Check out the new featurette, “The Making of The Age of Adaline – A Century of Fashion,” to get the inside scoop from stars Blake Lively, Harrison Ford, and Academy Award winning costume designer Angus Strathie, who developed Adaline’s exquisite wardrobe through the decades.
In THE AGE OF ADALINE, Adaline Bowman (Blake Lively) survives a car accident that miraculously keeps her from aging. Since then, she’s had to keep this a secret and has tried not to get too close to anyone.
However, meeting Ellis Jones (Michiel Huisman) will make her reconsider everything. THE AGE OF ADALINE follows the 29-year-old’s intriguing journey through the ages, as her encounter with Ellis ignites a new passion for love and romance inside her.
The film also stars Kathy Baker, Amanda Crew, with Harrison Ford, and Ellen Burstyn.
Directed by Lee Toland Krieger, THE AGE OF ADALINE hits theaters on April 24
The first day of Spring usually ushers in thoughts of flowers, sunny days and romance. What better way to celebrate the day than with this great first trailer for the feel-good British comedy MAN UP.
Directed by Ben Palmer (THE INBETWEENERS MOVIE), written by Tess Morris (THE LOVE PUNCH) and starring Lake Bell & Simon Pegg, the film will have its world premiere at the Tribeca Film Festival on April 19.
Nancy (Lake Bell), is done with dating. 10 times bitten, 100 times shy, she’s exhausted by the circus. So when Jack (Simon Pegg) blindly mistakes her for his date, no one is more surprised than her when she does the unthinkable and just —- goes with it.
It’s going to take a night of pretending to be someone else for Nancy to finally Man Up and be her painfully honest, awesomely unconventional self… but will Jack also Man Up, and be able to get over her duplicity?
Best just to let the evening unfold, roll with the consequences, and see if one crazy, unpredictable, complicated night can bring these two messy souls together.
UNBROKEN follows the incredible life of Olympian and war hero Louis “Louie” Zamperini who survived in a raft for 47 days after a near-fatal plane crash during World War II—only to be caught by the Japanese navy and sent to a series of prisoner-of-war camps.
The inspirational biopic is on Digital HD now and on Blu-ray, DVD and On Demand March 24, 2015 from Universal Pictures Home Entertainment and Legendary Pictures. Directed by Academy Award winner Angelina Jolie, UNBROKEN chronicles the unbelievable true story about triumph over tribulation and the resilient power of the human spirit.
Adapted from Laura Hillenbrand’s acclaimed New York Times bestseller, UNBROKEN is packed with exclusive bonus content that dives deeper into the life of Louie Zamperini and the legacy he left behind. Exclusive to the Blu-ray™ Combo Pack are deleted scenes, behind-the-scenes interviews and a closer look at the life of the real Louie Zamperini after war and the inspiring themes of faith, resilience and the power of forgiveness.
Jolie follows up her acclaimed feature film-directing debut, In the Land of Blood and Honey, with the unbelievable true story of Zamperini, a working class kid from Torrance, California, who transformed himself from juvenile delinquent to a 1936 Olympian by channeling his defiant energy into a shocking talent for running. Louie’s unfaltering determination and ferocious will then carried him through monumental tribulations during his military service and he became a true American hero.
Selected as one of American Film Institute’s 2014 “Movie of the Year,” UNBROKEN stars Jack O’Connell (’71, Starred Up) plays Louie Zamperini, heading up an international cast that includes Domhnall Gleeson (Harry Potter series), Finn Wittrock (HBO’s “The Normal Heart”), Garrett Hedlund (TRON: Legacy), Jai Courtney (Divergent), John Magaro (The Box), Luke Treadaway (Clash of the Titans), Ross Anderson (The Silent Storm) and Japanese singer-songwriter Miyavi in his American acting debut.
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The Blu-ray™ Combo Pack includes a Blu-ray™, DVD and DIGITAL HD with UltraViolet™.
Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
DVD offers the flexibility and convenience of playing movies in more places, both at home and away.
DIGITAL HD with UltraViolet™lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.
Bonus Features Exclusively onBlu-ray™
Deleted Scenes
Inside Unbroken – A behind-the-scenes look at the film – including The Fight of a Storyteller, The Hardiest Generation, and Fifty Years in the Making.
Cast and Crew Concert Featuring Miyavi – Cast-member and Japanese rock star Miyavi performing a concert for the cast and crew.
