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THE BABADOOK – The Review

Originally reviewed at Fantastic Fest 2014.

On the surface, THE BABADOOK is about a mysterious children’s book character that comes to life to haunt a mother and her child. The dark creature almost has no distinguishable characteristics aside from a ghastly grin, long, sharp fingers and a top hat. It may sound like a straightforward idea but it is writer and director Jennifer Kent’s handling of the material that makes this film so memorable.

THE BABADOOK may be the scariest horror film of the year, but at the same time it is so much more. Beneath the slow-building dread lies a classic tale of a woman coming to terms with her own demons. Depression, regret, and life as a single mother are all examined in a thoughtful manner that elevates the film to a Polanski level of horror – especially in a way that recalls Catherine Deneuve in REPULSION or Mia Farrow in ROSEMARY’S BABY.

Essie Davis as the forlorn widow is a revelation. Every step and look she displays carries a heavy sadness. As the storybook creature becomes more of a burden on her and her child, she delivers an even more complex performance. A third act that could have easily gone too far in the realm of hysteria feels all the more disquieting in the hands of Davis. It’s not an exaggeration when I say that Essie Davis delivers one of the best female performances I’ve seen in a horror film.

Cinematographer Radek Ladczuk is careful not to let the Babadook himself overstay his welcome. Most of the time, the dark creature is barely seen emerging from a shadow or a dark corner. There are even a few clever sequences where Ladczuk and Kent hint at just the shape of the creature through everyday items and clothing – like an unnerving sequence involving Davis going to a police station. The simple silhouette and unsettling sound effect that emits from the creature is the stuff of nightmares.

Between the cold, almost black and white photography, and slow building dread, THE BABADOOK feels like a classic tale of psychological horror. Jennifer Kent brings out a strong performance from the talented Essie Davis, but it’s her approach to real life anxieties and everyday horror that makes THE BABADOOK a must-see for non-horror fans and horror fans alike.

Overall rating: 4 out of 5

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The Academy Announces Eligibility For 114 Scores, 79 Songs And 323 Feature Films In 87th Oscar Race

Three hundred twenty-three feature films are eligible for the 2014 Academy Awards, the Academy of Motion Picture Arts and Sciences announced today.

To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.

Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.

Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.

The Academy of Motion Picture Arts and Sciences also announced that 114 scores from eligible feature-length motion pictures released in 2014 are in contention for nominations in the Original Score category for the 87th Oscars.

The eligible scores along with their composers are listed below, in alphabetical order by film title:

