Boyhood (2014)

2/5

Richard Linklater's decade-long experiment Boyhood is not a very good movie. It feels honest and true, with almost voyeuristic and documentarian authenticity, but those qualities don't make it engaging or compelling. It's a great idea, filming short snippets in real time across years, and I'm amazed that it was accomplished at all given the industry's eagle eye on quarterly profit margins. It could be the future of filmmaking, but I hope that better storytellers can do something more with it. While it tackles some strong emotional threads, including domestic violence, alcoholism, and abandonment, Boyhood feels incomplete and unsatisfying. Even though it recycles a number of themes, it all feels like one big unfinished thought. The only thing more frustrating than a slice-of-life movie without an ending is 12 of them stacked together. Linklater delivers an emotion instead of a story, but perhaps the same people who appreciate Terrence Malick's evocative but empty films will also appreciate Boyhood.

It should have been called Before Adulthood, because it feels very similar to Linklater's previous series of interconnected films where the predominant architecture of the film involves a couple walking around and waxing poetic across the expanse of time. No matter how intriguing the discussion is, the Before series is just a bunch of talking heads. In Boyhood especially you realize that even when things besides conversations happen, Linklater prefers writing to acting, prefers telling to showing. Is there any reason this was a movie instead of a book or a podcast? Did we gain anything at all from having this appear on screen? No. This is not a movie. This is a piece of prose that just so happens to involve cameras and actors.

IMDb link: http://www.imdb.com/title/tt1065073/

The Wolf of Wall Street (2013)

4.9/5

Martin Scorsese's The Wolf of Wall Street is a riveting, sensational film by a master storyteller. The movie follows a young trader named Jordan Belfort (DiCaprio) who quickly rises to the top by starting his own firm and using manipulative sales tactics to sell high-risk stocks with large profit margins. Along the way, he engages in reckless behavior (mostly drugs) and revels in excess (million dollar parties on his million dollar yacht) while being chased down by the SEC and FBI (Chandler).

Scorsese uses frenetic filmmaking to show us his vices in all their glorious detail, combining fast editing with long shots to tell exactly the story he wants to tell. And he fully embraces the idea of storytelling, reminding you who is narrating and what their motives are: whether through a Porsche changing from red to white mid-shot, "thought bubbles" between Belfort and his Swiss banker (Dujardin), or re-editing his stories in retrospect. Scorsese is so convincing, so compelling, that it's hard to think trading is not normally like this.

Here Scorsese is dealing in his own trade. Both Scorsese as a filmmaker and DiCaprio as Belfort sell their audience, bit by bit, on why their product is not only good, but necessary. They are able to create demand out of thin air. And that is why Scorsese is the best at what he does. Quite honestly, Scorsese can make a movie about anything and make it enthralling, engaging, and explosive. Here he does it again.

IMDb link: http://www.imdb.com/title/tt0993846/

This Is Where I Leave You (2014)

4/5

This Is Where I Leave You is a tender, funny film about a dysfunctional family reuniting after their patriarch's death. The title comes from one son (Bateman), who leaves his wife (Spencer) after he finds her cheating on him. His sister (Fey) knows about their separation but must hide it from the rest of their siblings (Stoll, Driver) until he is ready to tell them. But their mother (Fonda) forces them all to sit shiva for a week after his funeral and all their neuroses comes out.

The brilliant script is full of meaningful writing, espousing big ideas on a small scale. Watching it makes me wish I had grown up with Tina Fey as my sister. It also makes me want to watch Girls just to see more of Adam Driver. Because this movie is hilarious. That being said, This Is Where I Leave You contains pretty ho-hum cinematic technique other than the writing/acting. Still, I highly recommend it.

IMDb link: http://www.imdb.com/title/tt1371150/

Jaws (1975)

4/5

Steven Spielberg's Jaws is an iconic film. From its classic line, "We're gonna need a bigger boat," to its ominous two note staccato, Jaws is unforgettable. Much like Psycho, it is often parodied but never duplicated. Watching it with fresh eyes, I'm surprised by how intentional and pointed the editing is. You can see when Spielberg resists cuts, instead focusing his creativity on shot composition and allowing the action to occur in the background. But you can also see him use cuts to great effect, by intercutting subtly tighter and tighter close-ups to build tension.

It's by no means a perfect movie. Much like MASH, it feels more like a collection of random, loosely-related events than a single coherent story with inevitable narrative progression. Some plot points seem a bit ridiculous or unbelievable by today's standards and the dull colors and plain costumes certainly cement the movie in a distant time. But it's a landmark film for a reason--and it actually stands up pretty well. Even now, Jaws is still as much of a white knuckle, edge-of-your-seat experience as ever. That's a testament to the skill of the storytellers, who are able to engage and involve the audience in a timeless, universal way. Jaws is required viewing for any film fan.

IMDb link: http://www.imdb.com/title/tt0073195/

Birdman or (The Unexpected Virtue of Ignorance) (2014)

5/5

Alejandro González Iñárritu's Birdman is a cinematic masterpiece. The movie follows a washed-up actor (Keaton)--made famous by gaudy superhero movies--as he prepares for opening night of his Broadway debut after years of ignominy. He must hire an abrasive but extraordinary actor (Norton) at the last minute, ingratiate himself to a prejudiced theatre critic (Duncan), and combat his own personal neuroses and psychoses in the form of his Lycra-suited alter ego, the titular Birdman.

