Movie Review - Rogue One: A Star Wars Story

Rogue One: A Star Wars Story (2016)

Starring Felicity Jones, Diego Luna, Alan Tudyk, Donnie Yen, Wen Jiang, Ben Mendelsohn, Forest Whitaker, Riz Ahmed, and Mads Mikkelsen

Directed by Gareth Edwards

As some may recall, I had not seen a single Star Wars film until last year.  I had gone more than three decades without fully learning about the travails of Luke Skywalker, Han Solo, and Princess Leia.  That all changed, however, as I watched Episodes IV through VII within the span of 48 hours with the last edition -- The Force Awakens -- landing on my Top Ten films of 2015.  With that newfound appreciation of the massively popular series, I will admit that I actually wanted to see Rogue One: A Star Wars Story...but it was a huge letdown for this "newcomer" to the Star Wars pantheon.

A prequel of sorts to Episode IV, Rogue One tells us the tale of how the Rebel forces got hold of the plans for the Imperial's Death Star and were able to destroy it at the end of the 1977 film.  Here, a young girl named Jyn is sent into hiding by her research scientist father Galen (Mads Mikkelsen) right before he is captured by the Imperial forces to help with the plans for the planet-destroying Death Star.  Now grown up, Jyn (Felicity Jones) finds herself on the wrong side of the law and imprisoned, but is broken free by the Rebels when it's discovered that her father is trying to send them messages to help them defeat the Imperial armies.  Jyn leads a group of men to retrieve the blueprints to the Death Star which - surprise, surprise - is ultimately successful.

Part of the issue with Rogue One is that we already know the premise of the ending before the film even begins.  This group of ragtag folks - Jones along with Diego Luna, Alan Tudyk (as a smart-aleck robot), Donnie Yen, Wen Jiang, and Riz Ahmed - succeeds or else Episode IV would've never happened.  The overarching dramatic tension simply isn't there.  Sure, there are individual moments in Rogue One that may excite, but the overall outcome is already known from the start.  Coming off of The Force Awakens which had quite a few surprises, this film felt like a huge letdown.

Ultimately, Rogue One is just a huge bore.  There are hardly any moments of lightheartedness (like in the form of Han Solo's wisecracks or Ewoks or R2D2) and attempts at laughs via Tudyk's K-2SO fall flat.  With the exception of Forest Whitaker (who is overacting to the nth degree), the cast is fine, but their characters are one-note and utterly bland, giving the audience no one to really latch onto in terms of a character to really relate.  In fact, the only bright spots in the film occur when Ben Mendelsohn takes the screen as the villainous Orson Krennic, the overseer of the Death Star project for the Imperial military.  He revels in his devious role and livens things up whenever he's onscreen which is more than I can say for anyone else.

I have been severely disappointed by director Gareth Edwards previous two efforts -- Monsters and Godzilla -- and Rogue One continues the trend of me not caring for his work.  Much like those other two films, he fails to create a momentum that's sorely needed in an action-centric story.  His key action-oriented scenes do little to enhance the story and are filmed in a bland, almost nonchalant fashion.  Edwards isn't helped by the screenplay which fails to flesh out the characters beyond a most basic set of descriptors, but he doesn't help himself either when it comes to creating a film that builds excitement and tension.  With the exception of the film's final ten minutes which admittedly (finally) holds one's interest, the preceding two hours could've been condensed into a crawl at the beginning of a Star Wars film -- oh wait...it was.

The RyMickey Rating:  C-

Movie Review - Zootopia

Zootopia (2016)

Featuring the vocal talents of Ginnifer Goodwin, Jason Bateman, Idris Elba, Jenny Slate, Nate Torrence, Bonnie Hunt, Don Lake, Tommy Chong, J.K. Simmons, Alan Tudyk, Shakira, Maurice LaMarche, and Octavia Spencer

Directed by Byron Howard and Rich Moore

Amusing and creative, Zootopia is an engaging animated film with clever gags, solid animation, and quality voice acting.  While some critics deemed this Disney's best animated film in decades, I'm not willing to go there.  However, once you get past the rather lengthy exposition at the film's outset, its story becomes quite engaging and easily is able to win over its audience of both kids and adults alike.

