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McCoy on Movies: Rampage

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Rampage proves not all video games deserve to be movies … Especially when they’re this bad.

“Wait! Stop – I’ve got a better movie coming out soon!” Davis Okoye (Dwayne Johnson) and George (Jason Liles) in New Line Cinema’s and ASAP Entertainment’t action-adventure RAMPAGE. Credit: © 2018 Warner Bros. Entertainment.

WATCH THE TRAILER(S) HERE: 

 


 

 



KEY CAST MEMBERS: Dwayne Johnson, Jeffrey Dean Morgan, Naomie Harris, Jake Lacy, Malin Akerman, P.J. Byrne, Marley Shelton, Breanne Hill, Jack Quaid, Matt Gerald, Jason Liles, Demetrius Grosse and Will Yun Lee

WRITER(S): Ryan Engle and Carlton Cuse & Ryan J. Condal and Adam Sztykiel (screenplay), Ryan Engle (story)

DIRECTOR(S): Brad Peyton

 
WEB SITE: www.RampageTheMovie.comHERE’S THE STORY: Davis Okoye (Dwayne Johnson) is a primatologist who loves working with his buddy George (an albino gorilla performed by Jason Liles) more than he does with people. But unbecknownst to him, the cunning and manipulative Claire Wyden (Malin Akerman) and her halfwit brother Brett (Jake Lacy) are the heads of a Chicago-based corporation that conducted an experiment that will soon change George’s life forever. You see, Claire and Brett have come up with a pathogen engineered by disgraced scientist Dr. Kate Caldwell (Naomie Harris) that can weaponize anything that comes in contact with it.


So, when George starts to grow in size and aggression, Davis is understandably concerned since he doesn’t know or understand what is happening to his friend. But, once government cowboy Harvey Russell (Jeffrey Dean Morgan) tells him about the 30-foot wolf also on the loose, he starts to get an idea.


… Just wait till they all find out about what has started swimming off the coast of Florida …

WHO WILL LIKE THIS FILM THE MOST? Children under 18; people who just need a few explosions, fight sequences and simple jokes to make them happy, Jeffrey Dean Morgan fans; people who like gorillas

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Dwayne Johnson and Jeffrey Dean Morgan fans; anyone paying attention

SO IS IT GOOD, BAD OR JUST AWFUL? Two things I’m going to admit right off the top of this review: 


(1) As a professional wrestling sports entertainment fan, I have for the better part of going on 20+ years been a fan of the man once known as The Rock, Dwayne Johnson. As my all-time favorite in-ring performer, I’ve seen nearly every TV and film role the man has done, save for The Game Plan, San Andreas and The Tooth Fairy – the latter two of which are regarded as, while somewhat commercially successful, among his worst work. (I mean there’s always The Scorpion King, but everyone has to start somewhere.)


(2) I grew up as a child during the 1980s, when arcades were plentiful and rich, glorious after school haunts where hordes of children would congregate to play the latest in the still relatively new technology of video games – and oh, how glorious those days were! There was Punch-Out! (long before Mike Tyson came into the mix), Paperboy, Dragon’s Lair … And then there was Rampage. The inspiration for the video-game-within-the-video-game-movie Wreck-It Ralph, Rampage was a simple, side-scrolling beat-’em-up that had a simple concept: Three human beings had been mutated – George into a giant brown gorilla, Ralph into a huge werewolf … And a woman named Lizzie into a huge alligator – by a mega-vitamin, radioactive lake or food additive. As you fight off military forces trying to stop you, you eat people hiding in buildings while smashing buildings, clearing a level once you had finished obliterating the structures present to little more than rubble. And if your character’s rampage stopped, you were reduced to a very embarrassed human being walking off screen with your hands covering the parts a leaf would if this were the Garden of Eden.


And that was it. A game simple enough in its execution and enjoyment that seemed as basic as your could get for 1986. Problem is, someone decided that classic by Midway Games needed to be a nearly two hour movie. Wanna know what 40 year-old me learned that nearly 10 year-old me didn’t know back then?


Sometimes its best to leave childish things to children … because as much as I love Dwayne Johnson and the Rampage video game, Rampage the movie is a prime candidate for the 2018 Golden Raspberry Awards and deservingly so. For this movie is an absolute gorilla-sized horrible excuse of a B (or F) movie that thankfully Harambe will never see.


I almost don’t even know where to really start with Rampage. I mean, Johnson tries his absolute best to make the film anything close to salvageable, but given the downright cartoonish brother-sister villain combo played by Akerman and Lacy (who also deserve Razzies for their “work”), the “I’m Negan 24/7 now” smiling slickness that is Morgan’s performance, the fake “I’m a soldier – I can’t listen to anything close to reason!” colonel that is Demetrius Grosse (channeling his inner Thunderbolt Ross right down to the high-and-tight mustache) and the “here’s the answer for everything even though I seem clueless as hell” scientist played by Harris, there is no other option even close to choose. 


George might not only be the best character but best actor in the film, which is either a CGI triumph or a travesty for his human counterparts, if not both. (At least Joe Manganiello had the common sense to take a role that obscures his face so that most people won’t even notice.)


