. What I’m starting to gather is that he has great concepts and ideas, but when it comes to working out the kinks and details of his story, not all comes together. His largest claim to fame (for those who have seen it) would be Pans Labyrinth. However, he did give us a few hits with the Hellboy films, bookending Pans. The Devils Backbone was well received and Pacific Rim had it’s moments, but all in all I think we’re waiting for him to give us this master class work that we all know he has in him (again exclude Pans). Crimson Peak unfortunately doesn’t give us that said masterpiece. Hopefully one of the dozen projects he works on will turn out to be the diamond among all the, not necessarily ruff, but say, metal alloy. Still pretty and looks good, just not the highest quality we all know is capable of being produced.

That being said, his visuals in Crimson Peak are undoubtedly diamond status. Everything on the actual grounds of Crimson Peak, as well as the nineteenth century setting is captured with great sets, costumes, make up, and overall crisp and clear effects. The entire film is very visually appealing to the eye, something straight out of a painting even. Like previously mentioned, the movie is very moody in its lighting, set design, and captures Del Toro’s iconic gothic feel. If he’s mastered anything, its that.

Other than perfectly capturing the gothic and dark tone of the film, there are a few issues I have overall. The ghosts, as crafty as they look, they aren’t scary. I went in to the movie expecting a drama with horror elements to it, and thats what I got. But even still, the story isn’t anything new or something we’ve never seen before. The new things Del Toro tries to bring to the table are either not given to us enough, or could simply be taken out of the story entirely. Without giving examples due to spoilers, there are just simply a few components to the film that could be exempt from the story and virtually nothing would change. I recently watched an interview with Del Toro, and it seemed that he had a specific vision for the movie, which confuses me even more so. It feels very misguided in its story, and as far as structure goes, the first act, although necessary, does not flow with the following two acts very well at all. They almost feel like two entirely different movies. The film undoubtedly picks up upon its second act in terms of story, as well as getting a look at these ghosts so often brought up. Like the set and costumes, the ghosts have a very unique look to them too.

Like this years action extravaganza Mad Max, the ghosts are given a pretty vibrant and almost gooey red to go along with the color scheme and stick out to the viewers. I enjoyed this, but it still doesn’t do enough to scare you. Despite unoriginality, its still interesting and layered. Just told a few times before. There are many mysteries to keep you hooked throughout, and it unfolds in a decently paced fashion. This unfortunately leads to another flaw. Parts of the story are revealed to the audience here and there, but a lot of it can be foreseen, so when the information is no longer a mystery, the outcome is not nearly as exciting as it should be. It’s almost like beating a video campaign for the third time. It’s enjoyable and exciting, but you already know whats coming.

But I will say this, Jessica Chastain is quickly cementing herself as one of the best actresses working today. Nothing Oscar worthy in this film, but what it does do is add to her resume of well acted roles. She’s been nominated before, but expect her name to rise very quickly to the Hollywood “A” list. Her character Lucille Sharpe is a troubled woman with a rough past, but very clever in her plotting ways. Her backstory is fascinating and adds a lot to her already compelling character. Definitely the most intriguing and well acted in the film. Her brother Thomas Sharpe, played by Tom Hiddleston does a good job here as well. An unsuccessful entrepreneur of sorts, traveling from town to town with no buyers or even interest, is filled with desperation and passion as well as a close connection with his sister. The two actors have good on screen chemistry, and each add to the mysteries of the story with their acting. Our protagonist is Edith Cushing, played by Mia Wasikowska, who marries Thomas Sharpe and moves with him to Crimson Peak and is immediately curious of its creepy ways. She has her moments as well, in fact, its really just Charlie Hunnam who I wasn’t a fan of. He really needs to work on his accents. His good looks will only get him so far. He plays Dr. Alan McMichael who grew up with Edith and has a love for her before and after she is swept off her feet by Hiddlestons character. He isn’t bad, but damn it lose the accent.

Overall the all have good on screen chemistry and play their parts from decent to very well. The main flaw is the story itself. The writing isn’t overall bad, the plot and backstory as well as the characters are all layered and interesting. It’s mainly just a tale we’ve all seen or heard before with an identity crisis. Other than the gothic eye candy, Del Toro’s Crimson Peak lacks anything original, but is still an enjoyable work of cinema nonetheless.

Rating 7/10 

October 29, 2015 by Andrew Auger Categories: ReviewsTags: 7/10, Charlie Hunham, Guillermo Del Toro, Horror, Jake, Jessica Chastain, Mia Wasikowska, Review, Romance, The Middle Seats Season 4, Tom Hiddleston Leave a comment

Andrew’s Review of The Intern

A common criticism of director Nancy Meyers’ films is that they take place in a reality that is separated from, you know, reality. It’s a criticism I can certainly buy into, as my biggest complaints with films such as Something’s Gotta Give and It’s Complicated is that they are films that consistently divorce themselves from character consequences and conflict in return for a milquetoast, watered-down representation of upper middle-class society. These films have their place in our film history, but not in my heart.

Unfortunately, The Intern is Meyers’ most egregious violation of that critique yet. The film is built around the relationship between an elderly retiree looking for purpose in the world and his adventures with his new fresh-faced, quirky “I ride my bike inside the office” boss looking for guidance in the workplace. The Oscar-winning combo of Robert DeNiro and Anne Hathaway embody the two roles with a dignity that the writing does not afford them. This is a decidedly light, mushy film without much in the way of emotional substance or realistic writing, but the leads don’t let that drag them down with the ship.

To be more specific about the story, DeNiro is Ben, a 70 something cheerful fellow who spends most of his days looking for ways to spend most of his days. He’s happy, but without direction now that his career has come to a close and his wife’s life has ended (in fact, plenty of his friends lives have come to an end, as punctuated by a number of funerals that he attends). Looking for a fresh start, Ben applies to the “Senior Intern Program” at About The Fit, an interactive, social media based fashion retail company that started as a small idea from Jules (Hathaway) and quickly grew into a small empire over the course of just a few years. Jules is reluctant to take Ben in as her intern, but things are starting to get rocky for her, and she finds comfort in the elder statesman’s wisdom and optimism.

You can pretty much tell where The Intern is going from here, as Meyers takes the rest of the time to dwell on various plot threads about the two characters that somewhat intersect with each other in not all that convincing ways. Ben finds time to flirt with the office masseuse (Rene Russo), Jules spends time with her stay-at-home husband Matt and their precocious child Paige (Anders Holm and the adorable JoJo Kushner), Ben spends time with the child and husband, Ben runs an errand, Ben and Jules talk about the deep issues of life. Much of it is highly episodic and feels sitcom-ish, and none of it is terribly compelling.

