Gone Girl

‘Gone Girl’ is a riveting ride

Sunday October 12, 2014 | By:Tony Baksa |

You know summer at the movies is over when films such as “Gone Girl” hit the big screen. All the superheroes and space zombies have been tucked away until next summer, to make room for smart, intelligent and complex fare.

Like the classic movies of directors such as Otto Preminger, Alfred Hitchcock and William Wyler, David Fincher’s “Gone Girl” grabs hold of its viewers and never lets go. Even the surprise ending keeps its tight grip right to the very end.

The screenplay by Gillian Flynn, based on her novel by the same name, is full of twists and turns that are riveting. Director Fincher (“The Girl With The Dragon Tattoo” and “The Social Network”) handles it all with a momentum that is so thrilling.

Watching this movie is akin to curling up with a great mystery novel on a chilly winter evening and not looking up until the final page is turned.

The unbelievable revelations throughout “Gone Girl” are made palatable by the sincere and committed performances of its superb cast. Headed by Ben Affleck with Rosamund Pike, Neil Patrick Harris as you have never seen him, the wonderful Kim Dickens and a host of entertaining cameos by Sela Ward, Tyler Perry and Missi Pyle as a Nancy Grace clone, there is not a boring moment to be had.

The story begins with two very attractive and charming people who “meet cute” at a party. You think you know the rest of this story already.

They fall in love, marry and live an idyllic life – or so it seems. Nick (Affleck) and Amy (Pike) have it all and would be the envy of anyone. After five years of wedded bliss, Amy goes missing. Her disappearance catches the eye of the media and the frenzy begins. Loving and devoted Nick is put front and center in this three-ring circus and eventually falls under suspicion for possibly murdering Amy. She is nowhere to be found and, based on incriminating behavior by Nick, the police and the media – even Amy’s parents – become convinced that this perfect husband isn’t all that he seemed.

This is just the beginning and what ensues is anything but clichéd. Outrageous surprises and plot turns will keep you glued to the screen. Anything more said will serve as a large heap of spoilers.

This is a masterwork by director Fincher and his cast. Affleck is so good in this movie. His naturalistic, low-key style matched with his commanding screen presence is perfect for a character that may or may not be a scoundrel. I am not familiar with Pike. After this film, I believe we will see much more of her in future movies. This is a star -making performance. I’d also like to single out Kim Dickens as the investigating detective. Her breezy, no-nonsense characterization is terrific and adds an amusing note to the serious proceedings.

I believe readers of Flynn’s popular book will not be disappointed. It was a very smart idea to have Flynn write the screenplay. I’m thinking she got it right.

Whether book or movie, “Gone Girl” is to be applauded as an exciting and satisfying entertainment rich in physiological thrills and chills.

“Gone Girl” is currently in theaters.

http://www.thesunnews.net/news/189-'Gone_Girl_is_a__riveting_ride.html

A WALK AMONG THE TOMBSTONES

‘A Walk Among Tombstones’ procedural does not disappoint

Saturday October 4, 2014 | By:Tony Baksa |

Liam Neeson’s career took a strange turn, a few years back. With a well-deserved rep for classical theater (Hamlet) and films (Excalibur), along with serious dramas (Schindler’s List) and sophisticated comedies (Husbands and Wives), it is interesting to note that this excellent actor has become Mr. Avenger. His “Taken” film series alone should solidify his tough guy hero status. Well, he’s at it again and I’m not complaining. Neeson is such a good actor that his mere presence adds weight to the proceedings.

In “A Walk Among The Tombstones,” Neeson plays a retired cop working as a private investigator. This kind of character is not new to movies. Let’s face it; it’s a well-worn cliché. But give Liam Neeson the part with an above-average script and taut direction, plus a wonderfully quirky supporting cast, and you have the cliché turned inside out. What you get is a very watchable movie filled with suspense, a good amount of fright and a deep-rooted edgy undercurrent.