Prison Camp Theater: Cinderella – Watch the Omori prisoners perform their version of
Louis’ Path to Forgiveness – Learn about Louis’ life after the war and his journey from recovery to forgiveness.
Bonus Features on Blu-ray™ and DVD
The Real Louis Zamperini – Behind the scenes interviews with the late Louis Zamperini and the cast and crew.
FILMMAKERS Cast: Jack O’Connell, Domhnall Gleeson, Garrett Hedlund, Miyavi, Finn Wittrock, Jai Courtney, Luke Treadaway, John Magaro, Ross Anderson Directed By: Angelina Jolie Written By: Joel Coen, Ethan Coen, Richard Lagravenese, William Nicholson Based on the Book By: Laura Hillenbrand Produced By: Angelina Jolie, Clayton Townsend, Matthew Baer, Erwin Stoff Executive Produced By: Mick Garris, Thomas Tull, Jon Jashni Director of Photography: Roger Deakins Production Designer: Jon Hutman Edited By: William Goldenberg, Tim Squyres Costume Designer: Louise Frogley Music By: Alexandre Desplat
TECHNICAL INFORMATION – Blu-ray™: Street Date: March 24, 2015 Copyright: 2015 Universal Studios. All Rights Reserved. Selection Numbers: 61131444 / 61153044 (Canada) Running Time: 2 hours 18 minutes Layers: BD-50 Aspect Ratio: 2.40:1 Rating: PG-13 for war violence including intense sequences of brutality, and for brief language Technical Info: English Dolby Atmos (7.1 Dolby TrueHD compatible), Dolby Digital 2.0, Spanish and French Dolby Digital 5.1 Subtitles: English SDH, Spanish and French subtitles
TECHNICAL INFORMATION – DVD: Street Date: March 24, 2015 Copyright: 2015 Universal Studios. All Rights Reserved. Selection Numbers: 61131443 / 61153043 (Canada) Running Time: 2 hours 18 minutes Layers: Dual Layer Aspect Ratio: 2.40:1 Rating: PG-13 for war violence including intense sequences of brutality, and for brief language Technical Info: English Dolby Digital 5.1, Dolby Digital 2.0, Spanish and French Dolby Digital 5.1 Subtitles: English SDH, Spanish and French subtitles
The legal dissolution of a marriage has been dramatic fodder for serious films throughout the years, including KRAMER VS KRAMER and THE SUM OF US. Oh, and even a few comedies like THE WAR OF THE ROSES (but it’s very, very dark). Husband and wife are treated equally in the court (when the lawyers aren’t able to work things out) as the judge and jurors decide how the union will end. But what about other countries, other cultures? What occurs when one spouse apparently has all the power in the proceedings? Such is the conflict in this new film set in Israel, where a trio of rabbis decide one woman’s fate. And since there’s no claims of adultery or physical abuse, the divorce decree can only happen if the husband will consent. That’s the main obstacle and conflict in GETT: THE TRIAL OF VIVIANE AMSALEM.
The film begins in the classroom-sized courtroom (most of the film is set there along with the exterior hallway and waiting lounge). Viviane (Ronit Elkabetz) and her lawyer, Haim (Gabi Amrani) are seated at a table across from a trio of rabbi judges. She is there to terminate her long marriage, but no one is at the nearby table. Her husband has refused to appear once more. New court dates are set and ignored by him. Finally Elisha (Simon Abkarian) attends. Haim explains that the couple have not lived under the same roof for months. Vivian has moved in with her sister’s family, while being visited by her three children and working at a beauty salon. She pleads to end the marriage because she has fallen out of love with Elisha. The judges inquire about illicit affairs (none) or beatings (none). Will he agree to end their marriage? Absolutely not. And so the judgement comes down that Viviane should move back in while they both work on repairing the relationship. But in just a few weeks she returns to plead for a “gett” (divorce). This begins a long series of court dates that stretch from weeks to months to years. Often Elisha refuses to show up, eventually earning him a brief jail sentence. But this does not move him, as he finally hires a lawyer. Witnesses are called, neighbors, fellow synagogue members, even Vivian’s sister and her husband testify to the dormant union, but the judges will not intervene without his consent. All parties involved wonder if this circle of Hell will ever come to a merciful, grinding halt.
