Movie Review: Toy Story 3

TOY STORY 3 (2010)

Director: Lee Unkrich

Screenwriter: Michael Arndt

Woody... Tom Hanks

Buzz...Tim Allen

Jessie...Joan Cusack

Rex...Wallace Shawn

Hamm...John Ratzenberger

Ken...Michael Keaton

Lotso...Ned Beatty

MPAA Rating: G

Running Time: 102 minutes

Woody, Buzz, Jessie and the rest of the gang return for the third installment of Disney / Pixar's beloved 'Toy Story' series. After 15 years since the release of the first film, Toy Story 3 picks up with Andy, now 17 years old, preparing to leave for college. He has seemingly outgrown his favorite toys and must decide what to do with them before he leaves. After a series of misunderstandings, the toys end up at Sunnyside Daycare. After some serious conflict with the toys of the daycare, led by Lotso the strawberry scented Lots-O'-Huggin' Bear, the toys embark on a series of crazy adventures as they attempt to escape the daycare and return to Andy before he goes away to college.

As per usual, Pixar delivers yet another fantastic film that perfectly blends elements of witty comedy, edge-of-your-seat adventure, and genuine, heartfelt emotion. Much like Pixar's previous films, Toy Story 3 is not your typical family / children's film. With mature themes about adolescence, detachment, love, and friendship, people of all age groups will find themselves both laughing and crying throughout this film.

The introduction of some new characters adds something new and exciting to the story, while the original characters maintain their signature traits we've grown to know and love from the two previous films. In addition to the film's brilliant screenplay (by Lilttle Miss Sunshine screenwriter, Michael Arndt), the visual detail and art direction is absolutely stunning, and the use of 3-D successfully enhances the experience without going over-the-top.

At a time when Hollywood seems to be spewing out endless amounts unwanted and unnecessary remakes / sequels, Toy Story 3 provides us with a giant breath of fresh air and proves that it is possible to make a trilogy that really works. Toy Story 3 is hands down the best movie I have seen this year so far.

Rating: 4 out of 4 stars

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What did you guys think of Toy Story 3? Did it live up to the hype of the first two movies? Feel free to share your thoughts and comments!

Movie Review: Clerks (1994)

CLERKS. (1994)

Director / Writer: Kevin Smith
Producers: Kevin Smith, Scott Mosier
Director of Photography: David Klein
Dante... Brian O’Halloran
Randal...Jeff Anderson
Veronica...Marilyn Ghigliotti
Caitlin...Lisa Spoonhauer
Jay...Jason Mewes
Silent Bob...Kevin Smith
MPAA Rating: R
Running Time: 92 minutes

Rating: 4 out of 4 stars

Despite being made for only about $27,000 and being funded by family donations, paychecks from a local convenience store, and money made from selling a comic book collection, writer/director Kevin Smith's debut film, Clerks proves that you don’t need a big budget or high-profile actors to produce a great film. Thanks to Smith's knack for writing clever, off-color dialogue and his remarkable ability of mixing profane, yet intelligent humor with raw and authentic human drama, Clerks helped transform Kevin Smith from a film school dropout to a well-established indie auteur.

The film centers on a 22-year-old Quick Stop clerk named Dante (Brian O'Halloran) who is called into work on his day off. To make matters worse, he deals with angry, agitated, and sometimes bizarre customers, gets into a heated argument about his girlfriend, Veronica’s (Marilyn Ghigliotti) sexual history and then finds out that his ex-girlfriend Caitlin (Lisa Spoonhauer) is engaged. To help pass the time, Dante is constantly visited by his openly sarcastic best friend Randal (Jeff Anderson), who works at the video store next door. Much of the film follows Dante and Randal as they interact with customers, debate about Star Wars, play a game of hockey on the roof, get kicked out of a funeral, and discuss the dilemma in Dante's love life.

Due to Smith's extremely modest budget, Clerks was shot in black and white with a 16mm camera over the course of 21 days. Because of these limitations, the film certainly has a few flaws including the film's rough editing and some noticeably amateur acting performances. However, these minor flaws are easy to overlook thanks to Kevin Smith's inventive and wildly hilarious screenplay. Smith's use of shockingly explicit dialogue and politically incorrect humor feel authentic and natural when delivered by the characters in the film, and the use of pop culture references help make the film hip and relevant without ever over-doing it.