It begins with a request by a wealthy drug dealer (Dan Stevens) for Matt Scudder (Neeson) to locate the men who kidnapped and murdered his wife. The drug dealer wants revenge because he paid the ransom for his wife but the kidnappers murdered her, anyway. Scudder reluctantly agrees to the job. He soon learns that what he is dealing with is not an isolated case of kidnapping, but a horrible case involving a pair of serial killers who target rich drug kingpins. They get the money from their victims but rather than stick to the usual agreement to return the captive – in most cases a wife or daughter – they gleefully murder them in horrific ways. Police are never called in, due to the nature of the client’s “profession.”

This is a riveting procedural laced with brutality and a film noir-like moodiness. I could easily picture Robert Mitchum as Scudder, back in the day. Throughout the film, we are treated with well-acted turns by a host of dark and brooding characters. Special mention goes to Olafur Darri Olafsson as the graveyard attendant with a thing for pigeons and Boyd Holbrook as a junkie attending Alcoholics Anonymous meetings. The same meetings our hero, Scudder, attends – “8 years sober” he announces. Oh yes, Scudder has a regrettable back story.

One bright, albeit sad light, in this dark tale is the clean, straightforward performance by young Brian Bradley as T.J. a computer savvy vegetarian homeless boy – I did say the characters are quirky. T.J. latches on to Scudder. They are, in many ways, kindred spirits. After so much murkiness, the film’s last shot involving Scudder and T.J. is like a sigh of relief and hopefully a hint at a sequel – wounded souls – man and boy solve another mystery.

The film is set in the 1990’s in New York City. Attention to detail is wonderfully subtle. Y2K was on everyone’s mind. People were running scared. Looking back, we see how ridiculous it all was. My favorite line in this film uttered by the monstrous villain, “People are afraid of all the wrong things,” strikes a truthful chord chilling in its rendering by a psychopath.

Directed and written with great economy by Scott Frank (The Wolverine), “A Walk Among The Tombstones,” based on a novel by Buffalonian Lawrence Block , is a no-nonsense thriller that, unlike many movies in this genre, does not disappoint.

“A Walk Among The Tombstones” is currently in theaters.


http://www.thesunnews.net/news/384-'A_Walk_Among_Tombstones__procedural_does_not_disappoint.html

Boyhood

Boyhood - film review by Tony Baksa

Rating – 2 Suns

Director Richard Linklater has a body of very interesting work that deals most essentially with real time. In real time we are witness to human behavior at its most authentic. His past films such as “Before Sunrise” “Waking Life” and “Before Sunset” are fascinating and entertaining studies of people – mostly young people – who talk and behave in a true to life fashion. What they have to say and how it advances the plot is Linklater’s modus operandi. These films along with his other movies – “Dazed and Confused” and “School of Rock” all share this essential characteristic – more specifically a moment in time.  The moments Linklater seems most interested in exploring are youthful passages – growing up – getting to the brink of adulthood.

“Boyhood” is such a movie. Filmed over twelve years beginning in 2002 using the same actors, we witness through episodes in the life of young Mason his growing years from age five to eighteen in Austin, Texas. It is an intriguing premise. I so love this idea that I wish I could report that it works. Because of the mundane screenplay by Linklater and obvious improvised scenes, “Boyhood” isn’t fully successful.

When an exciting premise such as this is offered, one would think it is because an exceptional story needed to be told. What unfolds is a series of dull scenes in the life of Mason and his family – all cliché moments spread out over three long hours. The usual sibling rivalry, awkwardness at school, peer pressure, first love, first car, graduation and the predictable off to college finale is all there as anyone would expect. If we are being told this well-worn story, shouldn’t there be a fresh spin? The unusual premise that Linklater employs just isn’t enough to elevate “Boyhood”. 

What is especially jarring is the unfortunate fact that little boy Mason played by Ellar Coltrane is a better actor than teenage Coltrane. Apparently, Coltrane’s ability as an actor wans as he ages. Not so with Lorelei Linklater the director’s daughter, as Samantha, Mason’s older sister. She is the most compelling character in the film. Her earlier scenes are so well acted and truthful. It is the film’s major shortcoming that interest in Samantha falls away as she ages. She all but becomes a nodding presence – subjugated to clear the way for the less interesting story line – that of her brother, Mason.