That wash-rinse-repeat touch that Meyers brings to the story carries over to the film’s main themes. For example, did you notice how in this review I keep mentioning Ben’s age? Well The Intern tries to dwell on that dichotomy between old age and new age but never gets to a point where it’s interesting. Sure, Ben can wear a suit to a job environment that doubles for Hipster Central, and sure his interactions with other people are certainly more formal than his practically diapered counterparts, but what makes that any more interesting than any old versus new conflict we’ve seen before?

The cast does what they can with this material. DeNiro and Hathaway are both seasoned vets at this point, and neither seems to be phoning this one in when they certainly could have gone down that route. It helps that they have excellent chemistry together, and the timing of their interactions feel lifelong. Unfortunately, Ben and Jules exist in a sterile, devoid of conflict universe. In Meyers’ The Intern, there are no real people of color, the rules of reality do not apply (especially in a ridiculous sequence that feels like if Ocean’s 11 met Meet the Parents), and any major, potentially life-damaging issues can be tidied up with just the tightest of Christmas bows. Maybe I was looking for realism in the wrong place, but even the glass confines of About the Fit’s office feel cold and fake. The Intern is not funny enough or emotional enough to fight through its artificiality. Ben and Jules are simply not real people, no matter what the stars behind them have to say.

Rating: 4/10 

October 24, 2015 by Andrew Auger Categories: ReviewsTags: 4/10, Andrew, Anne Hathaway, Comedy, Nancy Meyers, Review, Rober DeNiro, The Intern 2 Comments

Jake’s Transcribed Review of Sicario

SICARIO. THE MOVIE TRAILERS OFTEN TOLD US THAT IN MEXICO, THE WORD MEANS HITMAN. BUT I HAVE A FEELING THAT FOR AMERICA, IT’S GOING TO MEAN SOMETHING MUCH DEEPER. THE MOVIE FOLLOWS KATE MACER (EMILY BLUNT) ON HER MISSION TO WORK FOR THE HIGHER UPS AND HELP END THE WAR ON DRUGS IN AMERICA. SPECIFICALLY BETWEEN THE U.S. MEXICO BORDER. BUT WHEN OUR LEAD CHARACTER IS LEFT IN THE DARK ON A LOT OF THE ASSIGNMENTS, IT SOON BECOMES CLEAR THAT NOT ONLY IS SHE IN OVER HER HEAD, THERE MAY BE AN OVERLYING REASON. THE MOVIE IS VERY DARK, VERY ATMOSPHERIC, AND HAS MANY COMPONENTS TO ITS HEAVY PREMISE.

DIRECTOR DENIS VILLENEUVE IS SLOWLY BECOMING ONE OF THOSE TRADEMARK DIRECTORS. TARANTINO HAS GREAT DIALOGUE, TRUNK OF A CAT SHOTS, AND A FOOT FETISH. SCORSESE LIKES VOICEOVERS FREEZE FRAMES AND TRACKING SHOTS, AND FINCHER LIKES TO TRACK THROUGH OBJECTS LIKE WALLS, PLAY WITH THE LIGHTING AND DARKNESS OF A SCENE, AND UNHAPPY ENDINGS. VILLENEUVE IS QUICKLY BECOMING A MASTER OF INTENSITY AND PLAYING WITH A STORY’S MISDIRECTION. HIS OPENING TEN MINUTES MADE ME ACCOMPLISH THE NEAR IMPOSSIBLE FEAT OF PUTTING MY CANDY DOWN, AND HIS LAST TWENTY FIVE MINUTES WERE SOME OF THE MOST HEART POUNDING, ARM REST CLENCHING MINUTES I’VE RECALLED IN A LONG TIME. HERE’S A BRIEF CLIP OF SOME OF THE INTENSE ACTION. AND WE CAN’T FORGET TO MENTION THE CINEMATOGRAPHY OF TWELVE TIME OSCAR NOMINEE ROGER DEAKINS. LETS JUST SAY IT WOULDN’T EXACTLY BE AN UPSET IF HE GOT THAT LONG TIME AWAITED OSCAR FOR THIS FILM. ONE STAND OUT SCENE THAT GOES UNDERGROUND CAN’T GO WITHOUT MENTION. I WAS VISIBLY HUNCHED OVER IN MY CHAIR DUE TO THE FRAMING OF AN UNBELIEVABLY WELL SHOT CLAUSTROPHOBIC SCENE.

NEWCOMER TO THE SCREENPLAY SCENE IS ACTOR TAYLOR SHERIDAN. HIS WRITING FOR OUR THREE LEADS IS EXTREMELY WELL CRAFTED, AND HIS CAPABILITY TO QUESTION OUR MORALS AND HANDLING OF CERTAIN SITUATIONS IS, BY THE END, OUTSTANDING. THE CHARACTER DEVELOPMENT IS PURPOSELY AND MASTERFULLY FILLED WITH THE USE OF MISDIRECTION TO SHOW US WHAT TRULY MEANS SOMETHING IN THE GRAND SCHEME OF THINGS, AND WHAT DOESN’T. HE SUCCESSFULLY ALLOWS US TO CARE ABOUT THE CORE CHARACTERS, AND REITERATE THEIR MOTIVES SO THEY’RE LOGICAL AND MEANINGFUL.