“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer
“Anita,” Lili Haydn, composer
“Annabelle,” Joseph Bishara, composer
“At Middleton,” Arturo Sandoval, composer
“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer
“Bears,” George Fenton, composer
“Belle,” Rachel Portman, composer
“Big Eyes,” Danny Elfman, composer
“Big Hero 6,” Henry Jackman, composer
“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers
“The Boxtrolls,” Dario Marianelli, composer
“Brick Mansions,” Trevor Morris, composer
“Cake,” Christophe Beck, composer
“Calvary,” Patrick Cassidy, composer
“Captain America: The Winter Soldier,” Henry Jackman, composer
“The Case against 8,” Blake Neely, composer
“Cheatin’,” Nicole Renaud, composer
“Dawn of the Planet of the Apes,” Michael Giacchino, composer
“The Disappearance of Eleanor Rigby: Them,” Son Lux, composer
“Divergent,” Tom Holkenborg, composer
“Dolphin Tale 2,” Rachel Portman, composer
“Dracula Untold,” Ramin Djawadi, composer
“Draft Day,” John Debney, composer
“The Drop,” Marco Beltrami and Buck Sanders, composers
“Earth to Echo,” Joseph Trapanese, composer
“Edge of Tomorrow,” Christophe Beck, composer
“Endless Love,” Christophe Beck and Jake Monaco, composers
“The Equalizer,” Harry Gregson-Williams, composer
“Exodus: Gods and Kings,” Alberto Iglesias, composer
“The Fault in Our Stars,” Mike Mogis, composer
“Finding Vivian Maier,” J. Ralph, composer
“Fury,” Steven Price, composer
“Garnet’s Gold,” J. Ralph, composer
“Girl on a Bicycle,” Craig Richey, composer
“The Giver,” Marco Beltrami, composer
“Godzilla,” Alexandre Desplat, composer
“Gone Girl,” Trent Reznor and Atticus Ross, composers
“The Good Lie,” Martin Léon, composer
“The Grand Budapest Hotel,” Alexandre Desplat, composer
“The Great Flood,” Bill Frisell, composer
“Hercules,” Fernando Velázquez, composer
“The Hero of Color City,” Zoë Poledouris-Roché and Angel Roché, Jr., composers
“The Hobbit: The Battle of the Five Armies,” Howard Shore, composer
“The Homesman,” Marco Beltrami, composer
“Horrible Bosses 2,” Christopher Lennertz, composer
“How to Train Your Dragon 2,” John Powell, composer
“The Hundred-Foot Journey,” A.R. Rahman, composer
“The Hunger Games: Mockingjay – Part 1,” James Newton Howard, composer
“I Origins,” Will Bates and Phil Mossman, composers
“The Imitation Game,” Alexandre Desplat, composer
“Inherent Vice,” Jonny Greenwood, composer
“Interstellar,” Hans Zimmer, composer
“The Interview,” Henry Jackman, composer
“Into the Storm,” Brian Tyler, composer
“Jal,” Sonu Nigam and Bickram Ghosh, composers
“The Judge,” Thomas Newman, composer
“Kill the Messenger,” Nathan Johnson, composer
“Kochadaiiyaan,” A.R. Rahman, composer
“Legends of Oz: Dorothy’s Return,” Toby Chu, composer
“The Lego Movie,” Mark Mothersbaugh, composer
“The Liberator,” Gustavo Dudamel, composer
“Life Itself,” Joshua Abrams, composer
“Living Is Easy with Eyes Closed,” Pat Metheny, composer
“Lucy,” Eric Serra, composer
“Maleficent,” James Newton Howard, composer
“The Maze Runner,” John Paesano, composer
“Merchants of Doubt,” Mark Adler, composer
“Million Dollar Arm,” A.R. Rahman, composer
“A Million Ways to Die in the West,” Joel McNeely, composer
“Mr. Peabody & Sherman,” Danny Elfman, composer
“Mr. Turner,” Gary Yershon, composer
“The Monuments Men,” Alexandre Desplat, composer
“A Most Violent Year,” Alex Ebert, composer
“My Old Lady,” Mark Orton, composer
“Night at the Museum: Secret of the Tomb,” Alan Silvestri, composer
“Nightcrawler,” James Newton Howard, composer
“No God, No Master,” Nuno Malo, composer
“Noah,” Clint Mansell, composer
“Non-Stop,” John Ottman, composer
“The One I Love,” Danny Bensi and Saunder Jurriaans, composers
“Ouija,” Anton Sanko, composer
“Paddington,” Nick Urata, composer
“Penguins of Madagascar,” Lorne Balfe, composer
“Pompeii,” Clinton Shorter, composer
“The Purge: Anarchy,” Nathan Whitehead, composer
“The Railway Man,” David Hirschfelder, composer
“Red Army,” Christophe Beck and Leo Birenberg, composers
“Ride Along,” Christopher Lennertz, composer
“Rocks in My Pockets,” Kristian Sensini, composer
“Rosewater,” Howard Shore, composer
“St. Vincent,” Theodore Shapiro, composer
“The Salt of the Earth,” Laurent Petitgand, composer
“Selma,” Jason Moran, composer
“The Signal,” Nima Fakhrara, composer
“Snowpiercer,” Marco Beltrami, composer
“Song of the Sea,” Bruno Coulais, composer
“Still Alice,” Ilan Eshkeri, composer
“The Tale of the Princess Kaguya,” Joe Hisaishi, composer
“Teenage Mutant Ninja Turtles,” Brian Tyler, composer
“That Awkward Moment,” David Torn, composer
“The Theory of Everything,” Jóhann Jóhannsson, composer
“This Is Where I Leave You,” Michael Giacchino, composer
“300: Rise of an Empire,” Tom Holkenborg, composer
“Tracks,” Garth Stevenson, composer
“Transformers: Age of Extinction,” Steve Jablonsky, composer
“22 Jump Street,” Mark Mothersbaugh, composer
“Unbroken,” Alexandre Desplat, composer
“Under the Skin,” Mica Levi, composer
“Virunga,” Patrick Jonsson, composer
“Visitors,” Philip Glass, composer
“A Walk among the Tombstones,” Carlos Rafael Rivera, composer
“Walking with the Enemy,” Timothy Williams, composer
“Wild Tales,” Gustavo Santaolalla, composer
“X-Men: Days of Future Past,” John Ottman, composer