Of course, the bad acting is only possibly outdone by the film’s dialogue – which sounds like a 12 year-old wrote it with the help of his slightly smarter but still immature older brother. Of course, when you make every scene predictable so you can sit in the audience and deconstruct it as it unfolds on the screen Mystery Science Theater 3000-style with direction that feels copycatted from just about any other monster movie you’ve seen, you can’t be surprised at the “how is the hero surviving moments that should have killed him five times over?!” action sequences. (Seriously, for a man with no superpowers, even Bruce Willis’ John McClane would have said “C’mon man – you’d be dead by now!”)At the advance screening I attended, there were more than enough audience members who laughed at a few of the film’s borderline-level dad jokes, liked the monster fights and ignored the straight illogical (even for the world the film creates) actions of the film’s characters. Then again, plenty of people once thought the world was flat … And many people who are not scientists (or who have never paid attention to science) still think it is.Unfortunately, the only thing flat is Rampage – because this film is so corny/ridiculous, it might make smart audiences go on one back to the ticket office demanding their money back.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: READY PLAYER ONE

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Steven Spielberg delivers a visually stunning arcade experience long on
optical treats with his adaptation of Ready Player One

“This is probably not the right time to work on our Kid N’ Play kickstep dance moves, huh?!” Samantha (Olivia Cooke) and Wade Watts (Tye Sheridan) in a scene from Warner Bros. Pictures’, Amblin Entertainment’s and Village Roadshow Pictures’ action adventure READY PLAYER ONE, a Warner Bros. Pictures release. Credit: Jaap Buitendijk © 2018 Warner Bros. Entertainment Inc., Village Roadshow Films North America, Inc. and Ratpac-Dune Entertainment, LLC. – U.S. Canada, Bahamas & Bermuda.


WATCH THE TRAILER(S) HERE: 

 


 

 



KEY CAST MEMBERS: Tye Sheridan, Mark Rylance, Olivia Cooke, Ben Mendelsohn, T.J. Miller, Lena Waithe, Hannah John-Kamen, Simon Pegg, Philip Zao, Win Morisaki, Susan Lynch and Ralph Ineson

WRITER(S): Zak Penn and Ernest Cline (screenplay); Ernest Cline (based on the novel by)

DIRECTOR(S): Steven Spielberg 

 
WEB SITE: http://readyplayeronemovie.com/HERE’S THE STORY: Based on Ernest Cline’s immensely popular best-selling book of the same name, Ready Player One stars Tye Sheridan as Wade Watts, a young man living in 2045 Columbus, Ohio. With most of society in a state of dystopia for unknown reasons, Wade lives in a slum known simply as “The Stacks” with his aunt (Susan Lynch) and her less-than-stellar current boyfriend (Ralph Ineson). And like many people, Wade spends most of his time by playing in an online video game system known as “The Oasis.” The creation of the eccentric James Halliday (Mark Rylance), the Oasis is more than just an online video game network, it’s the escape from reality of choice for just about everyone. 


And then Halliday dies – leaving behind a challenge that prompts just about any and everyone to log on to the Oasis: Find three keys and unlock an Easter egg that will result in the winner being given all the rights to Oasis. 


Wade – better known by his online avatar of Parzival  – is determined to win the prize as is his online best friend Aech (Lena Waithe) and fellow gamers Daito (Win Morisaki) and Sho (Phillip Zhao). But he’s not counting on is the presence of Art3mis (Olivia Cooke) and Nolan Sorrento (Ben Mendelsohn); for whereas Art3mis is hoping to find the egg for a positive purpose, Sorrento is hoping to win to give his company Innovative Online Industries (IOI for short) the ability to monetize the Oasis and basically run the world. And since Sorrento has the help of I-Rok (T.J. Miller) to help him, the odds are heavily stacked against Parzival.


But then again, what’s a good video game without some impossible odds to overcome?

WHO WILL LIKE THIS FILM THE MOST? People who love Spielberg’s 80s work; those who love video games; those who liked the book and will be excited to see it brought to life on the big screen; fans of The Shining; people who love seeing 80s and 90s pop culture hidden like video game Easter eggs throughout a film

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People hoping for more details from the book; those who have zero interest in gaming, especially online gaming; parents upset that you can have one f-bomb in a movie and still receive a PG-13 film rating

SO IS IT GOOD, BAD OR JUST AWFUL? A film that feels visually built for generations of video game enthusiasts while blending in elements of classic Steven Spielberg films, Ready Player One is a visual masterpiece … With just enough acting behind it to back up that optical appeal.


Make no mistake about it, Ready Player One follows a lot of classic Spielberg young actor-led films to a “T,” just in a modern (or futuristic, if you will) setting with eye-popping visuals. Almost like the veteran director’s own Avatar, the digital scenes in One are amazing. The race and Shining sequences are nearly worth the price of admission alone, showcasing the type of imagery the creators of 4K Ultra HD must have dreamed of while perfecting the technology. 


Visuals aside, Ready Player One delivers an easily digestible story that, as mentioned above, has all the elements of a Spielberg young-actor driven story: 

  1. A young man who’s disconnected and/or has lost the adults in his life (√);
  2. A young girl that is going to make that young man come out of his comfort zone and/or mature once he gets over his own nerves (√);
  3. A group of fellow, young misfits that will assist our hero along the way (√);
  4. A villain with cartoonish qualities (note: this is ONLY in Spielberg films where the protagonist is young and not Indiana Jones style affairs) (√); AND
  5. A sympathetic, simple older character (a la Goonies) that seems out of place in the real world and needs the young protagonist(s) to understand him or her (√).
Sheridan proves himself capable in his human and avatar form of moving the story forward, but it’s really a team effort as he is at his best when interacting with his fellow gamers – especially when in avatar form. Of course, if you are not up on gamer culture or your 80s references, much of the fun of One will likely be lost on you as a lack of a frame of reference will severely hurt your understanding.
If it seems like I’m not saying too much about the story or the acting therein, there is a reason: While competent, the film is more an ensemble piece of technology and story held together by the compelling (if not “here’s my depiction of the ultimate sweetheart nerd’) performance of Rylance and the fascinating, engaging world of the Oasis. TJ Miller nearly steals the show as Sorrento’s avatar hitman I-Rok, delivering his trademark sarcastic quips with humorous fury whenever he gets a chance. That’s what ultimately makes the movie more of a great visual experience than an emotional one: One’s characters are better developed in the digital world than in its real one, even though that’s the one the film attempts to get you to embrace.
Then again, the film is fun enough to forgive those foibles and keep you plugged in from start to finish that Ready Player One will likely be a multi-player experience audiences will enjoy for years to come.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