EMILY BLUNT IS QUICKLY BECOMING A HOUSEHOLD NAME AFTER HER WORK LAST YEARS INTO THE WOODS AS WELL AS EDGE OF TOMORROW, AND HER PERFORMANCE IN SICARIO IS CERTAINLY A CAREER BEST. DEFINITELY IN THE RUNNING FOR AN OSCAR SO FAR. HER BACKGROUND IS BROUGHT UP HERE AND THERE, BUT IT’S REALLY HER MOTIVES AND MORALS THAT ARE SO WELL PUSHED TIME AND TIME AGAIN THAT MAKE YOU REALLY GET ATTACHED TO HER CHARACTER. SHES PROVEN SHE CAN HANDLE THE ACTION SCENES BEFORE, BUT HER BEST WORK COMES IN THE MOST EMOTIONAL SCENES WHICH SHE ABSOLUTELY NAILS, ONLY DRIVING HOME YOUR CARE FOR HER. HERE’S A CLIP OF ONE OF THE MANY WELL DIRECTED ACTION SCENES. AS GREAT AS BLUNT IS, IT IS EVIDENTLY BENICIO DEL TORO WHO STEALS THE SHOW HERE. ESPECIALLY IN THE FILMS THIRD ACT. DEL TORO PLAYS ALEJANDRO, AN FBI WORKER, WHO REALLY DABBLES IN ALL KINDS OF AREAS. WHEN BLUNTS CHARACTER ASKS HIM WHO HE WORKS FOR, HE SIMPLY REPLIES, WITH A BIT OF AN ATTEMPT TO ELUDE THE QUESTION, “I GO WHERE I’M SENT” WHICH ONLY ADDS TO THE MYSTERY OF THE MOVIE. DEL TORO IS MORE THAN SUCCESSFUL WITH HIS CAPABILITY TO WORK WITH SO MUCH WHILE SAYING SO LITTLE, AND COMMANDS THE SCREEN IN EVERY SCENE HE’S IN FOR THE LAST HALF HOUR. HE MAKES A SOLID CASE FOR THE MOVIE CENTERING MORE AROUND HIM THEN IT DOES BLUNT. ONLY CREDITING VILLENEUVE WITH THE INTENSITY BUILDING WOULD BE A CRIME, BECAUSE DEL TORO PUTS AS MUCH FEAR INTO YOU AS VILLENEUVE DOES SUSPENSE.BROLIN IS BETTER THAN AVERAGE, BUT A LITTLE OVER SHADOWED BY THE PREVIOUS TWO. NOT TO BE MISTAKEN HOWEVER, BECAUSE HE DOES GREAT IN HIS COMIC RELIEF SCENES, AS WELL AS HIS HIGH DEAD SERIOUS SCENES.

VILLENEUVE ACCOMPLISHES A GREAT ACHIEVEMENT HERE WITH SICARIO. IT’S POWERFUL, ITS HEAVY, ALMOST A WEIGHT ON YOUR SHOULDERS, AND I CAN’T EMPHASIZE ENOUGH HOW INTENSE IT’S BEST SCENES ARE. THERE IS STILL SO MUCH I’D LOVE TO TOUCH ON, BUT BECAUSE I’M A FIRM BELIEVER IN A SPOILER FREE WORLD, I’LL LEAVE YOU WITH A FEW FINAL WORDS. SICARIO IS DEFINITELY ONE OF THE YEARS BEST FILMS, DESPITE BEING A LITTLE OVERLY TEDIOUS WITH LEAVING THE AUDIENCE IN QUESTION OF WHATS GOING ON, THE PAYOFF IS WORTH IT AND THE FINAL SCENES AS WELL AS THE UNDERLYING MESSAGE ARE EXTREMELY POWERFUL AND WON’T BE EASILY FORGOTTEN.

Rating: 9/10 

October 24, 2015 by Andrew Auger Categories: ReviewsTags: 9/10, Benicio Del Toro, Dennis Villeneuve, Drama, Emily Blunt, Jake, Josh Brolin, Review, Roger Deakins, Sicario, The Middle Seats Season 4, Thriller Leave a comment

Andrew’s Transcribed Review of Black Mass

EVEN IN REALITY, THERE ARE HEROES AND VILLAINS. I MEAN SURE, THERE IS ALWAYS SUCH A THING AS “SHADES OF GREY”, AND OBVIOUSLY HUMAN BEINGS ARE MORE COMPLICATED THAN CHARACTERS NAMED SUPERMAN AND DOCTOR DOOM (TO NAME A FEW PROMINENT EXAMPLES). BUT THERE ARE CERTAINLY THOSE WHO SHADE CLOSER TO THE LIGHT AND THE DARK THAN OTHERS, AND USUALLY HISTORY HELPS FILL IN THOSE COLORS. JAMES “WHITEY” BULGER IS ONE OF THOSE REAL LIFE ROGUES, WITH HIS VISELIKE GRIP ON THE GANGSTER SCENE IN BOSTON DURING THE LATE 20^TH CENTURY REAPING POWER AND MURDER ACROSS THE STATE OF MASSACHUSETTS. BUT WAS WHITEY BULGER REALLY A MONSTER?

I’M BEING MISLEADING TALKING OF BULGER’S LEGACY BECAUSE THAT’S NOT REALLY A QUESTION THAT DIRECTOR SCOTT COOPER IS FOCUSED ON ANSWERING IN BLACK MASS. MORE IMPORTANT TO THIS PRODUCTION IS THE CRAZY STORY OF FEDERAL CORRUPTION AND OLD WEST-ESQUE PRINCIPLES THAT ALLOWED BULGER TO MAKE HIS MONSTROUS, COMICALLY EASY RISE TO POWER. COOPER TELLS THE TALE WITH A PRETTY STRAIGHT, TACTICAL HAND THAT IT RISKS BEING UNMEMORABLE AT POINTS, BUT A SUPREMELY TALENTED CAST AND CREW ENSURE THAT BLACK MASS HITS ALL THE IMPORTANT MARKS OF A GOOD GANGSTER DRAMA.

LEADING THE CHARGE AMONG THE CAST ARE COOPER’S TWO LEADS. JOHNNY DEPP HAS BEEN DUE FOR A CHANCE TO DIVE INTO A CHARACTER THAT IS MORE THAN JUST A COSTUME AND AN ACCENT. IRONICALLY, THE COSTUMING AND MAKEUP DO HALF THE WORK FOR DEPP; HE’S CAKED IN SO MUCH WHITE MAKEUP AND STARES BENEATH SUCH DEATHLY BABY BLUE EYES THAT HIS BULGER LOOKS LESS LIKE A PERSON AND MORE LIKE THE STUFF OF NIGHTMARES. DEPP RUNS WITH THE REST OF THE DETAILS, NAILING THE MENACE AND UNPREDICTABLE OF A TRULY DANGEROUS MAN WHO IS BASICALLY INVINCIBLE. IT’S A MASTER PERFORMANCE FROM AN ACTOR WHO WAS DUE FOR A BREAK FROM THE SHACKLES OF FRANCHISE FODDER.

BULGER HAS THE FREEDOM TO RUN FREE THROUGHOUT “SOUTHEY” PILLAGING AND MURDERING WITH HIS WINTER HILL GANG BECAUSE OF HIS TIES WITH HIS STATE SENATOR BROTHER BILLY (BENEDICT CUMBERBATCH) AND, MORE IMPORTANTLY, THE DEAL HE MAKES WITH CHILDHOOD NEIGHBOR AND FEDERAL AGENT JOHN CONNOLLY (JOEL EDGERTON). FEELING AN OBLIGATION TO PROTECT THE BULGERS, CONNOLLY CONVINCES HIS SUPERIOR OFFICERS TO BRING BULGER IN AS AN “INFORMANT” IN AN EFFORT TO TAKE DOWN BULGER’S ITALIAN COMPETITORS. THE PARTNERSHIP SEEMS TO BENEFIT BOTH SIDES EQUALLY, BUT IT QUICKLY BECOMES CLEAR THAT BULGER IS GETTING THE BETTER END OF THE DEAL.

