Only God Forgives Review

Only God Forgives

3.5 stars out of 4

By Brett Takeshita

Only God Forgives, one of the most controversial -- and highly divisive -- films of the year, is sheer brilliance. It's a complex and challenging film that casts a hypnotic spell with its stunning originality. It will undoubtedly get under your skin and keep you thinking long after it's over.

Only God Forgives tells the story of Julian (Ryan Gosling), the manager of a Bangkok boxing establishment. He's also well-respected in the world of drugs and crime. Julian's life is forever changed once he discovers that his brother, Billy (Tom Burke), has been murdered for committing a heinous crime. Julian's mother, Crystal (Kristin Scott Thomas), comes to Thailand to identify the body. Furious and cold, she orders Julian to avenge his brother's death by killing the people responsible. This leads Gosling on the hunt for Chang (Vithaya Pansringarm), the devilish and unstoppable force who leaves a trail of blood wherever he goes. However, Julian finds himself conflicted. How far is he willing to go to satisfy his mother? Is killing these other men really the right thing to do? Thus, Julian is forced onto a horrifically violent path, as he is pulled further and further into an ever dark and complex world.

While there is an interesting story at the heart of it, Only God Forgives is not a film that is driven by narrative. It's a moody and evocative film that is focused on artistry and atmosphere. Writer-director Nicolas Winding Refn has made a film that will definitely challenge the audience in multiple ways. Those who like a clear story will be disappointed that the narrative is disjointed, with dreams and reality clashing with each other. You won't know what is real and what is not, and thus, you won't know which scenes further the narrative and which are simply there for mood. Those who like complex dialogue will be frustrated that the characters in the film barely speak at all. They might say a couple words here-and-there, but much of it is very ambiguous. And speaking of those characters, boy are they a trip. Refn distances his audience from the subjects of the film. They are deep and complex characters, but we must infer much of their objectives and feelings. We don't know why they do what they do, or why they are the way that they are. Ultimately, Refn has made an anti-Hollywood film, one that will challenge and possibly even frustrate audiences with its strange structure and composition.

So you may be wondering how I could like a film that breaks all the rules. Well, to put it simply, I've never seen a movie like Only God Forgives, and I truly believe that it's one of the most original, bold, and daring works I've ever seen. It worked for me on nearly every level, and the reason why is because of Refn's directorial choices. Each shot, each frame, and each sequence is so carefully constructed and directed. He has crafted a really strange rhythm. The film moves slowly because the characters walk slowly and speak without rushing. However, despite this meticulous and deliberate slow pace, I was always riveted. I never knew where the film was going, and I let Refn's gripping magic fill my mind. The imagery more than captured my attention, and I was stunned by every single aspect of Only God Forgives. I can't quite put it into words. You just have to witness this film to understand what I'm saying.

Perhaps what is most note-worthy is the effect that the film had on me. I can't remember the last time I've had such a visceral reaction to a movie. Only God Forgives literally had me tense from start to finish. I gripped my armrests because my nerves were rattled so much. I was getting antsy because of this slow buildup of dread that welled inside of me. I watched with horror and fascination, as I was tempted to look away from the screen during the unbelievably violent moments of the film. I didn't though because I didn't want to miss out on the sheer brilliance of the brutality. All of this goes along with my personal experience with the film. I can't quite convey how this film had such a great effect on me, but it did. And I loved it.

Hand-in-hand with the experience of Only God Forgives is its technical merits. This is one of the most well-crafted films of the year. Larry Smith's cinematography is the best I've seen in a long time. The look of the film is jaw-dropping. His use of black and red is stunning, and each shot is so perfectly gorgeous. Going along with the brilliant visuals is sonic excellence. The sound mixing and editing is pitch perfect in each scene. And Cliff Martinez's score is sensational as always. His mix of menace and melancholy in his electronic-driven score is spectacular. The weaving of stunning visuals and hypnotic sound works to create a specific mood and feeling for the audience. These two components help leave a lasting impression and truly help get Only God Forgives under your skin.

As I mentioned before, the characters are very complex. Some moviegoers are misinterpreting them as shallow and stupid. However, I loved the characters in this film. Julian is a fascinating protagonist. There's obviously something "off" about him. There are hints of psychological illness from possibly traumatic experiences from his past. Even though I didn't know much about Julian, I still cared about him. I sympathized for him and was always compelled by him. The reason why I connected with Julian is largely because of Ryan Gosling's performance. As many people already know, I am a huge Gosling fan. But for good reason. He always reinvents himself and takes on daring, challenging characters. Even without much dialogue, Gosling is a fascinating and mesmerizing screen presence. He commands the screen and demands the audience's attention. There's something behind his eyes -- something so magnetic -- that is gripping. The way that he broods -- and only occasionally breaks and explodes -- is masterful. This is a tremendous and outstanding lead performance.

Now for the villains. Kristin Scott Thomas' Crystal is another fascinating character. She is a monster. You've never seen Thomas like this before. She is terrifying and delivers her lines with such heartlessness. Whenever she comes on screen, a sense of dread fills you. The fact that Thomas can evoke such feelings is the sign of ingenuity. And Pansringarm's Chang is an equally horrific monster. He's a merciless bad guy, one who does the most terrible things to good people. He's the devil incarnate, and Pansringarm plays this character with incredible power. Both of these horrifically disturbing characters are pure evil, but they're always compelling characters that you seek to understand -- even though Refn doesn't fully allow you to do so.

Only God Forgives is filmmaking of the highest order. It's the most stunning and haunting film to come around in a long time. From its perplexing start to its highly powerful -- and unexpectedly moving -- conclusion, Only God Forgives is a brilliant piece of cinema that must be experienced. It's an insanely ambitious work that defies comprehension. I'll be the first to admit that I didn't understand it all. (But again, who will)? However, I admired Only God Forgives ever so deeply. It is masterful. Three and a half stars out of four.