With its hilarious one-liners and bawdy sex jokes, it is easy to misinterpret Clerks as a one-dimensional "raunch-comedy." However, Smith brilliantly manages to incorporate serious underlying messages about love, friendship, and self-determination into the film without altering its overall tone. Much like the film itself, there's more than meets the eye with the film's two protagonists. Despite the rough-edge exterior of Dante and Randal, there is actually much heart underneath the surface. Though Dante may initially come across as an overly dramatic down-on-his-luck slacker, he's really just a frustrated romantic attached to his past relationship. And while Randal may seem like an uncaring wise-ass, he proves to be a protective companion genuinely devoted to helping out his best friend. Despite being rather unseasoned actors, Brian O'Halloran and Jeff Anderson display great on-screen chemistry and perfectly capture the boredom and frustration of life as a store clerk.

Overall, Clerks is a raw and intelligent indie comedy that proves to be an impressive debut from an inexperienced filmmaker. Over the years, Clerks has reached cult-classic status and is now considered a staple in independent film-making.

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Movie Review: Dude, Where's My Car?

DUDE, WHERE'S MY CAR? (2000)

Director: Danny Leiner
Writer: Philip Stark
Jesse...Ashton Kutcher
Chester...Seann William Scott
Wanda...Jennifer Garner
Wilma...Marla Sokoloff
Christie Boner...Kristy Swanson
Nelson...David Herman
MPAA Rating: PG-13
Running Time: 83 minutes

Rating: 1 out of 4 stars

Often times you will hear people make the argument that a movie was "so stupid that it was funny." While this concept may be true for some movies, it is much more likely that the movie was just plain stupid. Such is the case with the horrendously unfunny comedy, Dude, Where’s My Car? While the filmmakers were fully aware of the film's outrageous plot, they were unable to capitalize on the slightest potential of its absurd humor and ultimately failed to deliver anything worthwhile.

Ashton Kutcher (TV's That 70's Show) and Seann William Scott (American Pie) star as two senseless stoner buddies named Jesse and Chester. After a night of hardcore partying, Jesse and Chester wake up with no recollection of what happened the night before. After realizing that Jesse's car is missing, the two stoners go on a quest to retrace the events of the previous night and retrieve the missing car. Along the way, the guys find themselves on a crazy adventure involving a pot-smoking dog, violent ostriches, nerds in bubble-wrap jumpsuits, and teams of strange aliens in search of a mysterious device known as the "Continuum Transfunctioner."

Despite being only 83 minutes long, Dude, Where's My Car still seems to drag on for way too long. Parts of the film seem more suitable as a 2-minute SNL skit or as a scene from a TV sitcom, but even in those formats they would fail to deliver laughs. Even with a PG-13 rating, the film manages to be overly crude and distasteful. Throughout the film we encounter an array of offensive stereotypes including obnoxious Asians, manipulative "hot chicks", a perverted blind boy, power-hungry jocks, an angry transsexual stripper, dumb, donut-loving cops, twins who speak in unison, and of course two brainless potheads. Writer Philip Stark seems to have no motivation or underlying purpose for including such characters other than an attempt at scoring a handful of cheap laughs.

In what is supposed to be one of the funniest scenes of the film, the guys discover each other's back tattoos (one says "dude" while the other says "sweet") and proceed to get into an angry back-and-forth banter of confusion about what their respective tattoo says. Rather than making me laugh out loud, this scene made me honestly fear that this scene will go down as our generation's unfunny, half-baked derivative of Abbott & Costello's classic "Who's on First?" routine.

On a brighter note, Kutcher and Scott do display great on-screen chemistry throughout the film. Unfortunately, this is likely because both actors have mastered the art of playing the exact same loud-mouthed moron in virtually everything they are in. Unlike the well-executed films of this type of comedy (i.e Wayne's World or Dumb and Dumber), the two protagonists of Dude Where's My Car are neither funny nor likable. As viewers, we can't help but ask, "Why should I care about these two pathetic losers?"...or better yet, "Why did I just sit through this god-awful movie?"