A Reminder List of works submitted in the Original Score category will be made available with a nominations ballot to all members of the Music Branch, who shall vote in the order of their preference for not more than five achievements. The five achievements receiving the highest number of votes will become the nominations for final voting for the award.

To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.

Finally, 79 songs from eligible feature-length motion pictures released in 2014 are in contention for nominations in the Original Song category for the 87th Oscars.

The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title and song title:

“It’s On Again” from “The Amazing Spider-Man 2”
“Opportunity” from “Annie”
“Lost Stars” from “Begin Again”
“Grateful” from “Beyond the Lights”
“Big Eyes” from “Big Eyes”
“Immortals” from “Big Hero 6”
“The Apology Song” from “The Book of Life”
“I Love You Too Much” from “The Book of Life”
“The Boxtrolls Song” from “The Boxtrolls”
“Quattro Sabatino” from “The Boxtrolls”
“Ryan’s Song” from “Boyhood”
“Split The Difference” from “Boyhood”
“No Fate Awaits Me” from “The Disappearance of Eleanor Rigby: Them”
“Brave Souls” from “Dolphin Tale 2”
“You Got Me” from “Dolphin Tale 2”
“All Our Endless Love” from “Endless Love”
“Let Me In” from “The Fault in Our Stars”
“Not About Angels” from “The Fault in Our Stars”
“Until The End” from “Garnet’s Gold”
“It Just Takes A Moment” from “Girl on a Bicycle”
“Last Stop Paris” from “Girl on a Bicycle”
“Ordinary Human” from “The Giver”
“I’m Not Gonna Miss You” from “Glen Campbell…I’ll Be Me”
“Find A Way” from “The Good Lie”
“Color The World” from “The Hero of Color City”
“The Last Goodbye” from “The Hobbit: The Battle of the Five Armies”
“Chariots” from “The Hornet’s Nest”
“Follow Me” from “The Hornet’s Nest”
“Something To Shoot For” from “Hot Guys with Guns”
“For The Dancing And The Dreaming” from “How to Train Your Dragon 2”
“Afreen” from “The Hundred-Foot Journey”
“Yellow Flicker Beat” from “The Hunger Games: Mockingjay – Part 1”
“Heart Like Yours” from “If I Stay”
“I Never Wanted To Go” from “If I Stay”
“Mind” from “If I Stay”
“Everything Is Awesome” from “The Lego Movie”
“Call Me When You Find Yourself” from “Life Inside Out”
“Coming Back To You” from “Life of an Actress The Musical”
“The Life Of An Actress” from “Life of an Actress The Musical”
“Sister Rust” from “Lucy”
“You Fooled Me” from “Merchants of Doubt”
“Million Dollar Dream” from “Million Dollar Arm”
“Spreading The Word/Makhna” from “Million Dollar Arm”
“We Could Be Kings” from “Million Dollar Arm”
“A Million Ways To Die” from “A Million Ways to Die in the West”
“Way Back When” from “Mr. Peabody & Sherman”
“America For Me” from “A Most Violent Year”
“I’ll Get You What You Want (Cockatoo In Malibu)” from “Muppets Most Wanted”
“Something So Right” from “Muppets Most Wanted”
“We’re Doing A Sequel” from “Muppets Most Wanted”
“Mercy Is” from “Noah”
“Seeds” from “Occupy the Farm”
“Grant My Freedom” from “The One I Wrote for You”
“The One I Wrote For You” from “The One I Wrote for You”
“Hal” from “Only Lovers Left Alive”
“Shine” from “Paddington”
“Still I Fly” from “Planes: Fire & Rescue”
“Batucada Familia” from “Rio 2”
“Beautiful Creatures” from “Rio 2”
“Poisonous Love” from “Rio 2”
“What Is Love” from “Rio 2”
“Over Your Shoulder” from “Rudderless”
“Sing Along” from “Rudderless”
“Stay With You” from “Rudderless”
“Everyone Hides” from “St. Vincent”
“Why Why Why” from “St. Vincent”
“Glory” from “Selma”
“The Morning” from “A Small Section of the World”
“Special” from “Special”
“Gimme Some” from “#Stuck”
“The Only Thing” from “Third Person”
“Battle Cry” from “Transformers: Age of Extinction”
“Miracles” from “Unbroken”
“Summer Nights” from “Under the Electric Sky”
“We Will Not Go” from “Virunga”
“Heavenly Father” from “Wish I Was Here”
“So Now What” from “Wish I Was Here”
“Long Braid” from “Work Weather Wife”
“Moon” from “Work Weather Wife”