WITH ITS RATHER EQUAL FOCUS ON THE INNER WORKINGS OF BOTH THE COPS AND ROBBERS, BLACK MASS TAKES A LOT OF CUES FROM THE DEPARTED (WHICH IS FITTING CONSIDERING JACK NICHOLSON’S CHARACTER IS BASED OFF OF BULGER). IT NEVER QUITE REACHES THE GRIT AND MASTERFUL STORYTELLING OF SCORSESE’S FLICK, BUT COOPER MAKES SURE THAT THE FILM REMAINS ENGAGING EVEN WHEN THE STORY READS LIKE A CLIFF NOTES VERSION OF THE ACTUAL EVENTS. HE MAKES THE MOST OF HIS SETTING AS WELL; THE CITY OF BOSTON SOMEHOW LOOKS GRIMY AND GORGEOUS SIMULTANEOUSLY UNDERNEATH CINEMATOGRAPHER MASANOBU TAKAYANAGNI’S HIGH DEFINITION.

EDGERTON IS JUST AS GOOD AS DEPP HERE, SHOULDERING THE WEIGHT OF A ROLE THAT IS CERTAINLY TRICKIER AND COMPLICATED TO PULL OFF CONVINCINGLY. THE CAST IS A WHO’S-WHO OF CHARACTER ACTORS AND UNDERRATED TALENT; CUMBERBATCH, JESSE PLEMONS, KEVIN BACON, ADAM SCOTT, DAKOTA JOHNSON, PETER SARSGAARD, RORY COCHRANE, COREY STOLL, DAVID HARBOUR, JULIANNE NICHOLSON. THAT’S AN IMPRESSIVE LINEUP, AND YOU GET EXACTLY WHAT YOU’D EXPECT FROM EACH AND EVERY ONE OF THEM.

WHEN I SAW THE DYNAMIC, ENERGETIC FIRST TRAILER FOR BLACK MASS AND EYED THE PEDIGREE INVOLVED, IT JUMPED TOWARDS THE TOP OF MY ANTICIPATION LIST FOR THE REMAINDER OF THE YEAR. THE ENERGY OF THAT TRAILER IS DISAPPOINTINGLY NOT MATCHED MUCH, BUT OTHER THAN THAT, COOPER AND CO. DELIVERS ON EXPECTATIONS. THIS IS A ROCK SOLID DRAMA THAT IN OTHER HANDS COULD’VE BEEN A MASTERPIECE. AT THE VERY LEAST, IT’S A REMINDER OF WHAT JOHNNY DEPP CAN DO AS AN ACTOR. WHITEY BULGER MAY HAVE BEEN A VILLAIN IN REAL LIFE, BUT IF HE CAN KICK START A PERFORMANCE LIKE THIS OUT OF ONE OF MORE DORMANT ECCENTRIC TALENTS, HOW BAD CAN HE REALLY BE?

Rating: 8/10

October 24, 2015 by Andrew Auger Categories: ReviewsTags: 8/10, Adam Scott, Andrew, Benedict Cumberbatch, Black Mass, Corey Stoll, Dakota Johnson, Drama, Jesse Plemmons, Joel Edgerton, Johnny Depp, Kevin Bacon, Review, Scott Cooper Leave a comment

Jake’s Transcribed Review of Everest

AS HUMANS, WE ARE DEVELOPING A SENSE OF FULFILLMENT. OF ACCOMPLISHMENT. A SENSE OF OVERCOMING THE ODDS. AND WE ESPECIALLY DON’T WANT TO BACK OUT OF SOMETHING THAT COST US MONEY BECAUSE THAT STUFF’S TOO IMPORTANT TO WASTE. AS A COLLEGE STUDENT, I DROPPED OVER A HUNDRED DOLLARS ON SKYDIVING. YOU CAN’T JUST BACK OUT OF SOMETHING WHEN THAT MUCH MONEY IS ON THE LINE. I ALSO THOUGHT IT WAS GOING TO AN INCREDIBLE EXPERIENCE AND SOMETHING I WAS GOING TO BE HAPPY THAT I DID (AND IT WAS). IT JUST SO HAPPENS THAT THESE ARE SOME OF THE BEST THINGS THE EVEREST SCRIPT DOES, BECAUSE PREVIOUSLY LISTED ARE CHARACTER MOTIVES FOR CLIMBING THE HIGHEST PEAK IN THE WORLD AND IT MAKES THEM PRETTY RELATABLE. UNFORTUNATELY, THAT IS ONE OF THE ONLY POSITIVE POINTS THIS SLOPPY SCRIPT HAS TO OFFER.

WILLIAM NICHOLSON AND SIMON BEAUFOY’S WRITING HERE IS CONSISTENTLY ALL OVER THE PLACEM WHICH IS KIND OF SHOCKING CONSIDERING THEY’VE BOTH WORKED ON GLADIATOR, LES MISERABLES, SLUMDOG MILLIONAIRE, HUNGER GAMES: CATCHING FIRE, AND 127 HOURS. DESPITE BOTH OF THEIR NOTEWORTHY CREDENTIALS, IT SEEMS AS IF THE DUO JUST COULDN’T QUITE PUT IT TOGETHER FOR THIS EXPEDITION DISASTER DRAMA. FOR STARTERS, THERE ARE WAY TOO MANY MOVING PARTS AT THIS SEEMINGLY BEGINNINGLESS MOVIE. IT HONESTLY FEELS LIKE TWO LONG MIDDLE PARTS, AND THE AUDIENCE IS THROWN RIGHT INTO IT. IMMEDIATELY STARTS OFF WITH TRAVELING TO THE VENUE, SMALL TALK AMONG CHARACTERS TO ESTABLISH BACKGROUNDS, WHICH LATER LEAD TO TALKING ABOUT MOTIVES AND THE RISKS, BUT INDEFINITELY SUFFERS FROM A TOO MANY CHARACTERS SYNDROME. EACH CHARACTER IS GIVEN A MOTIVE FOR MAKING THE CLIMB, BUT WE ONLY END UP TRULY CARING FOR A HANDFUL OF THEM DUE TO LACK OF WRITING, SCREENTIME, OR BOTH. IT ESSENTIALLY COMES DOWN TO THROUGHLY ENJOYING JASON CLARKE AS ROB HALL WHO IS ULTIMATELY THE LEAD, ALTHOUGH THAT ISN’T CERTAIN UNTIL LATE INTO THE FILM, IF AT ALL. AND JAKE GYLLENHALL’S CHARACTER SCOTT FISCHER IF NOT FOR ANYTHING BUT GOOD ACTING IN A LIKABLE PORTRAYAL OF A COOL CHARACTER WHO’S KIND OF LIKE EVERYONE’S FAVORITE HIGH ENERGY FUN SPIRITED CAMP COUNSELOR. OTHER THAN THAT, YOU FEEL FOR SOME, FORGET ABOUT OTHERS, AND COME TO TERMS WITH WATCHING A HIKING EXPEDITION GONE WRONG DUE TO WEATHER AND FLAT OUT STUBBORN PERSONALITIES.

