Project 365: Movies 259 - 265

259 / 365: Straight Outta Compton (2015)

© Universal Pictures

This film tells the story of a group of friends and aspiring artists/producers living in Compton, CA in the 1980s, who go on to form the group that revolutionized hip-hop music, its culture, and the social conversation: N.W.A. Beginning with visionary DJ, Andre Romelle Young, aka Dr. Dre (Corey Hawkins), and friend O'Shea "Ice Cube" Jackson (O'Shea Jackson Jr.), a writer and rapper daring to write lyrics that represent the aggressive realities of living in such a dangerous place, reach out to a local drug dealer, Eric "Eazy-E" Wright (Jason Mitchell), about funding a hip-hop record. As N.W.A. takes form, their songs hit the music scene like a shockwave, and with success inevitable, the crew must deal with the scavengers that run the industry and fight to maintain their voices—even if that means parting ways.

The introduction of each song, some I was familiar with, some I wasn't, gave the film a structure and foundation to build upon, as reveals were accompanied by a flurry of excitement, changes in the lives of the men, or even as simple as a crowd of people reacting with fervent enthusiasm. Some of the best editing of the year. A film that doesn't rely on montage when it easily could have, there is a clear objective throughout as the story unfolds. A long stream of songs may well have served to satisfy fans, but by incorporating a rich story with layered conflicts, both personal and professional (and social), perspective is injected into the film, something that brings a new audience to the subject. And this was a story I was hugely unfamiliar with, so I found myself gripped by every moment.

The casting could also not have been better, on every front. O'Shea Jackson Jr. made his acting debut playing real-life father, Ice Cube—to say that the resemblance is astounding is simply stating the obvious. But not only familial relations scored high on the look-alike meter. Paul Giamatti had the right amount of spunk and balls to play manager Jerry Heller, who, granted, is villainized to an almost unrealistic degree.

Obviously, the film ignores a few significant personal truths, like the very real evidence that Dre assaulted women on many occasions, and here, he's portrayed more as a frustrated and misunderstood genius. A glossy portrayal, to be sure. But cinematically, making the story about that aspect of their lives would have gutted it of its significance—and relevance in today's world, even after over 25 years. Straight Outta Compton plays out with thrilling purpose, and F. Gary Gray's direction complimented the story, culture and time period, but it was the acting that really stood out. This ensemble played off one another, established depth beyond what the world had already known about these men. A personal, touching, and informative look at the birth of modern hip-hop.

Rating: ★★★★ / 5 stars
Watched: Theater
Seen Before: No

260 / 365: The Treasure of the Sierra Madre (1948)

© Warner Bros.

This movie was the #38 film on my AFI Top 100 countdown challenge. Read my full review here.

Rating: ★★★★★ / 5 stars
Watched: Blu Ray
Seen Before: Yes

261 / 365: Room (2015)

© A24

New movie release, reviewed previously on Through the Reels. Read the full review here.

Rating: ★★★★½ / 5 stars
Watched: Theater
Seen Before: No

262 / 365: Iris (2014)

© Magnolia Pictures

This is an un-flashy documentary about a woman unapologetically flashy to her core. Iris Apfel is a 93-year-old fashion icon and visionary who has inspired the world of fashion through her unique collection curated from pieces designers and culture throughout the world. From a world of interior design and fabric weaving, Iris is known as the 'Rare Bird of Fashion' and considered the first fashionista, with exhibits of her collections on display for audiences, even represented in a photography book. The documentary opens a door into her life, her passion for art and antique fabrics, and her unapologetic approach to life.

Iris is a magnetic subject. You're bound to be impressed by her modern, youthful vocabulary; an indication that she stays connected with the world and the culture throughout the decades. Gracefully aging into a time when many her age would have rejected the societal changes, she embraces them with enthusiasm. Her humor and passion are infectious, one could only dream of being a nonagenarian with such verve. Watching her alongside her constant companion, husband Carl Apfel (recently deceased at the ripe age of 100, 3 days shy of 101), it becomes clear that she's a woman who never compromised herself for anyone, but has never let her interests get in the way of caring for what mattered most.

There's an appreciation of things that this film glorifies in an exhaustively effective way. Collections and pieces that aren't only displayed, they are loved; that distinction between "hoarding" and "curating" is not blurred—it's very, very defined, not by the things themselves, but by the person who possesses them. Watching her give away pieces that mean the world to her is also a test in perspective, as she describes the things that are really important, such as her health and longevity... and that of those she loves. A festive, carefree documentary full of optimism, where aging doesn't look at all that bad. A rare thing.