Co-writer and director Elkabetz is on camera for nearly the entire film as the title character and commands the screen with a sense of controlled strength and suppressed frustration. Her desire is so simple, so basic, but the system seems to be designed to marginalize and oppress her. Viviane will not quietly live in the little box that society has built for her. She sits silently through most of the proceedings until her anger is finally uncorked near the conclusion. It’s cathartic for her character and the audience (we almost want to yell, “Tell em’ sister!”). Abkarian exudes his own resolve as the immovable spouse. He too sits quietly, but also seems to have an almost permanent sneer, as if being there were beneath his dignity. Perhaps that’s one of the reasons he refuses to co-operate, his pride wishing to remain with a woman who no longer cares for him in order to keep up appearances in the community. At other times he persists in order to punish her for not being content in her prescribed role. Finally the selfishness kicks in, as he spitefully states that no man should have he if he can’t continue the farce of a marriage. Even the judges seeth in anger while addressing him. Amrani brings fiery passion to his role as Vivian’s lone male supporter, who lives to bash away at the old stone walls of the court. Nearly every session ends with one of the rabbis yelling at him to “Wear your skullcap next time, Haim!”. The film also boasts great performances from those rabbi judges and great work from the actors playing sympathetic and hostile witnesses (love Viviane’s boisterous, bawdy sister). Elkabetz and her film making partner Shlomi keep the drama briskly paced and edit the film superbly in order to avoid much of the claustrophobia that might occur in the single court setting. But there are often times when it seems that those walls are closing in, mostly to crush Viviane’s spirit and soul, and the film almost catches fire with tensions and emotions of the characters. This may be a reflection of the producers’ intense passion to stir us into helping change a most unjust justice system. GETT: THE TRIAL OF VIVIANE AMSALEM is a compelling call to action that never puts its message ahead of its raw human story.
3.5 Out of 5
GETT: THE TRIAL OF VIVIANE AMSALEM opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas
The truth is that, no mater how great a concept is for a story, no matter how well the film is marketed, the ultimate proof is in the production pudding. How excellent is your execution? Not the capitol punishment type — even if some films make you wish for that instead — but, execution of idea from concept to completion. Unfortunately, despite all the best intentions, many films fail to find the appropriate approach.
GHOUL (2015) is one of these films. It should be quite apparent already that I am not overwhelmingly impressed with this one, but in an effort to change things up a bit and better explain my thoughts on this film, I’ll begin with the end.
[No worries, I never spoil films, even the ones I dislike.]
The final 15-20 minutes of GHOUL are, by far, the most engaging, most intense and most successful minutes of this entire film. With that said, it’s not enough to save it entirely, but merely wipes the crust from your eyes and the spittle from the side of your mouth, finishing with the subtle minty freshness of a stick of gum that lasts about as long as the flavor in a handful of Chiclets.
The story comes full circle, the twist is revealed and the special effects are admirably effective for a film of this style, genre and budget. With a running time of only 86 minutes, its not entirely inconceivable to endure to the end for the tasty bits that add flavor, but you’ll need to choke down the blandness of the meal before the dessert.
Let’s return to the start now, where the film is at it’s most uninspired. GHOUL follows a small clutch of friends turned indie filmmakers who travel to Ukraine to shoot footage and interviews for the pilot of a documentary series they call Cannibals of the 20th Century. We’ve seen it before in principle, young inexperienced aspiring filmmakers venturing into uncharted territory to make their names, danger be damned.
Roughly, the first 30 minutes is relatively boring and uneventful, failing to build much of any character development, nor suspense or even much plot. Roughly half the film is merely bickering and accusations between characters, not unlike what we see in the average “reality” TV series that litter our television sets.
What they hope will be a successful late-night basic cable cash cow, quickly reveals itself to be a bust. When their local elderly guide turns out to be unreliable. Not only do they not have anything from the survivor of the Soviet Union’s most violent serial killer and “star” of their project, but they find themselves stuck in the remote woods with their young and pretty interpreter, a crazy young Ukrainian witch, and an evil supernatural force that will not let them leave unless they do exactly as it asks of them.
GHOUL is unfocused, indecisive about what the central plot truly is about. The villain is clearly defined, but is not as central to the story as would be expected. Drama is developed primarily through the perspective of Jenny, played by Jennifer Armour, who also happens to provide the best performance of the film. Jenny has a secret she hides that ultimately plays a significant role, indirectly and metaphorically, in the film’s twist.
Overall, GHOUL is a late-night, cheap rental popcorn flick, mildly worth seeing to the end, even at the cost of submitting to the snooze-inducing first two acts, but only if you’ve already gone through all the cool films in your Netflix queue.