Zootopia takes us a world that is completely made up of anthropomorphic animals where the concept of predators and prey don't exist; rather everyone coexists peacefully.  As the flick begins, Judy Hopps (Ginnifer Goodwin) has just moved to the big titular city from the small rural town of Bunnyburrow with the aspirations to become the first rabbit police officer in the Zootopia Police Department.  While she eventually succeeds at achieving her dream, she's given very little respect by her superiors -- including water buffalo police chief Bogo (Idris Elba) -- and is tasked with being a lowly traffic cop.  In the course of her mundane duties, Judy runs across sly fox Nick Wilde (Jason Bateman) who she feels in conducting some type of shady business, but she can't quite put her finger on it.  Back at the police station one afternoon, a concerned Mrs. Otterton (Octavia Spencer) pleads with Chief Bogo to search for her missing husband, but when Bogo seemingly pushes Mrs. Otterton aside, Judy jumps at the opportunity to work on a real case.  Bogo, seeing this as an opportunity to get rid of the overly ambitious Judy, tells the rabbit she has 48 hours to find Mrs. Otterton's husband Emmitt or else she must give up her position as a cop.  Desperate to keep her job and prove her worth, Judy tracks down Nick and bribes him into helping her.  The duo travels through the many landscapes of Zootopia and discover a nefarious plot that is turning the now peaceful predators into vicious animals again.

If that seems like a bit of a lengthy summarization, that's because I feel like it is...and that's the biggest problem I had with Zootopia.  The film just takes too long to get rolling -- too much exposition at the start and not enough verve to keep my interest.  Fortunately, once Judy and Nick head out on their mission to track down Emmitt Otterton, things begin to pick up and the film becomes filled with clever jokes and clever humanization of animals.  While the film's script doesn't really lend itself to those heart-wrenching or emotionally uplifting moments we've found in Pixar's films, it still ends up successfully balancing its comedic and dramatic moments in the film's final two acts.

Jason Bateman is perfect casting as Nick with the slick fox emanating Bateman's smart-alecky persona.  Ginnifer Goodwin is spot-on sweet as Judy, a character that could grow irksome in her perfectionism, but doesn't thanks to the vocals provided by the actress.  Nice turns also come from Don Lake and Bonnie Hunt (one of my favorite comediennes) as Judy's parents, the aforementioned Elba as the tough-as-nails police chief, and Jenny Slate as a tiny sheep playing assistant to the mayor of Zootopia.

The animators and screenwriters prove to be clever in their homages to other films and to human existence itself.  Puns abound, but never feel too in-your-face or over-the-top which is a good thing because these plays on words/plays on human culture could've gotten old quickly.  Instead, they add atmosphere to the animal environment.  In the end, Zootopia is a worthy entrant to the Disney animated canon, but it doesn't quite match the levels of the company's best.

The RyMickey Rating:  B-

Movie Review - Trumbo

Trumbo (2015)

Starring Bryan Cranston, Diane Lane, Helen Mirren, Louis C.K., Elle Fanning, Michael Stuhlbarg, Alan Tudyk, and John Goodman

Directed by Jay Roach

Dalton Trumbo (played here by Bryan Cranston) was one of Hollywood's most sought after screenwriters in the early 1940s, but his Communist political leanings led him and many other Hollywood artists to be questioned by the House Un-American Activities Committee (HUAC).  After refusing to testify in front of Congress, Trumbo went to jail for a year in 1950 and, upon his release, found himself blacklisted in Hollywood with no one willing to hire him because of his politics.  Trumbo details the title character's story and his fight to get back into the profession he loved.

Director Jay Roach is known for his wacky comedies -- Austin Powers series, Meet the Parents -- and in his first theatrical foray into drama, he unfortunately doesn't quite succeed.  Trumbo feels like a film inhabited by caricatures rather than a film inhabited by actual people.  Because of this, we lose the emotional connection needed in order to really feel for Trumbo and his plight which is admittedly a blight on both our government and the Hollywood machine of the 1940s/50s.

