Kong: Skull Island

Kong: Skull Island (2017)

Starring Tom Hiddleston, Brie Larson, Samuel L. Jackson, John C. Reilly, Corey Hawkins, Jing Tian,  John Ortiz, Thomas Mann, Shea Whigham, Toby Kebbell, and John Goodman

Directed by Jordan Vogt-Roberts

Written by Dan Gilroy, Max Borenstein, and Derek Connelly

Summary (in 500 words or less):  A team (both military and scientific) head to Skull Island in order to investigate some strange findings.  Upon their arrival, they soon discover the island is home to many larger-than-life creatures including the titular simian Kong.

Click here for my Letterboxd review

The RyMickey Rating:  C+

Movie Review - 10 Cloverfield Lane

10 Cloverfield Lane (2016)

Starring John Goodman, Mary Elizabeth Winstead, and John Gallagher, Jr.

Directed by Dan Trachtenberg

***This film is currently streaming via Amazon Prime***

Taking place within the same world of its predecessor Cloverfield released eight years prior, 10 Cloverfield Lane is a different beast altogether -- a horror film where monsters take a backseat to the frightening nature of humans.  Distraught over what she sees as a falling out with her fiancé, Michelle (Mary Elizabeth Winstead), leaves her apartment in New Orleans for somewhere, anywhere.  Her departure is halted, however, when her car is blindsided by a truck causing her to spin out of control and crash.  When she awakens, Michelle is in what appears to be some concrete bunker, the captive of Howard (John Goodman), an ex-Navy officer who claims that above ground chaos is reigning in the form of some apocalyptic event.  Howard is seemingly a bit nutty, but after a few scary events, Michelle and her fellow bunker mate Emmett (John Gallagher, Jr.) grow to believe that what Howard spouts is actually real, and instead of being a "captive" as she initially thought, Howard's the only thing keeping her alive.  However, there's still hints of distrust amongst the trio because human nature is a fickle and funny thing.

Director Dan Trachtenberg creates a claustrophobic environment enhancing the uneasiness that's already present in both the script (co-written by Academy Award-winner Damien Chazelle) and the characters portrayed by the trio of actors, all of whom hold their own against one another as their allegiances shift scene by scene attempting to figure out who they can trust.  While taking place in the same time period as Cloverfield (presumably, this occurs on the same day as the event in New York City), this 2016 film doesn't really connect with that initial film until its final minutes which does do a little bit to enhance and add to the "Cloverfield" mythology.  (Although, admittedly, these final minutes are actually the least successful aspect of the film.  Despite being well lensed, they stand in too much of a stark contrast to the eighty minutes that came prior.)

Although I think this is an unpopular opinion, 10 Cloverfield Lane is slightly less successful than its predecessor.  It doesn't quite ratchet up the tension in the same way Cloverfield does despite the fact that overall it's a better acted, better produced, and better directed film.  It's a worthy flick and an intriguing addition to what producer J.J. Abrams says is going to be an ever-expanding "Cloverfield" film saga, but it's surprisingly not quite as edge-of-your-seat thrilling as Cloverfield.

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 - The Monuments Men

The Monuments Men (2014)

Starring George Clooney, Matt Damon, Bill Murray, Cate Blanchett, John Goodman, Jean Dujardin, Hugh Bonneville, and Bob Balaban

Directed by George Clooney

Director George Clooney's The Monuments Men definitely feels like a throwback to the days when "Hogan's Heroes" was on tv.  That show went straight for the comedic aspects of WWII, but The Monuments Men attempts to mix comedy and drama and Clooney and his fellow screenwriter don't quite mesh the two together.  Unfortunately, this creates a film that never finds its footing, feeling slightly off balance all the way throughout with the comedic aspects never quite being funny enough and the dramatic aspects never quite mustering up the emotion they likely should.

Clooney's trademark charm is evident throughout the film -- and not just in his acting.  The film itself feels deeply rooted in 1960s cinema, a time when things were perhaps more innocent.  Yes, The Monuments Men is a war movie, but this is no Saving Private Ryan in terms of blood, guts, and action.  Instead, the film focuses on a band of merry older men with backgrounds in art who are brought together to retrieve important European sculptures, paintings, and other artistic media that Hitler's Nazi army took upon their take-overs of various countries.  These men -- played by Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Hugh Bonneville, and Bob Balaban -- have no military experience yet are thrown head-first into some war-torn parts of Europe where the Nazi regime -- although now retreating as the war comes to an end -- has not quite abandoned.

Unfortunately, Clooney's desire to create a more lighthearted romp with the serious subject matter doesn't work in the film's favor.  While I understand the drive behind the film and Clooney's inclination to imbue comedy into this tragic war, the humor waters down the serious moments whenever they pop up.  Rather than feel an emotional connection to several tragic occurrences that happen in the film, the relationship the audience has with the characters isn't there in the way that it should be which is a big detriment in the film's serious moments.  Perhaps a more deft director could have righted the ship, but Clooney doesn't quite have the chops yet.  I certainly appreciate the charming vibe he brought to the piece, but The Monuments Men simply doesn't balance itself out on the scale between humor and seriousness and this off-kilter nature is its downfall.

