Nebraska

Alexander Payne's return to the screen is a remarkable independent film about nothing more than the dysfunction of family and a son's futile attempt to bond with his ailing father before it's too late. Nominated for 6 Oscars, including Best Actor, Best Picture, Best Director, Best Supporting Actress, Best Original Story, and Best Cinematography, Nebraska is hands-down the surprise of the awards season. It is the last film to check off my list, so my seasonal film spree ends on a happy note.

This is Payne's first film since the critically acclaimed The Descendants in 2011, which won him his second Best Writing of an Adapted Screenplay Oscar. Although Nebraska likely won't win any of the awards it is nominated for, it is a refreshingly simple story, shot in black and white with some truly beautiful middle-America scenery and delightfully quirky musical accompaniment.

Bruce Dern plays Woody, a retired alcoholic mechanic in the early stages of Alzheimer's. He receives a sweepstakes letter in the mail, and he adamantly insists that he is going from his home in Billings, Montana to Lincoln, Nebraska to claim his million dollar prize. Inevitably, his two frustrated sons and his nagging wife humor him and a family adventure ensues, including a stop in a sleepy little town where his long forgotten past and his brothers still live. Along the way, his son (Will Forte) learns a lot more about his dad than he bargained for, and receives some of the bonding that he desperately wanted before his father's health declines beyond the point of no return.

Dern's performance as a cantankerous old codger is right up the alley of an almost 80 year old veteran. Grow his hair out, don't shave for awhile, and shuffle around and play forgetful and careless. At a glance, he's the perfect role, and he handles it like a pro. Is he worthy of a Best Actor Oscar nomination? Maybe not. I would take him off the board first, replacing him with either Tom Hanks, Joaquin Phoenix (Her), or Oscar Isaac (Inside Llewyn Davis). It's a ripe role, and he does fine, but it could have been better.

Will Forte isn't given enough credit for his role in this film. The Saturday Night Live alumni has come a long way since MacGruber. He's picked up a couple of nominations throughout the awards season, but has mostly flown under the radar. Certainly an odd pick for the role, but he shows that he's more than just a joker. He conveys his love for his dad and his sadness and frustration in the helplessness of the situation simultaneously, and he is really the glue that holds the film together.

June Squib is the loud, blunt nagging wife who drives Woody to his last hurrah of an adventure. She is annoying, rude, and simply despicable. It adds a layer of viewer compassion for Woody and makes his crankiness seem almost justified.

Stacy Keach is the hometown rival of Woody, and Keach is a perfect fit for a good old boy who puts on the nice face, but deep down is just a mean-spirited country bumpkin. Old and battered, they rekindle their rivalry nearly sixty years later, and bring up secrets and grudges that should have been long ago put to bed. It's entertaining, but there is something quite depressing about their interactions. But, I suppose that's Alexander Payne's wheelhouse.

The writing is pretty standard in the realm of family dramedies. There is an arc to the story that builds around family relationship and some growth and bonding, with a sad resolution that doesn't shy away from the reality of the characters. There is a bit of satisfaction in the end however, in that the characters experienced something adventurous, even if they are slightly damaged in the end. Payne is no stranger to this approach, and audiences eat it up. He did it with Sideways and The Descendants, and does it again with Nebraska. Audiences want to see flawed individuals in uncomfortably familiar situations, and dialogue that pokes and prods at social conformity. Payne accomplishes this with the help of writer Bob Nelson. Much of the dialogue seems staged, but it doesn't really matter because it is so simple in its delivery. This film wouldn't have been the same had it not been shot in black and white, I honestly believe this. The cinematography and direction would be average in the eyes of critics, and the actors would be lost in a sea of better than average performances. It was a brilliant move spearheaded by a critical darling in Alexander Payne.

Nebraska is something different that is set in nostalgia while being real and reflective of truth at the same time. Everyone has to deal with aging parents someday, and I just hope when my time comes, that mine aren't anything like Woody and Kate Grant. 7/10.

45 Must See Films of 2014 - Part 4

The fourth and final installation outlining the 45 must-see films of 2014 is what I call the "wildcard" films. Twelve in all, these are mostly going to be late 2014 releases, if not 2015 or not at all. Most of them look extremely good on paper either because of cast, crew, or story. Here they are, with no release dates attached because it's purely speculation at this point.

The Gunman. Idris Elba, Sean Penn, and Javier Bardem in a spy thriller. Need I say more? Directed by Pierre Morel, one of the minds behind the Transporter and Taken franchises, and director of 2010's awful From Paris with Love. Could go either way, but with that cast, I'm hedging my bets for a strong action film.

Feed the Tree. I don't know much about this one except for the setting, and it hits close to home. "A group of close high school friends make their way through tragedy and a coming of age in 1990's Seattle, WA" (IMDB). If nothing else, might be a trip down memory lane. Except for the tragedy part.

Knight of Cups. Terrence Malick's mysterious next project featuring Christian Bale and Natalie Portman. Described only as "A man, temptations, celebrity, and excess" (IMDB). Might be an ethereal Tree of Life type film, or might be more mainstream like The Thin Red Line (mainstream being loosely used here - nothing Malick is mainstream). The strange thing is that if you look up this combination of cast/crew, there is another project titled "untitled Terrence Malik Project" that also has Bale and Portman, but also Ryan Gosling, Michael Fassbender, Rooney Mara, Benicio Del Toro, and Cate Blanchett. Either way, I'm intersted.

Carol. This Todd Haynes period piece finds Rooney Mara and Cate Blanchett in a 1950's New York City department store love story. That's all.

Voyage of Time. Also Terrence Malick, so either this one makes it to the cinema, or Knight of Cups does. I'm betting that one will be pushed back quite a ways, maybe even to 2016. Anyhow, this one has Brad Pitt and Emma Thompson taking an existential look at the universe, and time, and space and everything in the universe. Sounds fascinating. Didn't we already see this in the Tree of Life? Maybe see this one in IMAX?