[For the more discerning genre fans, be especially observant of the pride taken in the humorously hokey but admirable attempt at the gory gutted cat prop used not once, but twice in the film.]
GHOUL hits select theaters on Friday, March 20th, 2015.
When Dana Jung reviewed UNBROKEN here at We Are Movie Geeks, he called it “an amazing testament to the human capacities for endurance and survival.” (read all of Dana’s review HERE)
I too found UNBROKEN to be an outstanding film. Directed by Angelina Jolie, UNBROKEN was the inspiring true story of Olympic winning medalist, Louis Zamperini, who went on to serve during World War and went through a string of unbelievable hardships. UNBROKEN opened with an incredibly strong action scene and as the story unfolded, Jolie gave us flashbacks of Louis’ childhood and upbringing. It is a bit formulaic in the sense that it follows pretty much the same conventions as most biopics have done in the past, but that old-fashioned approach worked best for this material. Even though you know the Liberator crew is going to crash, you can’t help but feel the sorrow of the loss of the plane and its men. Shipwrecked at sea in a rubber raft, you relate with the lost crew, are embroiled in their starvation and sorrow, and frightened when they are attacked by sharks. The POW scenes accurately evoke the pain and hopelessness these men must have felt. Technically, UNBROKEN is terrific. Roger Deakins’s cinematography is outstanding as always. The Coen brothers aren’t as successful when they don’t direct their own screenplays, but this time they had strong material to work with. Lauren Hillenbrand is a great writer and the story is inspirational so there is a lot to like. Jack O’Connell played Zamperini and he is definitely an actor worth keeping your eyes on. The supporting performances from Domhnall Gleeson and Miyavi as the sadistic guard Bird, are also very solid. But by the time the end credits start rolling you kind of wish the film had focused on the later aspects of Louis’s life which were perhaps even more inspiring than the torture he endured, but that would have been another film.
UNBROKEN will be released on Blu-ray March 24th and We Are Movie Geeks has had a sneak peek.
UNBROKEN looks magnificent on Blu-ray – an immaculately detailed and colored transfer. The exteriors springs to life with every pebble, rock, branch, and leaf presented with textures so tactile that viewers will all but reach out and feel the different surfaces. Likewise, military uniform details are incredible, from frays around the edge of hats to the heavier textures on patches and clubs. Facial details are incredibly lifelike, down to the finest facial hair and bead of sweat. Colors are gorgeous. Bright green vegetation nicely stands apart from earthy terrain. Skin tones appear accurate throughout, and black levels raise no alarms. This is a beautiful image all around, reference quality material from start to finish.
UNBROKEN arrives on Blu-ray with a Dolby Atmos True HD 7.1 soundtrack. This is an incredible listen, particularly the plane mssion and subsequent crash. Prior to and following that, however, the track springs to life with full and detailed musical delivery. Ambient effects around the POW camp are frequent and authentic, effectively placing the listener in the busy, oftentimes loud landscape. All in all, this is a marvelous listen from Universal.
The UNBROKEN Blu-ray includes a generous amount of extras:
Inside UNBROKEN: An above average 30-minute featurette broken into three parts: Fifty Years in the Making – shows Ms Hillenbrand discussing her novel, then segues into her relationship with Louis Zamperini and discusses how Angelina Jolie became involved. The Fight of a Storyteller Director Angelina Jolie – takes a look at the sheer logistics of getting the film made – shooting at sea, the POW sequences, and a look at the special effects involved. Hardiest Generation – takes a look at the supporting characters and how important to the filmmakers it was to get their stories accurate.
The Real Louis Zamperini: This is the money extra – a 30-minute bio with rare footage of Zamperini that goes into detail about his Olympic career, his military service, and even covers his death. One of the best extras I’ve seen on any disc in a while.
Cast and Crew Concert Featuring Miyavi: Bird, the villain of UNBROKEN was played by a Japanese singer-songwriter named Miyavi – Angelina Jolie introduces an 8-minute performance from the musician.
Prison Camp Theater: Cinderella – A 6-minute version of the performance briefly shown in the film.