The RyMickey Rating:  C

Movie Review - Inside Llewyn Davis

Inside Llewyn Davis (2013)

Starring Oscar Isaac, Carey Mulligan, John Goodman, Garrett Hedlund, and Justin Timberlake

Directed by Ethan Coen and Joel Coen

My movie-going relationship with Joel and Ethan Coen is an interesting one.  I recognize their importance in the cinematic landscape and that they've crafted some real winners -- A Serious Man, The Hudsucker Proxy -- and also some disappointing flicks that I probably overrated simply because of the supposed pedigree carried by the duo --  O Brother, Where Art Thou?, Barton Fink.  Inside Llewyn Davis unfortunately falls into the latter category as it follows a brief period of time in the life of Llewyn Davis (Oscar Isaac), a folk singer living in New York City in the early 1960s as he struggles to get a record contract after his former duet partner committed suicide a few years prior.

I'm sure there's something "deep" that I'm missing, but I couldn't help but be bored while watching this.  Oscar Isaac gives a nice performance as the title character, but I never found the script allowed me to really connect with his struggles for some reason.  It's not that he was an unlikable guy or that his plight is unrelatable, but perhaps his lack of enthusiasm towards anything made his status as a lead character particularly humdrum.  Somewhat surprisingly, secondary characters like John Goodman, Carey Mulligan, and Justin Timberlake aren't really allowed to step up and inject a bit of life and humor into the mix either, so the whole thing plays rather one-note stuck between this not-too-dark yet not-too-funny middle ground that never takes off.

The film looks nice and, as I mentioned, the acting is good, but nothing about this film excited me or motivated me to say anything really positive in my review, which in and of itself seems like a fairly damning statement.

The RyMickey Rating:  C

Movie Review - Monsters University

Monsters University (2013)

Featuring the voice talents of Billy Crystal, John Goodman, Steve Buscemi, Helen Mirren, Peter Sohn, Joel Muray, Sean Hayes, Dave Foley, Charlie Day, Alfred Molina, Tyler Labine, Nathan Fillion, Aubrey Plaza, Bonnie Hunt, and John Krasinski

Directed by Dan Scanlon

I've avoided writing this review for over a month.  I have no excuse.  It's not like I've been avoiding it out of some Disney guilt because I didn't enjoy it.  In fact, Monsters University was much better than my initial low expectations which had me avoiding it in its first go around in theaters, only catching this one upon a re-release over Labor Day weekend.  I guess I figured I'd have some "Boo withdrawal" when it came to this, but I didn't miss that incredibly cute character from the original Monsters, Inc at all.

Instead, I fully enjoyed this prequel following Mike and Sulley (voiced once again with gusto by Billy Crystal and John Goodman) and their journey through college.  As they enter the hallowed halls of Monsters University, the two are as opposite as could be.  Mike has his eye (singular, naturally) always in a book studying up on how to perform the proper scare, whereas Sulley is all about having the crazy college experience joining the frat Roar Omega Roar immediately upon arrival.  However, when performing their final scare exam, Mike and Sulley have a horrible accident that angers the frightening Dean Hardscrabble (a spot-on Helen Mirren) who nearly expels the two, but instead removes them from the scare program.  This prompts Roar Omega Roar to cut their ties with Sulley and it puts Mike into a depression because all he's ever wanted is to scare.  As the college prepares for their annual fraternity and sorority Scare Games, Mike convinces Dean Hardscrabble to allow him back into the scare program if he wins the Scare Games.  She obliges, however, without a fraternity willing to accept him, Mike seems out of luck until Sulley steps up and helps Mike form their own frat Oozma Kappa.

With the formation of OK, we meet a bunch of new characters who more than make up for the loss of the adorably cute Boo.  The humor derived from these new cast members (voiced by Peter Sohn, Joel Murray, Sean Hayes, Dave Foley, and Charlie Day) is fantastic and I laughed out loud much more than I expected.  While it's true that Monsters University doesn't have the heartwarming characteristics we've come to expect in most Pixar films (although it certainly has its moments of warmth), the flick stays true to its established characters and the enhancement of their backstory rounds them out more fully.

I'd like to write a bit more, but this quickly typed up review will have to suffice for now.  Needless to say, my reluctance to see Monsters University was totally unfounded, so if you're feeling that same way, you should definitely give this a chance.

The RyMickey Rating:  B+

Movie Review - Trouble with the Curve

Trouble with the Curve (2012)

Starring Clint Eastwood, Amy Adams, Justin Timberlake, John Goodman, Matthew Lillard, and Robert Patrick

Directed by Robert Lorenz

No one will ever mistake me for a Clint Eastwood fan.  As a director, I think he's as boring as they come.  As an actor, I think he can't exude any emotion beyond gruffness.  Although he didn't direct Trouble with the Curve, this 2012 flick didn't do anything to change my opinion on the guy.

It should come as no surprise that Eastwood is playing a grizzled old man.  In this instance, he's Gus, a long-time baseball scout for the Atlanta Braves, who finds himself heading to check out a southern high school hitting prospect.  However, Gus isn't a young guy anymore and he discovers that his eyesight is making it very difficult for him to see both the pitches and the hitter's reaction to them.  Gus's boss and friend Pete (John Goodman) gets in touch with Mickey (Amy Adams), Gus's daughter, and convinces her to help her father make the best of what may very well be his last scouting trip.  Mickey is an aspiring attorney who is gunning for a partner position, but she obliges Pete despite the fact that her relationship with her father is somewhat strained thanks to him placing work before family through most of her childhood.  It should come as no surprise that despite the tension between father and daughter, by the film's end, resolutions are made.