Déjá Vu Gets A Fun, Murderous Touch With Happy Death Day

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“Oh man, good thing I called for an Uber so I can escape this parking garage safely … Wait a minute, is THAT my Uber driver?!” Tree (Jessica Rothe) hides as her masked killer attempts to murder her again in a scene from HAPPY DEATH DAY. Credit: © 2017 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE: 


 



KEY CAST MEMBERS: Jessica Rothe, Israel Broussard, Ruby Modine, Charles Aitken, Rachel Matthews, Phi Vu, Rob Mello and Laura Clifton

WRITER(S): Scott Lobdell 

DIRECTOR(S): Christopher Landon

 
WEB SITE: http://www.happydeathdaymovie.com/HERE’S THE STORY: Theresa a.k.a. Tree (Jessica Rothe) is a college student at a typical university in Louisiana. What isn’t typical, however, is that today is a day that most girls her age can’t wait to celebrate, that being her birthday. And while her roommate Lori (Ruby Modine) might be excited about it, her favorite professor (Charles Aitken) might be a bit taken aback and Carter (Israel Broussard) – the co-ed in whose dorm room she unexpectedly awoke this morning – is simply happy to see her, there’s a bigger problem awaiting Tree later that night: Her death.


As it turns out, after being murdered by a figure dressed in all black save for a creepy baby mask of her school’s mascot, Tree awakens the next morning back in Carter’s room, only to experience 

déjà vu, reliving her entire day over. That includes getting murdered. Again. And again. And again.

 
Growing tired of being well, murdered, Tree starts to devise a plan: Figure out who is murdering her before they can do it again and maybe then she can escape her Halloween-meets-Groundhog Day existence. 

But given the list of potential suspects, Tree might have to get used to get stabbed, shot, clubbed and maimed for the foreseeable future … Even in the mounting injury list might mean her time is starting to run out.

WHO WILL LIKE THIS FILM THE MOST? Fans of horror movies where the main characters are enjoyable people; fans of movies that mix humor into the thriller aspect; anyone who can appreciate a movie that doesn’t take itself too seriously but does at the right times; those who will appreciate the film’s concept and the competent execution of it

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Fans expecting a more serious/blood-filled experience; those who may figure out who is behind the mask early on; those who may not appreciate the simple nature of the story and its execution

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that’s more about the character’s story than it is a straight out horror experience, Happy Death Day works because of a lighthearted (if you can have that in a movie where a female character repeatedly gets murdered) tone and a strong, well-rounded performance by its lead and a competent group of co-stars.


Rothe is, for lack of a better word, fun to watch as Tree, a character that is well-developed and goes from being pretty terrible to pretty well, not terrible while Broussard is so naive and likable you can’t help but root for his character. The pair make for a great duo, one a very alpha female while the other plays the role of a good Samaritan with a proverbial platonic best friend twist to a “T.” It’s really a credit to her that she is able to take what could have been a disaster of a character in the wrong hands and make it into a viable, enjoyable character that drives the story. 


Whereas Rothe can be a word that rhymes with “witch” at times before switching her game up, Broussard is perfect as a Scooby-Doo-esque sidekick who just wants to get the girl, or, at the very least, help her from dying (after every time she explains what’s happening to her).


Throw in some nice cheesy-but-not-too-cheesy-to-be-enjoyable sequences with the baby face killer after Rothe’s character, some good ol’ fashioned disturbing music and a few nice, unexpected touches and Happy Death Day is a (well not perfect) mix of humor, horror movie tropes and an interesting story that will entertain you without draining you w/ silliness or gore. Whereas Blumhouse’s other big 2017 hit Get Out was a sharp, satirical that resonated due to its social commentary and exploration of the African-American psyche in modern America, Happy Death Day is more of a simple, gather with your friends/a full theater and take in the experience type of thriller that’s easy to digest but fun at the same time. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: EVERYBODY WANTS SOME

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The “Spiritual Sequel” to Dazed & Confused offers up plenty of funky outfits, music and fun despite a lack of emotional depth

“Yeah, boy – let’s rock these horrible 80s pastels & get busy, fellas!” Plummer (Temple Baker), Roper (Ryan Guzman) and Jake (Blake Jenner) get ready to rock the disco in a scene from writer/director Richard Linklater’s “spiritual sequel” to Dazed & Confused, EVERYBODY WANTS SOME. Credit: Van Redin © 2015 Paramount Pictures. All rights reserved. 


WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Will Brittain, Zoey Deutch, Ryan Guzman, Tyler Hoechlin, Blake Jenner, J. Quinton Johnson, Glen Powell, Juston Street, Tanner Kalina, Forrest Vickery and Wyatt Russell

WRITER(S): Richard Linklater 

DIRECTOR(S): Richard Linklater 

WEB SITE: http://www.everybodywantssomemovie.com/

60 SECOND PLOT SUMMARY (OR AS CLOSE TO THAT TIME AS ONE CAN MAKE IT): The “spiritual sequel” to his beloved (by many) 1970s opus Dazed & Confused, Everybody Wants Some begins by introducing us to Jake (Blake Jenner), a 1979 second team high school all-star baseball player preparing to enter his first year in college in his native Texas. Moving into one of the two off-campus houses the baseball team occupies, Jake meets a cast of colorful characters within minutes of each other. 