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Movie Review: Where the Wild Things Are

WHERE THE WILD THINGS ARE (2009)

Director: Spike Jonze
Writers: Spike Jonze & Dave Eggers
(based on book by Maurice Sendak)
Cinematography: Lance Acord
Music: Karen O and Carter Burwell
Production Designer: K.K. Barrett
Costume Designer: Casey Storm
Max…Max Records
Mom… Catherine Keener
Boyfriend… Mark Ruffalo
Carol…voiced by James Gandolfini
KW…voiced by Lauren Ambrose
Douglas…voiced by Chris Cooper
Ira…voiced by Forest Whitaker
Judith…voiced by Catherine O'Hara
Alexander…voiced by Paul Dano
MPAA rating: PG
Running Time: 100 minutes

Rating: 3.5 out of 4 stars

Adapting a popular children's book into a feature film can be quite a difficult task for most filmmakers. But when you take one of the most beloved classics in children's literature like Maurice Sendak's Where the Wild Things Are, and put it in the hands of a smart, innovative director like Spike Jonze, the result is a fantastic work of art that proves to be one of the best films of the year. Jonze successfully stays true to the spirit of the source material while still adding his own artistic vision; taking bold liberties both visually and narratively that really bring Sendak's story to life. The film captures the playful, imaginative aspects of childhood as well as the raw, sometimes painfully emotional side thanks to the outstanding performances from the entire cast. Overall, Where the Wild Things Are is a perfect blend of breathtaking visuals, exciting adventure, and powerful emotional themes.

The film follows a rambunctious little youngster named Max (Max Records) who feels neglected and misunderstood by his older teenage sister and his struggling single mother (Catherine Keener). After being sent to his room for misbehaving, Max escapes to an island inhibited by strange creatures with realistic, child-like personality traits. He quickly wins the affection of the 'Wild Things' and they crown him as their leader. Max promises to create a place where everyone can be happy, but soon discovers the difficulties of trying to please everyone and finds himself yearning to return home.

Some of the strongest aspects of the film come from the changes to story made by Spike Jonze and screenwriter Dave Eggers, such as the decision to give names and distinct personalities to each of the Wild Things. Jonze brilliantly uses the individual creatures to symbolize the different sides of Max's personality. Among them are the short-tempered and smothering Carol (voiced by James Gandolfini), the wild, free-spirited KW (Lauren Ambrose), and the young, insecure Alexander (Paul Dano). Despite being made of large animatronic suits with CGI faces, the Wild Things prove to be just as real and complicated as the film's human characters.

Spike Jonze, who is best known for his idiosyncratic style, takes a much different approach with this film. His previous films (Being John Malkovich and Adaptation) were very analytical and unconventional, whereas Where the Wild Things Are is rather simple and straight-forward, yet still a little bit edgy. It is important to note that this is not your typical family film. While most family films these days feature action-packed 3D animation, talking dogs, or crime-fighting guinea pigs, Where the Wild Things Are is much more raw and dramatic. Like the recently popular Disney/Pixar films like WALL-E or Up, this film features emotionally complicated material that might be difficult for younger kids to really understand. Nevertheless, I believe that people of all ages can appreciate Where the Wild Things Are in one way or another, whether it's the beautiful imagery, the outstanding acting performances, or the powerful, heartfelt adventure of Max's journey.

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Hermit's TV Debut!

So my last post was actually an extended version of a movie review I did for a student-run group here at the University of Illinois called JAMS. Every month they put on a production called "JamSessions" for UI-7, a local university television channel. JamSessions features a movie review segment known as "Movie Corner." This week I was asked to review the film, "The Invention of Lying." This was the first time I ever filmed anything in a professional TV studio before so I was a little nervous, but overall I thought it went fairly well. Please check out my segment from the show below and feel free to share your feedback!

Movie Review: The Invention of Lying

THE INVENTION OF LYING (2009)

Directors: Ricky Gervais and Matthew Robinson
Screenwriters: Ricky Gervais and Matthew Robinson
Mark...Ricky Gervais
Anna...Jennifer Garner
Brad...Rob Lowe
Greg...Louis C.K.
Frank...Jonah Hill
Anthony...Jeffery Tambor
Martha...Fionnula Flanagan
Shelley...Tina Fey
MPAA Rating: PG-13
Running Time: 99 minutes

Rating: 2.5 out of 4 stars

The Invention of Lying is a new comedy co-written, co-directed, and starring Ricky Gervais, best known as creator and star of the original British version of The Office and the HBO sitcom Extras. The film takes place in a parallel world in which everyone speaks nothing but the truth with no thought of the consequences. But when a down-on-his-luck loser named Mark (played by Gervais) suddenly develops the ability to lie, he discovers that dishonesty can get him ahead in the world.

The film scores a handful of big laughs early on with jokes in the form of off-color, brutally honest comments by the people in this parallel world. A lot of the humor also lies in the underlying religious mockery found throughout the film. One of the funniest scenes in the movie is when Mark informs the world of the "Man in the Sky" in a hilarious speech that is constantly interrupted with Monty Python-esque satire. After a while, however, these jokes become overdone and gimmicky.