While Bryan Cranston plays things straight for the most part -- although certainly embodying the witty, literate side of the screenwriter -- many of the other major players in the film are told to chew up as much scenery as possible.  Helen Mirren exudes snarky evilness in every line reading and movement as Hedda Hopper -- gossip columnist and strong anti-Communist activist.  While the HUAC was certainly an ill-advised group, portraying Hopper as a vigilante gung ho on bringing down Trumbo proves to be laughable as opposed to realistic.  (The problem here is that Hopper may very well have been the way she's portrayed, but the film makes her out to be so comically and vehemently vile that she loses any sense of reality.)  John Goodman as a bellowing low-budget film producer who hires Trumbo after his incarceration is also simply playing a stereotypical brash bigwig.  Other than Cranston's Trumbo and Diane Lane's portrayal of his wife Cleo, everyone depicted here feels fake.

Trumbo is reminiscent of a film made in the 1940s and 1950s where actors would be playing broad versions of undeveloped characters as opposed to a film made in the 2000s that looks back on that era over a half century ago and really delves into the issues.  Light-heartedness certainly works in a comedy depicting the 1950s and it works in portions of Trumbo as well except that this film -- and Dalton Trumbo himself -- deserved a film that also gave this man's struggles (and those of his peers) the gravitas they deserved.  All this being said, I appreciate the light that Trumbo shines on this pretty disgusting time in Hollywood history, but I wish the film itself was a better representation of the era.

The RyMickey Rating:  C-

Movie Review - Welcome to Me

Welcome to Me (2015)

Starring Kristen Wiig, Wes Bentley, Linda Cardellini, Joan Cusack, Loretta Devine, Jennifer Jason Leigh, Thomas Mann, James Marsden, Tim Robbins, and Alan Tudyk

Directed by Shira Piven

***This film is currently streaming on Netflix***

While I must admit that I laughed quite a bit during Welcome to Me, after nearly every chuckle I found myself cringing that I was finding what I was watching humorous.  Sometimes it's a good thing when a movie makes you question your innate emotional reaction, but by the end of Welcome to Me, I ended up just feeling unpleasantly uncomfortable because the film disappoints in creating a well-rounded lead character.

The problem lies in the fact that star Kristen Wiig is playing Alice Klieg -- a woman with Borderline Personality Disorder who wins an $86 million dollar lottery and immediately abandons her meds -- as if she were a caricature from a Saturday Night Live skit rather than a well-rounded person.  That isn't to say that Wiig isn't funny.  As Alice, who obsesses over Oprah Winfrey's feel-good talk show and decides to spend millions to create her own lifestyle low-budget cable access show, Wiig has many moments that elicit laughs.  However the script and Wiig's portrayal full of jittery physical motions and dazed eyes are one-note, attempting to define a character only by a psychiatric disorder and the idiosyncrasies that accompany the disease as opposed to other aspects of life.

Oddly enough, however, despite this obviously major problem, I actually didn't dislike Welcome to Me altogether because the premise was certainly unique enough to warrant its existence.  With a supporting cast of many well-known names -- who really aren't given much to do -- the actors countering Wiig do a nice job of trying to keep the film based in reality.  As mentioned, I laughed during this one, but by the time the film ended, I found myself thinking back on it disappointed as opposed to pleased due to the fact that there was potential there for something only to be hindered by a script that fails to help its lead character.

The RyMickey Rating:  C

Movie Review - Big Hero 6

Big Hero 6 (2014)

Featuring the voice talents of Ryan Potter, Scott Adsit, Daniel Henney, T.J. Miller, Jamie Chung, Damon Wayans Jr., Genesis Rodriguez, Alan Tudyk, Maya Rudolph, and James Cromwell 

Directed by Don Hall and Chris Williams

Big Hero 6 is Walt Disney Animation's first collaboration with Marvel and while the film looks visually appealing and definitely has its successful moments, it falls into the same trap as most Marvel movies in that the film's final half abandons the importance of story and feels like action sequence atop action sequence.  Quite frankly, one of these days I'll get around to continuing my Disney Discussion and I think I'll save a more thorough summary until that point, however, the general gist of the plot is that young braniac Hiro (voiced by Ryan Potter) becomes unlikely friends with a robot named Baymax (Scott Adsit) created by his brother Tadashi (Daniel Henney).  As the two bond, Hiro and Baymax uncover a plot by a sinister masked man to utilize some of Hiro's own robotic creations to commit dastardly deeds.