THE ONLY OTHER PERFORMANCE I WOULD SAY STICKS OUT IS KEIRA KNIGHTLEY’S UNDERUSED CHARACTER. SHE PLAYS A PREGNANT SOON TO BE MARRIED TO JASON CLARKE’S CHARACTER WHO DOESN’T LIKE HIM HIKING IN THE FIRST PLACE. AND THEN THERE’S JOSH BROLIN WHOS A TEXAN TOUGH GUY WHO THREW DOWN SIXTY FIVE THOUSAND BIG ONES TO MAKE THIS EXPEDITION AND HE’LL BE DAMNED IF HE DOESN’T MAKE IT. MAKE NOTE HOWEVER, THAT THERE IS SOME REALLY GREAT VISUALS AND SOLID CAMERAWORK TO BE DONE HERE AS WELL. EVEN IF HE DOES PULL A MICHAEL BAY AND USE THE SAME SHOT TWICE, YOU KIND OF LET IT GO BECAUSE OF HOW BEAUTIFUL IT IS THROUGHOUT THE WHOLE MOVIE. DIRECTOR BALTASAR KORMAKUR AND CINEMATOGRAPHER SALVATORE TOTINO CAPTURE SOME REALLY GREAT MOMENTS ON THE LEGENDARY SUMMIT THAT IS EVEREST. THE VISUALS ARE EYE OPENING, AND DEFINITELY HELP BUILD THE TENSION WHEN YOU REALIZE THE SERIOUSNESS OF STORM APPROACHING.

THERE’S A GREAT QUOTE FROM LAST MAY’S GODZILLA THAT FITS IN HERE. “THE ARROGANCE OF MAN IS THINKING THAT NATURE IS IN OUR CONTROL AND NOT THE OTHER WAY AROUND.” THAT BECOMES VERY PROMINENT WHEN BLACKENED FROST BITTEN FINGERS COME ONTO SCREEN, AND NO MATTER WHAT THE CHARACTERS DO TO TRY AND MAKE IT BACK TO CAMP, NATURE HAS IT’S OWN AGENDA THAT IS ENTIRELY OUT OF OUR CONTROL. AND FOLLOWING THOSE SCENES ARE SOME PRETTY SOLID WORK FROM A FEW ACTORS THAT MAKE THIS DISASTER MOVIE TOUCHING. ANOTHER CLEVER THING THE MOVIE DID WAS PARALLEL A QUOTE FROM ON SCREEN STAR JASON CLARKE AND WELL CRAFTED CINEMATOGRAPHY. IT GOES ALONG THE LINES OF “IT DOESN’T MATTER, EVEREST MAKES IT’S OWN WEATHER” AND THEN THE SHOTS CAPTURED FOLLOW SUIT IN PRETTY AMAZING WAYS. ALMOST AS IF TO PUT OUR EXISTENCE INTO PERSPECTIVE AND SHOW HOW SMALL WE ARE IN THE GRAND SCHEME OF THINGS. ONE IN PARTICULAR SPIRALS DOWN FROM AN EVEREST BIRDS EYE VIEW TO A CLOSE UP OF A CHARACTER NOT ONLY SURROUNDED, BUT BURIED IN A SEEMINGLY NEVER ENDING SEA OF BEAUTIFUL, YET EVIDENTLY DEADLY WHITE POWDER.

I REALLY LIKED THE THEMES OF NATURE IN THE FILM, AS WELL AS THE SHOTS CAPTURED, AND A HANDFUL OF THE PERFORMANCES. IF THERE’S ONE FLAW, ITS A MAJOR ONE AND LIES IN THE SCRIPT. IT’S DISTRACTINGLY MESSY AND UNSTRUCTURED AND AT POINTS MAKES A SIMPLE STORY FEEL A LITTLE COMPLICATED. IT LOSES TRACK OF IT’S CHARACTERS, AND DOESN’T REALLY GIVE US MORE THAN FIVE MINUTES OF A START AND AN END. JUST TWO LARGE MIDDLE PIECES. THERE’S SOME GOOD MEMORABLE WORK DONE HERE, BUT IN THE END FALLS SHORT OF ANYTHING GREAT DUE TO A VITAL PART OF THE FILMMAKING PROCESS THAT IS THE SCREENPLAY. I MEAN, WASN’T IT LIKE FIFTH GRADE WHERE WE WERE TAUGHT TO OUTLINE BEFORE JUMPING STRAIGHT INTO THE ESSAY TO MAKE SURE THERE’S A GOOD SENSE OF FLOW AND AN AVOIDANCE OF SLOPPY WORK?

Rating: 6.5/10 

October 24, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 6.5/10, Baltasar Kormákur, Disaster, Drama, Everest, Jake, Jake Gyllenhaal, Jason Clarke, John Hawkes, Josh Brolin, Keira Knigtley, Review, The Middle Seats Season 4 Leave a comment

Jake’s Transcribed Review of Steve Jobs

FOR THOSE WHO DON’T KNOW, THIS PROJECT HAD MANY DIFFERENT HEAVYWEIGHTS SET TO WORK ON THE FILM. IT WAS ORIGINALLY HELMED BY DAVID FINCHER, WHO WORKED WITH SCREENWRITER AARON SORKIN ON THE SOCIAL NETWORK, BUT DUE TO TOO HIGH CASH DEMANDS, HE DROPPED OUT. THE PROTAGONIST HIMSELF WAS SET TO BE PLAYED BY LEONARDO DICAPRIO WHO EVIDENTLY DECIDED TO GO WITH THE REVENANT. THEN CHRISTIAN BALE WAS APPROACHED BUT OBVIOUSLY TURNED IT DOWN AS WELL. WITH THE PRODUCERS FINALLY LANDING DIRECTOR DANNY BOYLE AND LEAD ACTOR IN MICHAEL FASSBENDER, IT WAS UNDERWAY.

