X-Men: First Class

In the first film of the summer to tackle pivotal American historical events with a fictional twist (superheroes, giant robots, aliens), X-Men: First Class takes us to the heart of the Cuban Missile Crisis. The second of the Origins storylines, this one shows the beginning of the X-Men, and the evolution of their cause to the backdrop of the sixties.

Director Matthew Vaughn follows up Kick Ass with a foray into Marvel territory, and he does a very nice job. This is probably the best of the X-Men series for a number of reasons, which I will mention later. Vaughn carries the torch of unorthodox director choices by Marvel, but it works in their favor. Each of the films has a distinctly unique flavor, and that keeps it fresh and watchable. Vaughn does a great job of capturing the setting, particularly through the props and the costumes (January Jones makes a great 60's bombshell). It never waivers from its X-Men roots too far though.

The first reason that this is the best film of the franchise is Michael Fassbender. He plays Magneto with a cool attitude, and is just plain fun to watch. Given an opportunity again to use his native German language, he plays Erik Lehnsherr, the scarred, scornful survivor of Nazi death camps beautifully. His counterpart, James McAvoy, who is a wonderful actor in his own right, just didn't seem to fit the character to me, but the interaction between the two was entertaining and genuine.

The second reason is Kevin Bacon in the surprise performance of the blockbuster season thus far. He plays the bad guy, Shaw, with swagger and arrogance, showing the dark side of Bacon that we haven't seen successfully since Sleepers or Murder in the First. He shows off both German and Russian, and is just plain cool. Add another film with a deep cast to the Six Degrees of Kevin Bacon game, it just got easier.

The third reason that this is the best X yet is that it is driven by character development and slow pacing rather than explosions and action, which adds to the credibility, unlike Brett Ratner's orgy of special effects in X3. There is plenty of action, and cool mutant superpower demonstrations, but it is not overdone. Bryan Singer did nicely with the first two, but they jumped into action without much explanation.

A couple of well-placed and timed cameos by Hugh Jackman and Rebecca Romjin remind us that there is a whole Marvel connection that all of Hollywood is embracing. There is an excitement around the superhero genre, and audiences are clearly not getting tired anytime soon. As I've said before, Marvel has something special, and they are making this universal connection in a way that has never been done before. The passion shown by everyone involved (except maybe Terrence Howard and Ed Norton) shows a lighter side of action movies that is electric. The culmination of these films next year with the Avengers, which is going to be massive will open up endless possibilities.

People love superheroes. The reboots of Spiderman and Superman, the third Batman, and all of these originals and sequels proves it. Stan Lee had better be a rich man because of all of this, because he has created some amazing stories.

X-Men is a fun ride, and worth the price of admission to see Fassbender and Bacon. January Jones isn't bad to look at either. 8/10.

Hangover Part II

the wolf pack is back, this time in Thailand for Stu's second wedding (planned this time). His future in-laws are traditionally Thai, and her dad makes Meet the Parents' DeNiro seem almost friendly with his scathing analogy of Stu to a bowl of soft, soggy rice. Stu is a very conservative man, reticent to have any kind of pre-marital celebration with his friends due to his wild experiences at Doug's bachelor party in Vegas. Totally understandable. Enter Phil and Alan, both pushing for a good time, but each with their separate motives.

Alan (Galifinakis) is truly the catalyst of the shenanigans and mostly uncomfortable situations. Burning buildings, gunfire, animals, hermaphrodites, and criminal dealings are just a part of the 24 hour endurance of hell that Stu, Phil, and Alan go through while searching for Teddy, the missing little brother of Stu's fiance.

The film picks up right where the last leaves off, but there is a lingering sense of deja vu that never quite goes away. The reason for this is that the story is an exact retelling of the first film. The formula changes venue and in some cases characters, but the plot mimics like a remake.

That can be overlooked for the simple fact that Ed Helms and Zack Galifinakis are hilarious. Stu hates Alan, but reluctantly invites him on the trip to satisfy Doug's wife's request. Immediately, the story shows multiple angles that create foreshadowing, and before we know, the gang is waking up in a dingy Bankok motel room with a tattoo, a severed finger, and a monkey.

The crude meter is pushed up a notch with more gratuitous male nudity, finding itself in Sacha Baron Cohen territory. I suppose in this day and age, R rated comedies can't succeed without that little envelope push, and this film although not entirely surprising, is a bit refreshing with some of the jokes.

