Rest assured, thanks to his endless versatility and charm, Costner proves again that he is a comfortable and lifting presence to any sports film, even a football one.
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Let's just say it now. There are not many greats to choose from, but there is no more perfect merger between a product or toy and a movie than "The Lego Movie." No video game movie is this good. No animated or live-action "Transformers," "G.I. Joe," or "Teenage Mutant Ninja Turtles" movie can touch "The Lego Movie." This film is an absolute blast and has something for everyone.
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"Ride Along" is a perfect vehicle for Kevin Hart's act. By playing his big mouth against his little frame, the jokes are easy to make when you put them next to the bark and growl of Ice Cube. Put them together in a cop movie and the jokes write themselves. In a way, it's almost too easy because "Ride Along" becomes entirely too cliche and predictable to really appreciate. It's in one ear and out the other.
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"The Monuments Men" may be the rare enigma and case of identity crisis where a movie doesn't know what it's trying to be. If "The Monuments Men" had went straight serious to really honor this war effort story, those involved all have the chops to deliver an affecting epic. If it had went the lighthearted route, this same cast and crew could nail that crowd-pleaser too with equal room for success. Either route needed more dedication and more time to succeed.
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"The Awkward Moment" is an oasis of fun in a dreary winter cinema landscape. This is one of those rare romantic comedies that can actually appeal to both genders. Set your date night up now. With its wide release coming on January 31st, ladies and gentleman, your Valentine's Day weekend must-see movie has arrived two weeks early.
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The film is up for four Oscars: Best Picture, Best Adapted Screenplay, Best Original Score, and Best Actress. In profound fashion, it deserves every single one of those nominations in each respective category. "Philomena" may be a smaller British film, but it is a touching story that deserves to be seen by larger audiences.
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It was Oscar Wilde that famously said "life imitates art more than art imitates life." When that mantra gets applied to cinema, we commonly talk about how we, as audiences, live vicariously through the imagination and fantasies that films create for us. The first part of that quote gets talked about all the time in that way. It's not too often that the second half of that quote comes true, but I feel that Ethan and Joel Coen have achieved just that with their latest feature film, Inside Llewyn Davis. As a fictional documentation and internal look at a crucial week-long journey in the life of an aspiring folk singer in 1961 Greenwich Village within New York City, Inside Llewyn Davis uniquely feels more like a film taking on real life than one pretending the other way around, as is so often the case with movies. While unique, I don't know if that's necessarily a good thing. Let me explain.
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During the seemingly long Oscar season each year, studios save some of their best and brightest films for the end of the year so that voters with short memories will remember them most when its time to fill out a ballot for awards nominations. It's incredibly rare to see a Best Picture Academy Award winner from a month earlier than October. The term that gets used a great deal is "Oscar bait." This creates a very flooded market in December of memorable film after memorable film. These studios pull out all of the marketing stops and want that "Nominated for..." and "Winner of..." sound byte or graphic on their print advertisements, posters, trailers and TV spots. They long to be showered with praise and are cradled by the powers-that-be to grab that spotlight. They want you to pay your money and join in that praise, hence the term "Oscar bait."
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Directing his fifth film and first since the purposely over-the-top Tropic Thunder from 2008, Ben Stiller turns the macho dial way down and takes his shot at loosely adapting the famous 1939 James Thurber short story that was previously made into a film starring funnyman Danny Kaye in 1947.
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While it's not quite as good or instantly quotable as the first film, Anchorman 2: The Legend Continues is a hilarious follow-up to make this already funny world even bigger while poking great fun at our modern news. I'm in the camp that loves this sort of thing and it's arguably the funniest movie of the year.
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Like a great middle chapter should, this film escalates the tension, danger, and risk towards an as-yet-unseen climax that is sure to blow our socks off. Are the producers still milking us for three movies that could have fit into one? Probably, but, once again, I, for one, have the patience to respect what these filmmakers are up to and value what others might call tedious.
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Thor: The Dark World, the next chapter in the God of Thunder's journey, is Marvel's "spaciest" movie yet, diving in and out of several worlds and exotic settings. In going full fantasy, Thor: The Dark World has plenty to entertain the masses, but loses a little of the coherence we enjoyed from other better Marvel films.
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