Inherent Vice. Paul Thomas Anderson is back after confusing and polarizing audiences with 2012's The Master. He brings Joaquin Phoenix back (I love him as an actor - so much emotion) to the 1970's as a drug-addicted detective investigating the disappearance of his girlfriend. Based on the novel by Thomas Pynchon, last time PT Anderson adapted a novel, it got him an Oscar nomination for writing, film, and a win for Actor (Daniel Day-Lewis). This will be in the awards discussions in the fall.

Foxcatcher. Bennett Miller's follow-up to Moneyball featuring the outstanding cast of Mark Ruffalo, Channing Tatum, and Steve Carell in the biopic of the Schultz brothers and the US Olympic wrestling murder scandal from 1996. Will be interesting to see how Tatum and Carell handle this type of film as it's going to test both of their limits. I have faith though, and think this could be an audience favorite.

Into the Woods. I'm not usually a big fan of the dark Disney fantasy spinoffs, but this one has some real star-power. Directed by Rob Marshall, who has some experience adapting from stage to screen with Chicago and Nine, it stars Johnny Depp, Meryl Streep, Chris Pine, Anna Kendrick, and Emily Blunt. Intrigued?

The Homesman. I like Tommy Lee Jones despite some of his obvious mistakes. I also like Hillary Swank in her 3 good film roles and 1 good made for TV film role. Put them together in pioneer times and surround them with some quality actors (John Lithgow, Tim Blake Nelson, William Fichtner, James Spader, Hailee Steinfeld, Meryl Streep, Jesse Plemons) and you have the makings of something that might be a home run. Or a routine pop-fly. We'll have to wait and see.

Untitled Cameron Crowe Project. I cried at We Bought a Zoo. So sue me. I love Cameron Crowe movies (except Vanilla Sky and Elizabethtown, but those don't count). This one might be much more in line with his lighthearted fare. Bradley Cooper, Rachel McAdams, Emma Stone, Bill Murray, John Krasinski, Alec Baldwin, and Danny McBride lead this love story surrounding a military contractor and his Air Force chaperone. At least it's something different.

Creed of Violence. I read this book a few years back when it first came out and it's pretty fun. Christian Bale leads Todd Field's charge toward gold statues in a story set in 1910 Mexico where an FBI agent enlists the help of a veteran assassin with a secret as they look to take down an arms cartel. Leo DiCaprio initially expressed interest in the role, but backed out to film Gatsby and Wolf of Wall Street.

Third Person. Three couples, three love stories, Rome, Paris, New York. Paul Haggis returns to behind the camera after a few years of making exceptionally average work. He wrote and directed Third Person, so let's hope it returns to the realm of magic that Crash inspired, and which catapulted his name to fame. He wrote Million Dollar Baby as well, and that was fantastic. Mila Kunis, Olivia Wilde, James Franco, Liam Neeson, Kim Basinger, Adrien Brody, and Maria Bello are the big names. I'm not expecting much to come of this, but you never know with Haggis.

And, the bonus film which is almost a lock to be America's darling in 2014, Nailed. I mentioned it in my Golden Globes recap, but it's David O. Russell's next film and will be on the Academy's radar, particularly Jessica Biel, Jake Gyllenhaal, Catherine Keener, and James Marsden. Or, Russell's luck could run out with American Hustle. We'll find out next year.

While we're dreaming of the future, my most anticipated, yet unlikely to be adapted film remains Cormac McCarthy's Blood Meridian. Ridley Scott, Todd Field, and most recently James Franco have expressed interest in the challenge of adapting the novel, but it just doesn't seem feasible. Ridley Scott, a longtime fan of McCarthy and collaborator on The Counselor this past year, when asked if he would be able to make the film with an NC-17 rating, said "It would have been rated double-X." That seems to be the problem. The novel is so visceral in its graphic description of violence that to do it justice would essentially ostracize 99% of audiences. It's not a profitable move, and won't ever see the silver screen, but I get excited when I hear that a director is thinking about giving it a try. Except James Franco. My challenge is for one of our better film makers to buck the system and make the film the way it is meant to be made. Be a trailblazer. Be like Kubrick. My dream writer/director would probably be Paul Thomas Anderson. With Phillip Seymour Hoffman, Matt Lauria, Jackie Earl Haley, Tom Hardy, and Michael Shannon in the lead roles. A boy can dream, can't he?

Anyway, I hope you enjoy the 2014 preview - there are some good ones for sure. Until next time...

45 Must See Films of 2014 - Part 3

Part 3 of 4 - the "Mainstream Fillers". Some of these films may bleed into the blockbuster category, but it will be a pleasant surprise for the studios, stars, and producers. Others may end up on my awards short list, but these are the films that will fill theatre seats throughout the year when people aren't clamoring to see the superhero flicks on the docket. These are the 14 films of part 3.

Jack Ryan: Shadow Recruit. Tom Clancy's franchise returns with an origins story. Directed by Thor's Kenneth Branaugh (who also plays the Russian badguy - he loves the accent), Chris Pine takes the titular role, and depending on the success (box office, critics), we may see a resurgence of Jack Ryan in the near future. January 17.

Labor Day. Jason Reitman is one of my favorite young dramedy directors (Up in the Air, Juno, Thank you for Smoking, Young Adult) and this one may be a bit too heavy-handed. A one-time Oscar hopeful for 2013, Labor Day missed its mark and is now opening in the dreaded month of January. I'm still interested though. Should be the best thing out at the time. Ironically, opens on January 31.

The Monuments Men. Written, directed, starring George Clooney. This film was dubbed the "Argo" of 2013, and had Academy Awards written all over it, then it was pushed back to 2014 because they couldn't get the visual effects completed by year's end. The good news is that it might be a better film than anything that came out in 2013, and you get to see that during what is typically the calm before the spring season. This is a must-see. February 7.

Need for Speed. Aaron Paul gets a shot to headline a big budget video game adaptation, and from the few previews and screenshots, it might be a quieter, more artful Fast and Furious. With better cars. There is a slew of video game films coming down the pipe, Warcraft, Halo, Assassin's Creed. But this is one that is less ambitious and will likely be a lot of fun without taking itself too seriously. This is Paul's big break into film, but even if this is a bust, he can ride the Breaking Bad wave for another year or two. He will be fine either way. March 14.