Todd Phillips continues his comedy success with this no-brainer. After grossing as much money as the original did, the studio would be stupid not to pursue a sequel. The only problem is that they played it a little too safe. A little too easy. The outlandish jokes were set up like an intentional walk, and knocked out of the park with predictable grace by the funnymen.

Helms takes more of a lead role in this one, and is hilarious doing a rendition of Billy Joel. Galifinakis owns as well. He was born to play Alan, and a likely third installment will focus on his nuptials, which will certainly be the best of the trilogy. Bradley Cooper is another story. Not entirely funny, he's given some good lines, but plays the pretty boy, the frat boy who wants to party, but who doesn't feel the bane of poor decisions as much as the others. He fits though as the leader of the wolfpack, and seems like he is having a great deal of fun along the way.

The wild rumors of Bill Clinton, Mel Gibson, and Liam Neeson turned out to be nothing more than a tease, but the bar was set so high that it is impossible to please the audiences.

To be honest, I was expecting a bit more originality, but what I wanted to see was Zack Galifinakis, and I got a lot of uncomfortable laughs, and a few unexpected ones. The plot dragged on a bit too long, and the resolution was quick and unsatisfying. There will be a third one if the film breaks the $200 million mark, which it is well on its way to doing. It is already the 4th highest grossing R comedy of all time, so you can expect another if the cast is agreeable and a good script is written.

My advice for what it's worth, take a leap of faith on a new storyline, give me a call Warner Bros, I'll write something up for a very small back end percentage.

Funny movie, but not as good as the first. 7/10.

11 Oscar mistakes in my lifetime

I have been tinkering with this idea for awhile, and decided to just go ahead and publish it. There have been some questionable decisions by the voters in Oscar history, but I am going to highlight the films that have come out in my lifetime, and am only focusing on Best Picture. Some of these are purely Monday Morning Quarterback decisions, while some are validated by how the film has stood the test of time. Either way, these were mistakes that I will stand by and defend, although some may seem controversial. Let's start at my infancy and work toward the present.

1980 - Kramer vs Kramer. A remarkable film that showed a dark side of divorce that audiences hadn't seen before, and was really poignant in the context of where American family values were heading. However, Apocalypse Now is an absolute masterpiece that can't be compared. Perhaps the content was too graphic, and the subject matter too dark to fully appreciate at the time, but Coppola's harrowing vision of the bowels of Vietnam is visceral and frightening.

1981 - Ordinary People. Not to belittle this film about nothing more than a family struggling to cope with an untimely death, it was one of the more banal and uninteresting films to grace this list. This year should have been Scorcese's first Oscar with Raging Bull. To encapsulate the life of an aging boxer from start to finish, with perhaps the greatest physical transformation in cinema history by De Niro was an amazing feat. It was a daring movie, introducing audiences to the brazen violence that would become Scorcese's trademark, it pulled no punches, which is difficult for a boxing film.

1982 - Chariots of Fire. A truly heartwarming story of triumph over adversity. However, Steven Spielberg's Raiders of the Lost Ark came out this year and revolutionized the action film genre forever. We were introduced to a fictional hero of universal intrigue and esteem. A beloved hero worthy of Hollywood lore. For these reasons alone, Raiders should have broken the action film barrier and won the award.

1995 - Forrest Gump. Oscar did a commendable job through the later part of the 80's and the early 90's, but flubbed when it chose Gump. It was an epic dramedy, showcased some state of the art visual effects, and audiences loved it, but was it the best film of the year? No. Was it the second best film of the year? No. Quentin Tarantino hit the scene with his brilliant follow-up to Reservoir Dogs, Pulp Fiction. It broke all of the rules of Hollywood, and incorporated obscure influences that revolutionized the independent film scene forever. The other film? Shawshank Redemption. Nearly 20 years later, it tops many critics list as the greatest film of all time. Outstanding all around, it should have been recognized at the time as the film of the year.

1997 - The English Patient. What is there to say about this film other than that it is terrible? Not a good choice in the slightest, and I'm not the only one who thinks that. Frequently cited as the worst best picture of all time, the Coen Brothers should have taken home thier first Best Picture award that year with Fargo. Quirky and dark, it had the cast and humor to lure audiences, hypnotize them and shock them with an unhappy ending.

1998 - Titanic. I have a hard time accepting that Titanic deserved a Best Picture, and Avatar didn't. This year, both LA Confidential and Good Will Hunting stormed the scene with reckless abandon, showing that writing and passion can make great film. People will argue that Titanic was, well, Titanic, but it was ultimately a disaster flick with good looking leads, and a $200 million budget.