Rating: ★★★★ / 5 stars
Watched: Netflix
Seen Before: No

263 / 365: Seven Brides for Seven Brothers (1954)

© MGM

Of all the movies that have ever been made, this one may be the very best argument against "pan and scan" or "full screen" edits of letterbox / widescreen films. When I was growing up, I hated seeing those black bars taking up room on my itty-bitty (by today's standards) television screen. Luckily for me, everyone else hated them too. What I didn't know then was just how much I was missing—and in a movie as CinemaScope-tastic as this one, it may well have been called "Four Brides for Four Brothers"... because all lined up, that's all I'd ever see in 4:3 aspect ration, the others lying somewhere on the cutting room floor.

Mountain-man Adam Pontipee (Howard Keel) travels into town one day with a mission: find himself a wife to bring back to the farm and take care of the homestead. Hoping to find a woman strong and capable and not afraid of a little work, he comes across Milly (Jane Powell), a strong-willed tavern cook who is impressed by Adam's upfront nature after he asks her to marry him moments after meeting her. Impulsively, she says yes and ventures off into her new, quiet life in the mountains. Or so she thought. When she arrives at her new home to discover that Adam has six unruly, unkempt brother—Benjamin, Caleb, Daniel, Ephraim, Frank and Gideon—she takes it upon herself to clean them up and teach them the ways of courting a woman—hoping that the sooner they're married, the sooner they'll leave the house. After a visit to town for a barn-raising in which each boy meets and impresses a single (ish) girl (each one has another prospective suitor), the boys take it upon themselves to return to town to commandeer themselves a wife, just like big brother Adam did—even if that means taking them by force.

This musical is a rare one for Hollywood, as it was in fact a movie before it went on to Broadway in the 1980's, where it did not do well at all. Considering its 50's screen release appeal, that might be a surprise, but the dated subject matter and themes have always been a bit on the questionable side. Sure, this movie might be about Stockholm Syndrome on the surface, but really it's about... well, that's kind of it. Being [distantly] inspired by a short story that was itself inspired by the Roman legend The Rape of the Sabine Women, it's hard to not feel bad about enjoying how lighthearted and fun the film is when the actions of the male characters are so deplorable. Even listening to "Bless Your Beautiful Hide" and "Sobbin' Women" is enough to make anyone mutter "ohmygod..." and shake their head.

But really, the dancing and music are what brings us back and washes away everything else. The brothers, despite their absurd notions about women, are represented as sweet and playful with their color-distinctive shirts, and the women are feisty and curious—as a result, the filmmakers' attempts at romance aren't completely lost. Powell as Milly is the film's moral center, and watching her set all these men straight, whipping them into shape and refusing to compromise her morals, dampens the machismo ridiculousness significantly. Howard Keel is the opposite—a huge, oblivious oaf who looks like he's probably broken a few doors (accidentally) in his day. It all makes for good chemistry, because watching Powell and Keel together is, at the least, never boring. By the end, the journey may have raised a few eyebrows, but every pair of lovebirds that finds each other is conveniently adorable.

Rating: ★★★½ / 5 stars
Watched: DVD
Seen Before: Yes

264 / 365: Hercules (1997)

© Walt Disney Studios

The first stylistically exaggerated Disney animated feature came in the form of this Grecian musical epic, a twist on the legend of Hercules that combines a mixture of musical genres with the snappiest dialogue you're bound to find in a movie directed towards children.

The newborn son of Greek gods, Zeus (Rip Torn), and Hera (Samantha Eggar), is kidnapped by the minions of Hades (James Woods), God of the Underworld, and drained of his immortality. Found and adopted by a older human couple, the demi-god Hercules (Tate Donovan) still possesses his inhuman strength, and as he gets older, goes in search of answers to where he came from. When he discovers he is the son of gods, he must train to become a true hero with Philoctetes (Danny DeVito) in order to regain his immortality and rejoin the gods on Mount Olympus. Little does he know that Hades has come in search of him, and will stop at nothing to keep Hercules from becoming a god once again.