This includes Roper (Ryan Guzman) and Finnegan (Glen Powell), the unofficial leaders and ladies men of the house who are always down for a good time; Reynolds (Tyler Hoechlin), a strong, Mike Schmidt-styled mustachioed power hitter; Jay Niles (Juston Street), a Detroit-born pitcher who tells everyone who will listen that the “raw dog” is a top pro prospect; resident knuckles game champ Nesbit (Austin Amelio), Dale (J. Quinton Johnson), the resident cool black guy/second baseman; heavy sleeper Coma (Forest Vickery), fellow freshman outfielder Brumley (Tanner Kalina); Willoughby (Wyatt Russell), a California transfer who’s got many tricks up his sleeve and Beuter (Will Brittain), Jake’s country roommate who has very strong opinions on following the coach’s rules. And over the course of the next three days, Jake and his newfound cast of merry men will party hard and often now that they are away from home with no direct adult supervisor to lord over them.


And Beverly (Zoey Deutch) is an alluring young woman on her own … But where could she possibly fit into Jake’s newfound world of beer, babes and baseball? The weekend is young – and he’s got plenty of time to figure that out. 
WHO WILL LIKE THIS FILM THE MOST? People who enjoyed Dazed & Confused; those who enjoyed the 70s portion of Boogie Nights before they hit the 80s second act; children of the late 70s/early 80s; people who like upbeat, coming-of-age stories filled with nostalgia; those who enjoyed 70s-era disco and country music and fashion; anyone in search of a light-hearted romp that is more focused on the fun aspects of youth than truly “growing up” 

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Those looking for a direct Dazed & Confused link in terms of tone or character development; people who find 70s/80s nostalgia a bit over-romanticized; those who wish the film dived into deeper levels of what it meant to grow up during the time period depicted 
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that is essentially a 2 hour party on film that celebrates all the debauchery, care-free spirit and optimism of being young and male at the onset of the 1980s – as well as how guys become friends – Everybody Wants Some is a fun diversion of a film … Even if it doesn’t say or represent nearly as much as it could. 


Whereas Dazed & Confused had a feeling of “this is how many kids in the 1970s felt about growing up and being on the verge of adulthood,” Everybody Wants Some essentially has one vibe: It’s time to party – and party it does. For if there has been a film that has embraced the mantra of letting the proverbial good times role more than Linklater’s 117 minute homage to bad 80s fashion, Smokey and the Bandit-style hair and the national pastime, you’d be hard to find one that has as much fun doing so. Jenner does a strong job presenting Blake as just a guy – not a bad guy, not a good guy but a decent guy – venturing out into the world on his own for the first time.


Much akin to the fashion that Steve Carell’s character was embraced in The 40 Year-Old Virgin by his co-workers, Jake is quickly swept under the tutelage of his newfound chums, each of which adds their own unique element to the mix, save for a few oddballs that add their own sense of humorous lunacy to the proceedings. Whether its Glen Powell channeling his inner Brad Pitt/Matthew McConaughey while spouting off romantic and/or philosophic witticism, Johnson being the cool black guy who isn’t defined by his melanin or dual butts of many jokes Austin Amelio and Juston Street being, well, the butts of many jokes, everything works well together to add to the fun. 


This makes Everybody Wants Some much more of an outright comedy than Dazed ever was, but in turn fails to give it as much impact on your conscious. (You won’t leave the theater pondering anything other than how much time did it take to get those clothes and get the actors’ hair to have that perfect fall 1980s look.) While Deutsch adds a nice balance that adds a little depth to both the film and Jake as he discovers meeting someone who at first is your opposite but may be the perfect person for you once you get to know and realize your commonalities, Everybody Wants Some isn’t here to be deep.


It’s here for you to have fun – and if you’re looking for some, this is what you and everybody you’re going to the movies with should want.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: THE HUNTSMAN: WINTER’S WAR

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Unexpected prequel/sequel to Snow White & The Huntsman turns in an entertaining, estrogen-filled experience

 
“I’m gonna hold your face real still … Now work that celery out of your teeth!” Sara (Jessica Chastain) embraces her fellow huntsman – and husband – Eric (Chris Hemsworth) in a scene from THE HUNTSMAN: WINTER’S WAR. Credit: Giles Keyte. © 2016 Universal Studios. All rights reserved.


WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Chris Hemsworth, Jessica Chastain, Charlize Theron, Emily Blunt, Nick Frost, Rob Brydon, Alexandra Roach, Sheridan Smith and Sope Dirisu

WRITER(S): Evan Spiliotopoulos, Craig Mazan (screenplay), Evan Daugherty (characters)

DIRECTOR(S): Cedric Nicolas-Troyan

WEB SITE: http://www.thehuntsmanmovie.com/#!/
60 SECOND PLOT SUMMARY (OR AS CLOSE TO THAT TIME AS ONE CAN MAKE IT): A prequel AND a sequel at the same time, The Huntsman: Winter’s War once again stars Chris “I’m more than Thor!” Hemsworth as Eric, a.k.a. the Huntsman who once helped save and then fight alongside (a mostly absent for this go-round) Snow White against the evil Queen Ravenna (Charlize Theron). But that’s not where this story starts.


No, it goes back in time a few years earlier when Ravenna was the unquestioned ruler of the land after the unfortunate passing of the king. Her younger sister Freya (Emily Blunt), however, was not as concerned with ruling as she was in love with William (Sam Clafin), who her sister correctly predicted would bear her a daughter. But, as Ravenna also predicted, he would not – despite his promises – break off his engagement with the woman he was supposed to marry for Freya, leading Freya to have an epic breakdown that transformed her into “the Ice Queen.” Leaving Ravenna before her demise, Freya would head to the north and encapsulate the entire land into a frozen wasteland where the children she would “save” would grow into a powerful army for her and live, provided they never broke one rule: Letting their hearts be open to the idea of love – which is what turned Freya into a woman so feared they were afraid to speak her name – was forbidden.