A Haunted House Review

A Haunted House

0.5 star out of 4

By Brett Takeshita

A Haunted House is garbage. It's not only the worst film I've seen thus far in 2013, but it's also one of the worst films I've ever seen in my entire life.

A Haunted House is a spoof of the ever popular "found-footage horror films" that have been popping up more often than stupid cat videos on YouTube. This film follows Malcolm (Marlon Wayans) and Kisha (Essence Atkins), two young and happy lovers. The couple decides to move into a new house, but things start to go awry. Objects are moving around the house, weird noises are springing up, and dark shadows are appearing randomly. Soon, Kisha is convinced that their house is haunted and wishes to get rid of the ghost -- or demon -- that may or may not be ruining their lives.

I'm pretty sure that I've just done a disservice to my review by trying to make the plot sound better than it actually is. And before you call me a prude with a stick up my you-know-where, let me explain some things:

1) I'm a fan of spoof movies. Scary Movie, Date Movie, and even that oh so hated Epic Movie. Yes, I enjoyed all of these movies. 

2) I'm a fan of Marlon Wayans. The critically-maligned White Chicks happens to be one of my favorite comedies of all time. Yes, I'm being serious.

3) I'm a fan of found-footage films. A Haunted House draws from a wide variety of these movies such as Paranormal Activity, The Devil Inside, and The Last Exorcism, among others. I've seen many of these and enjoyed them quite a bit.

So considering the fact that A Haunted House combines all three of these elements, this film should have been a home-run for me and for others who enjoy all of the above. However, it's not.

Let's start with the biggest problem: A Haunted House is not funny. At all. No joke. Marlon Wayans and Rick Alvarez co-wrote what is without a doubt the most unfunny, dreadful script in ages. Look, I can appreciate middle school boy humor just like anyone else, but here, it's just cringe-inducing for all the wrong reasons. An occasional fart joke can be funny. But when you have minutes of screen time devoted to farting and pooping, that just feels forced and painfully unfunny. Then, there's just tons of crude jokes involving race and sex. As a usual fan of these jokes, I was stunned at how much of a let-down they were. They are stupid and entirely unoriginal. I won't be surprised if people are offended by some of the mean-spirited humor that's misogynistic and homophobic. (I wasn't, fortunately). And lastly, the attempts at fun slap-stick humor and visual gags fail miserably. They lack punch and life. They're just boring and occasionally maddening, as they'll make you check your watch just to see when they will end.

However, Wayans and Alvarez aren't the only ones to blame. Director Michael Tiddes also deserves some heat for having little sense of creativity, rhythm, momentum, and comedic timing. However, it's unfortunate that he had such a terrible script to work off of. Perhaps something with even an ounce of good humor could have made A Haunted House somewhat tolerable.

Okay, I'll lay back a little bit and focus on some things that are positive -- or I guess I should say, not awful. First of all, Tiddes knows his source material rather well. He takes the same shots and frames from these found-footage horror films and reconstructs them in his movie. Fans of Paranormal Activity will recognize the fan-camera and security cameras in the house. That's a little cool... I guess. Also, the supporting cast (notice that I didn't say the lead actors) tries to do its best with the poor material. Cedric the Entertainer, Nick Swardson, David Koechner, Marlene Forte, Andrew Daly, and Alanna Ubach all go for it with a commendable bravery. They don't hold back and really try hard to make these lazy jokes work. Too bad the humor is still so unfunny. But brownie points for trying.

There really isn't much more I can say. A Haunted House is an unbelievably horrible film that I sorta hated. I can't remember the last time a comedy didn't bring an ounce of joy or humor. A Haunted House   might be the only comedy that didn't even make me crack a smile. I wonder how this movie even got made in the first place. However, A Haunted House 2 is already in development, thanks to the financial success of this first film. You know that meme, "I don't want to live on this planet anymore"? That rather perfectly sums up my mind. Half a star out of four.

Gangster Squad Review

Gangster Squad

3.5 stars out of 4

By Brett Takeshita

I really won't understand the negative reviews for Gangster Squad. This is one of the most exciting and entertaining moviegoing experiences you'll have all year.

The plot is rather straightforward and simple. The year is 1949 and the place is seedy Los Angeles. Inspired by a true story, Gangster Squad focuses upon the ruthless Mickey Cohen (Sean Penn). He's the horrifically powerful gangster-mobster who runs the streets of L.A. He controls all the drug and crime trades. He's found ways to manipulate the city's citizens and law enforcement so that no one dare get in his way. However, one brave sergeant named John O'Mara (Josh Brolin) wants justice served and will stop at nothing to end Cohen's reign of terror. O'Mara then assembles a squad of tough and brave men -- including the hesitant Jerry Wooters (Ryan Gosling) -- to help take down Cohen and restore peace to the city.

Gangster Squad isn't trying to be some artistic masterpiece. It's simply trying to deliver the goods -- action, violence, and mayhem -- and often succeeds. It's a fun popcorn flick. Sit back, relax, and enjoy the ride. Director Ruben Fleischer stages the insane amount of action in a coherent and stylish way. He takes advantage of slick choreography and occasional special effects -- such as slow-motion -- to form thrilling set pieces. Even though the film is filled with set piece after set piece, the action is never numbing or repetitive. It's always exciting and truly enhances the grittiness of the era. I commend Fleischer for having a keen knack for action, momentum, and visuals.

Speaking of visuals, Gangster Squad's production design, art direction, and costuming is stunning. The film always feels authentic and alive. Each set constructed and each wardrobe chosen enhances the sense of noir mood and style. Accentuating the look of the film is Dion Beebe's gorgeous cinematography. His lighting, framing, and composition is always spot-on and entirely beautiful to behold.