1999 - Shakespeare in Love. My sentiments toward The English Patient can be repeated, although the runner up was much more deserving this year. Saving Private Ryan was a remarkably realistic look at World War II in a way that hadn't been done before, or since. It left the viewer with a flock of butterflies in the pit of his stomach, and was Spielberg at his finest. Shakespeare in Love? Just a decent film.

2002 - A Beautiful Mind. A great film, and a wonderful show of Crowe's acting, and Howard's direction. This is where my choices are a bit controversial. My contention is that for Peter Jackson's epic Lord of the Rings trilogy, the initial installment, the Fellowship of the Ring, was the best of the three. It laid the groundwork for the conclusion that was exceptional, but not the best of the three. Obviously the awards bestowed on Return of the King were mostly for the entire body of work, but without Fellowship, Return of the King would not have been considered the masterpiece it is.

2003 - Chicago. This is perhaps the year that gave me the idea to make this list in the first place. Chicago was cool and clever, but in competition with Gangs of New York and Road to Perdition, it was not worthy of Best Picture. Road to Perdition is one of the most underrated films of the decade. Paul Newman's last feature length live action film portrays an old, conflicted man, and the collage of Tom Hanks, Daniel Craig, and Jude Law beautifully stirred by the magical hand of Sam Mendes is truly one of the most overlooked films around.

2004 - Return of the King. See 2002. Return of the King was emotionally charged, but due more in part to the enormity of the trilogy than the final installment. Mystic River was an exceptional film by Clint Eastwood that crossed the line of revenge and friendship in a haunting way. Sean Penn won his first Oscar for the film, and Tim Robbins one as well, and it was truly the best movie of the year.

2006 - Crash. Contrived and manipulative, Crash was a formulaic mosaic of cliche scenarios that came together in what was critically acclaimed, but in actuality was just an overhyped police drama. Much like Pay it Forward, the film was created with the intention of winning awards, which as we all know, isn't typically the way to win awards. The film that broke barriers in the most beautiful way possible was Brokeback Mountain. Ang Lee tackled a project that no other director would have been brave enough to take on, and Heath Ledger and Jake Gyllenhall were cinematic magic. It is a shame that Brokeback Mountain wasn't more recognized for the artistic gem that it is.

Well, that's my list. I would love to hear what your thoughts are in response.

Bridesmaids

Bridesmaids doesn't quite encapsulate the general them of the movie. A better title would be Kristen Wiig, comic genius.

In line with The Wedding Singer, and Wedding Crashers, Bridesmaids is perhaps the best wedding comedy I have ever seen. Kristen Wiig writes and stars in this film about a Maid of Honor who feels like she is losing her best friend, and whose life is falling apart piece by piece. She hates her job at a jewelry store, since her bakery went out of business, and her love life is dysfunctional, thanks to a comedic side of Jon Hamm we haven't seen nearly often enough.

Filled with raunchy jokes, and sharp, yet often disgusting dialogue, Bridesmaids is The Hangover for women, but the content is spliced nicely between the romantic woman wedding porn generally reserved for romantic comedies, and the typical fart jokes that men love.

The ensemble cast is wonderful, with alums from SNL, the Office, Reno 911, and other sitcoms. No true movie star graces the screen, but that's what makes it work nicely. The highlight of the film has to be Megan, the Zack Galifinakis character of the group, played by Melissa McCarthy. Given hilarious dialogue, she lightens up the screen with her presence, and owns the "fat girl" role. Coincidentally, she is Jenny McCarthy's cousin. Fun little fact.

The film of course, belongs to Kristen Wiig, who is arguably the funniest woman in entertainment. This film is a wonderful rebound some of the lesser parts she has played, and finally puts her into the leading lady category. She is an attractive woman, to go with her savvy and sharp comedic timing and tongue. She'll be around for awhile, and I would expect that she will have more highs and lows in film, as so many SNL alumni do when making their initial transition, but she brings an energy to everything she does that is undeniable.

The film straddles pure comedy and romantic, which is clearly indicative of the creative minds, as well as the intended audience. It's a smart move, but one which also creates gaps in the fluidity of the film. It reminds me of some of the more cliche comedies of the 80's and 90's with its story arc of pity, comedy, romance.

However, there are a handful of scenes that are gut-busting funny. The uncomfortably long Maid of Honor speech at the engagement dinner, the airplane scene, and Wiig trying to get a State Trooper's attention by driving by him multiple times and in multiple ways.