Noah. Russell Crowe teams up with director Darren Aronofsky on the ambitious biblical tale of the end and rebirth of the world. Expect beautiful imagery and masterful camerawork. March 28.

Sabotage. Arnold Schwarzenegger's still got it. He leads a team of DEA special forces cops as they are taken out one by one, Agatha Christie Ten Little Indians style. Will be a lot of testosterone and explosions. Pure fun. April 11.

Transcendence. Johnny Depp lends his name to a wildcard Sci-Fi endeavor. Longtime Chris Nolan cinematographer, Wally Pfister (won an Oscar for Inception) makes his directorial debut in a film where a dying man essentially transcends death by uploading his personality into a computer. This film could be brilliant or terrible, but I'm not sensing a middle ground. April 18.

The Giver. That's right, Lois Lowry's classic young adult dystopian novel finally gets a home in film. An eyebrow-raising cast with Meryl Streep, Jeff Bridges, and Taylor Swift (yes, that Taylor Swift) will follow the lead of last fall's Ender's Game and give us something familiar but different than the rest of what's being made these days. I'm excited as I am a fan of the book. August 15.

Gone Girl. One of the more anticipated releases of 2014, Ben Affleck plays the lead in the David Fincher film. I don't know what the big deal is, so I'm picking up the book. October 3.

The Judge. Robert Downey Jr. ditches his Iron Man suit to play a lawyer coming home for his mom's funeral only to find out that his dad is the prime suspect. This could be a powerful legal drama, or a dark comedy. Director David Dobkin has a history of comedy, so don't get your hopes up too much. Downey is a very funny actor, and Robert Duvall plays his dad. However it turns out, it should be a fairly entertaining film. October 10.

Fury. Brad Pitt drives a tank during WWII in what will likely be another Inglorious Basterds war/revenge type film. Brad Pitt has chosen pretty wisely lately, so this has potential on his name alone. November 14.

Exodus. The third biblical interpretation of the year, this one finds Christian Bale as Moses, leading the Israelites out of Egypt. It's directed by Ridley Scott, so it is a bit of an odd match. Must be a passion project. December 12.

Everest. Not to be confused with the Doug Liman/Benedict Cumberbatch George Mallory biopic, the one I'm referring to is the thriller that finds Jake Gyllenhaal, Jason Clarke, Josh Brolin, and John Hawkes stranded during a severe snow storm. Has some serious potential for greatness with that cast. December 19.

Unbroken. There's a lot of buzz already about the Angelina Jolie film based on the biography of an Olympic athlete and WWII POW. The Coen Brothers wrote the screenplay and my favorite cinematographer, Roger Deakins (10 Oscar nominations, 0 wins) is behind the camera. December 25.

There are 12 more films that I am excited to see, I'll call them the "Wildcards" and they will be featured in part 4. Enjoy!

2014 Golden Globes Recap

Alright ladies, you might as well start lining up to work with David O. Russell now. He once again produced a couple of acting winners with his Golden Globe winning American Hustle.

Here's a recap with a tiny bit of commentary to keep you interested.

Best Screenplay - Spike Jonze, Her. Totally deserving. Her was the most original film this year in a sea of biopics and sequels. Spike Jonze has proven once again that you can go against the grain in Hollywood, and with the help of Joaquin Phoenix, he created a truly beautiful love story. I hope he wins the Oscar for Best Original Screenplay.

Best Supporting Actress - Jennifer Lawrence, American Hustle. She is definitely America's darling, and she has gotten some very choice roles over the past three years or so. Not that she was necessarily undeserving, but I think the awards voters have become a bit blinded by her recent celebrity. That said, she was great in her O. Russell roles, and will team with both Bradley Cooper and her Hunger Games director, Gary Ross in her next few films.

Best Supporting Actor - Jared Leto, Dallas Buyer's Club. Leto doesn't have significant screen time in DBC, but his role as a cross dressing man living with AIDS is heartbreaking and a welcome return to the screen for one of the more underrated actors around. Quirky like Depp, but extremely talented.

Best Actress - Comedy - Amy Adams, American Hustle. What more is there to say besides she's hitched her wagon to the right horse. Her performance was great, but I didn't necessarily see it taking her to the Oscars. She's young and has a long career in front of her, and is a fine actress, either in plunging necklines or not.

Best Actor - Comedy - Leonardo DiCaprio, The Wolf of Wall Street. The more I think about TWofWS, the more I was impressed by both DiCaprio and Hill. Leo gave what was probably the most thoughtful speech of the night, surrounded by actors and actresses who get on stage unprepared. It's an awards ceremony. You were nominated. Write a speech! DiCaprio won his second Golden Globe after a dozen or so nominations. Definitely a deserving award.

Best Actress - Drama - Cate Blanchett, Blue Jasmine. For the most "sure-thing" winner of the evening, I wasn't that impressed. Sure, it was great acting in a very particular role, but it was a well-written Woody Allen film. It might be blasphemy, but this was a weak category this year. Expect more of the Oscar nominees to come from the comedy or musical category than this one.

Best Actor - Drama - Matthew McConaughey, Dallas Buyer's Club. Deserving win, but very unexpected nonetheless. I was left feeling empty after seeing DBC, but I suppose that was the point. McConaughey was gaunt and passionate about his role, and it fit him perfectly with the Texas drawl. I'm not disappointed, but I wonder if the academy feels the same way.

Best Director - Alfonso Cuaron, Gravity. My most deserving pick of the season was Alfonso Cuaron for Best Director. The film was revolutionary and beautiful, and kudos to him for picking up the globe. You can pencil him in as winner at the Academy Awards as well. Very satisfying win.

Best Picture - Comedy, American Hustle. No surprise here. Russell's next movie is called Nailed, and Jake Gyllenhaal, Jessica Biel, James Marsden, and Catherine Keener should start clearing some mantle space. He is an awards magnet, and don't be surprised if American Hustle sneaks into legitimate Best Picture talks for the Oscars.