FOR A FILM THAT SEEMINGLY HAD TROUBLE FINDING ITS LEGS, IT KEEPS UP A FASTER PACE THAN ALMSOT ANY DRAMA YOU’LL WATCH THIS YEAR. RIGHT FROM THE GET GO, WE HAVE STEVE JOBS ACCOMPANIED BY JOANNA HOFFMAN (KATE WINSLET) AND ANDY HERTZFELD (MICHAEL STUHLBARG) TRYING TO FIX AN ERROR WITH THE PREMIERE OF THE MACINTOSH PRODUCT LAUNCH. THE ERROR WOULDN’T SEEM MAJOR FOR MOST, BUT FOR STEVE IT MIGHT AS WELL HAVE BEEN ON FIRE (BECAUSE HE WAS WILLING TO SACRIFICE FIRE EXITS TO GET IT WORKING). THEY HAVE UNDER AN HOUR TO GET IT WORKING, AND IN BETWEEN THAT OPENING SCENE, TO THE LAST OF THE FIRST ACT, THERE ARE A MILLION AND ONE THINGS STEVE DEALS WITH ALL WHILE SIMPLY GETTING HIS PRODUCT TO LAUNCH SUCCESSFULLY.

IT IS WITHIN THIS FIRST ACT (AND MAYBE EVEN SOONER THAN THAT) WHERE YOU REALIZE WHAT KIND OF MAN STEVE JOBS IS. A PERFECTIONIST. A PIONEER. A REALIST. A DREAMER AND AN ACHIEVER. ALL OF THESE QUALITIES OFTEN ASSOCIATED WITH POSITIVITY, ARE ALSO WHAT MAKE HIM SO INTIMIDATING, A FORCE TO BE RECKONED WITH, AND OFTEN STRAIGHT UP COLD. A JOB WELL DONE IS AN UNDERSTATEMENT FOR SCREENWRITER AARON SORKIN WHO REALLY DEVELOPS THIS EARTH CHANGING CHARACTER AND GETS TO HIS ROOTS.

MANY HAVE SEEN THE CLIP OF JOBS TALKING OF HOW MUSICIANS PLAY THEIR INSTRUMENTS AND HE PLAYS THE ORCHESTRA, AND THAT PHRASE ALONE IS PERFECTLY APPLIED THROUGHOUT THE FILM. EACH PART IS A CLEAN CUT THREE ACTS ON PURPOSE. EACH WITH THE RELEASE OF HIS NEXT BIG THING, AND ENTIRELY TAKING PLACE AT THESE EVENTS, IS WHERE HE HANDLES EVERYTHING AND EVERYONE AROUND HIM, JUST REINSTATING THE MADNESS AND HOW MANY FACTORS HE JUGGLED ON A DAILY BASIS. AND LIKE A COMPOSER, JOBS KEEPS COMPOSED THROUGHOUT EVERY DIFFICULT SITUATION THROWN AT HIM, AND HANDLES IT ACCORDINGLY. NEVER CRUMBLING UNDER PRESSURE. WHILE AT TIMES, THIS CAN SEEM NEGATIVE. LIKE SIDE CHARACTERS ARE JUST ANOTHER PROBLEM TO BE DEALT WITH AND HAVE VERY LITTLE TO DO. BUT IN THE GRAND SCHEME, THAT IS HOW STEVE JOBS HANDLED EVERYTHING. A CONTROL FREAK IN EVERYTHING HE DID, AND COULDN’T BE BOTHERED WITH WHAT DIDN’T CONCERN HIM. DON’T MISTAKE THIS COMPONENT AS A POTENTIAL FLAW, FOR ALL CHARACTERS ARE WRITTEN WITH DEPTH AND THEIR OWN MOTIVATIONS AS WELL.

THE ENTIRE ENSEMBLE DOES A GREAT JOB HERE, WITH MANY POTENTIAL ACTING OSCARS TO GO AROUND. SETH ROGEN AS STEVE WOZNIAK WANTS RECOGNITION, KATE WINSLET AS JOANNA HOFFMAN FIGHTS WITH HER MORAL COMPASS AS THE CLOSEST ONE TO STEVE. JEFF DANIELS AS JOHN SCULLEY WANTS WHATS BEST FOR HIS COMPANY, MICHAEL STUHLBARG AS ANDY HERTZFELD, LIKE ROGENS CHARACTER TO A DIFFERENT DEGREE WANTS APPRECIATION AND AND EVEN COMPASSION. KATHERINE WATERSTON AS CHRISANN BRENNAN (STEVES FORMER LOVER) WANTS WHATS BEST FOR HER DAUGHTER AND FOR STEVE TO BE A FATHER, WHO HE DENIES WITH AN ALGORITHM TO BE HIS OWN KID. IT IS ALL OF THIS AND MORE THAT IS JUGGLED IN EACH AND EVERY ACT. SORKIN HAS MADE IT CLEAR THAT THIS WAS AN ENORMOUS TASK, NOT EVEN INDULGING IN HALF OF THE ACTUAL TECHNOLOGICAL ASPECTS THAT STEVE WAS INVOLVED IN. MORE FOCUSING ON THE MAN THAT STEVE JOBS WAS AND THE LIFE HE LIVED. AND BOY DID HE NAIL IT.

AND AS IF THE FILM DIDN’T MOVE FAST ENOUGH, DANIEL PEMBERTON HAS INVENTED A VERY CREATIVE SCORE TO FIT THE ATMOSPHERE THAT DANNY BOYLE AND AARON SORKIN HAVE BUILT. RATHER THAN USE THE TRADITIONAL SYMPHONIC SCORE THAT MANY FILMS DEVELOP, HE PLAYS INTO WHAT STEVE JOBS LOVED MOST AND GOES WITH A VERY TECHNOEY SOUND. NOT LIKE EDC OR DUBSTEP OR WHATEVER THE KIDS LISTEN TO, BUT A COMPELLING AND RAPIDLY PACED COMPUTER SOUNDING SCORE THAT, LIKE THE FILM, HARDLY SLOWS.