With the exception of co-star Jennifer Garner, who wonderfully plays Mark's love interest, the all-star supporting cast (which includes Rob Lowe, comedian Louis CK, Jeffery Tambor, Jonah Hill, and Tina Fey) is completely underused. There are also a few random appearances from big name actors such as Philip Seymour Hoffman, Edward Norton, and Jason Bateman that seem to have little purpose in the film's plot.

Despite having a unique and original premise, the film falls short of being truly inventive by relying on typical romantic comedy conventions. With a funny high-concept script and a talented lead actor, the film had the potential of a Liar Liar or Groundhog Day-type comedy…but ultimately, The Invention of Lying is just a smart, above-average romantic comedy that doesn't quite follow through on its promise.

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Movie Review: The Night of the Hunter (1955)

Here is my second assignment for my "Film Reviewing" class. Hope you enjoy...

THE NIGHT OF THE HUNTER (1955)

Director: Charles Laughton
Producer: Paul Gregory
Screenwriters: James Agee, Charles Laughton
(Based on novel by Davis Grubb)
Cinematography: Stanley Cortez
Music: Walter Schumann
Harry Powell...Robert Mitchum
Willa Harper...Shelley Winters
John Harper...Billy Chapin
Pearl Harper...Sally Jane Bruce
Birdie Steptoe...James Gleason
Icey Spoon...Evelyn Varden
Rachel Cooper...Lillian Gish
Running Time: 93 minutes

Rating: 2.5 out of 4 stars

The 1955 thriller, The Night of the Hunter stars Robert Mitchum as Harry Powell, a murderous preacher who stalks and torments two small children in attempt to get to their dead father’s stolen fortune. The film has acquired a cult following and is considered a classic by many movie lovers. While The Night of the Hunter certainly has a few promising qualities, such as Mitchum’s haunting performance as the villainous, child-hunting preacher, I found the film to be overwrought, gaudy, and often times confusing. Despite having an interesting story and a talented lead actor, the film’s potential is undermined by weak performances from the supporting cast and the disrupted pacing leading into its exhausting conclusion.

Robert Mitchum puts on the performance of his career as the psychopathic Harry Powell. Armed with the infamous “LOVE” and “HATE” tattoos on the knuckles of each hand, and a deep, gravelly voice as he boisterously calls out to the two terrified children, Mitchum fully embodies the creepiness and frightening presence necessary to pull off such a role.

Unfortunately for Mitchum, none of the supporting actors in the film can match up to the caliber of his performance. Shelley Winters plays Willa Harper, the widowed mother of the two children. Willa mistakenly falls in love with Harry and marries him, completely oblivious to his true intentions. Her naivety is so overplayed that it becomes hard to understand her character’s motives. She is so easily manipulated by Harry, making it difficult to really sympathize with her character. Other supporting characters include Icey Spoon (Evelyn Varden), owner of a local shop whose absurd humor is sometimes funny but mostly overdone and out of place, and Uncle Birdie (James Gleason), a drunken fisherman that gets abandoned early on in the film.

While it might seem a little unfair to critique child actors, especially from the 1950’s, it seems necessary when they play such an integral role in the film’s plot. In this case, the child stars are what makes this film difficult to connect with. The two children (played by Billy Chapin and Sally Jane Bruce) seem incapable of expressing emotions in a manner that is required for the suspense of the film to work. Their reactions to life-or-death situations seem forced and unnatural. This can be especially seen in the over-the-top, sometimes laughable chase scene, in which Harry clumsily wrestles through conveniently placed obstacles as he pitifully fails to catch the two little children.

After this overdramatic chase scene, the tension and momentum of the film comes to an abrupt halt as the plot transitions into a slower, less interesting chapter of the story. Finally, after what seems like a logical ending, the film continues needlessly for about another 15 minutes. While I can see why The Night of the Hunter is considered by many to be a cult classic, I found it difficult to fully enjoy. Even Mitchum’s outstanding performance isn’t enough to save this film from its weak supporting cast, overdone dramatics, and overextended conclusion.

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Movie Review: Cat People

So this semester I am in a five person class that is solely devoted to 'Film Reviewing.' This week we had to write our first review for a movie we screened in class called Cat People. I decided to post the reviews I will be writing throughout the year, so here is my first film review of the semester...hope you enjoy!