Ethan Hawke as the divorced father and Patricia Arquette as the much married hard working mother of Mason and Samantha turn in very good performances. Strong performances in a weak movie seem like such a waste.

I would like to see Linklater continue this idea by filming his talented daughter, Lorelei Linklater as Samantha, for the next 12 years. Have someone else write the screenplay. Call it “Girlhood”. Avoid the cliché’s and give this interesting actress a through-line she so richly deserves.

“Boyhood” is currently in theaters 

The Hundred-Foot Journey

Thursday September 4, 2014 | By:Tony Baksa |

Three suns.
HAMBURG — Director Lasse Hallstrom has given us quirky, moody comedies with a gentle storybook touch: “The Cider House Rules,” “What’s Eating Gilbert Grape” and “Chocolat.” He is back to enchant us again with a lovely human comedy, “The Hundred-Foot Journey.”

Based on a novel by Richard C. Morais, “The Hundred-Foot Journey” tells the tale of a family seeking success on their own terms. They come to France, leaving tragedy and loss behind them in Mumbai, full of talent, ambition and love. At the center of this journey is Hassan, a young, gifted cook eager to elevate himself to chef status. With support from his formidable father, there is no question he will succeed. His success is not the story. His journey to culinary stardom is.

Hassan’s father, referred to as “Papa” in the film, is a force of nature. Papa collides with another force of nature, Madame Mallory, who owns a renowned French restaurant across the street from where he plans to open an Indian eatery. What ensues is a battle of cultures. Played by seasoned actors Om Puri as Papa and Helen Mirren as Madame Mallory, their frequent skirmishes are delightfully comic and heartwarming. These two charismatic pros anchor a movie that teaches tolerance and grace without ever getting preachy or maudlin.

Manish Dayal, as Hassan, couldn’t be more perfect as he shares his culinary love with another chef, Marguerite, portrayed by Charlotte Le Bon. Of course they fall in love. And their road to love is as bumpy as their road to fame. This movie isn’t concerned with the bumps. It’s the hundred-foot journey that Hassan, Papa and Madame Mallory take that bring a soulful peace to all, the distance between the establishments run by Papa and Madame Mallory.

This film symbolizes how close we all are to fulfilling our dreams and the obstacles in our way. Hallstrom provides beautiful visuals — a long country road that seems to stretch into infinity divides the two properties — just a hundred feet is the distance to understanding.

Here is another “foodie” movie that will send you out of the theater and into the nearest restaurant. I settled for a hot food and salad bar that fortunately offered both Indian and French cuisine, located five minutes from the theater. With close-ups of samosas, sea urchin and French omelets, you will be salivating too.

Directed with gauzy luster and cozy sentimentality, Lasse Hallstrom sustains the fairytale quality that feels nostalgic.

Produced by Oprah Winfrey and Steven Spielberg, “The Hundred-Foot Journey” is that rare family film that doesn’t pander It is a fine moral and entertaining movie that inspires the very best in human nature.

“The Hundred-Foot Journey” is currently playing in theaters.

http://www.thesunnews.net/scene/579-The_Hundred-Foot_Journey.html

Lucy

‘Lucy’ shows off Scarlet Johansson’s screen skills

Saturday August 9, 2014 | By:Tony Baksa |

In 1994, at the tender age of 10, Scarlett Johansson appeared in a movie entitled “If Lucy Fell.” She played the tiny role of Emily. Well, you’ve got to start somewhere. Twenty years later, she is Lucy – a different Lucy. I’m so glad she stuck with acting. This 2014 movie puts her in the title role. “Lucy” is a tantalizing sci-fi mystery that is all the more interesting because Johansson is its star. She is a terrific actress that instinctively strikes just the right notes to deliver an original character for us to marvel at and, more importantly, care about.

Scarlett Johansson is the modern-day Barbara Stanwyck – hard edged on the outside and smoldering hot under the cool exterior. This quality couldn’t be more perfect for a movie that wants to make profound statements in an exciting and adventuress way. Her minimalist performance speeds the plot along and never gets in the way of the screenwriter’s very interesting ideas.