Best Picture - Drama, 12 Years a Slave. Best picture is an interesting category this year with no real clear winner. When you look at the ten films that were nominated, there are a handful who are legitimate contenders. I could see American Hustle gaining some traction over the next month and a half or so, but I'm still behind Captain Phillips. I wouldn't mind seeing one of the lesser-seen films like Her, Nebraska, or Inside Llewyn Davis get a little recognition, but that's unlikely. 12 Years a Slave is a virtual lock at this point as it's won 97 awards out of 130 nominations. Not bad for a single movie. Steve McQueen deserves it, he's a great new director. He's been making shorts since the early 90's, but this is only his 3rd feature film. I'm not disappointed if 12 Years wins, but I'm still pulling for Hanks and Phillips.

45 Must See Films of 2014 - Part 2

Part 2 of 4 - the Comedies of 2014. Here are the six that actually might be worth watching. Three sequels and three originals.

Neighbors. At first glance, this is just going to be a raunchy comedy, but in reality, it's going to be the coming out party for Zach Efron. He's funny and this will prove it. Seth Rogen and director Nicholas Stoller have some extensive comedy experience as well, so expect this to be surprisingly funny. It will probably be a little raunchy as well. May 9.

22 Jump Street. Channing Tatum and Jonah Hill had amazing comedic chemistry, and the whole idea of going undercover at a high school or a college is fodder for great hi-jinx. Expect this to be as funny as the original, then again, it could be recycled material and could be unoriginal. I'm hoping it will live up to its predecessor. June 13.

Tammy. Written and directed by Melissa McCarthy's husband, Ben Falcone, this could truly go either way. You have to give him/her props for striking while the iron's hot, and the story sounds interesting enough. McCarthy hits the road with her mother (Susan Sarandon) after finding out her husband cheated on her. Has potential for a female-driven comedy vehicle (think Bridesmaids or the Heat). July 2

Sex Tape. Jason Segel and Cameron Diaz lose their sex tape, leading to a frantic search. not particularly great premise, but a tremendously funny supporting cast. Diaz has shown some comedic potential, and this might be the wild card comedy hit of the summer. July 25.

Dumb and Dumber To. The Farrelly brothers made a name for themselves in the mid 1990's and have been churning out average at best films since 1998's There's Something About Mary. Even 2011's Hall Pass was poorly executed. Let's hope that Jim Carrey and Jeff Daniels can rekindle the magic from 20 years ago and make something with some sharp jokes. With 6 writers attached, including some who have worked on some recent comedy gems, I'm expecting that Hollywood has gotten tired of Farrelly turds. They are being more demanding as the name doesn't cut it anymore. If this isn't good, don't expect Peter and Bobby to get any love in the future. November 14.

Horrible Bosses 2. Horrible Bosses was the hit of the summer of 2011, and the sequel should be just as good. The original cast returns, and add Chris Pine and Christoph Waltz to the mix. It doesn't really matter to me what the story is. The cast is great. It will be funny. November 26.

Stay tuned for what I like to call Mainstream Fillers. Coming soon...

45 Must See Films of 2014 - Part 1

2014 has a substantial number of high quality films that will or are currently slated to come out during the 12 month period. Some of these films might find themselves in the studio black holes with no avenue for distribution, and some may die during pre-production. Others may be bumped back into 2015, but these are the 45 that I have found that look pretty good to me. I've broken them into four categories: Blockbusters, Comedies, Mainstream Fillers, and Wildcards. I'm not even going to mention the "O" word yet. I've been premature on awards predictions before, so I'm being patient.

Let's start with the fourteen blockbusters on the docket.

Captain America: The Winter Soldier. Captain America seems to be the least popular of the Avengers, but they are making Scarlett Johannson a major part of the film, and are introducing us to a few new characters. It's Marvel's last Avengers film until we get to see Avengers 2 in 2015, but the studio is continuing their trend of cycling through directors to give the films fresh and unique feels. April 4.

The Amazing Spiderman 2. Marc Webb has been tantalizing the public with teasers of possible villains or plot lines, but it looks like many of them are just that. Teasers. Andrew Garfield returns as the web-slinging hero, and this time goes up against Paul Giamatti and Jamie Foxx. It will be fun, and devoid of any of the Avengers or Justice League heroes, this might be the superhero film of the summer. May 2.

X-Men: Days of Future Past. Bryan Singer returns to the helm (X-Men and X-Men 2), which could be a downturn in the franchise after Matthew Vaughn took over for the surprisingly fun X-Men: First Class. He hasn't directed anything good in years, and is still holding on to his Usual Suspects reputation. Expect this to be a bit more disappointing than you think. May 23.

Transformers: Age of Extinction. Michael Bay returns and wisely revamps the cast and moves on to a more action-centered Transformers. Not that the others weren't packed with special effects action and explosions, but this should be a step in the right direction for the franchise. After all, it has made so much money, they would be stupid not to keep making them. Michael Bay knows how to entertain, this will be cool. June 27.

Godzilla. Hollywood can't get enough of giant monster disaster flicks, and this might be a different Godzilla than what we're used to. Director Gareth Edwards has a history of creature features with special effects mixed with just enough imagination to make it more fun than it should be. This will be a darker, more fun Godzilla than the typical Hollywood renditions. May 16.

Edge of Tomorrow. Tom Cruise's latest by Doug Liman. Very intriguing premise. Basically a futuristic Groundhog Day centered around an Alien invasion. June 6.

Dawn of the Planet of the Apes. Director Matt Reeves takes the helm, and he lacks big budget experience. This project might be a bit over his head, but if it's anything like 2011's Rise of the Planet of the Apes, it will be a pretty entertaining action film. Expect state of the art special effects as well, and as always, Andy Serkis as the Apes (and monkeys). July 11.

Jupiter Ascending. The Wachowski siblings return to sci-fi action after the Speed Racer pet project, and the dismal Cloud Atlas. This, at least at first glance, looks to be more like the Matrix than anything we've seen since. I have high hopes for this, and think it might mark a resurgence in the Wachowski name. July 18.