During the nominations process, all voting members of the Music Branch will receive a Reminder List of works submitted in the category and a DVD copy of the song clips. Members will be asked to watch the clips and then vote in the order of their preference for not more than five achievements in the category. The five achievements receiving the highest number of votes will become the nominations for final voting for the award. A maximum of two songs may be nominated from any one film.

To be eligible, a song must consist of words and music, both of which are original and written specifically for the film. A clearly audible, intelligible, substantive rendition of both lyric and melody must be used in the body of the film or as the first music cue in the end credits.

The 87th Academy Awards will be on ABC on February 22, 2015.

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Watch Chris Hemsworth In The New BLACKHAT Trailer

Opening in theaters on January 16, catch the new trailer for BLACKHAT.

Set within the world of global cybercrime, Legendary’s BLACKHAT follows a furloughed convict and his American and Chinese partners as they hunt a high-level cybercrime network from Chicago to Los Angeles to Hong Kong to Jakarta.

Directed and produced by Michael Mann, the film stars Chris Hemsworth, Viola Davis, Tang Wei and Wang Leehom, and it is written by Morgan Davis Foehl and Mann. Legendary’s Thomas Tull and Jon Jashni produce alongside Mann, while Alex Garcia and Eric McLeod serve as the executive producers.

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FORCE MAJEURE – The Review

Think that only American families go on disastrous vacations? Well this new film from Sweden certainly disputes that notion. In writer/director Ruben Ostlund’s heart-wrenching drama, we’re introduced to a picture perfect family unit on “holiday” at a swanky ski resort up in the French Alps (they must be fairly well off to afford this little getaway). There’s handsome thirty-something dad Tomas (Johannes Kuhnke), lovely mom, Ebba (Lisa Loven Kongsil), big sister Vera (Clara Wettergren), and kid brother Harry (Vincent Wittergren). Speaking of pictures, when we first meet them, the resort’s photog is snapping some shots of them on the slopes. But it seems that mom and dad needs extra prodding from the cameraman to get closer. Later, when Ebba looks at the proofs, her smile fades as she comes to the pic of her and her hubby. They continue to ski away their days until “the incident” occurs during a lunch stop at an outdoor bistro. I won’t reveal anymore, so as to not spoil the film, but it may make you question your own eyes after viewing it. That night during an adult dinner with a couple they met in the resort lobby, Ebba relates the story. Tomas brushes it off when the guests feel the tension. On the way back to the room, Tomas and Ebba discuss it with Tomas believing that this misunderstanding is resolved. And just in time, since his old buddy Mats (Kristofer Hivju) has just arrived with his much younger girlfriend in tow. All is well, as the wine flows after Dinner. And then Ebba brings up “the incident” once more. And in painstaking detail, much to Tomas’s embarrassment, stunning the other couple. Although they try not to argue in front of the kids, Vera and Harry feel the tension and fear the worst: divorce. Is there any hope for this broken marriage to be repaired?