A script this fresh and modern may not suit the original Greek mythology, but it certainly relates it perfectly to the modern day—and no character represents this better than villain Hades, portrayed brilliantly by James Woods. He upstages every other character in the film, without exception, setting him up to align with Maleficent as the best and most charismatic Disney villains. The beauty of this film is that it came at a time when animation styles were becoming more and more realistic, detailed to a degree audiences had never seen before. Suddenly, with Hercules, a color-blocked, simple animation was embraced—and it paid off in spades.

Likely one of the most creative Disney films to come out of the nineties, it may also be the funniest. A lot of that is credited to James Woods, but DeVito delivers a one-two punch of comedy and emotional sweetness you wouldn't expect. I still tear up every time that guy says "Hey look, it's Phil's boy." *sniff* It may suffer from over-exaggeration, both in visuals and performance, at times, but placed alongside a catchy soundtrack using fantastic Broadway voice talent (Susan Egan as Meg, and Roger Bart singing Young Hercules!), it's hard to ignore an animated movie this successfully playful and clever. A surprise standout in a decade full of cinema's greatest cartoon features.

Rating: ★★★½ / 5 stars
Watched: Netflix
Seen Before: Yes

265 / 365: Clueless (1995)

© Paramount Pictures

You guys, it happened. Clueless has started to show its age. Still the classic high school story you know and love, just a bit less timeless. Having seen it an estimated 20+ times, I'm as surprised as you are about this. But that doesn't mean it isn't still everyone's favorite nineties teen comedy.

Cher Horowitz (Alicia Silverstone) is a 15-year-old Beverly Hills rich kid, sharing the "most popular girl in school" title with her best friend, Dionne (Stacey Dash). On the surface, Cher plays her ditzy, helpless role to a "T," leaning into a superficiality that appears to be the only aspect of her personality. That is until her true colors start to creep out, revealing an intelligent, strategic mind underneath all that lipgloss and mousse, when she makes a commitment to bettering the lives of those around her. From finding love for two lonely teachers to taking the clueless new girl at school, Tai (Brittany Murphy), under her wing of popularity, Cher begins to discover that it may be her in need of a life makeover.

The incredible truth about Clueless is that it's relatively plot-less. This was a fact I always noticed, and I thought it impressive that the film was still good despite this fact. A girl hanging out with and trying to set up her friends isn't exactly a recipe for conflict and character arcs, regardless of how many times you remind me it's based loosely on Jane Austen's Emma. Regardless of the intention, it's a film structured like multiple vignettes, sequences that aim to serve Cher's current initiative—be it finding a boyfriend for Tai, or trying to get her driver's license, all of it is pieced together with only a thinly-veiled plot string binding it.

Don't get me wrong, that thin plot is a major driver in revealing a slew of fascinating characters, all of whom have a purpose in informing Cher's life—her problems (Elton/Jeremy Sisto) and her solutions (Josh/Paul Rudd). We're also talking about a film that introduced an entire vocabulary of slang phrases to the American vernacular, words so ingrained in our culture we could scarcely harken back to their origins. But it was Amy Heckerling and the brilliant Clueless that did it. I could talk for ages about the quotability of this film, the Los Angeles callbacks that make it impossible for me to drive by Olympic Blvd without saying, out loud in Tai's thick New York accent, "I live above Olympic." Or pronounce "Sun Valley" exactly like Cher does in her disheartened state every time I see a bus driving through North Hollywood headed straight there.

There isn't a line in Heckerling's script that isn't delivered with absolute perfection, and that's what makes this film so incredible, despite how dated it truly is. It's a snapshot in time, where we were all listening to our Cranberries CDs, wearing tie-dye, and swooning over Mel Gibson in Hamlet. Now, we can all marvel at an ageless Paul Rudd and lament the tragedy of Brittany Murphy's passing, remembering just how freakin' amazing she really was. I couldn't be more grateful that a movie existed than Clueless—it informed so much of my teenage optimism and delusion. The most culturally important movie of the nineties.

Rating: ★★★★ / 5 stars
Watched: DVD
Seen Before: Yes

Movie Review: "Carol" (2015)

© The Weinstein Company

When I was a freshman in college, my second semester, there was a 300-level Gay and Lesbian Literature class that I was determined to take, despite being a freshman and not eligible or "smart enough" or some-such nonsense. I walked into the professor's office and quite literally begged him to let me take it. I find the material fascinating, particularly early-mid 20th century, I wasn't about to let arbitrary grade-level rules keep me from. Probably just to get me to leave him alone, signed off. It was during this class that we read The Price of Salt by Patricia Highsmith, and I fell in love (with this, among other books like Rubyfruit Jungle and The Well of Loneliness).