Guardians of the Galaxy. Chris Pratt gets his turn in the first film of Marvel's "Phase 2". A ragtag group of misfits are charged with saving the galaxy. This includes a talking raccoon, a giant tree-man, and their leader, Starlord (Pratt). I'm pretty excited to see what director James Gunn does with it. I've rarely been disappointed by Marvel, and this will be a step in a different direction, but I have confidence that it will do well with both critics and audiences. August 1.

Teenage Mutant Ninja Turtles. Michael Bay is the producer, and the director has a handful of somewhat successful action films under his belt. The material is 1990's cult classic lore, but what is really intriguing is the special effects angle. Rumors are that the turtles are amazing, blending actors with CGI. I'm excited just to see that. August 8.

Interstellar. Probably the film I'm most excited for heading into 2014, Chris Nolan is a genius, and he takes a step back from the Sci-Fi to something a bit more Sci-non-Fi (trademark pending). There has been a teaser trailer, but other than that, the only thing we know is that it has an incredible cast, and looks at space travel with the discovery of wormholes. Think what Contact could have been back in 1997 if it had Nolan and today's special effects. Will be a great film. November 7.

The Hunger Games: Mockingjay part 1. Catching Fire just barely surpassed Iron Man 3 as the top grossing domestic film of 2013, and don't expect Mockingjay to be any different. The third book takes a different turn, but it's still Jennifer Lawrence, and it's still a young adult novel adaptation. Will rock the box office, but my thoughts are that it deviates from the theme of the first two. Almost a different franchise for the last two films. November 21.

The Hobbit: There and Back Again. Peter Jackson has run out of Tolkien material, so expect his swan song to be epic. Although the Hobbit films have a different tone than the LOTR ones, he will find a way to make this monumental. December 14.

Next up, We'll take a look at the six comedies that have the most potential to be memorable.

The Most Interesting Films of 2013

Well, 2014 is officially here and it's time to take a look back at the year that was 2013. I like to pick my favorites in an unorthodox way, not for the award caliber quality or for production value, but for the overall movie-going experience that each film evoked. Some are action blockbusters, some simply lived up to the hype. Some were a brand new look at film, or an introduction to an endearing character. Maybe there was an unusual amount of suspense or comedy. For whatever reason, these are my favorite films of 2013 in no particular order.

Scariest movie of the year - The Conjuring. I missed this one when it was in theatres, but saw it recently and director James Wan has learned all the tricks of the trade with his Saw and Insidious films. He puts them to good use in what is not just a scream flick, it has solid acting, is based on a true story, and has an overall creepy feel.

Best animated film of the year - Monsters University. I have to be in the right mood for an animated film, but the Monsters Inc/University films are just cute and fun. So are the minions from Despicable Me, but it's the movies without humans that tend to capture my imagination more.

Best documentary of the year - Blackfish. I was blown away by this revealing look at killer whales in captivity. One of my greatest fears is to be eaten by a sea creature (don't laugh) and seeing case studies of Sea World trainers being savagely attacked out of nowhere is a frightening reality check. It's also an educational film for the PETA fans out there.

Best conspiracy-theory documentary of the year - Room 237. The film maker takes his love and obsession of Stanley Kubrick's The Shining to a whole other level by analyzing it forward, backwards, and sideways. It takes the film to depths not even Kubrick was aware, and I am curious what Steven King thinks of it. It's as far-fetched as the Dark Side of the Moon/Wizard of Oz phenomenon. And just as cool.

Best comedy of the year - We're the Millers. In a summer season full of attempts at humor, We're the Millers was the most accurate in terms of hitting the mark. I never got bored, and the story and acting backed up the humor nicely. Sudeikis is great.

Most suspenseful thriller of the year - Prisoners. Nevermind the fact that the cast is excellent, the premise of Prisoners is haunting. Prisoners of all films of the year gave me a satisfied feeling at the end, and I left the theatre with the rare feeling of having been thoroughly immersed in the movie and emotionally entertained from start to finish. It was the film where there was a personal investment in the outcome.

Most pleasantly surprisingly entertaining blockbuster - World War Z. I really liked WWZ. It makes my top 10 films of the year list, and serves as the film that I didn't expect to like as much as I did. The buzz leading up to the release was hit or miss, but the film hit the ground running and never looked back. The film also has a short scene by a man named Michael Jenn who is my "Best 5 minutes or less of screentime performance" award winner. He played the "WHO Vault Zombie" and if you've seen the movie, you have to agree. He's an epic zombie.

Most fun blockbuster experience - Pacific Rim. I was expecting popcorn junk, but I really had a lot of fun watching Pacific Rim. Both times I saw it in the theatre. And both times I saw it at home. Fun from start to finish, what's not to like about giant robots fighting giant aliens? That's right. Nothing.

Least disappointing summer blockbuster - Star Trek: Into Darkness. For the amount of hype and expectation, I have to say that Star Trek was the least disappointing. This is a compliment. Iron Man, Superman, Wolverine, and especially Elysium all left something to be desired, but Star Trek was pretty great. Considering the burden on Abrams' shoulders after the success of the first iteration of the franchise reboot, I was fully expecting a sophomore slump. Now he's moving on to Star Wars, but the Trek legacy will continue. My prediction? Part 3 will suck.

Best film of the year - Captain Phillips. Captain Phillips had it all, and although it's looking more and more like 12 Years a Slave will be the runaway favorite for awards, I stand behind Paul Greengrass' intense piracy situation drama. I also maintain that Tom Hanks has never been better than he was in the final five minutes, and that if he doesn't win Best Actor, it won't be because he was outperformed. Brilliant film. Just don't forget to breathe.

Most beautiful film of the year - Gravity. Gravity will and should win Best Director, cinematography, and a variety of special and visual effects. The most realistic space film ever to grace the silver screen, it is nothing short of a thing of beauty. Gravity was a magical experience, and if they had cut about half of the dialogue (and maybe changed the ending), it might be in the driver's seat for Best Picture.