Ostlund has crafted a compelling tale of a relationship fraying at the seams and now about to unravel. The quiet, desolate beauty of the slopes at night should be a calming influence to the couple in crisis, but it only adds to their disconnect especially when the controlled avalanche cannons, whose barrels jut out from the mountain sides, blast and echo through the white canyons. The scenery’s impressive but the performances are the film’s heart, particularly Kongsil as the deeply conflicted matriarch, Ebba. In a conversation with another resort guest, Ebba grills her relentlessly and somewhat angrily about the woman’s open marriage. Is it envy or frustration? Perhaps it’s both a long with intense curiosity. The scene is only a warm up for the big showdown after Dinner with old friend Mats and his new lady. Her anger and anxiety erupt from her in unending flow, like lava from a raging volcano that refuses to abate. The guests can only stare in dumbfounded silence, unable to look away or divert the vocal soul cleanse. Kuhnke, as the recipient of her ire, can only look on in shame and confusion, as he realizes that “the incident” opened up a rift he was blithely unaware. He had dismissed her concerns earlier, but now he truly gets it, as if one wall of his life crumbles and buries him. But it doesn’t leave the witnesses unscathed. Hivju as Mat passionately attempts to defend his old pal, but soon finds himself under attack from his companion (some holiday!). But all vacations must end, and Ostlund concludes the journey on a note that is open to many interpretations. FORCE MAJEURE shows us that no matter how far you travel for a get away, your problems find you.

4 Out of 5

FORCE MAJEURE opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

Win Tickets To The Advance Screening of THE INTERVIEW in St. Louis

Opening on Christmas Day, WAMG has your free passes to see THE INTERVIEW!

In the action-comedy THE INTERVIEW, Dave Skylark (James Franco) and his producer Aaron Rapoport (Seth Rogen) run the popular celebrity tabloid TV show “Skylark Tonight.” When they discover that North Korean leader Kim Jong-un is a fan of the show, they land an interview with him in an attempt to legitimize themselves as journalists.

As Dave and Aaron prepare to travel to Pyongyang, their plans change when the CIA recruits them, perhaps the two least-qualified men imaginable, to assassinate Kim Jong-un.

Directed by Evan Goldberg & Seth Rogen, the film stars James Franco, Seth Rogen, Lizzy Caplan, and Randall Park.

WAMG invites you to enter for a chance to win passes (Good for 2) to the advance screening of THE INTERVIEW. We will contact the winners by email.

If you are a winner, you will need to head over to SONYSCREENINGS.COM and register to receive your two passes.

THE SCREENING IS ON DECEMBER 18th AT 8PM

TO ENTER, ADD YOUR NAME, ANSWER AND EMAIL IN OUR COMMENTS SECTION BELOW.

Answer the following: Name all the movies James Franco and Seth Rogen have starred together in.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house. The theater is not responsible for overbooking.

3. No purchase necessary.

This film has been rated R by the MPAA for pervasive language, crude and sexual humor, nudity, some drug use and bloody violence.

THE INTERVIEW opens in theaters December 25th

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Go For A Thrill Ride With Jason Statham In First WILD CARD Trailer

Lionsgate has released the exciting first trailer and poster for director Simon West’s WILD CARD, starring Jason Statham.