It was rare to read anything on the subject that didn't end in tragedy, and this story was full of relatable desire, tension, and human fascination. Even a bit of humor. When I heard the novel was being adapted into a feature film for the first time—with the title now changed to Carol (a choice that frankly confounds me)—I could only have been more eager for its release once I heard who'd be starring in it. Needless to say, my expectations were astronomical when two of my favorites were announced.

The story, in both book and film, is as follows. Therese Belivet (Rooney Mara) is a young, aspiring photographer, growing evermore apathetic working in the toy department of a large department store in Manhattan. Days before Christmas, Carol Aird (Cate Blanchett) walks up to Therese's counter, in search of a gift for her daughter. Therese is immediately taken with Carol, so sophisticated and confidant, she doesn't hesitate to call her when she discovers her gloves left at the store. Unknown to Therese, Carol is going through a difficult divorce, her husband Harge (Kyle Chandler) suspicious of "immoral behavior" related to Carol's possible attraction to women. Ignoring the risks, Carol strikes up a friendship with Therese, who herself is struggling to determine what she wants in life, and whom she wants it with. As their friendship develops into a secret romance, Therese begins to discover her own strengths as Carol's weaknesses reveal themselves, threatening to destroy both of their lives.

The film might seem to be about Carol, but it's Therese whose perspective we embrace. Driven by her emotions, we share her naivete despite having a window into Carol's fair-weather and desperate life. To the audience, and to Therese, Carol is a mystery. Blanchett glides around embodying that mystery with minimal effort—this is not a complicated role for her to play, and as a result, it's a less impressive one. You would never doubt her ability to captivate a young woman like Therese, nor convey feigned indifference. Watching her as Carol was like watching a geisha entertain a client—every movement was measured and every smile was calculated. Therese's nervous tittering only highlights that, and reveals Therese's own insecurities.



This is the kind of character Rooney Mara has been running away from for years. Therese is a mousey, wide-eyed girl, whose worldly experience is limited at best. Mara plays the part with earnest gullibility, and it's an interesting dynamic to watch her fall for Blanchett's Carol—there is a fine line between wanting to be someone and wanting to be with someone. This is particularly true if you're just beginning to explore your sexuality, as Therese is. At the beginning, it feels like the former. Therese, dowdy in dress and pale lipped, stares at Carol, draped in fur and perfectly coiffed, with stunned admiration. The latter, naturally, comes later, but the shift happens slowly, perhaps not solidifying itself in Therese's mind until after the two become physical. But it does take awhile, considering Carol knows exactly what she's doing. It's here when the film begins to struggle.

Phyllis Nagy's script is very steady, almost too steady. It misses opportunities to insert compelling emotional revelations, and most of the melodrama or conflict feels rushed, an after-thought. Mara and Blanchett are so wonderful together, one would hope that might be enough to keep audiences glued to the screen, but it wasn't. Even for me, who adored the novel and found this to be a relatively solid adaptation, can't ignore that an accurate book-to-screen story does not a cinematic experience make. Character-driven though this film might be, it didn't push the material far enough, especially when it had such a visual medium at its disposal.

Carol's biggest crime is that it's forgettable. Director Todd Haynes' vision might be too quiet or languid for most audiences to enjoy. The acting, the script, they're all so perfectly constructed that the film lacks any imperfect, memorable details to set it apart from anything else equally as well-executed. Every element was accounted for—hair, period clothing, set design, props—and yet all of it adds up to something less than impressionable. A lovely film, worth a viewing, but it falls short of what it could have been: a powerful exploration of budding lesbianism that doesn't, through its characters' actions, condemn it or them.

Rating: ★★★ / 5 stars

Movie Review: "The Danish Girl" (2015)

© Focus Features

With quite a bit of buzz in the Academy circles surrounding the release of this film, it was impossible not to anticipate the performance that had people asking, "Will Eddie Redmayne win his second Oscar in a row?" On Christmas Day, The Danish Girl opened wide in theaters, a powerful, personal story of acceptance, identity, and commitment. Inspired by artist and transgender pioneer, Einar Wegener, who—in the 1910s—began living as Lili Elbe, the first person to successfully undergo gender-reassignment surgery. Beyond Lili's journey, however, is the exploration of her relationship with Gerda Wegener, and the art that introduced Lili—and her story—to the world.