Fast forward a few years later and Freya is now on the warpath to take the one thing she has never tried to before: Snow White’s kingdom. And to do so, she seeks the one thing that Snow White has cast out of her kingdom: The mirror that once belonged to Ravenna, hence the reason Eric and his dwarf sidekicks Gryff (Rob Brydon) and Nion (Nick Frost) are out tracking – or hunting, if you will – where it could be since someone (or something) has stolen it in hopes of finding it before Freya does.


There’s just one little thing that none of the trio counted on getting in their way: Sara (Jessica Chastain), the female huntsman Eric thought was dead … That also just so happened to once be his wife. 

WHO WILL LIKE THIS FILM THE MOST? Fantasy film and cosplay enthusiasts; films where female characters drive the story; those looking for a date night activity that will have enough to keep the attention of both sexes (or those in the LGBT community – this is not an exclusionary review!) by catering to traditional male and female story elements of interest; people who enjoyed the more serious, straightforward tone of the first film but wanted a bit more humor at times to balance out the swordplay

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who were not that enthused with the first Huntsman movie; those who are “too grown” to watch a long adaptation of a story based on a fairy tale and/or simply aren’t interested in the subject matter … And anyone who suffers from Achondroplasiaphobia (look it up for yourself; I took the time to type that in correctly!)
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? The original Snow White & The Huntsman was a surprisingly entertaining tale that did what little thought could – or perhaps, more accurately, should – be done: Put a new spin on a told-to-death (no pun intended) story. That being said, one could be forgiven for wondering who (besides Universal Pictures given the previous installment’s success) was actively clamoring for a follow-up, especially one that serves as both a prequel in its first half and a sequel for the second act.


Well, if you were among those who in fact was in that camp, I have news that once again may be surprising as it was the first time: Winter’s War is a fairly entertaining tale that manages to wrap itself up happily ever after. 


For a film that delves more into the Huntsman’s background, Winter’s War is essentially a feminist power movement … That just so happens to be draped in a world of goblins, fairies and mystical characters. For while Hemsworth character does pretty much everything you’d expect – be charming, smile and be self-deprecating while exhibiting powerful strikes and just enough emotion to let you know he’s likable like John Cena at his non-movie day job. However, Hemsworth’s character is not really so much the star of Winter’s War as much a necessary component of a story that dives into a tale that explores sibling rivalry, relationships and the good ol’ element of good vs. evil – all of which is essentially driven by Winter’s War‘s female characters. 


Whereas Chastain plays alongside Hemsworth as his equal and personal protagonist, Blunt and Theron work as extremely well as the films’ overarching villains. Chastain provides a great personal rival for Hemsworth to keep him in check in regards to both his past and present as they work through their respective issues without ever feeling hokey. Whereas you can feel the emotion crack in Blunt’s character’s psyche, you can feel the pure, unabashed and unflappable evil flowing out of Theron with each sneer, calculated body movement and verbal spear. The biggest scene stealer, however, is Sheridan Smith as Mrs. Bromwyn, a fellow dwarf who sparring sessions with Rob Brydon’s Gryff are at times the best parts of the film. The four ladies really produce a nice spectrum of a range of talent in the film that makes things enjoyable and interesting, which is something that most things pertaining to the words “Snow White” are absent for just about anyone over the age of 13 (or at least should be). But back to what matters …


This is not to suggest Hemsworth is capable in his role by any means; it’s simply to acknowledge just how much Winter’s War smartly uses its female stars in ways that showcase their talent and make them integral as much more than any typical damsel in distress. Whereas the roles of women in film is still something of constant debate – just look at the online scuttlebutt regarding Hemsworth’s upcoming other summer film, the all-female Ghostbusters reboot – Winter’s War is another example that quality acting is quality acting, which is all that ultimately should and does matter at the box office. Yes, the film isn’t perfect– there are a few fairy tale staples that are easy to foresee – but thanks to the well-paced melodrama and special effects as executed under the direction of first-timer Cedric Nicolas-Troyan, Winter’s War is a welcome addition to the spring movie season.


Feel free to bite this apple with no worries of a poisonous aftertaste. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: The Boss

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THE BOSS

“You think I look crazy? You should have seen what happened the last time I had a taco salad!” Orphan-turned-entrepreneur Michelle Darnell (Melissa McCarthy) gets some help with her teeth whitening ritual from her assistant Claire (Kristen Bell) in a scene from co-writer/director/McCarthy’s husband Ben Falcone’s comedy THE BOSS. Credit: Hopper Stone. © 2015 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE: 


 



KEY CAST MEMBERS: Melissa McCarthy, Kristen Bell, Peter Dinklage, Kathy Bates, Tyler Labine, Ella Anderson, Cecily Strong , Annie Mumolo, Kristen Schaal, Timothy Simons and Eva Peterson


WRITER(S): Ben Falcone, Steve Mallory and Melissa McCarthy

DIRECTOR(S): Ben Falcone 

WEB SITE: http://www.thebossfilm.com/
60 SECOND PLOT SUMMARY (OR AS CLOSE TO THAT TIME AS ONE CAN MAKE IT): Michelle Darnell (Melissa McCarthy) had it rough growing up in Illinois. Abandoned/orphaned by her parents in her youth, Michelle has overcome her rough upbringing to become the 47th wealthiest woman in America. Now a powerhouse  as the CEO of three various companies, Michelle is on top of the world. Her success hasn’t made life an easier for Claire (Kristen Bell), Michelle’s top assistant, the Smithers to her Mr. Burns who is also a single mother to Rachel (Ella Anderson), a nice young girl who spends most of her free time with her Dandelions youth troop.


Then her former lover and top rival Renault – a.k.a. Ron (Peter Dinklage) – gets her busted for insider trading, which lands her in federal prison for 5 months and her empire in shambles.