Eschewing the typical fairy tale stories or romances that usually inhabit Disney's animated fare, Big Hero 6 definitely has a different tone especially considering that the film's final half is completely one big battle between Hiro and his group of clever and humorous friends against the masked man whose reveal is supposed to be surprising but is completely obvious to anyone older than ten years old.  Unfortunately, the film isn't subtle in any aspect.  During the opening moments in which better written Disney movies would excel at exposition, Big Hero 6 very bluntly and laughably spells things out for us stating Hiro and Tadashi's back story.  While it sets a bad tone right off the bat, things perk up quite well during the remainder of the film's first and second acts.  Some nice voice acting from all parties -- the lack of "big name" stars is a definite plus -- and animation that is certainly a caliber above average aid Big Hero 6 in overcoming some of its denouement's problems, but it still falls into the 2014 animated credo of "We Must Have a Disappointing Finale" with nary a single release last year ending on a successful note.

I'll hold off on a more in depth analysis for now except to say that the fact that Big Hero 6 won the Best Animated feature Oscar really reveals what a disappointing year 2014 was for what is typically one of my favorite genres.  While I wouldn't hate another Marvel-Disney animated collaboration (and the film is certainly set up for multiple sequels), I hope that a better script creates a more subtle atmosphere for its cast of characters.

The RyMickey Rating:  C+

Movie Review - Frozen

Frozen (2013)

***viewed in 3D***

Featuring the voice talents of Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana, Alan Tudyk, and Ciarán Hinds

Directed by Chris Buck and Jennifer Lee

Unlike some, hearing that Frozen was going to be an all-out old-school animated Disney musical was a huge plus for me.  I grew up in the days of The Little Mermaid, Beauty and the Beast, and Aladdin -- movies that relied on their songs to both advance the story and add depth to their characters.  Of course, that was the era of Alan Menken and Howard Ashman whose respective music and lyrics felt necessary to the plot rather than seeming superfluous to it.  With Ashman's passing in the early 90s, Menken still carried on the tradition and did so rather successfully.  As of late, however, Disney has veered away from the movie musical in large part likely due to the success of Pixar's films which were never music-based.  With 2011's Tangled, Disney rehired Alan Menken and were treated to their most successful animated movie in well over a decade, but the film wasn't as musically "full" as prior flicks, containing only four full-length numbers.  Although the trailers for Frozen weren't entirely appealing, the Disney fan that I am still had high hopes because of the apparent return to their 90s-era all-out musical.  Unfortunately, with some new lyricists and composers at the helm, Frozen just had me longing for the glory days of the Menken/Ashman 90's with the music proving to be a hindrance rather than a help to the overwhelmingly enjoyable plot and characters.

Admittedly, none of the songs by the husband-and-wife team of Robert Lopez (music) and Kristen Anderson-Lopez (lyrics) are unlistenable (with the exception of the final number of the film).  However, there are two main problems that are major factors in the disappointment.

1. First, the lyrics at the beginning of nearly every song are incredibly childish.  Let's reminisce about Beauty and the Beast for a moment.  Howard Ashman wasn't afraid to use a word like "expectorating" in a song for fear that kids wouldn't "get it."  He used it...and it opened up my vocabulary to a new word!  Here, the Lopez duo keep things incredibly basic.  Best known for their Tony-winning Broadway play Avenue Q (which was hilariously ribald), the twosome also wrote lyrics and music for the Finding Nemo musical show in Walt Disney World's Animal Kingdom.  Although that forty-minute Broadway-style show is a visual treat, the songs are incredibly pre-schoolish and the same thing could be said of what we're given in Frozen.  In nearly every song, the lyrics begin with incredibly basic words that eventually shift to something a little more complex.  Quite honestly, they all get to a "good place," but they never start out promisingly.
2. Secondly, there's a lack of cohesive flow in the film from where the dialogue ends and the songs begin.  To me, this is as much a fault of the directors as it is the songwriters.  Unfortunately, this bumpy transition is off-putting more than once and it's typically never a problem for me in Disney films, so I just have to think something didn't quite mesh with the composers and the director.