In Copenhagen, 1913, Einar Wegener (Redmayne), a quiet landscape artist, begins posing for his wife, Gerda (Alicia Vikander), as she paints a series of portraits. In an attempt to embrace a new kind of subject—and recognizing a quality within her husband—Gerda requests Einar sit in feminine poses, even dressing in female attire. He resists, at first, but soon, Einar embraces the feelings he experiences when embodying his new identity—a woman he calls Lili Elbe. With Gerda's support, Einar starts attending social events dressed as Lili, who they explain is Einar's cousin. But what started out as playful dress-up, Gerda thought, shifts into an exploration of an entirely unknown phenomena at the time: Einar, born a man, begins to believe he is a woman inside—and it is Lili who represents this truth.

A small focus within the film is on Gerda's paintings of Lili, which show at a gallery in Paris. Lili as a subject becomes monstrously popular, though no one knows that it was Einar who sat for each piece. The film doesn't delve into this as deeply as it could have, how truly popular Lili Elbe was before the world discovered her true identity—which, when it happened, brought significant publicity to Einar's eventual reassignment surgery. The movie downplays this to the point where Lili's journey appears to be done completely in secret, save for a few close confidants. While this makes the story feel personal and intimate, it loses some of its pioneering power. This was a monumental event, and this fictional twists to Lili's story cuts it's significance off at the knees by ignoring the social impact she had.

Throughout it all, Lili's fear is palpable but her resolution is firm, and Redmayne has subtle moments that are truly heart-breaking. One scene in particular when Lili is approached by a young man played by Ben Whishaw, who leans in to kiss her. Her lips quiver and tears well up, and Redmaybe plays this internal struggle brilliantly. His performance is phenomenal, to be sure, though there are times when it feels one-note. Repetitive movements, like Redmayne would only explore a handful of effeminate motions before recycling them over again. Despite that, it's hard not to recognize his transformation.



Director Tom Hooper is very hit or miss for my tastes. His eye for beauty is unparalleled, but the execution is often confusing, even sloppy. It was true about his award-winning The King's Speech, and it's true here. Dutch angles, inexplicably wide shots, a small head hovering in a bottom corner... the cinematography choices meant to highlight some aspect of the production design (usually the wallpaper), but at best, it distracts from the story itself. That was largely true for this film, as his stylistic trademarks continue. That being said, however, Hooper did manage to convey beauty—because this movie is goddamn gorgeous.

Soft fabrics, delicate lace, flattering natural light, textured walls, rich florals, glittering windows, and vibrant color palettes... there was never nothing to look at, a genuine feast for the eyes. The result here, though, is that beauty and color and design can become a detriment, especially in a character-driven piece like this that makes its characters the secondary focus. It's not for lack of trying on the actors' parts, however—they fight every second they're on screen to drag your attention back to them; and you do look their way, eventually; sometimes reluctantly.

Redmayne is complimented here by the design choices, flattered in his delicacies as Einar finds Lili within himself and comes to terms with letting her out. But it's Alicia Vikander who is the more successful attention usurper. She is, far and away, the most captivating element of the film, expressing grace and emotion with seasoned skill. She made us want this story to be about Gerda, a fascinating and revolutionary talent all her own.

Tha Danish Girl is structured like a much longer film, one that could have—should have—delved deeper into the conflicting transitions experienced by both Lili and Gerda. It is patient and revealing to start, but rushed towards the end in an attempt to wrap up the final chapter of Lili's story. And the focus on Gerda, strong at the beginning, fades almost completely by the end. The film goes totally off-balance, and it affected just how effective the story could have been. An important, relevant subject, to be sure, but there is something missing that would cement it in history as the significant film it deserves to be.

Rating: ★★★½ / 5 stars

AFI Top 100: #38 "The Treasure of the Sierra Madre"

Humphrey Bogart & Tim Holt in The Treasure of the Sierra Madre (1948)

Coming in far too high on this list is The Treasure of the Sierra Madre, #38 on the AFI Top 100 and in the upper echelon of the greatest films to come out of the 1940s. Fronted by cinema's best actor and my elementary school crush (I was a weird kid), Humphrey Bogart, this picture directed by John Huston explores insights into the human psyche in a way that may seem more common in movies nowadays... but back then, it was rarely done with such depth or delicacy. Adapted from the 1927 novel by B. Traven, the film presents a terrifying truth about the search for wealth, and how greed can destroy even the most well-intentioned men.

