Monday, September 28, 2015

Fury


Ahab Pitt pursues white-power whale in visually astounding and brilliantly brooding war story.  Percy finally ascends to his co-stars’ godly realm, though Labaeiouf steals show with bible-thumping rabidity.  Incredible moral tale, peppered with palpable suspense, devastating imagery but slightly over-cinematic conclusion.  Ayer kept it fresh, and for that deserves tanks.

Thursday, September 24, 2015

The Wind Rises


Miyazaki rises down to Earth in his exceptionally realist rendition of Grave of the Fighter Jets.  Dream sequences justify animated medium, and stunning visuals keep an otherwise slow story from crashing and burning.  Lacks magic of previous ghiblets but presents colorful alternative perspective on oft generalized black and white history.

Monday, September 21, 2015

Into the Woods


Like Streep’s appearance, odd musical fantasy venture oscillates between grotesque Sondheim quasi-horror and flowery Disney kids pic without ever settling on witch it actually wants to be.  Disquieting off-screen deaths and thinly veiled themes of pedophilia and adultery guide this movie into the dark woods between two potentially powerful demographics.

Thursday, September 17, 2015

A Most Violent Year


Chandor drapes gravity of All over Margin’s complexity and masterfully molds the gripping moodiness of Call is Lost.  It’s Wall Street meets Drive, if James Grey had directed it, and further cements Isaac and Chastain as two of the most serious actors working today.  Still, definitely a most deceptive title.

Monday, September 14, 2015

Straight Outta Compton


Gritty, fun and incisive Nwapic is made potent and accessible by stellar casting and brilliant performances, particularly from Cubelet, E2, and Giamatti (gone straight from Mercy to Ruthless).  Suffers from a strange antagonist swap after F(orgett)ing the Police, notable absence of female characters, and an incurable stutter of an ending.

Thursday, September 10, 2015

The Purge


Character decisions and motivations perfectly match the premise because they too make no sense.  Well shot, and remarkably well cast, but Headey’s brain-dead wife and Hawke’s clipped doofus suggest that perhaps once a year, agents can force A-list actors to take C- roles.  A film worth purging from any collection.