The huge cast also includes Michael Angarano (Cyrus Kinnick), Milo Ventimiglia (Danny DeMarco), Dominik García-Lorido (Holly), Anne Heche (Roxy), Sofia Vergara (DD), Max Casella (Osgood), Jason Alexander (Pinky), Francois Vincentelli (Benny), Davenia McFadden (Millicent ), Chris Browning (Tiel), Matthew Willig (Kinlaw), Greice Santo (Cocktail Waitress ), with Hope Davis (Cassandra) and Stanley Tucci (Baby).

If the cast doesn’t convince you to catch the film when it comes out next year, check out the trailer below.

Nick Wild (Jason Statham) is a Las Vegas bodyguard with lethal professional skills and a personal gambling problem. When a friend is beaten by a sadistic thug, Nick strikes back, only to find out the thug is the son of a powerful mob boss. Suddenly Nick is plunged into the criminal underworld, chased by enforcers and wanted by the mob. Having raised the stakes, Nick has one last play to change his fortunes…and this time, it’s all or nothing.

Based on the novel “HEAT”, WILD CARD is from two-time Academy Award-winning writer William Goldman (Best Original Screenplay,Butch Cassidy and the Sundance Kid, 1969; Best Adapted Screenplay, All the President’s Men, 1976)

WILD CARD hits theaters and On Demand January 30, 2015.

Rated R for strong violence, language and some sexuality/nudity

Win Tickets To The Advance Screening of INTO THE WOODS In St. Louis

INTO THE WOODS finally hits theaters on Christmas Day and WAMG has your passes to see it first!

INTO THE WOODS is a modern twist on the beloved Brothers Grimm fairy tales, intertwining the plots of a few choice stories and exploring the consequences of the characters’ wishes and quests. This humorous and heartfelt musical follows the classic tales of Cinderella (Anna Kendrick), Little Red Riding Hood (Lilla Crawford), Jack and the Beanstalk (Daniel Huttlestone), and Rapunzel (MacKenzie Mauzy)—all tied together by an original story involving a baker and his wife (James Corden & Emily Blunt), their wish to begin a family and their interaction with the witch (Meryl Streep) who has put a curse on them.

Rob Marshall, the talented filmmaker behind the Academy Award®-winning musical “Chicago” and Disney’s “Pirates of the Caribbean: On Stranger Tides,” helms the film, which is based on the Tony®-winning original musical by James Lapine, who also penned the screenplay, and legendary composer Stephen Sondheim, who provides the music and lyrics.

WAMG invites you to enter for a chance to win passes (Good for 2) to the advance screening of INTO THE WOODS on Thursday, December 18th at 7PM in the St. Louis area. We will contact the winners by email.

Answer the following:

What are the 4 items the baker and his wife need to bring to the witch to reverse the curse?

TO ENTER, ADD YOUR NAME, ANSWERS AND EMAIL ADDRESS IN OUR COMMENTS SECTION BELOW.

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1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. NO PURCHASE NECESSARY.

The film is rated PG.

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Shailene Woodley, Theo James & Ansel Elgort Star In Trailer For THE DIVERGENT SERIES: INSURGENT

Lionsgate has released the brand new poster, trailer and photos from THE DIVERGENT SERIES: INSURGENT.

The film stars Shailene Woodley, Theo James, Ansel Elgort, Miles Teller, Daniel Dae Kim, Naomi Watts, and Academy Award Winners Kate Winslet and Octavia Spencer.

THE DIVERGENT SERIES: INSURGENT raises the stakes for Tris as she searches for allies and answers in the ruins of a futuristic Chicago. Tris (Woodley) and Four (James) are now fugitives on the run, hunted by Jeanine (Winslet), the leader of the power-hungry Erudite elite. Racing against time, they must find out what Tris’s family sacrificed their lives to protect, and why the Erudite leaders will do anything to stop them.

Haunted by her past choices but desperate to protect the ones she loves, Tris, with Four at her side, faces one impossible challenge after another as they unlock the truth about the past and ultimately the future of their world.

Watch the thrilling new trailer now.

The movie is directed by Robert Schwentke with a screenplay by Brian Duffield and Akiva Goldsman and Mark Bomback and based on the novel by Veronica Roth.