Now with nowhere else to go, Michelle comes looking for refuge at the home of her former assistant, who reluctantly agrees to take her in until she can get back on her feet. But as one might expect, going from the penthouse to the proverbial outhouse of Claire’s tiny two-bedroom apartment. But Michelle is a woman with grit, determination and a never take “no” for an answer attitude, so once she sees an opportunity to re-establish herself, she is ready to seize it – even if that means shaking up Claire and Rachel’s world to no end.


And that’s because she’s the boss – and a boss does what a boss has to do to stay on top.

WHO WILL LIKE THIS FILM THE MOST? Melissa McCarthy fans; people who enjoy watching children – and to lesser extent, adults – behave inappropriately for their age; people who enjoy movies where the nice guy gets a break; people who like movies with characters that, while they may not be well-developed, are fun

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People that will find Peter Dinklage and/or his character creepy; Anyone who doesn’t find likable characters enough to carry the film’s rather ludicrous third act; people who believe that McCarthy (whether fairly or unfairly) tends to play the same type of characters, anyone who hates when Saturday Night Live sketches seem to run on too long. 
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A movie with some really likable characters that aren’t exactly placed into a great movie all the time, The Boss is entertaining enough to be forgiven for its shortcomings … Which is why at times it feels like an overly long SNL sketch.


McCarthy is very good at playing characters who appear to be one thing but have a little more going on underneath the surface than one might think at first glance. The Boss continues that streak by adding layers to her character, who is all bluster at first before a more sensitive side is eventually revealed. However, given how Dinklage was either asked or chose to play his character in ridiculously creepy fashion, you might find yourself unsettled or at the very least a little freaked out at times and not so much comedically as McCarthy’s husband/co-writer/director Ben Falcone intended. I’m sure the creative team of the McCarthy. Falcone and Steven Mallory were thinking of a Zoolander– or Anchorman-like level comedic foil for McCarthy, but … Nah, it just doesn’t always come off that way. 


Likewise, Bell is capable at playing the straight woman to McCarthy’s antics as her character is supposed to be a dull single mom … And MAN does she nail it almost to the point where you care about everyone around her more than her. She’s too much of the straightwoman at times, which in turn makes you feel her pain way too much. She’s not bad; it’s just that her character has no value on her own and is only best when paired with McCarthy’s or Tyler Labine as her co-worker/potential would be love interest. While we know everyone around Claire is having fun, it gets to a point where EVERYONE but Claire is having fun.


Fortunately, McCarthy has enough to gumption to keep things moving along and both the supporting and younger cast really shine in the lunatic situations in which they are placed. The aforementioned Labine is terrific in representing the everyman who works in a boring job and is a nice guy who deserves better while never coming off as a lovable loser and McCarthy’s female co-stars – Kristen Schaal, Cecily Strong and Annie Mumolo bring a lot of the party as zany/over-the-top sparring partners for McCarthy, Mumolo especially as a would be power mom of an ambitious girl scout-type. (Eva Peterson plays a scary, foul-mouthed teenage girl about as well as you can comedically, so The Boss could be a start of a nice career for her.)


In short, The Boss is entertaining at its best – there’s a rumble sequence that’s phenomenal – but it’s far fro a perfect film by any means. Dinklage’s character is supposed to be over-the-top, but whether or not you find it funny or just dumb remains to be seen. Likewise, there are a lot of lulls between the funny moments and some are much funnier than others, so depending on your attention level you may find the boss somewhere between “good” to “just okay” on your entertainment scale. 


If nothing else, The Boss will serve as a nice palate cleanser to anyone who has found spring’s early offerings at the theaters to be a bit … Well, not suitable for full-time employment. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

DIARY OF A TEENAGE GIRL & Important Parking News at THE NEON

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https://www.youtube.com/results?search_query=teenage+girl+trailer+sony+classics
Hello Everyone.

A new, wonderful film that has garnered amazing critical response is now playing at THE NEON – THE DIARY OF A TEENAGE GIRL. In addition, we are holding the incredible film with Jason Segel – THE END OF THE TOUR as well as our biggest hit of 2015 – MR. HOLMES. To read more about our held-over titles, please visit our website at www.neonmovies.com.

Synopsis for THE DIARY OF A TEENAGE GIRL: “Like most teenage girls, Minnie Goetze (Bel Powley) is longing for love, acceptance and a sense of purpose in the world. Minnie begins a complex love affair with her mother’s (Kristen Wiig) boyfriend, “the handsomest man in the world,” Monroe (Alexander Skarsgard). What follows is a sharp, funny and provocative account of one girl’s sexual and artistic awakening, without judgment.” (taken from Sony Classics) Given 100% reviews from The New York Times, The Los Angeles Times, Washington Post and many more. Entertainment Weekly wrote, “…there are moments you’ll ache for Minnie and other ones where you’ll want to lock her away – it rings much truer than most coming-of-age stories.” Peter Travers of Rolling Stone wrote, “Powley is sensational, expertly blending hilarity and heartbreak. Her scenes with Wiig, sublime in her hard-won gravity, are unique and unforgettable. Just like the movie.” Click this LINK to visit the film’s official website.

The Deaf Community Resource Center is bringing a special, one-time screening of THE DEAF CLUB to town on Thursday, Sept. 24 at 7:30. This movie is completely done in sign language (though subtitles are available for those who don’t sign). “Deaf people have it all – friends, romance, fights, etc. – at their own club, where everyone uses sign language. Suddenly, the members face a situation where their precious club may have to close. Can they save the deaf club? Almost the entire production team is deaf or hard of hearing.” (taken from press notes) Tickets, just $10 each, will be available at THE NEON’s box office beginning Monday, Aug 24.