Louis’ Path to Forgiveness – A 6-minute look at Zamperini’s spiritual salvation is somewhat reduntant since most of the central points were covered in the 30-minute bio of Zamperini
Deleted Scenes – A generous and interesting selection: Dad Comes Home (0:50), Light and Darkness (2:23), Victory Kiss (0:55), Cecy (1:24), Bird Plays “Sakura Sakura” on Shamisen (2:09), Bird Plays “Cherry Blossom Song” on Shamisen (0:59), Bird Hits Fitzgerald (4:08), Louie Taken to Barracks After Beating (0:58), Family Photo (0:35), and What a Deal (1:33).
DVD and Digital HD
UNBROKEN is one of the best Blu-ray releases I’ve seen this year.
Aloha, Mr. Hand! The grades are in and Sean Penn has not passed his ‘Basic Action Hero’ class. As Penn sneers and scowls his way through the routine globe-hopping hitman adventure THE GUNMAN, his angry, sour puss sucks all of the joy out of every scene. Penn plays Martin Terrier (Martin Pitbull would be more badass!), an ex-special forces operative turned hired hitman working for one of those unnamed outfits that hires ex-special forces operatives turned hired hitmen. He’s good at his job, but he’s one miserable guy and his heart really isn’t into killing. All he wants is some tasty waves, a cool buzz and to settle down with his sweetheart, the French doctor Annie played by Jasmine Trica. Terrier is introduced doing mercenary work in the Democratic Republic of Congo. His local connection Felix (Javier Bardem) is the go-between when Terrier is contracted to assassinate the country’s minister of mining. After that hit, he is forced to leave the Congo, leaving behind political chaos, genocide, and the lovely Annie, who Felix has his eyes on.
THE GUNMAN starts off well enough. Director Pierre Morel establishes a gritty visual aesthetic and well-presents the central characters. The story unsteadily jumps ahead seven years. Terrier has returned to the Congo to provide security to well-diggers. He survives a murder attempt, then spends the rest of the film angrily searching for whoever had him targeted. From this setup, the story hurries through a predictable string of standoffs, ambushes, chases and gun battles across London, Gibraltar, and Spain. Terrier battles not only an endless supply of foreign goons but also acute brain damage which compels him to stumble around dazed at critical moments. Former allies Cox (Mark Rylance) and Stanley (Ray Winstone) figure in the plot which is complicated without being complex or intriguing. There’s suspense in that opening assassination scene but the rest of the action is lackluster, dovetailing into an anticlimactic finale that takes place in Barcelona, therefore must be set at the La Monumental bullfighting ring.
Sean Penn just seems annoyed in the lead, like he’d rather be anywhere else and his bulked-up physique, with all those veiny, oily muscles he keeps dropping his shirt to show off, is kinda creepy. A successful action star must find a way to show that he’s having a good time blowing people away and look cool while doing it (that’s what the whole EXPENDABLES franchise is about), but Penn is a such a drag. Better is Javier Bardem who continues his mugging from THE COUNSELOR, but at least he’s having fun. Rylance and Winstone are always good as is Idris Elba when he finally shows up in a small bit as an Interpol agent. THE GUNMAN does indeed present an ensemble of good actors trying to kill each other. Problem is, it all adds up to a serviceable thriller but nothing more. If your action standards are low, you may dig the R-rated carnage, and having a villain dispatched by a charging bull was a nice cheesy touch, but I really don’t recommend THE GUNMAN.
An Islamic extremist group (not verbally identified as ISIL, but the flag is unmistakable) has taken control of a small town in Timbuktu. A group is arrested for playing music, now outlawed in the town. While receiving her punishment of 80 lashes, the woman in the group sings. If this isn’t the most powerful moment in TIMBUKTU, it’s definitely the most indicative of what makes it a great film. The primary story of the cattle herder and the killing of his favorite cow has sincerely moving moments, but the town and the occupying extremists’ interaction are what carry the film. Some try to reason with them, to varying degrees of success. Others argue, one woman laughs as she stands in front of their car, blocking their way. The herder’s family is outright dismissive; they live outside of the town, spared their wrath until the herder accidentally kills a man in a fight.
For a film where the antagonists are a worldwide hot button topic, there’s no mention of the larger political landscape. The only mention of the world outside of TIMBUKTU, in fact, is a debate about football players. The film wisely keeps things very much at ground level, looking only at how the people having to live with them are dealing with ISIL. They’re portrayed here as hypocritical bullies, forcing absurd rules, ridiculous punishments, and unwanted marriages (we see one, but during its protest there is mention that it has happened with disquieting frequency) on a town that wants absolutely no part of them.