My problem with the music is very unfortunate because, overall, Frozen is pretty fantastic.  It's the story of two sisters -- older Elsa (voiced by Idina Menzel) and younger Anna (played by Kristen Bell) -- who were best friends growing up.  Elsa was born with the power to make anything turn to ice just by touching it, and after a horrific accident that nearly kills Anna when they were young, Elsa decides to isolate herself completely from Anna, never speaking to her or seeing her.  Years pass, Elsa and Anna's parents -- the king and queen of Arendelle -- die, and Elsa is set to become queen.  However, things go horribly wrong at the coronation ceremony and Elsa's powers are revealed despite her desperate attempts to mask them.  Embarrassed and ashamed, Elsa runs away in an angry rage, turning the whole sunny town of Arendelle into a snow-covered icy wonderland.  While the villagers want to crucify Elsa, Anna knows that her sister is good-hearted and kind-natured and sets out across the snowy tundra to find her and prove her goodness.

With a fantastic voice performance by Kristen Bell, Anna is the spunky lead, unafraid to speak or mind or stand up to a chauvinistic male.  Anna finds herself caught in a love triangle between Prince Hans (Santino Fontana) and "ice seller" Kristoff (Jonathan Groff), yet she needs neither of them to be happy. It's a pleasant change of pace from the typical "princess" stories we've come to expect and, with a nice twist at the end of the film, I imagine parents of young girls will be pleased with Anna becoming a figure of admiration for their daughters.

I also found the character of Elsa full of depth despite the fact that she definitely takes second billing when compared to her sister in terms of time onscreen.  Elsa so easily could've been turned into a completely "evil" character, but the writers crafted her as a character who has absolutely no desire to have her icy powers.  She's wary and nervous of the pain she could inflict with them.  Broadway star Idina Menzel's vocal performance gives Elsa a strength that, much like her sister, is refreshing in a Disney animated film.  

Frozen has an awful subplot (perhaps worse than my issues with the music) involving some trolls who raised one of Anna's suitors, Kristoff, since he was a youth.  I couldn't help but think they were added for a money-making ploy to sell some toys.  Similarly, one would think that the supporting character of Olaf, a snowman created by Elsa after she runs away from Arandelle, is present purely for merchandising opportunities.  And, to be completely honest, Disney's going to sell quite a few Olaf plushes this holiday season.  However, the reason they're going to be flying off the shelves is because the character is hilariously enjoyable, yet heartwarmingly sensitive.  Voiced by Josh Gad, the joie de vivre of Olaf is infectiously refreshing and his song is perhaps the best fitting musical number in the film.

I'm certainly going to give Frozen a second chance and maybe it'll redeem itself upon another viewing. With a fantastic story and unique characterizations when compared to prior Disney princess films, I find myself wishing that the songs didn't leave me so cold.

The RyMickey Rating:  B-

Movie Review - 42

42 (2013)

Starring Chadwick Boseman, Harrison Ford, Nicole Beharie, Christopher Meloni, Ryan Merriman, Lucas Black, Andre Holland, Alan Tudyk, Hamish Linklater, T.R. Knight, and John C. McGinley

Directed by Brian Helgeland

There's a hammy heavy-handedness that accompanies 42, the story of how Jackie Robinson became the first African American major league baseball player.  It's not as if Robinson's story isn't worth telling, but there are moments when racial tension takes center stage that were more laughable than tense.  The film written and directed by Brian Helgeland is incredibly straightforward and by-the-book, containing nothing story-wise or shot-wise that anyone could call innovative.  The acting, while fine, is also quite bland with the exception of Harrison Ford as Brooklyn Dodgers owner Branch Rickey who formulated the idea of integrating baseball in part due to the fact that his ballpark's attendance was sagging.  At first, I thought Ford was way over the top and out-of-place in the midst of everyone else's subdued portrayals, but his character eventually grew on me (or at least added a much needed spark of life into the proceedings).

It's not as if 42 is bad, but it doesn't do anything particularly well enough to recommend it.  I'm sure there are infinitely better documentaries or books on Robinson's integration into Major League Baseball and its subsequent impact on the sport (the latter of which is barely discussed at all).