Even though the action and visuals are impressive, the greatest aspect of this film is the ensemble cast. Josh Brolin is great with his steely intensity and believable honorability. Sean Penn goes to the extremes in each scene but never goes too far over-the-top. It seems like he's having fun being this ridiculous villain, and he revels in the evilness. While some are complaining about Ryan Gosling's performance, he truly is the best actor in the whole film. It's an unusual performance -- with Gosling utilizing his pip-squeaky voice and stripping himself of cool, bad-boy vibes -- but that's why it's so impressive. And even though it's an uncharacteristic performance for him, Gosling still owns each scene with his charisma, charm, and commitment.

The supporting cast is uniformly great, despite lack of deep characterization. Anthony Mackie, Michael Pena, Robert Patrick, and Giovanni Ribisi are all in fine form here as the members of the Gangster Squad. They each have their moments to shine and truly add some heft to what could have been some forgettable stock characters. Nick Nolte brings gravitas to the film as the chief who overlooks the squad's operations. Mireille Enos is lovely as O'Mara's wife. And last but not least, Emma Stone is solid as Grace Faraday, Cohen's girlfriend and Wooter's lover. However, Grace is the weakest character in the film. Stone is underutilized, as her character isn't well fleshed out. And Grace's relationship with Wooters is nice but not quite believable. Kudos to Gosling and Stone for making the most out of the relationship and really trying to sell it, but their romance isn't really developed well. Too bad because it's one of the most intriguing aspects of the film, and we know how well Gosling and Stone could have sold the love. (If you haven't seen these two in Crazy, Stupid, Love. yet, then you must). 

Gangster Squad is cool, slick, stylish, and beautiful. It takes you on a fun and wild ride and boasts excellent performances. Most importantly, it's a hell of a lot of fun. Don't listen to the haters, and don't expect Gangster Squad to be a deep movie. Just take it as it is, and get ready to have a blast. Three and a half stars out of four.

Man of Steel Review

Man of Steel

3 stars out of 4

By Brett Takeshita

The summer tent-pole that you may -- or may not -- have been waiting for is Man of Steel. Some of you may be wondering if we really needed another Superman movie after the unsuccessful relaunch a couple years back. Well, judging off this new film, I'd say yes.

You probably already know the story. Clark Kent aka Kal-El (Henry Cavill) is not from this planet. He's an alien from Krypton. His parents -- Jor-El (Russell Crowe) and Faora-Ul (Antje Traue) -- shipped him off to earth and sacrificed their lives in order to protect their son from the evil General Zod (Michael Shannon). Jonathan (Kevin Costner) and Martha (Diane Lane) found baby Clark in their Kansas field and decided to raise him. As a young boy, Clark knew that something was wrong with himself. Everything, from his X-ray vision to his ultra-sensitive hearing, frightened him. As he grew older, he gradually understood that he was gifted with amazing powers and abilities. As an adult, Clark still doesn't understand everything. He seeks to learn more about himself and his background. There's also that one reporter girl, Lois Lane (Amy Adams), who seeks to uncover the mystery behind this great individual. However, something is threatening all of earth. General Zod has come to this planet in search of something very important, and if he does not get what he wants, all of earth will be destroyed. Will Clark rise up to the occasion and save all of humanity? Will he become "Superman," the symbol of hope and strength that the world needs?

Based off of this premise, you may be thinking to yourself that Man of Steel is covering familiar territory -- a been-there-done-that sorta thing. However, that'd be incorrect. What really makes Man of Steel a strong film and what differentiates it from other comic book superhero films is its humanity. Man of Steel is a surprisingly emotional film, playing up Clark Kent's vulnerability. The beginning of this film -- the examination of Clark's strange and occasionally terrifying childhood -- is its strongest section. Kudos to writer David Goyer for really fleshing out Clark's character and making him a superhero with which we empathize. (It's worth noting that Christopher Nolan of The Dark Knight trilogy has a story credit here, and David Goyer also contributed to that trilogy. Their intelligent marks are all over this film).

What also differentiates Man of Steel is its unconventional structure and direction. The film is told in a non-linear fashion. Director Zack Snyder cuts back-and-forth between the past and the present. There's a beautiful artfulness to this approach that took me by surprise. Snyder -- who is known for his loud and epic blockbusters -- shows a quiet restraint at the beginning of the film. Tonally, there's a sense of melancholy and wonder, as we slowly uncover the pieces of Clark Kent and his life. This sensitivity is engaging and truly un-Snyder-like. 

Then, of course, Snyder gets to his usual flourishes in the final act of the film -- which is about 45 minutes of non-stop action and explosions. I've heard multiple complaints about the end being too long and repetitous. However, I was pretty engrossed and entertained throughout. The visual effects are very impressive, with the intricate details of the destruction of the city being entirely captivating. Snyder keeps things moving at a lightning-fast pace, and the action is always exciting. I really had no problems with the final set-pieces because they are truly well done. 

However, for a long time, Snyder shows a different side of himself. It seems as if he was attempting to push himself out of his comfort zone, and for that, I commend him. Actually, I think the quieter, softer side of Snyder might be the better one -- which isn't meant to diss his usual self. Some are complaining about Snyder's directorial decisions, but I really think he did a great job with this film. His thoughtfulness and intelligence shine through.

While there has been mixed reception to Snyder's direction, no one can deny the excellence of his cast. Henry Cavill is a phenomenal Superman, and I couldn't have pictured a more perfect lead actor. Of course, at first glance, he looks the part -- he's tall, buff, and oh so handsome. However, the sheer depth that he brings to the role is outstanding. Cavill really pulls off Clark's emotional and vulnerable sides. He never brings cockiness to the character and doesn't play Superman as if he's on a pedestal, so as to make Clark seem better than us. Cavill erupts with ferocity when necessary but also dials down the intensity for a good part of the film. He's absolutely mesmerizing and entirely charismatic in each frame. He brings humanity and pathos to an old character. This is a star-making turn.