Fred C. Dobbs (Bogart) is an American expat down on his luck in Tampico, Mexico. In 1925, he wasn't the only American with ideas of crossing the border and living like a King, only to find opportunities for wealth were much harder to come by. When he overhears a grizzled old prospector talking about gold buried deep within the wilds of the Sierra Madre mountains, he and like-minded American, Bob Curtin (Tim Holt), convince the prospector, Howard (Walter Huston), to take them out to the wild to mine for riches. Thanks to Howard's expertise, it isn't long before the men find what they're looking for... but despite the old man's warnings, as the bags of gold grow evermore plentiful, greed and paranoia threaten to tear them apart. And if the greed doesn't get them, the bandits will.

Project 365: Movies 254 - 258

254 / 365: The Sound of Music (1965)

© 20th Century Fox

This movie was the #40 film on my AFI Top 100 countdown challenge. Read my full review here.

Rating: ★★★★½ / 5 stars
Watched: DVD
Seen Before: Yes

255 / 365: Spectre (2015)

© Columbia Pictures

Looking forward to the next James Bond movie is, at this point, an unconscious habit. Title reveals, casting news—Bond Girl and Villain, oh my!—plot tidbits that we devour endlessly... but the truth of the matter [usually] is that once the movie is released, interest wanes and we're on to looking ahead to the next one—disappointed in one way or another by the full package handed over. Maybe the idea of James Bond is simply more intriguing than its mediocre reality? While 2012's Skyfall managed to bring fresh, new ideas to the franchise, likely unseen since the Brosnan days of Goldeneye, the most recent venture suffers from the most heinous of 'action movie' crimes: it's boring.

Long-suspicious of the existence of a rogue criminal organization called SPECTRE, MI6 agent, James Bond (Daniel Craig), investigates a trail of dangerous activity, leading him from Mexico City to Rome to Morocco. With a new head of National Security, Max Denbigh (Andrew Scott), setting up shop in London and cracking down on MI6 activity, Bond must rely on his reluctant boss, M (Ralph Fiennes), and non-agent friends, Q (Ben Whishaw) and Moneypenny (Naomie Harris), to help him track down the only person who may be able to help him infiltrate SPECTRE—Dr. Madeleine Swann (Léa Seydoux), the daughter of a former assassin and key member. As the web of the organization begins to unravel, Bond realizes the enemy he seeks may be someone whose path he's been crossing his entire career.

The four writers attached to the script were the first bad sign. Even Oscar-winning director Sam Mendes couldn't fix a story this predictable and rudimentary, with its "cut and paste" dialogue and zero edge. Hand-jammed story lines from the previous "Craig-Bond" films are meant to give the entire series some semblance of unity, but for what? The pay-off for taking up such a huge chunk of the movie's run time to establish it was almost non-existent. The action sequences—save the opening during the Dia de Los Muertos celebration in Mexico City—were cookie-cutter and repetitive. Even the brilliant Christoph Waltz, someone who can [usually] do no wrong, is a flaccid and forgettable villain whose hatred of Bond is more silly than frightening.

Where the film hit the right notes was in casting Seydoux as a very capable, interesting "Bond Girl" that had more to offer than just a pretty face. Monica Belucci's far-too-brief appearance as the wife of a deceased SPECTRE leader was also a highlight—her chemistry with Craig should have found her in an expanded role, but alas, Mendes and team ignored the obvious. In the end, the climax was weak and attempts to wrap Craig's Bond legacy up in a nice little bow did absolutely nothing to enhance the series.

Rating: ★★½ / 5 stars
Watched: Theater
Seen Before: No

256 / 365: The Italian Job (2003)

© Paramount Pictures

There is really nothing like a playful heist flick, and this is one of my favorites. A remake of the Michael Caine-fronted, 1969 classic of the same name, this Marky-Mark led version makes a few useful changes to the formula that still contains the diversions, the creativity, and most of all, the car chases. In the 60's tradition of action-heist-comedy, there's nothing else needed to have the time of your life watching this.