Best Independent film of the year - The Way Way Back. I loved The Way Way Back. It's another one of Steve Carell's performances that shows his dramatic range, but what makes it such an interesting film is the relationship between 14 year old Duncan (Liam James) and 40 something Owen (Sam Rockwell). Rockwell deserves some recognition for his consistency in his body of work. I think I mentioned this four or five years ago, but he's still one of the most underrated actors in Hollywood. I'm just waiting for someone to have the sense to cast him in a ripe role that will get him some awards.

I could go on and on, but this is my 2013 year in review - hope you enjoyed, and I encourage and appreciate your comments and disagreements.

The Wolf of Wall Street

The truth is often stranger than fiction, so the saying goes. Jordan Belfort came of age in Manhattan at the perfect confluence of stocks, drugs, regrettable coutour, and moderately burgeoning technology. To say that the quaalude is more the star of this film than Leonardo DiCaprio is an understatement, and although Martin Scorcese has never shied away from graphic nudity, The Wolf of Wall Street has enough gratuitous depictions of debauchery to make most people blush. But, that's the whole point. The Wolf of Wall Street is a three hour nostalgic journey back into the 1980's through the perspective of a wide-eyed, money-hungry young man named Jordan Belfort. Belfort wrote an autobiography that gained traction in Hollywood over the past few years, and sparked the interest of both Scorcese and DiCaprio, who turned his story into one of the more entertaining trips to the cinema that you'll take this holiday season. His life is a series of questionable decisions that ultimately led to his imprisonment on stock-related fraud charges and a life-altering move to become a motivational speaker.

We're in the heyday of the 1980's. People are watching Cheers and Who's the Boss on TV, and we have never looked at pet rabbits the same way thanks to Glenn Close in Fatal Attraction. Americans are walking like an Egyptian, and Livin on a Prayer, and you can buy a new home for under $100,000 (although the mortgage will be upwards of 10%). Jordan Belfort is a newly married man trying to make a name for himself on Wall Street. He gets career advice from shady stock brokers, and after losing his livelihood on Black Monday (10/19/87), he finds himself in the penny stocks game, using his gift of gab to make money in a too-stupid-to-be-true scheme that ultimately nets him millions of dollars and nearly two years in a white collar prison. Along the way, he cheats on his women with, does enough drugs to kill a horse, and finds a way to attract the attention of a straight-arrow FBI agent who is almost mesmerized by the brazen stupidity of Belfort. Ultimately, Jordan's transgressions catch up with him, and although his punishment is extremely light given the blatant violations of law, the real punishment is the self-destruction that destroys his relationships and his reputation.

The thing that I appreciate most about The Wolf of Wall Street is that in its completely absurd, crude, and wildly inappropriate look at the life of this man caught up in a life of excess in a time of excess, the decisions by Scorcese to make the film as graphic as it was, is completely appropriate to serve the message to the audience. What I mean is that you might watch the film and think that the language, nudity, and drugs are unnecessary for any film. And they are. But to show how ludicrous Belfort's life was at that time, it is perfectly appropriate for this film. Mission accomplished, Marty.

We all saw how Oliver Stone took Gordon Gecko, greed, and Michael Douglas and made a cultural icon out of the idea of financial opportunity if you only have the absence of conscience or morality. Scorcese and DiCaprio turn this idea on its head. The money is there, and the 80's Wall Street story has been told already. This is more what becomes of someone who is experiencing the success without a filter. A sort of social experiment to see what a greedy bastard with an addictive personality does when all restraints are removed. It's fascinating, and assuming it's all true (based on Belfort's autobiography, so there is always some questionable content) it's extremely well done by the filmmakers.

DiCaprio takes on the role with ease. There aren't many actors who could handle a role this demanding, and he nails it. He puts on the multimillionaire womanizing face and runs with it. Wait, that's his real life. The big difference for Leo is the transformation from young Wall Street idealist to alcoholic drug-addicted malcontent. Enough is never enough, and always willing to try something new, we see a different Leo. He says that it was a difficult role to prepare for, and his endless Lemmon-714 quaalude scene is definitely a different look at the actor. As he embarks on the next phase of his acting career (40's), this could quite possibly be the last look at the Leo of this type. I have a feeling that he may be moving in a more "Clooney-esque" or "Pitt-ish" direction in the future. More time behind the scenes, and more discerning taste with role selection (not that he has chosen bad roles, the contrary is true, they've just been very ripe and lofty). I can see him moving in a conservative direction with roles fewer and farther between. He's established himself nicely financially, and he's a bankable producer who's just getting started (a few films prior to this year, Runner Runner, Out of the Furnace, Wolf of Wall Street this year). His patterns have been to make 2 films one year, take a year off, then 2 more films. This year was The Great Gatsby and Wolf of Wall Street and there's nothing that he's currently working on right now except a production spot on a Calvin and Hobbes Bill Watterston biopic.

Jonah Hill is truly the heart of this film. His character, Donnie Azoff is despicable, deplorable, disgusting, and just plain creepy. Sporting giant fake white teeth, there is no filter between what is socially acceptable, even under the worst of circumstances, and what he says and does. Jonah Hill is eschewing his image as a fat funny guy with this role as a follow up to his Oscar nominated turn in Moneyball. Sure, he's still doing comedy, and doing it well (22 Jumpstreet later this year), but he's established himself as a legitimately credible actor with this role. One great performance is a lucky break, but two is the beginning of a very promising career. The character is so rich with material, and Hill takes advantage to the fullest, leaving the viewer with a bad taste in his mouth. He's like a train wreck, you can't look away no matter how terrible it is. I would put Jonah Hill in as the most likely candidate to receive award recognition out of the whole bunch. The only thing missing was finding out what actually happened to the man that Donnie Azoff was based on. Did he go to prison? What is he doing now? An interesting case study. There is a lot of information out there (some conflicting) about the story behind the story, and who the character of Donnie Azoff was likely created after. It would have satisfied me a bit more had there been the update at the end of the film with real life pictures, etc.