CAT PEOPLE (1942)

Director: Jacques Tourneur
Producer: Val Lewton
Screenwriter: DeWitt Bodeen
Cinematography: Nicholas Musuraca
Music: Roy Webb
Editing: Mark Robson
Irena...Simone Simon
Oliver Reed...Kent Smith
Dr. Louis Judd...Tom Conway
Alice Moore...Jane Randolph
Running Time: 73 minutes

When producer Val Lewton was appointed head of the horror unit at RKO studios, he was told to follow three rules: each film he produced had to have a budget under $150,000, a running time under 75 minutes, and his supervisors had to supply the title for each film. For his first production, Lewton teamed up with director Jacques Tourneur for a film titled Cat People. Despite having limited resources, the film ended up being a major success and marked the first of Lewton’s nine horror classics. Cat People has become a renowned classic film due to its separation from the conventions of the horror genre. Rather than frightening the audience with shocking murders or grotesque violence, Cat People plays off the eerie suspense and fear of a mysterious unseen threat and features psychological themes of jealousy and sexual desire that were significantly ahead of its time.

The film begins by following the relationship between Irena Dubrovna (Simone Simon), a Serbian-born fashion artist and Oliver Reed (Kent Smith), an American architect. After their initial meeting, the two instantly fall in love and quickly get married. They hit a rough patch in their marriage, however, when Irena becomes consumed with the belief that she is a descendent of a Serbian tribe that was cursed by devil worshippers. She avoids intimate relations with her husband out of fear that she will turn into a deadly panther if she becomes sexually or emotionally aroused.

Tourneur brilliantly highlights the marital tensions and emotional distance between Irena and Oliver through their frequent conversations from separate rooms, discussing their problems through a closed door. Simone Simon does an outstanding job of portraying the confused bride who is torn between her love for Oliver and her constant fear of ancient superstition. At times we pity Irena and her inability to find happiness in their marriage, but after a series of strange incidents our suspicions begin to grow. Through an overkill of cat references, constant visual cues, clever hints in the dialogue, and a series of peculiar events, it becomes obvious that something is not right with Irena.

Meanwhile, Oliver's efforts to fix their problems only make matters worse. He persuades his wife to seek a psychiatrist, Dr. Louis Judd (Tom Conway), who develops a dangerously inappropriate attraction to Irena. He then confides to his flirtatious co-worker Alice (Jane Randolph), who is clearly in love with him. In two separate occasions, Alice is stalked by what she believes was the cat-form of Irena attempting to kill her out of jealousy and rage. These two pivotal scenes truly capture the dark and ominous tone of the film. Tourneur and cinematographer Nicholas Musuraca master the use of intricate lighting and luminous shadows to really emphasize the mysterious nature of Irena’s character. By only showing the large shadow of Alice’s stalker, Tourneur creates an atmosphere that causes fear though our own imagination. Cat People proves that you don’t need a big budget, special effects, or physical violence to make a great film that frightens the audience. An innovative film like this is worthy of being considered a classic horror film and is truly a must-see for all fans of modern psychological or supernatural thrillers.

Rating: 3 out of 4 stars

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Thoughts on 'Funny People'

Funny People
Directed by: Judd Apatow
Starring: Adam Sandler, Seth Rogen, Leslie Mann


Current 'King of Comedy' Judd Apatow successfully captures the deeper, darker side of the comedy world while still incorporating his usual dose of raunchy sex jokes, hilarious one-liners, and excellent supporting players (Leslie Mann, Jonah Hill, Jason Schwartzman, Eric Bana, etc.). Despite a some-what weak and unorganized last portion of the film, Funny People works as both a comedy and a drama thanks to the effortless humor and emotional depth displayed by the film's two stars, Seth Rogen and Adam Sandler. The film effectively demonstrates a level of growth and maturity from both Sandler and Rogen, but also showcases Apatow's versatility as both a writer and director. Although this film is not quite as good as the two previous films written and directed by Apatow (The 40-Year-Old Virgin and Knocked Up), it is certainly in the same ballpark. If you are a fan of any of the previous films by Judd Apatow, you are certain to enjoy Funny People, and I highly recommend that you check it out.

Comparison by numbers
This past weekend, Funny People debuted as number one in the box office. Here is how the film's opening weekend numbers compare to Apatow's previous two films:

The 40-Year-Old Virgin: $21,422,815
Knocked Up: $30,690,990
Funny People: $22,657,780

Source: Box Office Mojo