The biggest issue with Trouble with the Curve is that it's simply too generic to really love or hate it.  There's not a thing in it that's horrible, but there's nothing in it that deserves acclaim either.  Eastwood is playing the same role he plays in everything.  Amy Adams is burdened with a character that is forced to change her allegiances and feelings towards her father on a dime simply to assist the storytelling.  Shockingly, Justin Timberlake is actually one of the better aspects of the film even though he's just playing a token love interest.  Granted, he isn't given much to do, but he shouldn't be embarrassed by his switch as of late to acting.

Ultimately, though, the film just doesn't provide any spark or substance beyond anything we've seen before.  It's perfectly okay, but it's just okay.  There's nothing recommendable about it, but nothing that I can say to steadfastly try and persuade you not to watch it either.

The RyMickey Rating:  C

Movie Review - Flight

Flight (2012)

Starring Denzel Washington, Don Cheadle, Kelly Reilly, Bruce Greenwood, John Goodman, Brian Geraghty, Tamara Tunie, James Badge Dale, and Melissa Leo

Directed by Robert Zemeckis

As of late, Robert Zemeckis has not been a director you could rely on for solid product.  Caught up in the motion capture world, the director hasn't helmed a live action film since 2000's Cast Away.  Needless to say, his recent track record is one of the reasons I waited a long time to check out Flight and it's a shame since now I can't recommend it to folks since it's already departed from most theaters.

Although the film starts with a harrowing and excitingly well shot plane crash sequence, we soon discover that while the film revolves around the aftermath of this tragic accident, its focus is really on the troubled Whip Whitaker (Denzel Washington), the pilot of that fateful flight who while being hailed a hero for saving 96 of the plane's 102 passengers is really a lost soul himself.  Whip is an alcoholic and in order to mask that from others, he snorts a nice cocaine chaser to give him the "uppers" that he needs to function.  On the day of the fateful accident, Whip had some substantial amounts of these substances in his system and, despite performing an extremely successful landing that all parties involved admit could have been much worse, this puts him on quite the hot seat.

As Whip struggles with the aftermath of the accident, he finds some solace in a recovering junkie named Nicole (Kelly Reilly) who is striving to better herself and overcome her addictions.  Unlike Whip, Nicole wants to rid herself of the toxic substances she often relied on and the two, while initially seemingly two peas in a pod, begin to drift apart as Whip continues his ongoing downward spiral into addiction.

Denzel Washington is great here in perhaps his best role in years.  "Playing drunk" always runs the risk of going over-the-top and Denzel reins things in, taking a more quiet and inward approach.  Despite the rather introspective nature of the performance, we're always well aware of the thoughts going on in Whip's frazzled mind.  There's a subtlety in certain scenes that is surprising and lovely and shows the talent that Washington brings to the screen.

Zemeckis also gets some great performances from his supporting cast as well.  Don Cheadle is strong as a lawyer assigned to Whip's case who tries to be the voice of reason for the drug-addicted Whip.  Bruce Greenwood plays Whip's loyal friend with equal parts care and concern.  John Goodman is a hoot in a small role as Whip's dealer and Tamara Tunie and Brian Geraghty prove quite successful in small roles as members of Whip's flight crew.

However, much like I was moved by Washington's performance, I was equally bowled over by Kelly Reilly -- a British actress entirely convincingly portraying an American Southerner -- as Whip's new girlfriend Nicole and James Badge Dale in a very small, one-scene role as a nameless cancer patient who tries to imbue a sense of "life's short so embrace what's best" into both Whip and Nicole.  As the three actors find their characters meeting in a stairwell to sneak a smoke while recovering in hospitals for their various ailments -- Whip after the plane crash, Nicole after an overdose, and the cancer patient facing head-on the end of his life -- they speak of life, death, faith, love, and fear.  It's a powerful and beautiful scene that I won't soon forget.

Flight falters ever so little towards the end becoming a tiny bit preachier than it should and ending on a slightly cornier and more uplifting note than the film had heretofore deemed feasible or plausible.  Still, this one was definitely a winner and certainly worth checking out when it comes out on dvd in the upcoming months.

The RyMickey Rating:  A-

Movie Review - Argo

Argo (2012)

Starring Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea Duvall, Scoot McNairy, Rory Cochrane, Christopher Denham, and Kerry Bishé

Directed by Ben Affleck

Having been born in 1980 and having taken very few (if any) "modern" history courses, I'm feeling moderately okay with the fact that I know very little about the Iran Hostage Crisis beyond the fact that "it happened."  I realize this is an irrational justification...I should know about this...but I don't.  Having said that, the story behind Argo wasn't even fully known until 1997 when President Bill Clinton declassified the information behind the release of six Americans from Iran who were previously thought to have been freed solely due to Canadian ingenuity.  The truth is that the release of the hostages was formulated much more thanks to US creativity, but the joint effort between the two countries was nothing short of amazing...and also kind of crazy.  Were this a fictional movie, you'd never believe it possible, but considering this actually happened, it's fascinatingly riveting.

Without going into the brief history lesson at the beginning of the film, let's just jump into the fact that in 1979, the US Embassy in Iran was overtaken and fifty-two Americans were taken hostage for over 444 days.  Argo is not their story, however.  Instead, Ben Affleck's film focuses upon six Americans who escaped the embassy and found a safe haven at the Canadian consulate.  Finding themselves forced to stay hidden, they quickly come down with a case of cabin fever with nowhere to turn.