On Saturday, September 26 at Noon, Twentig, Inc. will host a special benefit screening and discussion of the film BELLE.” BELLE is a historical fictionalization of a true story about Dido Elizabeth Belle who was born of mixed race in the West Indies. She lived with her great uncle William Murray, the first Earl of Mansfield, Lord Chief Justice of England. Lord Mansfield’s decision on a case in 1786 in the English Courts led to the abolition of slavery in Britain. The film was inspired by the 1779 painting of Belle beside her cousin Lady Elizabeth Murray at Kenwood House.” (taken from press notes) Tickets are $30 each and come with admission to the film, the post-film discussion, a glass of wine and popcorn.

As many of you have noticed, we now share our parking lot with Drake’s Gym (a boxing and CrossFit gym now located in the former Greyhound building). This Saturday, the gym is hosting a big fundraising boxing match in our shared parking lot. This means that parking will not be available in that lot all day on Saturday. Please remember that we do validate for the Convention Center Parking Lot on Saturdays…so give yourselves a little extra time to find parking if you’re coming to see a film on Saturday afternoon/evening.

Thanks for your continued support.
We hope to see you this weekend!
Jonathan

SHOWTIMES for Friday, August 28 – Thursday, September 3:

THE END OF THE TOUR (R) 1 Hr 46 Min
Friday, Saturday: 2:30, 7:15, 9:40
Sunday: 2:30, 7:15
Monday – Thursday: 2:45, 7:40

MR. HOLMES (PG) 1 Hr 45 Min
Friday, Saturday, Sunday: 12:15, 4:50
Monday – Thursday: 5:15

THE DIARY OF A TEENAGE GIRL (R) 1 Hr 42 Min
Friday, Saturday: 12:20, 2:40, 5:00, 7:20, 9:40
Sunday: 12:20, 2:40, 5:00, 7:20
Monday – Thursday: 3:00, 5:20, 7:40

COMING SOON:
(All Dates Are Tentative. Dates Often Move And Sometimes Disappear.)
Sept. 4 – MISTRESS AMERICA
Sept. 11 – MERU
Sept. 18 – LEARNING TO DRIVE
Sept. 25 – GRANDMA
Oct. 2 – PHOENIX
TBD – JIMMY’S HALL

And The Oscar Goes To…

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The 87137982_0963th annual Academy Awards salutes the best of 2014 cinema tomorrow night at the Dolby Theatre in Los Angeles. Go ahead and anticipate one of the most predictable Oscars in recent memory considering most categories have been cemented since the Golden Globes. However, anything is possible when it comes to the 6,000 members of the Academy of Motion Picture Arts and Sciences.

Here are my predictions in the top six fields.

BEST PICTURE
American Sniper
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory of Everything
Whiplash

Overlooked: A Most Violent Year; Belle; Dear White People; Foxcatcher; Fury; Get On Up; Gone Girl; The Homesman; Ida; Inherent Vice; Interstellar; Into the Woods; Love is Strange; Nightcrawler; Pride; The Skeleton Twins; Snowpiercer; St. Vincent; Two Days, One Night; Unbroken; Under the Skin; The Way He Looks

Should/Will Win: Boyhood

Let’s face it. Selma, the most culturally relevant nominee, has no chance. Sniper, the highest grossing nominee raking in $300 million and counting, has a slight chance. But in the end, this (art house) race is all about a boy and a bird(man). Birdman brilliantly captured the idiosyncrasies of actors (hence its ensemble victory at the Screen Actors Guild Awards), but Boyhood’s groundbreaking, universally engaging portrait of adolescence in all its crazy, confusing and thought-provoking complexity will be rightfully rewarded.

BEST DIRECTOR

Wes Anderson, The Grand Budapest Hotel
Alejandro G. Iñarritu, Birdman
Richard Linklater, Boyhood
Bennett Miller, Foxcatcher
Morten Tyldum, The Imitation Game

Overlooked: Paul Thomas Anderson, Inherent Vice; Damien Chazelle, Whiplash; JC Chandor, A Most Violent Year; Ava DuVernay, Selma; Clint Eastwood, American Sniper; David Fincher, Gone Girl; Dan Gilroy, Nightcrawler; Angelina Jolie, Unbroken; Tommy Lee Jones, The Homesman; Bong Joon-ho, Snowpiercer; James Marsh, The Theory of Everything; Christopher Nolan, Interstellar; Pawel Pawlikowski, Ida; Ira Sachs, Love is Strange; Tate Taylor, Get On Up; Matthew Warchus, Pride

Should Win: Linklater
Will Win: Iñarritu

The sheer originality and artistic perseverance of Linklater spearheading a project for 12 years (with cast incredibly intact!) would be enough in a less competitive year. Still, Iñarritu’s dazzlingly dynamic flair, bolstered by the impressive fluidity of crafting a film as if it were one long tracking shot, is the stronger technical achievement and likely seals the deal.

BEST ACTOR

Steve Carrell, Foxcatcher
Bradley Cooper, American Sniper
Benedict Cumberbatch, The Imitation Game
Michael Keaton, Birdman
Eddie Redmayne, The Theory of Everything

Overlooked: Ben Affleck, Gone Girl; Chad Boseman, Get On Up; Ellar Coltrane, Boyhood; James Corden, Into the Woods; Robert Downey, Jr., The Judge; Chris Evans, Snowpiercer; Ralph Fiennes, The Grand Budapest Hotel; Brendan Gleeson, Calvary; Jake Gyllenhaal, Nightcrawler; Bill Hader, The Skeleton Twins; Tom Hardy, The Drop and Locke; Oscar Isaac, A Most Violent Year; Tommy Lee Jones, The Homesman; Irrfan Khan, The Lunchbox; John Lithgow, Love is Strange; Matthew McConaughey, Interstellar; Alfred Molina, Love is Strange; Bill Murray, St. Vincent; Jack O’Connell, Unbroken; David Oyelowo, Selma; Joaquin Phoenix, Inherent Vice; Miles Teller, Whiplash; Denzel Washington, The Equalizer; Ben Wishaw, Lilting; John Lloyd Young, Jersey Boys

Should Win: Keaton
Will Win: Redmayne

The immense wave of acclaim given to Keaton’s amazing tour-de-force as washed-up action star Riggan Thomson reminds me of Mickey Rourke’s awards season respect for The Wrestler. After all, Hollywood loves a comeback, especially when the actor or actress in question had seemingly disappeared. Keaton was mesmerizing but Redmayne, a Tony Award winner and one of the finest actors of his generation, pulled out the stops in prime Daniel Day-Lewis fashion as physicist Stephen Hawking. Redmayne’s tremendous physicality alone will probably be enough to take the Oscar from Keaton akin to Sean Penn (Milk) edging Rourke in a similarly nail-biting contest six years ago.