The character development is one of the reasons why the film seems so long. It could have been trimmed by 20-30 minutes easily, but the viewer develops a sort of attachment to Wiig's character through the slow times of the film, causing the audience to truly empathize with her barrage of hits, and her resilience to overcome her adversity, as trivial as it may be.

It is a fun movie, plain and simple, and more well done for a comedy than anything in recent memory. I can't say enough about how well this cast was put together, and how naturally each played his or her role.

I would recommend this movie as a great comedy start for the summer season, it is truly a good time at the theatre, and there are some extended laugh out loud moments, so make sure you use the restroom before you sit down. 8/10.

Thor

Kenneth Branagh has never been more than a Shakespeare aficionado who has directed some truly remarkable interpretations of the Bard's works, but he is trying something a little different. He takes the plunge into full-on Hollywood Blockbuster territory at the helm of Marvel's latest superhero flick, Thor.

Thor is the god of thunder, son of Odin, who is set to inherit the throne of Asgard, which is the protecting kingdome of the nine realms (still with me?). Thor however, is a warrior through and through, and is bent on getting revenge on the evil frost giants, a race of tall ice monsters who wronged his people once upon a time. Thor manages to get himself banished from the kingdom after making some rash decisions, and his conniving brother, Loki (god of mischief) takes control.

Meanwhile, on Earth, unbelievably hot physicist Jane Foster, played by Portman, stumbles upon some cosmic disturbances in New Mexico, only to run right into Thor. Romance ensues, battle to bring peace to Asgard, and the fight for humanity prevail.

The story itself isn't anything special, and the effects aren't anything we haven't seen before. However, this film has a certain fun feel to it that has been missing from the past couple of Marvel flicks. Reminiscent of the first Iron Man, this reminds us all why we go to movies in the summertime. To be entertained.

Chris Hemsworth and Natalie Portman headline with Anthony Hopkins rising from the Hollywood dead to play the greatest of all Norse gods. Hemsworth is exactly what you would expect Thor to look like, with the long blonde hair, scruffy beard, and chiseled physique. His acting is quite natural, and the dialogue is so sharp, that it almost looks too easy (for everyone). Hopkins owns the screen as Odin, but Hemsworth is captivating in every way. He was born to play this part, and flexes he chops as much as his muscles throughout the saga.

I saw this in 3D IMAX, and I have to say, since Avatar, there have been attempts at cinematic magic, but they have for the most part failed (animated films excluded). The 3D camerawork in Thor seems much more natural, and less forced or gimmicky. Most of the time, I actually forgot that the film was in 3D, which is a testament to Branagh's vision.

To keep the Marvel storyline and connections alive, there is a subtle and unannounced introduction of the newest Avenger, Hawkeye, played by Jeremy Renner. If you blink, you almost don't even notice, but he has been confirmed as a part of the much anticipated ensemble culmination, the Avengers. If past Marvel films have been any indicator, we can look forward to Hawkeye being the next hero singled out for his own film franchise.

I continue to be impressed by the network of stories and characters being developed in this superhero universe. They have taken each one individually and meticulously crafted a pure entertainment ride, although each has a fresh and unique feel. I am looking forward to Captain America as the next release, although the X-Men films are also spawning origins stories in a parallel, disconnected universe, and there will likely be many of them over the course of the next few years as well.

I would put my money on Marvel, they will be a Hollywood studio titan within 10 years. With endless material and characters to develop, the American audience just isn't getting tired of the genre anytime soon (Spiderman reboot, Superman reboot, The Dark Knight Rises).

With today's computer technology, anything is possible with a camera and a green screen. Look to these films to be the pioneers of the next generation of film. Seamless integration of live and CGI work, and fast, frenetic action with traditional themes.

I enjoyed this film more than I thought, and can't imagine anyone but Hemsworth wielding the hammer Mjollnir. Good start to the summer season. Looking forward to the others. 8/10.

2011 Academy Awards Predictions

The time is almost here for the big cinematic event of the year to initiate water cooler discussions at work like the Super Bowl commercials did a few weeks ago. Cinemophiles of the world rejoice for this one evening, joining together to celebrate and harangue celebrities who deserve our accolades, and fancy themselves bigger than life. It's a star-studded spectacle that is entertaining if nothing else, but for a true film fanatic, it is not just an opportunity to see all of the A-listers in one room, it is the chance to take the collective temperature of the acting community. Case in point; last year, Avatar was the box office juggernaut that seemed untouchable until Cameron's ex comes along with the art-house Hurt Locker, and knocked it on its Na'vi ass.