The RyMickey Rating:  C

Movie Review - Wreck-It Ralph

Wreck-It Ralph (2012)

Featuring the voices of John C. Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch, and Alan Tudyk 

Directed by Rich Moore

I am certainly not a gamer.  As I grew up, I had an old Atari in the house, but it wasn't until my brothers came along and grew up a bit that there was any semblance of "Nintendo" or "Sega" around.  And, the fact is, I never really cared.  I never felt like I was missing out on anything and I certainly don't feel like I'm missing out on anything today.

Because of that, I was a bit hesitant going into Wreck-It Ralph which, in its previews, was certainly priding itself on bringing together a vast array of characters from video games.  To me, that meant nothing and I admittedly doubted the film's ability to connect with me.  Much to my surprise, after a very amusing intro that plays as a Who's Who of '80s and '90s video game characters (but still amused to this non-player), the film shifts into its own storyline that proves to be more heartwarming and humorous than I expected.

Ralph (John C. Reilly) is fed up with being labeled a bad guy.  Day in and day out, he finds himself continually demolishing an apartment complex in his game Fix-It Felix, Jr., but Felix (Jack McBrayer) and the apartment dwellers in the game don't want anything to do with Ralph after the arcade closes forcing him to mope in a junkyard he created himself.  Fed up with a lack of friends and being constantly looked down upon, Ralph decides to game jump into a first-person actioner name Hero's Duty where he meets the gritty and tough Sergeant Calhoun (Jane Lynch) who soon realizes that Ralph, despite being disguised in an army uniform, is not meant to be in her game.  However, Ralph discovers that winning Hero's Duty yields a medal which he feels will show the characters in his game that he is worth something.  Unfortunately, a series of events manages to land Ralph the medal, but also put him into a racing game named Sugar Rush where he meets the precociously obnoxious Vanellope von Schweetz (Sarah Silverman) who finds herself in a similar predicament to Ralph in that no one in her game (including the goofy King Candy [Alan Tudyk]) wants her around either.  Ralph and Vanellope mutually connect because of their problems and together decide to do their best to earn the respect of their peers.

Surprisingly, Wreck-It Ralph is much more emotionally engaging than its "video game" concept would lead you to believe (but maybe my mindset of games being hard-edged and lacking warmth is ill-conceived).  The connection that Ralph and Vanellope form is perfectly pleasant and despite their noticeable differences in age, appearance, and demeanor, the two misfits' newfound friendship creates an emotional core that is hard to deny.  It certainly helps that John C. Reilly absolutely nails the depressed tone with which his titled character is burdened creating a top notch vocal performance that rivals the best we've seen before.  Jane Lynch and Jack McBrayer aren't necessarily doing anything different than what we've come to expect from them, but their tones fit their characters to a tee.

The film's problem spot comes sporadically from Sarah Silverman who, admittedly, has a persona in real life that I cannot stand (or at least can only stand in small, limited amounts like in this video).  Here, her voice is a good fit for the annoying character of Vannelope, but it does grate at moments.  However, I will say that I'm not entirely certain that it's her fault.  The character was written as a bit of an obnoxious brat (albeit, a brat who simply wants to be loved), but when Vannelope stoops to incessant name-calling and foot-stomping pouting, it makes Wreck-It Ralph a little less timeless to me than other Disney movies.

Still, Wreck-It Ralph is certainly one of the best animated films of the year.  In terms of animation, this is Disney at the top of its game, rivaling Pixar in terms of beautiful images and clever design.  [I loved how some of the old school video game characters were animated with a choppy motion...rather ingenious.]  At this point, it's in a close battle with Paranorman for the top spot in that category, but I'm going to refrain complete judgment until my end of 2012 round-up rolls around (and as everyone knows, that likely won't be until mid-2013...so I have plenty of time).