When a heist to steal $40 million in gold bricks from Venice, Italy goes south and his mentor, John Bridger (Donald Sutherland), is murdered, mastermind thief, Charlie Croker (Mark Wahlberg), reassembles his skilled team to go after a former member that set them up. Hoping to steal back the gold that's rightfully theirs, Charlie enlists John's estranged, law-abiding daughter, Stella (Charlize Theron), to help crack the safe, take the gold, and get revenge for her father's death. With the mustachioed betrayer, Steve (Edward Norton), holed up in a mansion in Los Angeles under the belief that his old crew are dead, Charlie and team--including Handsome Rob (Jason Statham), Left-Ear (Mos Def), and the Napster (Seth Green)--descend upon LA to pull off the perfect heist... for the second time.

I love every moment of this movie, and it's not even that good. The dialogue could use some work, and all of the plot twists are more than a little convenient, but none of that matters. Just like any great sports movies, where you know exactly how everything will turn out, it's not about the predictable ending--it's about the journey to get there. Watching Charlie come up with a plan, the montages as they all figure out the best execution, takes up 75% of the movie, making it 75% perfect. Despite some distracting side "villains," there's no question where allegiances lie. Everyone with Charlie, and Steve all by his lonesome. Watching someone that cartoonishly villainous get their comeuppance is what going to the movies is all about.

Rating: ★★★½ / 5 stars
Watched: DVD
Seen Before: Yes

257 / 365: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

© Universal Pictures

This movie was the #39 film on my AFI Top 100 countdown challenge. Read my full review here.

Rating: ★★★★ / 5 stars
Watched: Blu Ray
Seen Before: Yes

258 / 365: The Hunger Games: Mockingjay - Part 2 (2015)

© Lionsgate

Having read the books by Suzanne Collins—the first two, cover to cover in record time—watching the cinematic struggle to make a watchable adaptation of Collins' third Katniss Everdeen novel, Mockingjay, was both a frustrating and inspiring experience. First, the book is hugely disappointing, completely separate from the film series most people are familiar with. It's slow, confusing, oddly paced, and characters that were once interesting and fierce feel limp and useless. Tragic, considering it's meant to be a feverish climax to a politically rich story.

Many consider the breaking up of Mockingjay into two films an obvious studio cash grab—I mean, don't get me wrong, it totally was—but it was also completely necessary. Just like the films, the book feels like two different stories: one where nothing happens (Mockingjay - Part 1) and another where everything happens at rapid pace (Mockingjay - Part 2). To say that I'm impressed the final two films are even watchable is a testament writer Danny Strong's tenacity and storytelling abilities.

Former winner of the Hunger Games and reluctant figurehead of the Resistance in Panem, Katniss Everdeen (Jennifer Lawrence), is at the end of her rope. With the war raging on both sides, Katniss' lack of action on the ground, and her desire to ensure the assassination of tyrant President Snow (Donald Sutherland) by her own hand, is pushing her to act outside the jurisdiction of District 13 leader, President Alma Coin (Julianne Moore). Despite Katniss' desire to venture to the Capitol alone, she assembles a small team to help her infiltrate the Capitol walls and navigate the Hunger Games-like minefield that awaits her. But she carries more baggage with her on this journey, torn between her love for two men, both of whom she comes to learn she may not know at all.

Where this film differs immediately from Part 1 is in the action. With the inclusion of the terrifying land traps, it starts to once again find the magic of the Games elements that made the first two films so entertaining. Fast-paced with higher stakes (more than a few people face gruesome deaths), it's good to watch Katniss with such purpose again. This script has some stunted moments, usually when Katniss is having quiet kissy-time with Gale (Liam Hemsworth), but that's counter-balanced by a troubled Peeta (Josh Hutcherson) trying to strangle her every two minutes. Unpredictable dynamics make there way into the story and take root, driving the film to a satisfying and cathartic end.

There isn't a lot more I could have asked for with this series. The Hunger Games could have served as a spectacular standalone film, but bringing back the talented Jennifer Lawrence for a few more rounds is impossible to scoff at. All of the films stayed pretty true to their source material, likely because action-oriented characters and plot devices are pretty easy to recreate. In the end, it's really only Katniss as a character that doesn't always come through on screen—we miss out on so much of her internal struggle, but she's not so complex that we can't follow her slight character arc.

Overall, though, the Hunger Games series is a huge success, four films released in less than four years that bring an impressive level of action and creativity to the screen. Enjoyable single-day marathon material, to say the least.

Rating: ★★★ / 5 stars
Watched: Theater
Seen Before: No