Back in the States, our government is under pressure from Canada to get the Americans out of their embassy as Ambassador Ken Taylor (Victor Garber) is finding it increasingly difficult to keep his "houseguests" out of Iranian sight.  CIA exfiltration expert Tony Mendez (Ben Affleck) is called in by his boss Jack O'Donnell (Bryan Cranston) to try and figure out how to safely remove the hostages when every other CIA plan proves inadequate.  Mendez concocts a crazy notion to create a fake movie with the help of a Hollywood producer (Alan Arkin) and a make-up artist (John Goodman) that plans on shooting in Iran.  With a background story in place, Mendez heads into Iran posing as a Canadian film producer with the intent of getting the six hostages safely back home.

I think first and foremost praise for Argo's success needs to be heaped upon director Ben Affleck.  Affleck proved himself competent in the overrated though good Gone Baby Gone in 2007 and further showed his talent in the tense and taut The Town in 2010.  Neither of those films showed the deft hand he puts in place in Argo, though.  The last hour of this film flies by like no other movie I've seen this year (which is certainly, in part, due to the excellent script by Chris Terrio [in his debut!] which balances the severity of the rescue attempt with the sheer ridiculousness of the real life plot).  Amazingly crafted, Affleck is a talent behind the camera and this film shows it.  This is a smart thriller that had me biting my nails for the final thirty minutes.

Still, where Affleck proves his worth (as he has in all his films thus far) is in his way of pulling together incredibly talented actors and getting them to give great performances.  Argo continues this trend without a doubt.  A veritable "Who's Who" of "I've Seen That Guy Before," everyone here is working together as an ensemble.  No single person towers over another including Affleck who certainly has the lead role.  Ultimately, this may work to the film's disadvantage come Oscar time because I'm not really sure any one person stands out enough to warrant awards attention, but as an ensemble they are simply amazing.  Kudos certainly need to go to the six hostages -- Tate Donovan, Clea Duvall, Scoot McNairy, Rory Cochrane, Christopher Denham, and Kerry Bishé -- who find the perfect balance between relief that they found a safe home at the Canadian embassy to neurosis that they may never get back home alive.

Argo is a thrilling drama aimed at smart adults and the director at its helm deserves credit for its success.  I am well-known for looking at my watch during movies, but as I mentioned above, Argo flew by and that is always a success in my book...and it's also my first "A" rating of the year.

The RyMickey Rating: A

Movie Review - Paranorman

Paranorman (2012)

***viewed in 3D***

Featuring the voice talent of Kodi Smit-McPhee, Tucker Albrizzi, Anna Kendrick, Leslie Mann, Casey Affleck, Christopher Mintz-Plasse, Elaine Stritch, and John Goodman 

Directed by Chris Butler and Sam Fell

Kid flicks today often seem sugar-coated or, at the very least, a bit more sanitized than the movies kids from the 80s grew up on.  The weirdness of The Neverending Story or Labyrinth or even Disney's The Black Cauldron just aren't present in movies that have a goal of appealing to kids.  In fact, at times, it might have often seemed that movies like those aforementioned, while made for the younger generation, almost held more interest for the adults dragged to the theaters with their young'uns.  Paranorman reminded me more of the movies of my childhood generation than much of what is released today (and I don't mean that in any demeaning way to today's family films).  Oddly off-the-wall, kooky, and entertaining, although I had to wonder if it would hold the interest of a kid.

Norman Babcock is a seemingly normal boy with one exception -- he can see and talk to ghosts.  Naturally, this doesn't sit well with his parents who want him to stop living in a dream world and it certainly doesn't help him at school where he finds himself bullied for his "gift."  With the whole New England town of Blithe Hollow thinking he's a nutjob, Norman finds himself quite the loner.  One evening, however, the town's crazy hobo (who also happens to be Norman's uncle) crosses paths with the boy and tells his nephew that it is up to him to stop a rising of the dead from occurring.  While he doesn't believe it, Norman eventually succumbs to his uncle's wishes, but finds trouble along the way that causes the dead to actually rise from their graves and begin invading the small town with only Norman having the ability to get the zombies back to their below ground residences.

In addition to the very nice stop-motion animation on display, Paranorman comes with a decidedly adult sensibility in tow filled with humor that will go over many a ten year-old's head.  I'm not talking about raunch here, but I am impressed with screenwriter Chris Butler's sensibility to not talk down to the kids in the audience (and the parents who accompanied them).  [There's a character "twist" at the end is shockingly ballsy -- even though it maybe shouldn't be in this day and age -- and further exemplifies the "mature-skewing" nature of the film.]  I'm sure the homages contained in this film are plentiful, but even something as simple as a slight rehashing of the Friday the 13th synthesizer score was enough to bring a smile to this reviewer's face.  Still, despite honoring some horror movies of the past, the film feels fresh and innovative, standing rightly on its own.

Somehow, though, Paranorman never quite allows us to connect to the characters in a way that Pixar movies do.  Those Pixar folks have seriously cornered the market on heartfelt animation and even when something like Paranorman attempts a tugging on the heartstrings, it never quite reaches the levels the Pixar guys manage to set.  That's not taking anything away from this movie, however, it does stop it from reaching the upper echelon of modern-day animated classics.