Kevin Costner and Diane Lane are sensational with their heartbreaking delivery and emotional investment. Amy Adams is the perfect Lois Lane. She brings an edginess and sassiness to the role that is refreshing. And what's really great is that she actually seems like a legitimate reporter on a mission, instead of simply being a damsel in distress. Last but not least, the incredible Michael Shannon. Do you even dare doubt his talent? He really fleshes out Zod. Of course, there's the frightening intensity and utter creepiness that you expect from Shannon, but there's also something entirely intriguing about his execution as this villain. He makes Zod evil but interesting. You hate him but also understand where he comes from. What a smart performance this is.

There's one other performance and character that demands special attention: Russell Crowe as Jor-El. I will say that his performance is decent. Not great but not bad. However, his character is what drags the entire film down. I have to admit that I was rather bored with the bloated opening on Krypton. I didn't care about Jor-El. Then, he keeps reappearing throughout the film and says the most obvious things. The dialogue is supposed to be profound and inspiring for the audience, but it just comes across as too obvious and too safe. Crowe could have really shined if he was given a more interesting and more intelligent character. However, even with a decent amount of screen time, his character is what is ultimately the biggest flaw of the film.

So, Superman-diehards and doubters of Man of Steel, I really hope that you will give this film a chance. Despite mixed reviews, I truly think that it's refreshing to have such an unconventional superhero film to blast off the summer. It has the action and the thrills that you want, but it also brings humanity, emotion, and occasional darkness that you might not expect. Is this a perfect film? No. But is it a damn good one? Yes. Three stars out of four.

This Is the End Review

This Is the End

3.5 stars out of 4

By Brett Takeshita

This Is the End is the comedy that has been generating buzz for quite some time. Hollywood actors -- playing themselves -- experience the apocalypse while taking refuge in James Franco's house. How bad of a train wreck could it be? Actually, it's not a train wreck. It's the wildest, craziest, smartest, and funniest comedy in years.

I basically summed up the plot for you in the intro, but I guess I'll go into a little further detail. Jay Baruchel arrives in L.A. and stays at the home of his good buddy, Seth Rogen. Following an afternoon of weed and video games, Rogen proposes that they go to James Franco's house for a fun party. Despite Jay's lack of interest, they end up at the party. They see multiple stars: Mindy Kaling, Jason Segel, Emma Watson, Kevin Hart, Michael Cera, and Rihanna, among others. After some time, these A-listers realize that they are facing the end of the world. People are either ascending to heaven or falling towards Hell. The Hollywood Hills are set on fire. Cars are crashing, and the environment is changing. For the course of the rest of the film, we mainly examine six actors -- Seth, Jay, and James are joined by Craig Robinson, Danny McBride, and Jonah Hill. Together they must survive this apocalypse and live to see another day.

This Is the End might sound like the stupidest movie in the world, but it's actually really brilliant. It's a brave and fearless film, one that dares to be the nuttiest R-rated comedy in existence. The film is filled to the brim with jokes and gags of every kind. Do you like your jokes crude and raunchy? You'll love this movie because there's plenty of them. Do you like slapsticky visual gags? There's a lot of that. And even for you fans of ridiculously stupid fart, poop, and barf jokes -- you guessed it -- that's in this film too. And surprisingly, nearly every kind of joke they throw at you works.

For me, the funniest and smartest element of the film is the casting. Here, this film has assembled some of the biggest stars on the planet. The public has perceptions of all of these actors. And in This Is the End, each actor is game to mess with the audience by blurring the lines of on-screen and off-screen persona. James is the strange artsy guy with the ambiguous sexuality. Jonah is the slightly kind yet slightly douchey kid with underlying pretentiousness. Seth is your best friend -- the peace-making, crowd-pleasing stoner. Jay is the sensible guy, the one who doesn't fit in with the rest of Hollywood. Danny is the biggest jerk in Hollywood, but he's really smart and knows how to get what he wants. And lastly, Craig is the nice guy -- the jokester with a heart of gold. All of these actors are incredibly strong. They make fun of themselves and allow the other actors to make fun of them. They are all fantastic actors with excellent comedic timing and sensational improvisational skills. They play their roles smart -- or are they just playing themselves? The movie actually makes you think, "How much of this is real, and how much of this is fake?" You'll be surprised at how This Is the End actually makes you think about Hollywood and the key players who are a part of it.

Co-directors and co-writers Evan Goldberg and Seth Rogen prove just how smart they really are. This Is the End has so many elements going on. As you already know, they've stuffed their film with rapid-fire jokes to appeal to the masses. They've created a Hollywood satire that makes you reflect upon the entertainment industry. And most surprisingly, they've thrown in a few scares into the movie. They play this film as if it were a true disaster movie where survival is at stake. They've thrown in some fun jump scares as winks and nods to real horror films. You might think that balancing all of these elements would make this film messy, but fortunately, Goldberg and Rogen make a coherent whole with This Is the End. The film succeeds because these many layers make for one complete and satisfying film.

This Is the End is a film that constantly surprised me. It surprised me with the vast amount of celebrity cameos. (The last two celebrity cameos are absolutely brilliant and had the crowd hollering). It surprised me with its ridiculous amount of humor. And it surprised me with its sheer ballsiness and intelligence. I love comedies, but I rarely laugh that hard during them. This Is the End had my stomach hurting. I laughed a little too hard. But so was everyone else in the audience. This Is the End is an absolute blast. I'll be surprised if there's a funnier film in 2013. Three and a half stars out of four.