THE DIVERGENT SERIES: INSURGENT hits theaters nationwide in 2D, RealD, and Digital 3D on March 20, 2015.

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TOP FIVE – The Review

When a big milestone approaches it’s common for most of us to look back and reflect on our lives and career. With the big 5-0 looming, Chris Rock, one of the smartest and funniest stand-up comedians, has done just that with TOP FIVE (not a reference to the B-day, but a quick listing of favorite music artists used as an ‘ice breaker’, like “Where’d you go to school?” here in St. Louis). Oh, and this is the third feature film he’s directed (he wrote this one, too). Mr. Rock has been part of the national comedy scene for nearly 25 years since he was one of the cast members of TV’s “Saturday Night Live”, with a few movie bit roles under his belt (BEVERLY HILLS COP 2). He’s gone from cocky kid with a mike to screen veteran, so now what does he want to say about the nature of celebrity and show biz? Will this project eventually be part of his own movie top five?

Rock plays comedy superstar Andre Allen, and, on this very long day, his life and career are at a crossroads. He’s taking a big risk professionally with his first foray into movie drama playing the leader of a Haitian slave revolt in the 1800’s. Andre has been playing it “safe” for the last few years by starring in a series of ‘low-brow’ action cop comedies as “Hammy the Bear” (he’s cracking wise inside a fur suit while blasting away the bad guys). Now he wants to be taken seriously, which isn’t aided by his personal life. He’s to be married later this weekend to fame-seeking reality TV star Erica Long (Gabrielle Union)) with the ceremony taped as part of her basic cable show. If all that weren’t enough, his agents have arranged for Times staffer Chelsea Brown (Rosario Dawson) to interview him while doing last-minute press for the new film (and the anonymous reviewer for her paper seems to delight in slamming his movies). They visit Andre’s old neighborhood, sit in on countless morning radio interviews, and join the film’s cast for the marathon press junket. As the day progresses star and profiler bond over their struggle to maintain sobriety (each has a prized program chip) and clash as her questions get more pointed and personal. Can Andre make it through the pressures of the day without giving into his inner demons and the intense attraction to his inquisitor?

Despite pulling triple duty, Rock seems more comfortable in his performance here than in most of his recent film work (not counting his membership in Adam Sandler’s rep company). Still, occasionally he’ll slide into stand-up mode, doing a riff rather than conversing. Fortunately by the mid-point he’s connecting with his fellow actors, going for the truth in the scene rather than the laugh, although the incident that ignites a meltdown rings hollow. It helps that his big moments usually occur with the luminous, energetic Dawson, who brings a real intelligence along with her stunning presence. Her character is not going to be distracted by Allen’s considerable charm and wit. But it’s another beauty that delivers one of the film’s best dramatic moments. Union shows the vulnerable human being beneath the reality TV diva caricature. It’s a shame we don’t get more of her interacting with Allen beside the random phone calls. The movie’s peppered with several comic stars who barely get a chance to showcase their talents. The great JB Smoove (a fine foil on “Curb Your Enthusiasm”) is regulated to being Allen’s motor-mouthed (speaking of fast-talkers, the over-exposed Kevin Hart has a brief cameo as Allen’s frenetic agent) security/aide while making inept passes at every voluptuous female in sight (original!). He comes off better than Cedric the Entertainer as the vile, voracious hustler that scares Allen straight (off booze and drugs). He’s the Tasmanian Devil of lust and over-indulgence. Faring perhaps worse is the talented Anders Holm (of TV’s “Workaholics” and “The Mindy Project”) as Chelsea’s beau who becomes the punchline of a gross, humiliating prank. Past (Tracy Morgan) and current (Michael Che, Leslie Jones, and Jay Pharoah) SNL players are giving little to do (blink and you’ll miss Jay), while they and other actors appear in tired “look in the camera” confessionals. Several comedy icons show up as themselves in the final act’s party scene, all to few laughs and minimal impact.