If this were the entire film, I honestly think I’d like it even more. The story of the herder is interesting in its own right, and maybe also could’ve supported its own film, but the relationship between the town and ISIL had me fascinated from beginning to end. The herder’s story is redeemed, however, in a moment near its conclusion that is absolutely beautiful and heartbreaking, all based on which direction he chooses to bow in prayer.
The structure of the film will turn some viewers off. There’s no real arc for the town’s story, and the herder’s story is spread very thin over the run time. There are segments that could almost feel aimless, and if you’re accustomed to something with a more straightforward structure, this won’t be the easiest film to get into. But once it sets in, it is great, and it’s absolutely worth getting into. Even in the stretches where the story feels thin or even nonexistent, there are some beautifully shot scenes.
All in all, TIMBUKTU is a great film. That the main story doesn’t quite live up to the scattered subplots says more about the subplots’ greatness than anything lackluster about the main story. It’s definitely worth checking out once it hits theaters.
4 1/2 of 5 Stars
TIMBUKTU opens in St. Louis March 20th exclusively at Landmark’s Plaza Frontenac Theater
Here’s a solution for the indecisive moviegoers. Not sure if you’re in the mood for a drama or comedy or a thriller? Well, how about an anthology? It’s like a good short story collection, or you could call this type of flick a movie buffet or a cinema smorgasbord. Most of the time, these films, in their earlier incarnations, center around a setting (GRAND HOTEL), a gathering (DINNER AT EIGHT), or an incident (the big cash winners in IF I HAD A MILLION). There are animation anthologies (the most famous may be FANTASIA or ALLEGRO NON TROPO) and musicals (INVITATION TO THE DANCE). The most prolific type may be those in the horror genre, beginning with 1945’s landmark DEAD OF NIGHT. In the 60’s and 70’s, Amicus Studios made their mark with TORTURE GARDEN and THE HOUSE THAT DRIPPED BLOOD along with the EC Comics-inspired TALES FROM THE CRYPT and THE VAULT OF HORROR. These ghoulish grab-bags have made a comeback of late with the VHS series. Many recent films have told separate stories that often overlap characters and backdrops like the SIN CITY films and the Best Picture Oscar winner from Paul Haggis, CRASH (along with his dismal follow-up from last year, THIRD PERSON). This recent Oscar-nominee for Best Foreign Film doesn’t share characters or a specific location, but is united by a common thread: revenge. Famously Eugene Sue (or was it Khan Noonien Singh?) said, “Revenge is a dish best served cold”, but since this flick comes from Argentina, it’s naturally more than a tad “caliente”. From south of the border comes a spicy sextet of WILD TALES.
This crazy combo platter gets its first course in just before the opening titles. With “Pasternak”, we follow a young woman as she boards a plane for an unforgettable journey along with passengers who share more with her than just the ride. Next is “Las Ratas” (The Rats), which all takes place on a very rainy night at a near-deserted highway diner. The waitress opens the door as her only customer escapes the torrential downpour. After a brief exchange, the man’s surly demeanor releases a floodgate of memories. Back in the kitchen, she tells the world-weary cook that this is the man who, long ago, destroyed her family. The chief suggests adding a special “spice’ to his fried eggs and potatoes. But the young woman is torn. Should she…? “El Mas Fuerte” (The Strongest) follows with the soggy setting replaced by an almost-deserted stretch of bright, arid two-lane road. A smartly dressed businessman is zipping down said road in his flashy new Audi. Well, until a run-down pickup truck tries to block him from passing. As they spy each other, expletives and hand gestures are exchanged before Mr. Audi zooms past. All’s right again with the world… until…oh,oh…a flat tire. As he hurriedly puts on the spare, guess who approaches (it aint’ AAA)? From the sagebrush showdown we’re back in the bustling city for “Bombita” (Little Bomb), as an everyman (well, he does have a unique skill set) butts heads with big town bureaucracy over the possibly illegal towing of his car, which sends the man’s life on a downward spiral. He can’t seem to get justice, but maybe he can get even. We remain in an urban setting for “La Propuesta” (The Proposal) where a rich couple awake to a nightmare as their sobbing teenage son tells them of an accident. A look at the sports car confirms it (that damning dangling plate), and soon the local TV news is blanketing the airwaves with the story of a pregnant woman struck and killed by a hit-and-run driver. The rich patriarch goes proactive as he summons his attorney. They hatch a plan: the family gardener/caretaker took the wheels out for a booze-fueled joyride. But will the old man take the fall even with a big pay-out upon his release from prison? The bribes soon pile up into a green mountain while the victim’s distraught husband vows vengeance on every TV channel. Finally the film concludes, not with another auto-related saga, but with an opulent wedding in “Hasta Que la Muerte Nos Separe” (Until Death Do Us Part). The newlyweds are enjoying the perfect wedding reception in the ballroom of a swanky high-rise hotel. The bride radiantly surveys the perfect scene. Hmmm, who’s the sultry brunette in the short skirt he’s talking with? A co-worker perhaps? Or could it be the caller she spoke with when she answered her new hubby’s phone a few weeks ago? Good thing she transferred the number to her own cell. But should she…? I think you can guess her next move.