The Purge Review

The Purge

3 stars out of 4

By Brett Takeshita

The Purge is the little horror film that could. Made on a budget of three million dollars, it earned a remarkable thirty-four million dollars on its opening weekend. What made audiences rush out to see this chilling thriller? I imagine its outrageous yet original premise.

The year is 2022. The economy is thriving, and crime is at an all-time low because of the annual Purge. During a twelve-hour period, all crime and murder is legal. The film is focused upon the Sandin family. James (Ethan Hawke) is a successful businessman who sells security systems to homes specifically for The Purge. His wife, Mary (Lena Headey), is a lovely woman who takes care of their two children, the wild Zoey (Adelaide Kane) and the introverted Charlie (Max Burkholder). The film takes place on the night of The Purge. Just like every other year, the family locks down its home and waits for the bloody event to end. However, Charlie lets a complete stranger (Edwin Hodge) in their home. A group of crazy, axe-wielding murderers want this stranger's head. The family struggles to come to a decision: whether to let this innocent man die, or to fight for everyone's survival.

It's rare to see a thriller that is smart and thought-provoking. The Purge is one of the few. I was pleased at just how complex the premise is -- it truly makes you think about right and wrong. I kept thinking to myself, "What would I do if I somehow found myself in a morally complex situation like this?" This film explores violence in a completely different light. You are horrified by the concept of The Purge, and yet, you want this family to kill these nasty bloodsuckers destroying their home. James DeMonaco's script is wildly inventive, and even if it doesn't explore dystopian complexities as deeply as it could, it still delivers by means of engaging the audience and causing it to reflect.

DeMonaco is also quite skilled as a director. The Purge is very suspenseful and keeps you on the edge of your seat. DeMonaco uses a wide variety of cameras -- from security cameras to Charlie's traveling camera (which delivers the most shocking, jump scares) -- to give multiple perspectives on the action. What is also impressive is the action sequences. The film turns into a home-invasion thriller during its latter half, and DeMonaco stages the action very well. The fights are well choreographed, and the camera-work is always exciting. DeMonaco sustains suspense, delivers the thrills, and keeps things entertaining simultaneously. These are the signs of a promising horror director.

Like many other horror films, The Purge is filled with characters that aren't thoroughly fleshed out. And of course, they do some things that are pretty stupid -- Charlie, in particular. However, the performances are strong. Ethan Hawke really delivers in making James an honorable, likable family man who struggles to make wise decisions while protecting his loved ones. Rhys Wakefield, as the main killer, is a particular standout. He is unbelievably creepy, yet also very charismatic. It's a small yet chilling performance that deserves praise.

The Purge doesn't reach the stratosphere of dystopian horror, but it is a very strong entry. It's scary and thrilling but also darkly funny. It is entertaining throughout and moves at a swift, engaging pace. Some might be infuriated by the ending, but I found it to be very smart, for it caused me to reflect upon the concept of violence. A sequel to The Purge is already in the works, and I eagerly look forward to it. If it's as good as this installment, then sign me up. Three stars out of four.

Before Midnight Review

Before Midnight

4 stars out of 4

By Brett Takeshita

In a summer movie season filled with gigantic superhero movies and mega-action blockbusters, we are blessed with a gorgeous romantic drama: Before Midnight. It's such a refreshing change of pace to see a small yet smart film for adults in the summer. And yet, it packs a wallop -- more so than many other films this year.

Before Midnight is the third film in Richard Linklater's wonderful series of films. You don't need to see the previous entries to understand what is happening in this installment. (But to skip the previous entries would be a travesty). However, allow me to give a brief recap of the previous films. SPOILER ALERT. Skip the next two paragraphs if you plan on watching the first two films.

1995's Before Sunrise introduced us to Jesse (Ethan Hawke) and Celine (Julie Delpy), two young people who met on a train and spent one magical night together in Vienna. They discussed life, love, and art. They were drawn to each other's intellect and beauty. The two never exchanged contact info. They promised that they would meet each other in six months in Vienna again, and they parted ways.

In 2004 came Before Sunset. Jesse, a successful author of a book based on his meeting with Celine, traversed on his book tour. At his stop in France, he was shocked to see Celine there. She knew of his book and heard of his guest appearance. In this film, we learn what happened during this nine year gap -- how Jesse went to Vienna, but Celine never showed up. How they had changed over the years, and how their lives turned out to be so different. And yet, there was still a magical spark between the two. The film ends with Jesse missing his plane back to the States in order to be with Celine -- despite him having a wife and child back home.

Another nine years later, we are treated to Before Midnight. Jesse and Celine are together. They are older and wiser. They have two daughters together. The film follows Jesse and Celine in beautiful Greece. It is their last night in this dazzling country, after the two have spent some time there with an aged author and his family. Like the previous films, Before Midnight is filled with endless dialogue. We hear Jesse and Celine interact with their new friends. We hear them converse with each other. And then, the last third of the film is basically a huge argument, with Jesse and Celine's love and relationship pushed to the limits. Throughout this film, Jesse and Celine wonder what makes love last, and what the future might hold.

It's difficult for me to choose a favorite film in this trilogy because they are all so outstanding, but I will say that Before Midnight is probably the best of the bunch. This is a richer, darker, and more challenging film that is filled with emotional resonance. Unlike its predecessors, this film goes to some uncomfortably dark places. At times, it makes you yearn for Before Sunrise's lighthearted whimsy or Before Sunset's quiet romanticism. However, Before Midnight is such a rewarding film. It says so much about true love and adult relationships -- more so than any other film in recent memory.

However, just because Before Midnight is darker than its predecessors doesn't mean that it's lacking its usual humor. This film delivers the laughs and the heart, which helps balance out some of the brutality of the final act.