Margot Robbie is a newcomer who holds her own opposite Leo as the bombshell trophy wife (his 2nd wife) who swoops in just as he gets rich and leaves his first wife. I wonder why the role didn't get more attention from more recognizable actresses, but that ball's in Leo and Marty's court. They know what they're doing and so does she. Maybe it was the nudity in the role, but that hasn't stopped many women in the past. She handles the role like a pro and does a very nice job running with the big boys. Expect her name to become more common when dealing with up and coming young 20-something actresses.

Kyle Chandler always does a great job, and as the only morally straight character in the whole film, you root for him to take down the arrogant Belfort. There's a scene on Belfort's yacht where they are pussyfooting around bribery, and Chandler shines. I only wish that his final scene on the subway lasted a bit longer (although that would have pushed the film past the 2 hour 59 minute mark).

Matthew McConaughey is shown consistently in the previews, and his screen-time is a mere five minutes or so. One integral lunch scene where Leo's character is introduced to the dark underworld of stock trading is absolutely owned by McConaughey's abstract behavior and lewd comments. Snorting cocaine and drinking martinis at lunch while he explains to Belfort how the market really works is probably the scene-stealing moment of the film.

Martin Scorcese can do no wrong in my book. He's been making movies for over 50 years, and although his best work is probably behind him, a genius will always be a genius. I was a little concerned by the due date being moved back and had heard that it was due to post-production editing issues. Those issues weren't completely resolved. The film ran too long, and became sloppy at times, but I can chalk that up to the story and not the director. Scorcese will continue to do what he loves with a few projects on the horizon, most notably Sinatra (which Leo was attached to until recently). This is something different, which is something that one of the greatest film makers of all time is so great at. He presents raw acting, uncensored content, and does it unflinchingly as usual. Another great and controversial film by Martin Scorcese.

Quaaludes. More precisely, methaqualone. It was a short-lived drug that peaked in the 1970's, and faded away in the 1980's to what is essentially obscurity now. Taken from Wikipedia, "Effects can include euphoria, drowsiness, reduced heart rate, reduced respiration, increased sexual arousal (aphrodisia), and paresthesias (numbness of the fingers and toes). Larger doses can bring about respiratory depression, slurred speech, headache, and photophobia (a symptom of excessive sensitivity to light)." This is interesting when looking at specific acting behaviors by DiCaprio and Hill, and a lot of their methods seem much more deliberate now after looking into quaaludes. For such an important piece of the film, I found the drug aspect to be a bit understated but maybe Scorcese wanted a more character-driven vehicle. What I found was that the setting and circumstances were the true stars of the film. NYSE in 1987. Corruption at its most extravagant. Fascinating.

I can't say that this film will garner any awards. Nominations? Sure, but it turned out to be a pretty weak awards season in the end, so that's not saying too much. I can see DiCaprio, Hill, Scorcese, and the film getting nominations as it's something different than what else is out there. Something real. Something familiar for those of us who lived the 80's. A guilty pleasure/fantasy that is just not something any of us could even imagine as a reality. The Wolf of Wall Street is entertaining, and at three hours, it doesn't seem too long, which is a compliment. That said, it's not for everyone. In fact, I would say it's not for most people. If you can appreciate the acting, the story, and the tribute to the preposterous, you will have a great time at the movies. And you'll see lots of hookers, drugs, and Leonardo DiCaprio naked with a candle in his butt. Awesome. 7/10.

Lone Survivor

Lone Survivor is the true story as told by Marcus Luttrell, a former Navy SEAL who was involved in a series of unfortunate events known as Operation Red Wing back in 2005 in Afghanistan. The story is basically told through the previews and the marketing campaign, leaving nothing to the imagination and leaving no question as to how the film will ultimately end. Peter Berg knows better. This isn't a glitzy Hollywood war film, this is a story of survival and humanity. The point of the film as explained by Luttrell and Berg is to tell the story to as many people as possible. That is Luttrell's promise that he made to his fallen comrades, and that is what the film accomplishes beautifully and tragically.

I read Lone Survivor: The Eyewitness Account of Operation Redwing and the Lost Heroes of SEAL Team 10 a couple of years ago because I am in awe of what the warriors in the US Special Forces do. There is the side where they get to train to the limits of human endurance, play with guns and explosives, and travel the world killing bad guys, but there's also the side that I am fascinated by. Fighting in the face of extreme danger. Going into situations where death is probable, and fighting to the end, contrary to all of what we as humans are wired to do. The bravery and courage is unfathomable by most people, and I find that to be the most interesting aspect of their chosen profession. To literally know that you are going to die, and to continue to fight not out of a sense of vengeance or hate, but as a protective instinct toward your team. This story epitomizes altruism and the ultimate sacrifice, but also shows the pinnacle of the will to survive.

Now, you may realize that at the time of this publication, the film hasn't been widely released yet. This movie critic has his ways, and although I probably wasn't technically supposed to have seen the film yet, I want to continue Luttrell's mission and tell the story, because it is a doozy. A four man Navy SEAL team led by Lieutenant Mike Murphy scale the God-forsaken Afghan mountains in search of a deadly Taliban leader who's rumored to be in the area. They lose communication, are discovered by some local goat-herders, and the firefight of the century ensues after they take the moral high road. Four against five hundred, they retreat down the mountain, taking a shelling from all sides. Marcus Luttrell (Mark Wahlberg) is the last man standing, and through a little luck, a survivor's will, a lot of heart, and Pashtunwali, he is ultimately saved by his fellow warriors, both Afghan and American.

Left to right, the picture shows Mike Murphy, Danny Dietz, Matt Axelson, and Marcus Luttrell.