The RyMickey Rating:  B+

Movie Review - Beautiful Boy

Beautiful Boy (2011)

Starring Maria Bello, Michael Sheen, Alan Tudyk, Moon Bloodgood, and Kyle Gallner

Directed by Shawn Ku

***This film is currently streaming on Netflix***

I was speaking just the other day with someone about the dearth of indie movies in 2011 that resonated with me.  There were a few here and there, but my top list of movies features a lot more mainstream wide-release movies than in years past.  Thankfully, Beautiful Boy, a little seen flick from last year, helps pick the slack in that 2011 independent movie market.  With two stunning performances and a story that just emotionally hits you at the core, the debut from director and co-screenwriter Shawn Ku is a welcome surprise.

Maria Bello and Michael Sheen are Kate and Bill, a married couple who are in the process of separating.  Their son, Sammy (Kyle Gallner), is off at his first semester in college, and the empty house is making their relationship even more difficult to bear.  The two could never be prepared for the news they receive early one morning when police officers show up on their doorstep and tell the couple that Sammy went on a shooting spree at his college, killing over fifteen people before turning the gun on himself.  

With this huge news occurring in the film's first ten minutes, the remainder of Beautiful Boy rather effortlessly focuses solely on the emotional impact of this horrific event on the parents of the murderer.  We never leave the side of either Kate or Bill and their grief and sorrow is gut-wrenching.  Their crumbling relationship is pushed to the limits -- for they've gone through something so devastating that few can relate to them -- and the script provides a resolution for the couple that is completely believable and wholly satisfying.

Maria Bello is simply wonderful.  Harboring a tremendous amount of guilt -- Kate was the last one to speak with Sammy the night before he went on his rampage -- Bello allows Kate to run the gamut of emotions from tearful grief to harsh anger, wondering whether she or her husband are also responsible for their son's actions.  Michael Sheen is also riveting, beginning the movie as the calmer of the two, but finally breaking down and unleashing his emotions as the film progresses. 

Together, the two are part of one of the best scenes I've seen in a 2011 film as a rather tender, lovely moment in a hotel room gradually shifts into a raw and hate-filled screaming match showcasing both Bello and Sheen's talent and proving that the film has allowed the audience to become so incredibly invested in these characters and their emotions.  As the scene unfurled, I both didn't want it to end, but couldn't wait for it to be over.  It was so uncomfortable, but so revealing and truth-filled.  The barriers had come down for the coupl (thanks to the introduction of alcohol) and it was positively riveting.

There were a few moments here and there that screamed "low budget indie" in terms of the camera work and editing which admittedly took a little bit away from the overall experience.  And, in the end, you kind of want to know what turned young Sammy down this painful road (although, on the other hand, the ambivalence makes us fully understand the disbelief Kate and Bill are feeling post-shooting spree).  Still, those are minor gripes in a film that moved me quite a bit and featured two fantastic performances.

The RyMickey Rating:  A-

Movie Review - Tucker & Dale vs. Evil

Tucker and Dale vs. Evil (2011)

Starring Tyler Labine, Alan Tudyk, and Katrina Bowden

Directed by Eli Craig

***This film is currently streaming on Netflix***

I certainly wasn't expecting anything from this, but when it popped up on Netflix Instant today, I figured I'd give the 80-minute Tucker and Dale vs. Evil a shot...and I was pleasantly surprised.  A horror comedy based upon a series of epic miscommunications, when a group of college kids head into West Virginia for a camping trip, they come across sweet hillbillies Tucker (Alan Tudyk) and Dale (Tyler Labine) and mistake them for crazy folks.  When the gorgeous Allison (Katrina Bowden) falls into the lake and gets knocked unconscious, Tucker and Dale rescue her.  Allison's college buddies, however, are certain that the two countryfolk have kidnapped her and head out on a rescue mission.  Unfortunately for them, a series of mishaps cause bodies to start building up, painting Tucker and Dale as mass murderers instead of the lovable guys that they really are.

Although the film falters a bit in the final act, this was a more than enjoyable diversion with winning performances from the two leads. Tyler Labine, in particular, was actually rather charming as the shy Dale and absolutely helped raise the bar in terms of the quality on display in the flick.  In fact, considering that Tucker and Dale vs. Evil is a send-up of slasher movies, all the acting is much better than I ever could have expected.  Laughs abound (who knew impalements could actually invoke laughter?) and the gore level is more than adequate although never grotesque.

The RyMickey Rating:  B