This trilogy has always been about three things working together perfectly: direction, writing, and acting. Again, Richard Linklater proves his dexterity as a director. He brings forth naturalism and doesn't get in the way of delivering a realistic film that is so human. He's not one of those directors that is trying to show off all his tricks. He chose to shoot some of the film in extremely long takes -- the first car ride scene is a one-take, 15 minute scene that is remarkable.

Linklater co-write this script with Hawke and Delpy, and as usual, the script is a masterclass in writing. The dialogue feels so perfect. It is so precise in its naturalism, and it touches upon so many subjects without getting jumbled or bogged down. It's amazing that the words are so tightly scripted, and yet, they feel so improvised.

One of the reasons why the writing feels so brilliant is because of Hawke and Delpy's performances. They are old pros at making words feel so real -- at making these characters feel like real human beings. We absolutely love Jesse and Celine because of Hawke and Delpy's award-worthy acting. Hawke, with his warmth and heart, makes Jesse such a likable character. And Delpy nails the humor and darkness of the film. These two actor's chemistry is so astounding, and the way that they play off each other is sensational. To act in these films would be so difficult -- reciting lines in single long takes and making them feel natural. However, Hawke and Delpy make it seem easy. 

I don't ever want this series to end. I could easily watch more films about Jesse and Celine because each film is so impeccably done. However, if this truly is the last film in the series, this would be a perfect ending. Before Midnight is a remarkable achievement, a film that I will never forget. If this is the end, it would complete what I believe to be the greatest trilogy in cinematic history. Four stars out of four.

What Maisie Knew Review

What Maisie Knew

4 stars out of 4

By Brett Takeshita

What Maisie Knew is a devastating masterpiece, a film that is undoubtedly one of the most accomplished child-centered films I've ever seen.

What Maisie Knew is a contemporary reimagining of Henry James' 1897 novel of the same name. We are introduced to the sweet and innocent Maisie (Onata Aprile). We are never given her age, but it seems likely that she's around 6 or 7 years old. Her mother is the bitter and immature Susanna (Julianne Moore). Her father is the negligent and distracted Beale (Steve Coogan). Susanna and Beale might be some of the worst cinematic parents in recent memory. They curse and yell in front of their daughter. They are nothing but horrific monsters. The couple ends up separating. Susanna meets and marries the warmhearted Lincoln (Alexander Skarsgard), while Beale marries Margo (Joanna Vanderham), Maisie's beloved nanny. The film follows Maisie as she moves from place to place, not knowing where she'll go or what the future might hold. She learns about her parents, her parents' new spouses, and herself, as she attempts to find her place in the world.

What Maisie Knew could have turned into a melodramatic slog. After all, the story might sound a little bit soapy to you. However, those turned off by the premise of this custody battle divorce drama should not fear because co-directors Scott McGehee and David Siegel approach the film in a completely surprising fashion -- with subtlety and grace. The fights/verbal arguments are not overblown. The twists and turns are not meant to shock you with drama. What Maisie Knew simply breathes and tells the audience a fantastic story. McGehee and Siegel present everything through Maisie's eyes, so that the audience empathizes with Maisie. When Maisie walks away from her parents when they're screaming at each other, the camera follows her, and the dialogue drowns out. Just as Maisie doesn't want to be in such a tough environment, we are also forced to leave with her. We don't get to hear how the rest of the parents' argument pans out. It's such a difficult feat to pull off a film completely from a child's perspective, and yet, McGehee and Siegel do it masterfully. It's refreshing to see a movie that doesn't force its audience to feel one thing or another. The film doesn't take sides and doesn't favor one character over another. Maisie's world feels so natural and realistic because of the co-directors' quiet and nuanced approach. It makes the film all the more effective.

Just because this film is incredibly sad -- without trying -- doesn't mean it lacks beautiful, joyous moments. What Maisie Knew is filled with some wondrous sequences that perfectly capture a child's hopes, dreams, and desires. For example, the scenes where Maisie bonds with Lincoln are so heartfelt and so gorgeous that I couldn't help but smile. At times, these happy moments are even chill-inducing. The story balances the sad with the happy, darkness with light. Just like life is filled with ups and downs, so this film balances emotion as a delicate yet rich subject. 

Because this film is told completely from Maisie's perspective, it was important for the filmmakers to choose the perfect little actress for this extremely challenging role. In the hands of the wrong actress, the whole film could have fallen apart. And thankfully, the filmmakers chose one of the most talented newcomers in Hollywood, Onata Aprile. Onata is simply outstanding. Not only is she adorable, but she conveys so much emotion with so few words. Her features soft, her face emotive, and her eyes expressive, Onata proves that acting can be more powerful when silent and reflective. The fact that she is so young is jaw-dropping. This is the finest child performance I've seen since Quvenzhane Wallis' impressive turn in Beasts of the Southern Wild. Onata deserves an Oscar nomination.

What's a good central performance if the supporting performances are poor? Fortunately, What Maisie Knew boasts an astounding dream cast. You won't believe how nasty Julianne Moore is in this role. She is terrifyingly brilliant because she makes Susanna the most repugnant mother in ages. Steve Coogan is wonderful with his rather complex character. He understands conflict and expresses it naturally. Newcomer Joanna Vanderham gives a performance that is so lovely that you can't help but feel for her with each frame. And last but not least, Alexander Skarsgard gives one of his best performances as Lincoln. It's a rather unconventional choice for him to play this naive and boyish softie. However, Skarsgard still maintains his signature magnetism that makes him such a compelling on-screen presence. He radiates both charm and anguish, and it's such a sensation to behold. 

What Maisie Knew is an extraordinary film that broke and uplifted my heart. It left such a lasting impression upon me that I couldn't stop thinking about it for days. I can't remember the last time I've seen such an emotional film that was as perfect as What Maisie Knew. Four stars out of four.