The tragedy and beauty of the film is that you know the outcome when you walk in the theatre, but throughout the firefight, there is still a piece of you that is hoping that these characters will survive. That can be credited to the direction and acting. The four main characters all take their roles very seriously and without much character introduction, we sense the bond and the integrity that they have with each other. Now, you can't have a war biopic without a bit of jingoism, and Peter Berg loves America more than any other filmmaker. Fortunately, he keeps the cheesiness to a minimum, having the banter and bonding on base take up a mere handful of minutes at the outset. We are immersed into SEAL life with a real-life indoctrination montage during the opening credits, and it is a fitting introduction to our four heroes. He wastes no time jumping right into the fray, as we are given a small glimpse into each of their lives, ironically with Luttrell receiving the most minimal character development of the four. This was likely intentional as Luttrell was a key consultant on the project and he gave his approval. He can be seen as an unnamed SEAL throughout the film as well, which makes the whole project a bit more real and important.

As the credits role, we get a look at the real men who gave their lives for the fight against the Taliban. Most of them in the prime of their lives, cut down in their 20's or 30's. We see fathers, husbands, brothers, and sons. It's heartbreaking and reaffirming at the same time, that this fight is worth fighting. The Taliban is intimidating the people of Afghanistan in a merciless landscape, and there isn't really a way for them to change it themselves. If we want to see change in that remote and archaic part of the world, we need our warriors elite to facilitate that change.

Mark Wahlberg was an interesting pick for the role of Marcus Luttrell, and although he fits the part, his character is the blandest of the four. This is probably by design, as the intent isn't to showcase the heroism of the survivor, but that of the fallen. He is humble and confident as the team's medic and brings just enough star power to drive the vehicle into the mainstream. His role is what makes it more of a box office draw, and less of an Oscar caliber film (which it just misses). In his defense however, he has spoken out about actors who compare training for roles to that of the harshness of the military. He truly believes in this project and in telling the story authentically, and he succeeds.

Emile Hirsch, Ben Foster, and Taylor Kitsch play the other three members of the squad, and each one brings a different spirit to their roles. Kitsch plays the leader, Mike Murphy, and is a Peter Berg favorite, having been in Battleship and Friday Night Lights. He gets his shirtless moment in the beginning, but after that steps up his acting, showing some chops beyond his typical brooding good looking leading man image, especially during his penultimate scenes that are so critical to Luttrell's eventual rescue.

Hirsch plays Danny Dietz, the communications specialist, and he gives off the vibe of the inexperienced pacifist of the group. Maybe I'm off the mark, but it contributes to his humanity, which makes it even more emotional when he meets his fate. This is a Hirsch that we haven't seen before. A mature version of the Into the Wild actor who I loved back in 2007. He's back on my radar now as one to watch, and the 28 year old tackles the John Belushi biopic next, which is likely to earn him critical recognition.

Ben Foster is my favorite piece of this film, and the awards buzz are valid. He plays Matt Axelson, the weapons specialist, who exudes the warrior spirit more than the other three. There is a delicate balance of love and war in his eyes and his speech, and his character for some reason more than the others generates a simmering desire in the audience to see him survive the ordeal. Ben has been in Hollywood for a long time now, since playing the mentally challenged Eli on Freaks and Geeks (1999). The 33 year old will tackle a Lance Armstrong biopic next. He is one of my current favorite 30-something actors, with amazing performances in 3:10 to Yuma, The Messenger, and Rampart in the past few years, he's making good choices (mostly - there are a couple of paycheck roles over the past decade or so). Making his leading man debut next year, I expect many years of solid performances from him, and am really excited to see if he gets any real recognition for his portrayal of Axe.

Marcus Luttrell wrote Lone Survivor to tell the story and honor his fallen brothers. Peter Berg made this film for the same purpose, and he did a fantastic job. Berg was behind the entertaining, yet ridiculous Battlefield adaptation from 2012. His affinity for the military is evident through his body of work (2007's The Kingdom) and his outspoken interviews. You can tell that there is a desire for authenticity, but at times his slo-mo scenes, some of the non-essential dialogue, and some of the more artistic camera shots detract from that authenticity. Don't get me wrong, he does the story justice, and he does an amazing job at making the story both accessible to the masses while maintaining the key details that honor the fallen. He misses the mark slightly by going for the mainstream as opposed to an award-winning caliber film. I love that he did this project, and nobody could have done a better job (maybe Kathryn Bigelow or Steven Spielberg) with the material and the cast. It just seemed a tiny bit too Hollywood and not gritty or visceral enough. That's what separated it from what I was hoping for. Had it been rated R and more bloody, it may legitimately be in the "Saving Private Ryan" arena.

Stories of survival against all odds and circumstances come along every once in awhile and this is one of those rare stories. Much like 127 Hours in its unbelievability, it is unimaginable what must have been going through Luttrell's mind throughout this ordeal, and ultimately in reflection he can't possibly be anything other than emotionally scarred and shocked.

I'm a big fan of realistic military films, even mainstream Hollywood renditions. This is not in the realm of Saving Private Ryan, despite the advertisement during the TV commercials. It is more of what Black Hawk Down could have been, and in the general area of Zero Dark Thirty's portrayal of modern warfare. We probably won't ever look at war films the same way because the idea of warfare and the theater of war has advanced so dramatically. No longer do lines of troops slog through a jungle, or advance from trench to trench. Special Forces, drones, small teams, and surgical strikes are the future of combat. This is good for saving American soldiers' lives, but opens up more stories like Lone Survivor. I am biased because I love these kinds of movies, and Peter Berg did a great job. Emile Hirsch and Ben Foster are rising stars in my opinion, and the book is certainly worth reading as well. Another one worth picking up is the Gary Williams biography, SEAL of Honor: Operation Red Wings and the Life of LT. Michael P. Murphy (USN). .

Next on the horizon in this genre is the adaptation of American Sniper, the story of Chris Kyle, who accumulated the most confirmed kills of any SEAL sniper in American history. Bradley Cooper is attached to star, and Spielberg was rumored to direct, but last I heard he has dropped out and Clint Eastwood is thinking about taking on the project. Should be good either way, but the project may be stalled because Kyle was killed last February in a shooting range in his home town in Texas by a man who he took to the range to deal with his PTSD. It's another tragic ending to an amazing story. We'll see if it makes the big screen.

Sorry, I digress. If you like action, Lone Survivor is a great film. It met my expectation to say the least, I just dare you not to tear up during the closing credits. 9/10.