The RyMickey Rating:  B+

Movie Review - Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close (2011)

Starring Thomas Horn, Sandra Bullock, Viola Davis, Max von Sydow, John Goodman, Jeffrey Wright, and Tom Hanks

Directed by Stephen Daldry

The last Best Picture nominee I needed to watch, I was dreading seeing Extremely Loud and Incredibly Close as it seems to be the most reviled of the nine films up for the top prize.  I had read the book and enjoyed it, but the reviews calling Stephen Daldry's flick emotionally manipulative and heavy-handed made me wait until the very last minute to see this.  Well, in the end, I can't help but feel that I've certainly saved one of the best flicks of 2011 for last because Extremely Loud and Incredibly Close is powerful, heartbreaking, and inspiring -- a lovely film that has been unfairly maligned throughout this awards season.

Oskar Schell (newcomer Thomas Horn), an eleven year-old kid with symptoms of Asperger Syndrome (despite having an inconclusive diagnosis for the disorder), was having a perfectly normal day on September 11, 2001 -- but that was the day his life was personally changed forever.  His father (Tom Hanks), a jewelry store owner, had a meeting in the World Trade Center that morning and like thousands of others, he did not make it out alive.  Finding it incredibly difficult to cope with the loss, Oskar comes across a small manilla envelope holding a key in his father's closet.  On the envelope is written the word "Black" and, as a way to keep his father's presence alive in his mind, Oskar sets out on a mission across all of New York City to meet every single person with the last name of "Black" to find out if they know what the key will open in hopes that it will somehow tell him more about his father.

Perhaps the film could be labeled sappy, but I found it incredibly moving and touching.  Yes, it could be deemed heavy handed, but we're dealing with subject matter here that is incredibly intense and the film doesn't tiptoe around it.  In what is perhaps the best film I've seen that deals with the 9/11 tragedies (that isn't a "documentary-type" film a la the spectacular United 93), I'm not ashamed to admit that my eyes welled up multiple times here.  Yes, I know no one that was harmed on 9/11, but this film speaks to anyone who has experienced any type of loss, grief, and pain, and speaks to the courage and drive necessary to move on and continue living your life to its full potential.

A film which places a young fourteen year-old kid who has never acted before front and center in every single scene of the movie is asking for trouble if the kid doesn't connect with the audience.  That certainly isn't the case here -- I found Thomas Horn a revelation.  I realize that's not a word to throw around lightly, but I was really moved by this kid in an incredibly difficult role.  I wrote in my original review of the novel that I was so irritated by the character of Oskar that I almost put down the book 100 pages in.  The cinematic Oskar worked much better for me.  Perhaps I was simply prepared for the quirkiness of the character -- his carrying around of a tambourine to calm himself is just one of his eccentricities -- or perhaps Horn just embodied the character in such a way that made his idiosyncrasies more believable to me.  Regardless, despite having a completely different personality than me, I somehow felt incredibly connected to this young kid -- Horn is really playing an "everyman" trying to cope with grief and that portrayal deeply moved me.

Horn isn't alone in excelling in the acting department.  Hanks is rather charming in his small role as Oskar's father.  In his limited screen time, it's obvious why Oskar loved his father as much as he did and it was his father's joie de vivre that sends Oskar on his mission.  Similarly, Sandra Bullock is surprisingly powerful in her limited role as Oskar's mother.  Her scenes with the young Horn are gripping and oftentimes heartbreaking.

However, it's Horn's scenes with Max von Sydow that I'll remember the most.  Von Sydow plays a man simply known as The Renter, an elderly gentleman who has moved in with Max's grandmother who lives in an apartment across the street from his home.  The Renter doesn't speak and instead writes all his thoughts in a little notebook, but Oskar finds himself able to communicate with The Renter more than anyone else in his life.  With nary a word spoken, von Sydow is wonderful and positively moving, able to express everything we need to know with the raise of an eyebrow or a shrug of the shoulders.

[There is also a beautiful scene that occurs near the film's conclusion with a man played by Jeffrey Wright whom Oskar meets on his quest to discover the purpose of the key that nearly gave me chills. (Too much discussion of this scene would be a bit of a spoiler so I'll stop here, but I'll likely be discussing it more in my Best Scenes of the Year category in the RyMickey Awards.)]

What is a movie if it's not "manipulative."  Film is one of the most "manipulative" art genres around.  All movies have an agenda/story to tell and they all try to take their audience on whatever journey the director and screenwriter want us to see.  To toss the claim around that director Stephen Daldry and screenwriter Eric Roth are simply playing on our emotional connection to 9/11 isn't a fair critique.  They take a horribly tragic moment in our American history, narrow it down to a specific person's take on that painful day, but somehow manage to make it contain themes that speak to us all.  Kudos all around on this one.  Extremely Loud and Incredibly Close is, by far, one of the best films of 2011.

The RyMickey Rating:  A

Movie Review - The Artist

The Artist (2011)

Starring Jean Dujardin, Bérénice Bejo, Penelope Ann Miller, James Cromwell, and John Goodman

Directed by Michel Hazanavicius

Certainly one of my most anticipated films of 2011, The Artist had a lot of likely impossible buzz to live up to and, unlike The Muppets (which lived up to and exceeded my lofty expectations), French director Michel Hazanavicius' ode to early Hollywood falls a tiny bit short.  Don't get me wrong -- The Artist is a very good film.  It unfortunately lacks a little bit of emotional oomph I was longing for and stands more as a technical achievement and acting tour de force than a movie that tugs at your heartstrings.