It's time to take inventory of the important categories.

Best Picture -

Since opening up to 10 nominations, there is a noticeable drop in prestige and exclusivity. Toy Story 3, Winter's Bone, The Kids Are All Right? None has a shot in hell of winning the coveted prize, so why nominate them at all? The simple answer is this: Inception. A film that pushed the boundaries of imagination, and showcased one of the great action writer/directors of our time would not stand a chance in this category against Black Swan, True Grit, 127 Hours, The Social Network, and the King's Speech. It's a fact. Christopher Nolan is getting some of his just desserts, but it is a noble lost cause. He has no chance either.

Winner - The King's Speech. Not my favorite film of the year, and among the aforementioned 5, not even my second favorite, but the momentum has been growing like wildfire over the past few weeks, and it seems that The Social Network peaked too soon.

For the record, True Grit was a masterpiece, and would win if I had my druthers. The snub of the group is Blue Valentine, which is shockingly heartbreaking, but there will always be differences of opinions with 10 candidates. Please, Hollywood, go back to 5.

Best Director -

This year is an instance where the Best Picture may not match the Director. Not to take anything away from Tom Hooper, but no less than three films come to mind that are much more memorable. David Fincher will win this category. He was shafted two years ago by Slumdog Millionaire, and will pick up his first statue in his second nomination.

Winner - David Fincher.

Best Actor -

This category is absolutely loaded with talent, but it's a foregone conclusion that Colin Firth will win, which is much deserved. Jeff Bridges gives a mesmerizing performance in True Grit, but it is not enough to match Firth's King George.

Winner - Colin Firth.

Best Actress -

This category is just as much a runaway as Best Actor, if not moreso. Natalie Portman knocked her role out of the park in Black Swan, so there is no question that she will win. It's not even worth a discussion at this point.

Winner - Natalie Portman.

Best Supporting Actor -

As is typical with the awards ceremony, this category has the most eclectic collection of characters. I recently watched Winter's Bone, and John Hawkes blew me away. I still remember him as the liquor store clerk in From Dusk Till Dawn, and he has spent years as a supporting actor. I am very glad that he was recognized for this particular performance. Unfortunately, it's not going to be enough. Ruffalo did a nice job, as did Renner, but it's Christian Bale and Geoffrey Rush that rise to the top. I feel badly for Bale that he is so close to tasting Oscar gold despite being one of the most talented actors for nearly a decade. Unfortunately, Geoffrey Rush found the right film, with the right actor and pulled off a brilliant performance. This one will upset some viewers, but Bale will be snubbed and Rush will win the statue.

Winner - Geoffrey Rush.

Best Supporting Actress -

I am excited to see the outcome of this award more than any other. Animal Kingdom was too small of a film, and to be honest, Jackie Weaver wasn't overly memorable. Melissa Leo is building quite the resume, but it is often difficult to win an award when someone in your film is nominated alongside you (Amy Adams).

My pick is the most deserving of the bunch; 14 year old Hailee Steinfeld. She owns the screen even though she shares it with Jeff Bridges and Matt Damon. That is a daunting task, in a Coen Brothers film no less. She shines, and has an incredibly bright future in the business. Of course, her precocious demeanor is her meal ticket, so she may fade into obscurity in about 5 years. For now however, it is her 15 minutes.

Winner - Hailee Steinfeld.

Other winners:

Cinematography - True Grit. Roger Deakins is the Susan Lucci of Cinematographers. 9 time nominee will walk away with a win this year.

Art Direction - Inception. A visual orgy blended seamlessly with costumes, settings, and props.

Original Screenplay - The King's Speech. Beautifully done.

Adapted Screenplay - The Social Network. Great dialogue, Sorkin at his best. The film manages to escalate tension in such a benign setting.

Editing - 127 Hours. This is a shot in the dark, but I do feel that the film deserves to be recognized for its quirky, artful editing.

Visual and Sound categories - Inception. A visual masterpiece that was amplified by the score and the audio effects.

Documentary - Restrepo. This was a fantastic look at the most dangerous outpost in Afghanistan. Truly melancholy and haunting at the same time.

Original Score - Inception. The pounding tones still reverberate, sending chills down my spine.

Foreign Picture - Biutiful. The one film I haven't seen, I am convinced that Javier Bardem deserves his Oscar nomination, and this film will appeal to American sensibilities due to familiarity alone.

Well, there you have it. Your guide to the big show. Enjoy, and stay tuned for the summer blockbusters, starting next month with Battle: Los Angeles.