Like any multi-course meal, one dish is usually the tastiest. Here it’s the mayhem-filled “Strongest” as we’re gripped by a duel of wits and wills that is a great twist on Spielberg’s classic TV movie, um, “Duel”, but lightly seasoned with a pinch of “Looney Tunes” masters Tex Avery and Chuck Jones and a sprinkling of Russ Meyer (particularly the climax of SUPERVIXENS) and topped with a tangy EC Comics twist ending. Speaking of comics, the two men almost become live action doubles for the long-running “Spy Vs. Spy” characters from Mad magazine as each one takes turns having the “upper hand” and alternate between aggressor and prey. This isn’t to say that the other segments don’t have their own delights. The slow-building realization of “Pasternak” that quickly escalates into full panic. The whole “morality” question in “The Rats” as the cook becomes the devilish imp on the server’s shoulder. Little Bomb” is anchored by a compelling performance by Ricardo Darin as the harassed everyman that recalls Jack Lemmon in THE OUT OF TOWNERS and PRISONER OF SECOND AVENUE for exasperation. Speaking of, there’s a terrific moment in “Proposal” when the father has been treated as a unending stream of cash and finally declares that the ATM is out-of-order. Permanently! Of course, we all have “wedding receptions from Hell” stories, but the final segment breaks new ground. It too escalates slowly into catastrophe aided by the crazed, manic performance by Erica Rivas as the bride, who is an unpredictable tornado in white lace, her eyes darting about as she formulates the proper punishment. The ringmaster of this incredible, energetic cast is director/writer Damian Szifron, who knows exactly how long each tale needs to be to get the best impact (perhaps consulted by another terrific director, co-producer Pedro Almodovar). My compliments to Chef Szifron! After indulging in the film feast (six great stories in one) that is WILD TALES, you won’t leave the theatre hungry!
4 Out of 5
WILD TALES opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre
I walked into the first film DIVERGENT with much apprehension. Some were quick to call it a poor man’s THE HUNGER GAMES – a series I haven’t been a huge fan of – and so I ended up leaving the theater feeling guilty for liking it more than I should. This is in large part due to Sahilene Woodley adding some depth and compassion to a character that might have been just a cliché on the page. DIVERGENT tried hard to give meaning to Tris’ journey of self-discovery, which I ultimately bought into. Her trials to become accepted into a new group felt like the problems teenagers often face. Because of this emotional and physical journey, DIVERGENT is very approachable as a stand-alone film. Any previous knowledge of the book series by Veronica Roth is not really necessary – unless you really want to know all the kooky details about the different factions that don’t really make a whole lot of sense. Than again, I have to remember that this isn’t trying to be high-brow sci-fi either.
Sadly that’s not the case with the occasionally lumbering sequel, INSURGENT. Gone is the journey showing Tris as a quiet, unsure, weakling turning into a self-reliant and confident warrior woman, and in its place is a film about the power of guilt and how important it is to accept one’s “flaws.” You would think that INSURGENT would carry with it a deeper sadness given what happened in the first film and because of the heavier themes at play, but the film gets a little too bogged down in plot and prose to feel the impact of the film’s themes. Sure, we see Woodley cry…and cry…and cry again on screen in her struggle to accept the path she chose for herself in the first film, but keeping track of all the different factions and what they stand for and who is working alongside whom created more exhaustion at times than adding to the drama. Maybe fans of the book will have an easier time following it all or maybe I just don’t have the ability to retain the info as well as some (that may or may not be a trait in one of the factions – I’m only guessing at this point), but I never felt this way while watching DIVERGENT. There’s an ease and simple cohesion to how that film plays out that is missing with this follow-up.