In The Artist, Michel Hazanavicius has crafted a black-and-white silent film about the end of silent films.  Certainly borrowing heavily from films like Singin' in the Rain and Citizen Kane (to name only a few), this flick is a love story to cinema which is why I could easily see it picking up many Oscars at this year's Academy Awards.  As the flick opens, popular silent film actor George Valentin (Jean Dujardin) finds his star still on the rise.  Along with his adorable tag-along pooch, George is much beloved by the public.  It is at the premiere of his newest film where he first meets Peppy Miller (Bérénice Bejo), who accidentally bumps into him as he is being interviewed by the press.  Trying to make the most of her fifteen minutes of fame, Peppy becomes a "regular gal-turned-actress," and she and George begin a nice friendship that both wish could grow to something with more romantic undertones except that George is unhappily married to Doris (Penelope Ann Miller) who is constantly aggravated with her husband.

When the studio head Al Zimmer (John Goodman) approaches George to be in a newfangled "talking picture," George balks at the idea and leaves the studio that gave him his big break behind.  As he funds his own silent film, George finds his star power waning while Peppy's is on the rise thanks to her participation in sound films.  With George in the dumps and Peppy living large, their roles have reversed, but neither have forgotten about their suppressed love for one another despite the fact that their industry has attempted to push them apart.

The story is perfectly pleasant and certainly simple enough to be told with minimal title/dialog cards, yet it absolutely kept my interest the whole way through thanks in large part to some great performances from Jean Dujardin and Bérénice Bejo.  Dujardin, in particular, is kinda fantastic as the charmer George Valentin.  Obviously, acting in a silent film (and a silent film that pays homage to those that came before it) requires a bit of what we may nowadays call "over-acting," but Dujardin rarely stoops to that level.  Instead, he takes a simple eyebrow raise and clues the audience in to exactly what his character is thinking, walking the normally precarious line between melodrama and seriousness (both of which are requirements for his character to perform) with great ease.  Ms. Bejo, on the other hand, does tend to favor (or was told to mimic) the more dramatic style of acting most would likely associate with silent films.  Don't take that as a detriment, however, as Bejo is exuberant and quite a joy to watch onscreen.

There are several moments of ingeniousness by director and writer Michel Hazanavicius that to reveal here would ruin their effectiveness on film, but needless to say, there were several moments that had me smiling simply because of his directorial and screenwriting choices.  The film looks absolutely beautiful as well and his vision of creating a 1920s-style flick with all the conventions that entails -- those "sweeping" scene changes, a near-constant musical score, to name a few -- is absolutely successful.

However, the film lacks a little bit of that emotional oomph I was hoping for.  Ultimately, I think the reason falls on the fact that the film, even in its most dour of moments, is wholeheartedly a melodrama and because of that, it never quite takes itself serious enough for me to get serious about it.  Still, unlike what is often the case for me, The Artist is sitting quite well as it stews in my mind as I type out this review. In fact, as I've pondered over the flick, I've raised my grade by half a point (although you'll have to forgive me if 24 hours from now, I feel like changing it back...which [edited to add] I did...I'm still internally debating the B+/A- here).  In the end, The Artist is a charming film that can't help but elicit many smiles out of moviegoers who give this old-school, black-and-white, silent film a chance.

The RyMickey Rating:  B+

Movie Review - Red State

Red State (2011)

Starring Michael Parks, Michael Angarano, Melissa Leo, Kyle Gallner, Kelly Bishé, and John Goodman

Directed by Kevin Smith

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

Rather amusingly, the end credits of Red State -- Kevin Smith's horror movie that he distributed on his own after a "fake" attempt at creating a bidding war earlier this year -- separate the cast into three categories -- Sex, Religion, and Politics.  Certainly those are three subjects that are ripe for controversy and debate, and while Smith undoubtedly takes a side on those topics and does so in a not-too-subtle manner, I couldn't help but enjoy myself thoroughly while watching this.  Thanks to some great performances and a running time that moves everything along at an incredibly brisk rate coupled with solid direction and clever (but not his typical raunchy) writing from Mr. Smith, Red State is a surprising winner.

When three high school boys come across a Craig's List-style online ad for an older woman who agrees to sleep with all three of them at once, the licentious trio wants to jump on the opportunity.  Little do they know that they're walking into a trap set up by a David Koresh-like cult leader Abin Cooper (Michael Parks), a man whose group at the beginning of the film is seen picketing a gay teenager's funeral.  (While that is a reprehensible act, I was a tad worried that this "obvious" "He's EVIL" stance was going to prove to be a little too blatant throughout the movie...fortunately, Smith curbed this as the movie progressed.)  The three teens are drugged and awaken in Cooper's church where he spreads (his version of) God's word to his family members who are the only members of his congregation.  In the midst of a rousing sermon, it soon becomes obvious that Cooper has warped the Bible into something decidedly crackpot and all hell is about to break loose.

For reasons I won't divulge in order to try and stay as spoiler-free as possible, the government soon becomes involved in this whole affair and sends out agents to try and take over Cooper's compound.  Headed by Agent Keenan (John Goodman), orders are soon given by his supervisors to do whatever is necessary to bring Cooper and his terroristic organization down.

If one were to step back and look at the grand idea that Smith is trying to convey here, his attacks on religion and our society post-9/11 don't necessarily hold water.  While both are certainly topics that can be critiqued in a film landscape, he doesn't dig deep enough to incite change or cause the viewer to even think about their opinion on the subject.