THERE IS ONLY ONE MAIN ISSUE IN MY OPINION. I CAN SEE THE UNORTHODOX FEEL OF THE WAY THE FILM IS STRICTLY SET UP INTO THREE PARTS AND THE WAY IT UNFOLDS. I COULD SEE PEOPLE HAVING A PROBLEM WITH THE SIDE CHARACTERS (ALTHOUGH IT IS STEVE JOBS’ STORY), BUT IN MY OPINION, THE PROBLEM LIES IN THE THIRD ACT. FOR SOME REASON, IT DOESN’T QUITE HOLD THE PACE OF ITS TWO PREDECESSORS, AND LOSES STEAM. IT HELD A GRIPPING AND INTENSE FAST PACE FOR ABOUT AN HOUR AND A HALF, PACKED WITH EMOTION AND EXCITEMENT AND STRIKING DIALOGUE, AND WENT FROM A HARD RUN, TO A CASUAL JOG FOR ITS FINAL TWENTY FIVE TO THIRTY MINUTES OR SO. NOT TO KNOCK IT TOO MUCH HOWEVER, THE WRITING DIRECTING AND ACTING ARE ALL STILL VERY GOOD, JUST NOT ON PAR WITH THE REST OF THE MOVIE.

AND AS I WROTE THIS REVIEW, I CAME TO REALIZE THAT I ENJOYED THIS MOVIE FOR VERY SIMILAR REASONS TO WHICH I ENJOYED BIRDMAN. TAKE THAT AS YOU WILL. BUT ITS GOT GREAT WRITING IN ITS STORY AND CHARACTER DEVELOPMENT, ALL WHILE FOLLOWING THE LEAD THROUGH HIS HECTIC LIFE JUGGLING ALL KINDS OF PEOPLE AND WHAT THEY WANT FROM HIM. MOST OF THE MOVIE TAKES PLACE IN ONE PRIMARY SETTING, WHERE HE TRIES TO ACHIEVE HIS DREAMS AND HANDLE EVERYTHING FALLING APART AROUND HIM. AND LIKE BIRDMAN, I WOULDN’T BE SURPRISED IF STEVE JOBS DID VERY WELL WITH THE ACADEMY THIS YEAR.

Rating: 9/10 

October 24, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 9/10, Danny Boyle, Drama, Jake, Jeff Daniels, Kate Winslet, Michael Fassbender, Review, Seth Rogen, Steve Jobs, The Middle Seats Season 4 Leave a comment

Andrew’s Review of Bridge of Spies

The amount of intrigue and paranoia that existed between the United States and Soviet Union during the 1950’s, the height of the Cold War, is prime fodder for a potentially exceptional Hollywood thriller. Steven Spielberg is one of our most exceptional directors, breathing life and significant influence into several genres over the course of his illustrious 40-year career. Tom Hanks is one of our most exceptional actors, as his career highs also span an impressive number of fields. Some of those highs for Hanks came when he was paired with Spielberg, so their reteaming to tell an exceptional true story should be money in the bank of a smart betting man on Oscar Night at the Kodak Theater. Yet, while it does a number of things right, why does Bridge of Spies feel so oddly unexceptional?

“Maybe I’m not being fair,” said my inner monologue. After all, Bridge of Spies is much less of a thriller more so as it is a drama. The decisions by Spielberg and company (notably guest writers Joel and Ethan Coen) forgo to focus on the tensions between passive-aggressive countries, and more with the humanity of the man (or men) that was the main mechanic in orchestrating this story. That decision feels calculated to play into Spielberg’s strengths, as there is a lot more sentimentality than suspense throughout the film. Spielberg’s strengths remain his strengths, but I ended up wondering if that decision was the right one for this particular movie.

I’ll elaborate in a bit, but first let’s talk about the story. Hanks plays Jimmy Donovan, an insurance lawyer who is propositioned by the United States government to defend a suspected Soviet spy in a fair court of law. Donovan certainly has his reservations for a multitude of reasons, some of which are laid out in this scene, where Jimmy’s partners in law plop the case onto his desk for the first time.

That’s Alan Alda as one of Donovan’s partners. The suspected Soviet spy in question is Rudolph Abel, and veteran actor Mark Rylance plays him with great effortless charm and ease. Donovan grows to like Abel’s calm and collectiveness, and tries to put together a solid defense to keep him from the electric chair, which doesn’t necessarily make him the most popular guy in town. Donovan’s actions in the courtroom prove important in the overall scheme of foreign diplomacy when an American spy (played by Austin Stowell) is shot out of the sky and taken capture by the Russians.

From there the action shifts to East Berlin, where Donovan is once again recruited by the government to negotiate with the Soviets for the exchange of Abel and the American spy Powers. Donovan also becomes aware of the capture of a young American school student by the Germans, and tries to pull some strings to bring both men home. These scenes of negotiation and espionage are overly talky, but admittedly some of the best parts of the film, as in this scene where Donovan clearly lays out what’s at stake.

As stated very clearly in that clip, there’s clearly a lot riding on Donovan’s actions, and if he makes one wrong move it could not only mean the end of life as he knows it, but an Earth-shattering step backwards for the United States in their efforts to sustain foreign diplomacy. Where Spielberg falter the most is in his failure to really hammer home how important this moment in history was for all sides involved. The music swells when it really should be inciting tension. The comedic bits are welcome but feel one too many. Hanks plays the role with his usual Jimmy Stewart panache, but the dialogue written for Donovan fails to convey the levity of the situation.

Bridge of Spies is without a doubt a good movie. It’s shot with a confident old-school professionalism, and the acting follows suit. But in a story that was all about consequences, Spielberg makes everything feel very inconsequential; instead of a drama for the ages, we got a drama for a Saturday afternoon on TNT. Spielberg made us fear the water in Jaws, fear the supernatural in Raiders of the Lost Ark, fear the second coming of the prehistoric with Jurassic, and fear the Nazis (if we didn’t already) in Schindler’s List. I never feared anything in Bridge of Spies. I only feared whether a great opportunity had been missed.