Following the tragic events that culminated at the end of DIVERGENT, the film opens with Tris struggling to cope with the death of her mother and father at the hands of the manipulative leader Jeanine (Kate Winslet) and the militaristic coup she led to overthrow other factions in this dystopian society. Tris is on the run with former Dauntless leader and now new boyfriend Four (Theo James), her brother Caleb, and the snarky Peter (Miles Teller), as they attempt to avoid being apprehended and punished for stopping Jeanine’s plan. Their journey begins in the quiet Amity – the hippie, peace-loving faction run by Johanna (Octavia Spencer) – but is quickly disrupted by pursuing forces, leading them to a group of factionless outsiders led by Evelyn (Naomi Watts). She also has a plan to overthrow the corrupt leader and is hoping that Four and Tris will gather other Dauntless members to fight alongside her group. Jeanine’s hunt for Tris soon is given new meaning when she uncovers a mysterious box that is said to hold a message from their founders. The catch is that only a special type of person can open it. How Jeanine knows what’s inside the box is not really explained, nor for that matter the fact that she miraculously knows that only someone who possesses the traits of all five factions (a divergent) can open the box. That being said, I’m sure you can guess which divergent is going to be captured and forced to open the mystery box. Hint: it’s not Caleb.
Shailene Woodley makes the experience much more enjoyable than it should be. In fact, the whole cast is quite spectacular, even if Kate Winslet comes across as statuesque in both looks and in her wooden performance. Her character is given more screen time than the previous film, which sadly isn’t the case for the grossly underused Zoe Kravitz. A potential setup for a subplot is even established early on between her character and Woodley’s but is forgotten far too soon. Then again, this is Woodley’s show and her take on Tris feels like a richer character because of her genuine personality. Even some sorry and vacuous lines are excusable thanks in part to her emotive eyes and heart-on-her-sleeve persona.
As is the case with most sequels to young adult novel adaptations, the budget to INSURGENT looks like it has at least doubled. The post-apocalyptic world is shown in greater detail, new locations and environments are revealed, and CGI is more pervasive than before. This is both good and bad. Dream sequences that show Tris’ bottled-up guilt are utilized more frequently to great effect. Tris’ nightmares revealing her fear of losing her friends and family sneak in and out of reality in subtle ways like Freddy Kruger. (“Watch Tris survive in the new post-apocalyptic horror film ‘A Nightmare On This-Now-Grass-Covered-Once-Inhabited Street.’”) The bloated budget gives way to some cool imagery including seeing Four disintegrate into a million floating pixels. Then that image is used over again. Then buildings disintegrate before our eyes in the same way. Then more buildings explode into little 3-D bits. A once neat little idea is blown out of proportion extremely fast. What makes it more disappointing is that you would think the 3-D presentation that I saw the film in would add depth to these images and increase the “wow” factor, but it’s not the case. Watching the final CGI fight made me actually want to read the sequence in the book, as I assume what I would visualize in my own head might be more stimulating than what was on the big screen.
Over the past 5 years, a number of young adult books have been adapted for the big screen, with the most popular of course being THE HUNGER GAMES. Looking at just THE HUNGER GAMES and the DIVERGENT series, I have to admit I’m slightly partial to DIVERGENT. Neither are brilliant examples of sci-fi or young fiction done right, but when putting both worlds and characters next to one another, I would rather visit this faction-filled world that Tris is trying to find herself in then the tired games Katniss is trying to survive. There’s a sense of drive to Tris. She’s a complicated character that embraces violence and revenge as much as she values loyalty and love. Most importantly, Tris can show young viewers that it’s ok to be different – to think, feel, and act outside a generic label. Having a film structured around the idea that the differences that set you apart from others is all well and good. Some might say that the idea is rather hackneyed and trivial, but you have to remember we are dealing with a predominantly young adult fanbase. I can see where teens might take away something positive from Tris’ journey of self-discovery and acceptance of her skills and gifts, even if the journey is paved with distracting CGI and a convoluted story. INSURGENT has a muddled plot that gets way too caught up in detailing all the specifics of the book, but the heart is there, thanks in large part to Shailene Woodley’s casting. Fans will no doubt flock to see this new installment and adamantly enjoy every minute (an occasionally laborious 2 hours), I’m just not sure adult viewers will be able to look past some of the film’s weaker traits.
Overall rating: 2.5 out of 5
THE DIVERGENT SERIES: INSURGENT opens in theaters everywhere March 20