But if we overlook that (and I choose to because the rest of the film is good enough to do so), Red State is a very suspenseful horror film.  No one is safe and there was many a moment when I was shocked by what was unfolding onscreen.  Yes, there are moments of Smith's trademark humor (including a clever though mildly stupid "twist" towards the end), but the film works because the director has a solid grasp on editing his flick to maximize tension.  

Helping achieve this sense of unease are some wonderful performances.  Michael Angarano and Kyle Gallner as two of the sexually charged teens provide the "Kevin Smith wit" prevalent in his other flicks.  Nice work also comes from John Goodman as the agent who takes a rather moralistic stance against his superiors.  Melissa Leo as one of Cooper's daughters is utterly creepy and Kelly Bishé (with whom I'm completely unfamiliar) is beautiful to look at and does quite a good job as a wavering, questioning member of Cooper's clan.

The star here, though, is Michael Parks as the seemingly pleasant smooth-talking Abin Cooper.  At the beginning of the film, Cooper is given a lengthy monologue that, while could have easily been removed or shortened, brilliantly reveals the true character behind this country preacher.  He's outwardly pleasant yet so incredibly evil and Mr. Parks plays him without ever stooping to cheap tricks.  Cooper is a nut and Parks' evenhanded portrayal of him makes him even more terrifying.

Red State isn't going to be for everyone.  It is quite violent and it's not exactly a pleasant watch (although it's not nearly as graphic as the torture porn horror shlock that was so pervasive in the early aughts).  But it did it's job to keep me on the edge of my seat and that's all I can ask from a movie like this. 

The RyMickey Rating:  B+

Movie Review - O Brother, Where Art Thou? (2000)

Starring George Clooney, John Turturro, Tim Blake Nelson, John Goodman, and Holly Hunter
Directed by Joel Coen (and an uncredited Ethan Coen)

If only films could be based solely on looks/cinematography, movies like O Brother, Where Art Thou? would take a place in my favorite movies of all time. Unfortunately, they don't, and this Coen Brothers effort falls a tad short for me.

Loosely based on Homer's The Odyssey (which I know I've read at some point in time), the flick follows three hickish guys who have just escaped from a chain gang and are on a mission to find a secret treasure (sounds corny, but it's not as bad as that one sentence makes it sound). My biggest issue with the film, though, is that the story is essentially a series of small set pieces with quirky side characters simply connected by these three escapees coming across them. Parts of the film are great -- the scene with Michael Badalucco's Baby Face Nelson, the Ku Klux Klan scene -- but they don't add up to a super whole for me.

George Clooney as the "ringleader" of the on-the-lam criminals always throws me for a loop. Try as I might, I often have a very difficult time differentiating him from his real-life movie star persona and the characters he plays in his films -- I feel like I'm watching Clooney rather than a character (same goes for Julia Roberts and John Travolta most of the time). It's not that Clooney disappoints here (or really disappoints in any film), but I still never get the feeling that I'm watching a character. Turturro and Blake Nelson are each fine, but didn't wow me. I was actually pretty impressed with Holly Hunter's minimal role (and was equally unimpressed by an over-the-top John Goodman).

Still, there are laughs to be had here. And, like I said above, the film really looks spectacular. The sepia-colored tones tempered with strong use of yellows provided a palette that was certainly visually appealing and one that I imagine would look great on the big screen. I just wish there was a little more cohesiveness to the story, rather than just a series of segments strung together.

The RyMickey Rating: C

Movie Review - The Big Lebowski (1998)

Starring Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, Philip Seymour Hoffman, and John Turturro
Directed by Joel Coen (and an uncredited Ethan Coen)

I'm not really gonna go into a summary here as nearly everyone I know has seen it already. There's a lot of depth here for a comedy, both in story and in dialogue. There's an intelligence in the verbiage used here that shines through despite the fact that we're dealing with some dumb (or at the very least lazy) folks...and it shockingly didn't feel out of place. Characters (even the most minor ones) are well defined and each really has their own unique voice and manner of speaking.

It's the characters and the actors that play them who make this movie the comedic gem that it is. Jeff Bridges is genius as The Dude, taking the slacker routine that has been seen so many times on film to a new level. And just when you think you're seeing something great in Bridges, along come John Goodman who has one of the best supporting roles I've seen onscreen in ages. His volatile bitterness and shifts from happiness to anger were ridiculously hilarious. Goodman's role is certainly the stand-out here, but Julianne Moore and Steve Buscemi also are pretty damn good in their smaller roles, making a sizable impression despite less screen time.

Obviously, these actors have the Coen brothers to thank. At this point, this is by far my favorite Coen brothers movie I've seen to date (although I know I've got much more in their oeuvre to go...and I'm not gonna hear the end of it until I see them all). The wit and intelligence they bring to the screen is refreshing. Bring on the rest of their stuff...

The RyMickey Rating: B+

Movie Review - Gigantic (2009)

Starring Paul Dano, Zooey Deschanel, John Goodman, Ed Asner, and Zach Galifianakis
Written by Matt Aselton and Adam Nagata
Directed by Matt Aselton

I don't know that I've wanted a movie to end this year more than I wanted Gigantic to end. It's not that it was even the worst movie I've seen, but it was full of those "quirky" characters that do wacky things that people would never do in real life simply to try and provide laughs for the movie-going audience.