Rating: 7/10 

October 24, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 7/10, Andrew, Bridge of Spies, Drama, Mark Rylance, Review, Steven Spielberg, The Middle Seats Season 4, Tom Hanks Leave a comment

The Middle Seats Season 4 Episode 4-Younger and Younger

Reviews of “Sicario” and “The Martian”

October 24, 2015October 24, 2015 by Andrew Auger Categories: UncategorizedTags: Andrew, Dennis Villeneuve, Drama, Emily Blunt, Jake, Josh Brolin, Matt Damon, Review, Ridley Scott, Sci-Fi, Show, Sicario, The Martian, The Middle Seats Season 4, Thriller Leave a comment

The Middle Seats Season 4 Episode 3-The Power of Christ Compels You

Review of Everest and Classic’s Corner with Dylan Gordon

October 11, 2015October 24, 2015 by Andrew Auger Categories: ShowsTags: Andrew, Back to the Future, Classic's Corner, Everest, Ferris Bueller's Day Off, Gremlins, Jake, Jaws, Raiders of the Lost Ark, Show, The Middle Seats Season 4 Leave a comment

Andrew’s Transcribed Review of The Martian

THERE HAVE BEEN A LOT OF FILMS WRITTEN ABOUT BEING ISOLATED FROM EVERYONE. MORE SPECIFICALLY, THERE ARE A LOT OF FILMS WRITTEN ABOUT ISOLATION IN SPACE. IN PARTICULAR, THERE IS ALREADY A FILM BY RIDLEY SCOTT THAT FEATURES THE TAGLINE “IN SPACE, NO ONE CAN HEAR YOU SCREAM.” 35 YEARS LATER, SCOTT RETURNS TO THE DEEP ANNALS OF OUR SOLAR SYSTEM WITH THE MARTIAN FOR A STORY OF HUMAN COURAGE AND PLANETARY TEAMWORK THAT WILL INSPIRE A NEW GENERATION OF SPACE EXPLORERS. THIS IS A TREMENDOUSLY ENTERTAINING FILM, ONE THAT DESERVES TO HANG WITH BIG BOYS OF 2015.

IN THE CASE OF THE MARTIAN’S DR. MARK WHATNEY, IT’S MORE LIKE “IN SPACE, NO ONE CAN HEAR YOU QUIP. WHATNEY, PLAYED BY MATT DAMON, IS ONE OF SIX ON A SPACE EXPLORATION TO MARS. DAY 18 INTO THE MISSION, A BRUTAL STORM HITS, THREATENING THE MISSION. IN THE EVACUATION PROCESS, WHATNEY IS STRUCK BY MECHANICAL DEBRIS AND PRESUMABLY KILLED. THE CREW (PLAYED BY FAMILIAR FACES JESSICA CHASTAIN, SEBASTIAN STAN, KATE MARA, AND MICHAEL PENA) RELUCTANTLY LEAVES HIM BEHIND, ONLY FOR THE AUDIENCE TO FIND OUT THAT WHATNEY SURVIVED THE STORM. IMPALED BY A PIECE OF SHRAPNEL IN HIS ABDOMEN AND ENDOWED WITH A LIMITED AMOUNT OF SUPPLIES, EVEN IF WATNEY CAN MAKE CONTACT WITH EARTH, THE NEXT MISSION TO MARS WON’T BE ARRIVING UNTIL THE NEXT LEAP YEAR. HOW’S HE GOING TO SURVIVE? WELL…I’LL LET HIM TELL YOU.

ALTHOUGH IT SEEMS LIKE THE MARTIAN WILL BE DAMON’S SHOW, THAT’S NOT REALLY THE CASE. DREW GODDARD’S SCRIPT, BASED ON THE BEST-SELLING NOVEL BY ANDY WEIR, IS REALLY THREE FILMS ROLLED INTO ONE. THE FIRST IS DAMON’S ONE-MAN SHOW ON MARS, WHICH HE EXECUTES WITH HIS USUAL BRAVADO. SCOTT PAINTS THE MARS LANDSCAPE WITH BEAUTIFUL, DESOLATE REDS THAT WOULDN’T BE OUT OF PLACE IN A HEAVY DRAMA. LUCKILY, GODDARD AND DAMON ADD SOME LEVITY TO THESE SCENES WITH SNAPPY DIALOGUE AND CLEVER, QUIRKY TOUCHES THAT REALLY HELP DEFINE THE TONE OF THE FILM, WHICH IN TURN HELP THE 140 MINUTES WHIZ BY WITH EFFECTIVE BLUSTER. EVEN IF WE DON’T LEARN A TON ABOUT WHATNEY, DAMON MAKES IT FEEL LIKE WE’VE KNOWN HIM FOREVER.

THE SECOND FILM IS THE STRUGGLE ON EARTH TO GET TO WHATNEY BACK FROM THE DEPTHS OF OUTER SPACE. JEFF DANIELS IS THE HEAD OF NASA TEDDY SANDERS, WHILE CHIWETEL EWJIOFOR, KRISTEN WIIG, AND SEAN BEAN MAKE UP HIS SUPPORT GROUP. THE FILM IS SMART ENOUGH TO NOT MAKE HEROES OR VILLAINS OUT OF ANYONE, BUT DO POSITION THESE CHARACTERS WITH SEVERAL MORAL QUANDRIES THAT ASK THE AUDIENCE WHAT THEY WOULD DO IF THE WERE IN THE SAME SITUATION. THE SCIENCE IS TIGHT AND COMPLEX, BUT SEEMS TO CHECK OUT. THIS MAY BE ONE OF THE MOST FACTUALLY BASED FILMS ABOUT OUTER SPACE EVER MADE. IN THIS CLIP, DONALD GLOVER’S ASTROPHYSICIST RICH PURNELL DROPS SOME KNOWLEDGE ON THE AUDIENCE AND TO NASA.

 

THE THIRD FILM IN THE MARTIAN IS THE DILEMMA OF THE SHUTTLE FLOATING IN SPACE, WITH WHATNEY’S CREW FINDING OUT HE’S ALIVE AND HAVING TO COPE WITH SAID INFORMATION. AGAIN, SCOTT AND GODARD PUT THE AUDIENCE IN THE POSITION OF CHASTAIN AND COMPANY AS THEY MAKE THE DECISION OF WHETHER TO GO BACK FOR THEIR FRIEND AND COLLEAGUE.

THE MARTIAN IS FANTASTIC ENTERTAINMENT. IT’S A GREAT STORY TOLD WITH GORGEOUS VISUALS, DRAMATIC DEPTH, AND A SENSE OF HUMOR TO BOOT. SCOTT NEEDED THIS TO BREAK HIS LOSING STREAK AFTER THE LACKLUSTER EXODUS: GODS AND KINGS AND THE COUNSELOR. HE NOT ONLY BROKE THE STREAK, HE DELIVERED ONE OF HIS BEST EFFORTS. THE MARTIAN RISES TO THE HIGH EXPECTATIONS IT SET FOR ITSELF, AND SET ITSELF APART AS ONE OF THE MOST MEMORABLE OF THE YEAR (SO FAR).

Rating: 9/10

October 11, 2015October 24, 2015 by Andrew Auger Categories: UncategorizedTags: 9/10, Andrew, Chiwetel Ewijiafor, Donald Glover, Drama, Jeff Daniels, Jessica Chastain, Kate Mara, Kristen Wiig, Matt Damon, Review, Ridley Scott, Sebastian Stan, The Martian, The Middle Seats Season 4 Leave a comment