Sometimes a movie has all the right elements for success but they just don't fit together right. That is not the case with this movie. Here every spinning plate makes every other spinning plate that much more impressive, all building together to create an unforgettable experience. The screenplay is filled with smart observations, textured discussions on the differences between movies and theatre, performance and criticism, art and entertainment. The actors take that sharp and incisive writing to the next level with equally dynamic range--subtlety and loudness, introspection and histrionics--whenever the script calls for it. And it has one of the most genuinely ambiguous endings I can recall in years.

But Birdman will be remembered most for its inspired cinematography. The entire movie is filmed as if in one long camera take thanks to advanced CGI and unerring, excruciatingly detailed pre-planning. Not only is it visually mesmerizing and logistically jaw-dropping, it enriches the film by adding an element of claustrophobia to Keaton's mental deterioration. Movies like this are why movies exist, why creativity cannot survive in the world of books and music alone. It is a wholly fulfilling work of artistic genius. Birdman is a cinematic masterpiece.

IMDb link: http://www.imdb.com/title/tt2562232/

Kingsman: The Secret Service (2014)

1/5

Matthew Vaughn's Kingsman is an abhorrent exploitation film masquerading as a delightful action flick. The movie serves as a modern send-up of the British spy movies from the 60's, but it does everything it can to distance itself from James Bond. It trades in dry humor for vulgar jokes, action for violence, and style for looks. It's self-referential in a way that outdoes even the countless satires of the genre. It's funny and fun until it's not. It takes a sharp turn and quickly becomes dark and disturbing. The ultra-violence is grotesque and nauseating, seemingly thrown on screen with gleeful abandon and disregard for taste. It's hard to imagine a world where people enjoy the stomach-churning images and call it entertainment, but the success of this film means that we are apparently living in it right now.

IMDb link: http://www.imdb.com/title/tt2802144/

Wish I Was Here (2014)

2/5

Zach Braff's second film, Wish I Was Here, is about two brothers (Braff, Gad) who must deal with their father's illness and impending death. The movie has less to say than Garden State and is even more plain in how it says it. The characters are less interesting, the writing is less interesting, and even the music is less interesting. (The funniest part was Josh Gad trolling Miley Cyrus on Twitter, and I don't mean that as a compliment.) There's just no magic in this movie and no compelling reason to keep watching it. Even though the effort of sitting on a couch and staring at a screen is minimal, I found myself itching to do something else.

IMDb link: http://www.imdb.com/title/tt2870708/

The Grand Budapest Hotel (2014)

4/5

Wes Anderson's The Grand Budapest Hotel is like many of Wes Anderson's other movies: delightful and magical if you like his style, banal and irritating if you don't. The plot follows a hotel concierge (Fiennes) who teams up with a lobby boy (Revolori) to prove his innocence after being framed for murder. The plotting is surprisingly intricate for a Wes Anderson movie, but is also somehow easy to follow at the same time.

What I like about Anderson's earlier movies is his ability to seamlessly switch between comedy and tragedy at the drop of a hat. Luckily, that opposition is still here, albeit in a less profound and less immediate form. Anderson superimposes an overall levity onto the relentless march of impending war, switching between the two moods from time to time, but The Grand Budapest Hotel focuses predominantly on the darker side of life.

Anderson has an undeniable visual style and he doesn't disappoint here. There's a reason this movie won the Oscar for best makeup and costume. He dresses his locales and his characters precisely and pristinely. The characters themselves (and the performances that underlie them) are not particularly deep or textured, but they are distinct and charming and unforgettable. They are brought to life by appealing, fast-paced storytelling and an irresistible, uncontainable magnetism. For Wes Anderson fans, The Grand Budapest Hotel is near-perfect filmmaking.

IMDb link: http://www.imdb.com/title/tt2278388/

The Skeleton Twins (2014)

4/5

The Skeleton Twins feels eminently indie, thanks to unique characters and astute writing. The movie follows two fraternal twins, Milo (Hader) and Maggie (Wiig), who reunite after Milo's failed suicide attempt. Maggie, married to Lance (Wilson), surreptitiously takes birth control pills while Lance fears he is infertile. Milo, now back in his hometown, starts talking to his old high school English teacher (Burrell), with whom he shared an intimate relationship at age 15.

The content is far from mainstream, and that may put people off, but this is a movie that delivers heart and humor in spades. The acting is incredible, delivering subtle details that reveal a wealth of history between the siblings. The way they bicker and forgive, the way they ruin and rebuild each other, feels so true to life. The movie is filled with ups and downs, drama and comedy, but is well worth the rollercoaster ride. I highly recommend this film.

IMDb link: http://www.imdb.com/title/tt1571249/

The Internship (2013)

3/5

The Internship is a fairly predictable buddy comedy that I've come to expect from the likes of Owen Wilson and Vince Vaughn. The movie focuses on two middle-aged salesmen who lose their job and apply for an internship at Google in the hopes of rebooting their career. As you might expect, they have no technical background but a wealth of people skills and they eventually triumph in the face of much smarter but less experienced college-age kids. The movie has its fair share of laughs, romance, and feel-good moments. There's honestly nothing surprising at all about this movie. It's a light piece of fluff that will brighten your day if you have it on in the background while doing some actual work.

IMDb link: http://www.imdb.com/title/tt2234155/