Directed and written by Luc Besson, of “The Fifth Element” and the “Taken” movies, he is a master of the fast-moving fish out of water plots. “Lucy” finds our title protagonist in a kind of dark and dangerous Alice in Wonderland nightmare.

Coerced into taking part in what seemed like a simple delivery of a locked briefcase – contents unknown to her, Lucy is captured, tortured and forced to take part in an international drug smuggling scheme. Lucy turns the tables on everyone, in one of the wildest and most original revenge scenarios imaginable. Aided by an expert on the human mind, Professor Norman (Morgan Freeman), “Lucy” takes us into “Twilight Zone” territory.

This concise and compact rollercoaster ride plows through the past, present and future – literally. It begins in the present, zaps back to prehistoric apes and dinosaurs, stops off briefly in Colonial times and then plunges headlong into the future cosmos and mind expanding visuals – straight into infinity. This is accomplished by nearly a hundred special effects and art direction teams that realize Luc Besson’s vision.

Aside from its “Twilight Zone” influences, Besson is surely paying homage to the great director, Stanley Kubrick. The last 10 minutes of the film just may blow your mind as “2001 A Space Odyssey” did, way back when. It doesn’t reach the greatness of that movie, but “Lucy” is thrilling entertainment. It deals with subjects like the power of the mind, unending human potential and spiritual awareness, in a way that only good science fiction can. And it delivers it disguised in an action-packed 90 minutes.

“Lucy” doesn’t overstay her welcome. She gets the job done and then disappears. You’ll see what I mean.

“Lucy” is currently in theaters.

http://www.thesunnews.net/news/810-'Lucy_shows_off_Scarlet_Johanssons_screen_skills.html

DAWN OF THE PLANET OF THE APES

On the silver screen: ‘Dawn of the Planet of the Apes’ is the best movie this summer

Thursday July 24, 2014 | By:Tony Baksa |

It’s all about trust. That’s not a bad value to dramatize. Who would think that a multitude of apes could deliver such a noble message? Well, when handled by a score of super-talented film makers – message received.

“Dawn of the Planet of the Apes” has got to be the best in its current franchise. Acted and directed with skill and unending craft, this movie brings a ridiculous story to believability. What a great adventure and what great lessons to be learned. Along with trust, we are served generous portions of loyalty, family, cooperation and, of course, love.

In the wake of a global sweeping virus that decimated most of humanity, a pack of survivors come across a population of apes quickly evolving toward human traits, i.e. speech and motor abilities. In the devastating ruins of San Francisco, this troop of humans, led by Malcolm (Jason Clarke), work tirelessly to restore power to the city and begin the business of rebuilding humankind. The apes, mistrusting humans and their guns, want to destroy them and own the world in peace and harmony. Caesar (Andy Serkis), the appropriately named head ape, has a particular affinity toward human beings which was established in “Rise of the Planet of the Apes.” Here’s where issues of trust and peaceful coexistence butt heads with the killer factions of apes and the humans who want an all-out war that will determine only one victor. They are not eager for compromise. They will never trust one another. The world can only belong to one species – humans or apes. War is inevitable, or is it?

Caesar has a past that includes favorable memories of his life with humans. This is his conflict – how to trust these desperate human survivors and help them rebuild their world. Where, then, does that leave the apes? Will humankind make the same mistakes – destroy the world again and the ape population along with it?

Although this is a sequel, one need not see “Rise of the Planet of the Apes” to thoroughly enjoy this fantastic movie. I did not see it and never felt out of it. I do plan on renting it solely on the merits of “Dawn of the Planet of the Apes.” It’s that good.

Serkis as Caesar is very good. Considering the realistic makeup, use of puppetry and the process of “motion capture,” he manages to give an unusual and amazingly subtle performance. In fact, all the lead apes are extraordinary, as is the makeup design. You will have no trouble distinguishing one ape from the other. Standouts are Toby Kebbell as Koba, Nick Thurston as Blue Eyes and Karin Konoval as Maurice. On the human side, Jason Clarke as human head honcho has a monopoly on compassion. I haven’t seen such a caring face since Schindler. I’d trust him with my dog – no questions asked. His face would be enough. Equally human, in all the right ways, is Kerri Russell as Ellie, a loving and nurturing soul. The bad humans are well played by Kirk Acevedo, the obligatory hothead, and Gary Oldman – is he ever good?