Jack Reacher Review

Jack Reacher

2 stars out of 4

By Brett Takeshita

Is Jack Reacher the new big action hero that we've been waiting for? Is he the one that's going to launch a mega movie franchise? Based on this first film, I'm not convinced.

Jack Reacher is based on the novel One Shot of the popular Jack Reacher series. It begins in a rather shocking fashion: five innocent people are gunned down in the city. The prime suspect (Joseph Sikora) is arrested, but instead of admitting to his crimes, he simply writes "Get Jack Reacher" on a notepad. Now comes Jack (Tom Cruise). He is a man of mystery- a dangerous human being with an obscure past. Barr's defense attorney, Helen (Rosamund Pike), wishes for Jack to become her lead investigator. She is in desperate need of help, for she finds it nearly impossible to save Barr from the death penalty. So begins Jack's investigations. Jack has his doubts as to whether or not Barr is actually a guilty man, and Jack will do anything to find answers. However, the closer to the truth he gets, the more dangerous things become. Soon, Jack finds himself in an extremely complicated case, with danger lurking around every corner.

Jack Reacher is a film that could have been an excellent, involving thriller. Instead, it falls flat. It moves slowly and is rather clumsily executed. I found myself confused for a lot of the film. Maybe it's just me, but I definitely couldn't track along the whole time. What's worse is that I found myself not caring. I didn't really care what happened to these characters or how this film resolved. I just wanted to know how was actually the culprit of the crime, and that's about it. Sadly, I think this lack of caring is a result of unmemorable characters. Jack is sorta interesting in that he is an unpredictable enigma, but the rest of the characters are boring. It's a shame that we are supposed to be invested in these characters, but the writing doesn't allow them to be interesting.

In addition to flaws in characterization and execution, Jack Reacher does not have enough action. I know how awful and boyish that sounds, but it's true. The few action sequences in this film are spectacular. Christopher McQuarrie is excellent with directing action. He doesn't rely on seizure-inducing editing or glitzy camera movements. Instead, he lets the scenes breathe. We can see the action fully from medium and wide shots. He doesn't feel the need to "glitz" them up. And yet, there is still excitement and suspense in McQuarrie's naturalism. However, it's such a shame that we are left with so many "procedural" type scenes that lack excitement and drive. Throughout the film, I kept hoping for more action to come, but unfortunately, it came way too infrequently. 

Not all is bad with this film. The main reason why Jack Reacher isn't a complete train wreck is because of Tom Cruise's performance. You'd be surprised at how convincing of an action star he is. He is dark, charismatic, and at times, threatening. He brings a stillness to his character that is always intriguing. And what's most surprising is that he is quite good at selling the humor in the film. The rest of the supporting cast is filled with many talented actors, but unfortunately, they aren't given much to do. This is Tom Cruise' movie, and he tries his hardest to sell this movie. "Try" is the key word here.

Jack Reacher isn't a terrible movie, but it could have been so much more. If you are looking for a sleek and suspenseful action thriller, Jack Reacher isn't it. If Paramount wishes to make more Jack Reacher films in the future, I hope they deliver more thrills in the subsequent installments than there were in this first installment. Two stars out of four.

The East Review

The East

3.5 stars out of 4

By Brett Takeshita

I love thrillers. In fact, it may be my favorite film genre of all. However, it's difficult to find great thrillers. Recently, there haven't been that many thrillers that are extremely well-made. They lack some of these necessary qualities: suspense, intelligence, complexity, and surprise. However, one film changes this trend of subpar thrillers, and that film is The East. This is the most engaging, gripping, and exciting thriller that I have seen in quite some time, and I doubt that I will see a finer thriller this year.

The East follows Sarah (Brit Marling), a skilled worker who is hired by an intelligence firm to infiltrate and expose a threatening group called The East. This group performs surprise attacks against major corporations and powerful individuals that harm humans, animals, and the environment. Once Sarah lives at their secret hideout and learns more about the members of The East -- the magnetizing leader, Benji (Alexander Skarsgard), and the spunky yet tough Izzy (Ellen Page) in particular -- she finds herself at a crossroad. Sure, these people are dangerous, but is what they are doing actually wrong? After all, they are hurting a few to save many. Also, is her spying and backstabbing really as morally honorable as her boss (Patricia Clarkson) suggests? These are some of the questions that Sarah asks herself as she struggles to do her job without getting too caught up in this bizarre yet ever intriguing group.

This is the second collaboration between director/co-writer Zal Batmanglij and actress/co-writer Brit Marling. Their first was the little seen yet remarkable achievement called Sound of My Voice. It was one of my favorite films of 2012. There are definitely parallels between these two films, such as the complex questions that they raise and the eerie sense of mystery that they evoke. However, The East is a bigger and more ambitious picture, and I find it to be even more successful than Sound of My Voice. Batmanglij and Marling's script is tremendous. It hooks you from the start and keeps you riveted until the very end. It unfolds in some shocking ways, and I never knew where it was going. And even though this is an entertaining thriller that I believe will appeal to many people, this is also a contemporary piece of art that is so relevant to our society today. It brings up difficult questions regarding morality and ecology and truly makes you reflect upon your own views of big current day events. It's nice to finally watch a film that isn't afraid to be daring. It's also amazing to witness a complex thriller that doesn't dumb down its material for its audience.

Zal Batmanglij is one of my favorite new directors. He directs The East with such incredible precision. The amount of mystery and suspense in this film is killer (The wonderful score definitely enhances these two attributes). You will hold your breath and be riveted by how the "jams," or the attacks on the corporations, pan out. Batmanglij has a keen sense of how to instill a sense of nervousness in the audience. He knows how to direct tremendous, suspenseful sequences that will keep you on the edge of your seat. He also has an incredible sense of rhythm and pacing. The East flies by, and you will never be bored. He keeps the film moving without tiring you out. And lastly, Batmanglij is excellent at directing quiet, personal moments. For example, the interactions between Sarah and the members of The East are hypnotic. Sarah's introspective moments are equally compelling. They lull you into a spell because of Batmanglij's spot-on directorial choices.