So basically, this is Rock in full Woody Allen mode, particularly the WA of ANNIE HALL,MANHATTAN, and STARDUST MEMORIES, ready to tackle the way people view his work and life. It’s a shame that so many subplots fall into movie clichés and ring false. What media outlets have unknown, anonymous film critics? Food and restaurant critics, sure, but c’mon? And several sequences with the general public seem like tired riffs on more inspired bits from THE KING OF COMEDY. Often it seems like a celeb version of TV’s “24” or TRAINING DAY with so much stuffed into that Friday (who does a junket on the day of a film’s release?). Plus those “Hammy” clips! Are we to believe that a studio would hide a big star’s face behind an immovable rubber bear mask? There’s such a terrifically talented cast assembled here, that it’s a shame the end result often feels lethargic, trite and often laugh-free. Perhaps before his next milestone Rock will have a more compelling commentary, since this is a long, long way from my TOP FIVE.

2.5 Out of 5

EXODUS: GODS AND KINGS – The Review

The story of Moses leading the Israelites out of Egypt is a powerful and iconic story that people of multiple faiths have come to know and embrace. There’s a burning bush, ten devastating plagues, a parting of the sea, and a triumphant journey towards freedom. For a story filled with so much, Ridley Scott offers it so little. EXODUS: GODS AND KINGS is never boring thanks in large part to a strong visual design, but never does it grab hold of your mind or heart as much as your eyes.

Moses (Christian Bale) is a natural leader as evident when the film begins. He rides into battle alongside Ramses (Joel Edgerton), the son of the Pharaoh (John Turturro) who adopted Moses as a son long ago. But it is upon the Pharaoh’s death that Moses has to see Ramses now claim the throne and rule Egypt, whom he does with an oppressive hand. When word gets out around the kingdom that Moses is in fact born a Jewish slave, he is immediately cast out. He survives the brutal trek through the desert and meets a young woman in a small town that he eventually marries. Late one night, Moses is called to a mountain peak where he becomes trapped in a mud-pit and encounters a burning bush and a young boy (the voice of God) who tells Moses he must lead the captive slaves out of Egypt.

EXODUS is a film that tells the story that many have read a number of times in the good book but in a way without any inspiration or meaning behind it. As should be expected from Ridley Scott at this point in his career, he fills the screen with lush visuals, decadent costumes, and CGI spectacle (including some appropriately visceral plague sequences), but rarely does he attach any emotions to all the holy rolling. For a story that seems ripe for interpretation and spiritual discourse, rarely does it delve into the consequences or significance of Moses’ actions. It is not all Scott’s or the story’s fault either. Christian Bale doesn’t really give us someone to root for. I struggled to connect with his journey because his character comes across as so impassive to the world around him. Bale seems to be going through the motions much like the writers and director of this film.

Ridley Scott’s attempt at delivering a new bible classic like THE TEN COMMANDMENTS that came before it ultimately fails because it’s simply a straightforward retelling of the classic biblical story. Never do you feel that there’s a desire to delve deeper into the meaning behind the story. The internal struggle of Moses or the historical significance of the Hebrew people being enslaved for over 400 years is never really called into question. Instead all we get is the standard power-hungry king story that is so overplayed in films, and which, I would argue, completely outshines the story of Moses. Joel Edgerton actually does a decent job even if he really does feel like an actor in garish make up the entire time. In fact, the most interesting character in the entire long ordeal is God who speaks to Moses through the image of a child. The boy’s short stature and young appearance is contrary to the harsh and argumentative tone that God uses to communicate with Moses. It’s an interesting dynamic that transpires like a clever one-act play you would see performed at a college theater.

I’ve come to acknowledge that Ridley Scott has had more misses in his career than hits. Much more in fact. Though his masterpieces are truly that, it is unfortunate that his legacy continues to be tarnished with recent misfires such as this. At this point, you could barely fill one of the Commandment tablets with films of his worth preaching from the Mount.

Overall rating: 2 ½ out of 5

EXODUS: GODS AND KINGS opens in theaters on December 12

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