Paul Dano is Brian Weathersby, a 28-year old mattress salesman who has wanted to adopt a baby from China for his whole life. One day, he meets Happy Lolly (Zooey Deschanel) whose father has just bought a mattress from him. They fall in love. That's pretty much it (except for the weird subplot of a homeless guy played by Zack Galifianakis who is constantly beating up Brian...why? Because it's weird and edgy, that's why). Brian and Happy both have that solemn, emotionless indie characteristic that we see in indie movies where the writers don't know what to write about. The two of them are so blah that I never once felt anything but boredom whenever Dano and Deschanel were onscreen. Dano and Deschanel were playing characters I've seen them play before...they brought nothing new to the table here. Sure, they weren't helped by the awful script, but they certainly were poor on their own merits.

The only thing saving this movie from complete failure are the performances of John Goodman and Ed Asner as Happy and Brian's respective fathers. Goodman's character is a completely unbelievable "quirky" rich guy, but he plays it with gusto and was the only person that breathed life into the movie. Asner was the only "normal" person here and I enjoyed the performance probably for that reason alone.

The RyMickey Rating: D-

Movie Review - Confessions of a Shopaholic (2009)

Starring Isla Fisher, Hugh Dancy, Joan Cusack, John Goodman, and Kristin Scott Thomas
Written by Tracey Jackson and Tim Firth
Directed by P.J. Hogan

I'll never understand women and fashion. Does owning a pair of shoes really make you feel better about yourself? Does purchasing some shitty looking green scarf make you think other people will like you more? Put on some clothes and go out, for Christ's sakes.

Isla Fisher is Rebecca who is in complete denial of the fact that she can't stop shopping. She's maxed out all of her credit cards, is unable to pay the rent to her roommate, and is constantly hiding from debt collectors. It doesn't help that she's lost her job as a writer at a gardening magazine. Through a twist of fate, she ends up working at a money magazine. How she gets hired there, I don't know. It's one of those typical movie moves where the character gets a job via false pretenses, then the lie is revealed and the person who was fibbed to gets angry, but all ends up fine in the end because the liar is so darn cute and nice and the deceitfulness wasn't that bad to begin with, right? Ugh.

This comment isn't all that important, but it really bugged me -- The film was filled with incredibly weird musical interludes (for example, Rebecca's dad pulls some ugly-looking camper up to his house to the tune of some crappy dance song that stops immediately when he stops the camper...the music was not playing in the camper, either). How clever is it that when she gets sent to group therapy, Amy Winehouse's "Rehab" plays (and they do that joke twice!)? Who woulda thunk of that? And what chick flick would be complete without a dance scene? Ladies love dancing, so let's throw that in there, please! But make sure we have one of the characters say something along the lines of "I don't know how to dance" and then dance amazingly well or super funny or both!

I must admit that Isla Fisher, who I've only seen in Wedding Crashers, is quite charming. It's a shame that she's burdened with such a lousy character in this. While she makes the most of it, it's tough to rise above this character who really never learns her lesson and who is stuck with a typical film romance where there's no way two people would fall in love, but end up swooning over each other in the end. And the character that Rebecca falls in love with is your typical emotionless robotic automaton who we've seen in tons of rom-coms. Still, without Fisher in the role, the movie would've been nearly unwatchable, so there's something to be said for that.

There were two things that were incredibly aggravating to me (and spoiler alert here). Apparently, the "bad guy" in this movie is the debt collector. Since he's doing his job, I don't understand why he's set up as this evil man. Rebecca owes a ton of money, why shouldn't she be hounded by this guy instead of buying the pair of knee-high Prada boots? Secondly, Rebecca makes her money back by having a sale of all her clothing. She's essentially coddling others (who are banging down doors in order to get into this sale) into becoming shopaholics to cure her "disease." I didn't get it at all. It's okay for you to fall apart as long as I'm getting better.

The RyMickey Rating: D

Movie Review - Barton Fink (1991)

***Available on DVD***
Starring John Turturro, John Goodman, Judy Davis, John Mahoney, and Tony Shalhoub
Directed by Joel Coen (and an uncredited Ethan Coen)
Written by Joel and Ethan Coen

Barton Fink (Turturro) is a New York playwright who moves out to Hollywood when presented with an opportunity to write for "the pictures." Unfortunately, writer's block comes into play and Barton is unable to write a thing. He befriends a salesman living next door to him (Goodman), he stares at peeling wallpaper, and he meets up with a washed-out alcoholic writer (Mahoney) and his lover (Davis) in hopes of gaining some inspiration.

Full of some hilarious bit roles taken right out of cheesy 1940s B-movies (the detectives who question Fink in the 2nd half of the film, the film studio chief), it's a shame that the main character is such a nobody. I can't even really put a finger on it, but I hated the way Turturro portrayed Fink. He certainly wasn't helped by the Coen Bros. who give him nothing to do in the film's first hour except act incredibly frustrated at his inability to write.

The film certainly comes alive in the second hour, and I felt like I was watching a far superior movie (despite the zaniness that is present)...a far different movie than the first hour. In the grand scheme of things, the two disparate acts make sense (sort of), but they really didn't connect for me cohesively. But, I guess that could be the point, really.

While I didn't love the movie, I'm absolutely interested in discussing this with the friend who recommended it to me (especially considering it's one of his favorite movies of all time). It's a movie rife with symbolism that a single viewing wouldn't allow me to catch everything (or even half of everything).

Perhaps in three months, I'll give this movie another chance...knowing where it's going might help me better appreciate the initial hour.

The RyMickey Rating: C+
(for now...although upon a 2nd viewing, I could see myself finding this film more and more intriguing)