Batmanglij draws out incredible performances from his actors. The cast of The East is sensational. Brit Marling is shaping out to be one of the most intriguing actresses in Hollywood. Something about her on-screen presence is simply outstanding. She is able to magnetize with her beauty and grace. She is subdued and does not overact, even when things get crazy. She dials everything down and yet is always so engaging. Alexander Skarsgard gives one of his best performances yet with his extremely challenging performance. His character, Benji, is quiet, charismatic, and complex. Skarsgard portrays everything so well. He conveys so much with very few words. He is great in his brooding and always keeps us intrigued as to what his character is thinking. He is the perfect counterpart to Brit Marling because he is also electrifying and magnetic in his quietness. Ellen Page gives her best performance in quite some time. She gets some fantastic moments where she really shows off her acting prowess. She's capable of so much more than just being funny and sassy. She can be intense and fierce and likable all at once. Patricia Clarkson plays her villainous character with such icy skill. She is terrifying and cruel with her line delivery. It's an incredible performance for a rather small role that could have been easily forgotten. We also get some superb supporting work from Toby Kebbell, Shiloh Fernandez, and Hillary Baack, all as distinct members of The East. This is a phenomenal acting ensemble.

While The East is receiving generally positive reviews from critics and audiences, many are complaining about the ending. I did not have nearly as big of a problem with the ending as some people do, but I would say that the ending is a little bit different than the rest of the film. The final moments are a little more conventional and predictable than the complicated and original first two acts of the film. The ending is perfectly acceptable as it is, but a slightly more complex ending would have been true to the spirit of the rest of the film and would have made the film perfect.

The East is a nearly flawless motion picture that I loved. The film has stuck with me for a long time, and I can't stop thinking about it. This film will challenge you and stick with you in the best way possible. Only the best thrillers can do this. The East is one of the few. It is, without a doubt, one of the best films of the year. Three and a half stars out of four.

Mud Review

Mud

3 stars out of 4

By Brett Takeshita

One of the best reviewed movies of the year is Mud. It is certified "fresh" on Rotten Tomatoes with 99% positive reviews. Some critics are saying that it's the best American film so far this year. I imagine that it will end up on many "best films of 2013" lists and will sweep at the Independent Spirit Awards. All of the praise that Mud is receiving -- and undoubtedly will receive in the future -- is justified. This is a great film. 

Mud follows two teenage boys, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland). One day, the two best friends venture off towards a little island on the Mississippi River after discovering a strange boat lodged into a tree. While inspecting the boat, they realize that Mud (Matthew McConaughey), a mysterious yet charming individual, lives alone on the island. No one knows that he is there. The two boys form an interesting relationship with Mud, one that transcends understanding. Soon, the boys are helping this stranger with his messy life. They seek to reunite him with his true love, Juniper (Reese Witherspoon), and help him avoid the townspeople who want to kill him for murdering a seemingly innocent man. 

Writer-director Jeff Nichols shows tremendous talent with Mud. I can't think of any other directors who understand geography and "place" as much as he does. He breathes such life into his Arkansas setting and makes it feel so authentic. Everything, from the moody outdoor locations to the impeccable production design, is so carefully and wonderfully selected. The beautiful cinematography enhances the mood and quality of the film. With his writing, Nichols creates characters that feel so real. Never do Ellis and Neckbone come across as precocious or cliched little boys. These are tough guys trying to understand the life that they have been given. Their parents and the other adults of the town do not talk down to these kids. They speak to them as mature adults, for they lead gritty lives and are too busy with their own problems to coddle these kids. Everything about this film seems so real and natural, and that's what makes Nichols' writing and direction so outstanding.

Another interesting aspect of Nichols' filmmaking is his timing and rhythm. Similar to Nichols' exceptional film Take Shelter, Mud takes its time in order to evoke a very specific mood. It moves at its own pace and doesn't feel the need to rush to tell the compelling story. While I found that the film started a little slow for my taste, I found the pacing to be quite refreshing. It rejects the Hollywood route of fast pacing and quick editing, and I commend Nichols for taking a path that is not conventional. (It is worth noting that the film builds to a very exciting climax, filled with plenty of action and drama. The final act moves quickly and differentiates itself from the leisurely pace of the rest of the film, but that is a good thing, too).

The performances in this film are superb. Tye Sheridan has to do some heavy-lifting with his role, and he does it masterfully. He is innocent at one moment and fierce at the next. He plays his character with intelligence and grace. Jacob Lofland is skilled at being the tough kid with a good heart. The chemistry between these two boys is amazing. I don't say this often: it truly doesn't feel like they are acting. They are simply living these characters, and they come across as entirely authentic on screen. Matthew McConaughey continues with his string of dark and masterful performances with Mud. He is proving that he is an actor that is more than just eye-candy for the ladies. He is complex and daring, and I won't be surprised if he is nominated for some "best actor" awards come next award season. Reese Witherspoon is excellent as always with this damaged and confused character who is at times sympathetic and at other times unlikable. We also get some tremendous supporting work from Sarah Paulson, Sam Shepard, Ray McKinnon, and Michael Shannon (giving his most refreshingly laid-back performance in quite some time).

Mud is like poetry that is complex and evocative. It engages the mind and leaves a lasting impression upon you. Despite a slow start and a long running time that could have used some trimming, this is a film like no other. I doubt that you will see too many other independent films right now that are as good as this one. Three stars out of four.