Matt Reeves directs with a sturdy vision. This is Reeves’ first major film as director. I am happy to report he will direct the next Planet of the Apes movie, as well.

An important element to the success of “Dawn of the Planet of the Apes” is the score. Composed by Michael Giacchino, the music does what a film score should do – compel and supply tension – manipulate the audience into understanding purely through emotion. The fringe benefit of a Giacchino soundtrack, as always, is its sheer beauty. There is also a strange beauty in the visuals. The ruins of the city, the forest and the interiors blend cohesively into a realistic setting. Special effects are phenomenal, especially the use of “motion capture” and seamless CGI.

“Dawn of the Planet of the Apes” now moves to the top of my summer movies list as great entertainment with the added feature of great lessons to be learned. But don’t tell the kids that. You wouldn’t want to discourage them from enjoying this thrilling movie by saying, “It’s good for you.”

“Dawn of the Planet of the Apes” is in theaters

http://www.thesunnews.net/scene/527-On_the_silver_screen_'Dawn_of_the_Planet_of_the_Apes_is_the_best_movie_this_summer.html

Jersey Boys

On the silver screen: ‘Jersey Boys:’ Not a musical, but a good time


Wednesday July 9, 2014 | By:Tony Baksa | News



When “Jersey Boys” opened on Broadway eight years ago, it was promoted as a musical. It is not a musical. “Jersey Boys” is still running on the Broadway stage, to great success. It is still being promoted as a musical. The perception by all who intend to see it on the boards, whether on Broadway or its national tour, is that it is a musical. It is not a musical. It is a play with music. Now it is a film with music – lots of music but it is not a musical.


Directed by Clint Eastwood, “Jersey Boys” the movie, is a very effective drama about the rise and fall and rise again of Frankie Valli and The Four Seasons. Yes, there are plenty of songs to be heard in this entertaining biopic. But there also is plenty of drama. It really gets heavy, in the second half of the film. The sparks fly as the cast delightfully chew the scenery. It is great fun to watch.
“Jersey Boys” is, in many ways, an old-fashioned movie about entertainers. You can see something like this almost every night on television’s TCM channel. It is very much a formula script, with all the cliché’s kept intact. There’s the expected feuding and fighting among the band members, the usual domestic quarrels with the wife and the guilt at neglecting the children, due to career demands. It is all on hand, masterfully acted and directed, resulting in a swell time at the movies.
And then there’s the music — all the hits from “Sherry” to “Big Girls Don’t Cry” to the show-stopping “Can’t Take My Eyes Off You.”


It is performed by the very talented cast - no dubbing or lip-synching to the original group. Repeating his Tony award-winning performance as Frankie Valli, John Lloyd Young is simply wonderful. However, Vincent Piazza as Tommy DeVito, the band member who is most responsible for creating the Four Seasons, almost walks off with the movie. He gives a star-making performance! Also exceptional are the other two band members; Erich Bergen, as composer Bob Gaudio and Nick Massi, as Mike Lomenda, the unhappy bass singer who just wants to live a normal life.
The movie moves along briskly. Despite its show biz cliché’s, “Jersey Boys” has some surprising elements, regarding a very sad chapter in Valli’s life. This sad turn only enriches the drama and adds credence to the story. Adding even more credibility to “Jersey Boys” are Frankie Valli and Bob Gaudio as producers.


Whether or not you are a fan of The Four Seasons, “Jersey Boys” will entertain. With a sharp script by veteran screenwriter Marshall Brickman, amusing supporting performances by Christopher Walken and Mike Doyle, “Jersey Boys” delivers a solid entertainment.
A fun tidbit for baby boomers: Barry Livingston of “My Three Sons” fame appears briefly yet substantially in two highly charged scenes. No longer little Ernie, see if you recognize him.


Jersey Boys” is currently in theaters.



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