BEST ACTRESS

Marion Cotillard, Two Days, One Night
Felicity Jones, The Theory of Everything
Julianne Moore, Still Alice
Rosamund Pike, Gone Girl
Reese Witherspoon, Wild

Overlooked: Jennifer Aniston, Cake; Emily Blunt, Into the Woods; Scarlett Johansson, Under the Skin; Gugu Mbatha-Raw, Belle and Beyond the Lights; Jenny Slate, Obvious Child; Hilary Swank, The Homesman; Agata Trzebuchowska, Ida; Kristen Wigg, The Skeleton Twins

Should/Will Win: Moore

Moore, a four-time nominee, should have reaped Oscar gold in this category for Far From Heaven, but will finally win for her marvelously detailed, poignant and heartbreaking portrayal of a linguistics professor diagnosed with early-onset Alzheimer’s. She’s an absolute shoo-in and deservedly so.

BEST SUPPORTING ACTOR

Robert Duvall, The Judge
Ethan Hawke, Boyhood
Edward Norton, Birdman
Mark Ruffalo, Foxcatcher
J.K. Simmons, Whiplash

Overlooked: Riz Ahmed, Nightcrawler; Alec Baldwin, Still Alice; Albert Brooks, A Most Violent Year; Nelsan Ellis, Get On Up; Zach Galifianakis, Birdman; James Gandolfini, The Drop; Domhnall Gleeson, Unbroken; Neil Patrick Harris, Gone Girl; Bill Nighy, Pride; Logan Lerman, Fury; Tyler Perry, Gone Girl; Tim Roth, Selma; Martin Short, Inherent Vice; Channing Tatum, Foxcatcher; Tom Wilkinson, Selma

Should/Will Win: Simmons

Norton stole the show with brazen finesse and no one oozes compassionate masculinity like Ruffalo, but Simmons, resurrecting the visceral evilness he displayed on HBO’s Oz, will reign for his sensational performance as a music teacher from hell.

BEST SUPPORTING ACTRESS

Patricia Arquette, Boyhood
Laura Dern, Wild
Keira Knightley, The Imitation Game
Emma Stone, Birdman
Meryl Streep, Into the Woods

Overlooked: Jessica Chastain, A Most Violent Year; Carrie Coon, Gone Girl; Carmen Ejogo, Selma; Agata Kulesza, Ida; Sienna Miller, American Sniper; Rene Russo, Nightcrawler; Amy Ryan, Birdman; Imelda Staunton, Pride; Tilda Swinton, Snowpiercer; Tessa Thompson, Dear White People; Katherine Waterston, Inherent Vice; Naomi Watts, Birdman and St. Vincent

Should/Will Win: Arquette

Streep gave a phenomenal Sondheim master class and Stone ignited the screen in her fiery tirade opposite Keaton, but it’s all about Arquette. With beautifully gentle understatement, Arquette, the emotional center of Boyhood, brought anguish, grace and sensitivity to her captivating portrayal of a single mother coping with disappointments, new beginnings and the passage of time.

The 87th annual Academy Awards, hosted by Neil Patrick Harris, will be telecast live Sun. Feb 22 on ABC beginning at 7 p.m. In related news, The Neon Movies, 130 E. Fifth St. in downtown Dayton, and the Little Art Theatre, 247 Xenia Ave. in Yellow Springs, will host Oscar parties. FilmDayton is offering a virtual Oscar party.

Oscar Hopeful THEORY OF EVERYTHING Opens at THE NEON!

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10482287_381129725378465_1199013742911067013_nHello DaytonMostMetro Fans,

I’ve got good news. WHIPLASH and BIRDMAN will be able to share a screen starting this Wednesday. That said, if you need to see either of these films, I’d suggest hurrying down. They may not last more than one more week. Tomorrow (Wed, Nov. 26), we will open a film that I know many of you will embrace – THE THEORY OF EVERYTHING. When I saw this film at the World Premiere in Toronto, the auditorium was packed with stars who were anxious to see the film – including Jon Stewart, Julie Taymor and Andrew Garfield. The standing ovation was remarkable, and hearing Eddie Redmayne (who deserves the Oscar for this performance) speak about the process was incredible. I hope you’ll be anxious to see the film with us this weekend.

Synopsis for THE THEORY OF EVERYTHING: “Starring Eddie Redmayne and Felicity Jones, this is the extraordinary story of one of the world’s greatest living minds, the renowned astrophysicist Stephen Hawking, who falls deeply in love with fellow Cambridge student Jane Wilde. Once a healthy, active young man, Hawking received an earth-shattering diagnosis at 21 years of age. With Jane fighting tirelessly by his side, Stephen embarks on his most ambitious scientific work, studying the very thing he now has precious little of – time. Together, they defy impossible odds, breaking new ground in medicine and science, and achieving more than they could ever have dreamed. The film is based on the memoir Travelling to Infinity: My Life with Stephen, by Jane Hawking, and is directed by Academy Award winner James Marsh (MAN ON WIRE).” Click on this LINK to visit the film’s official website.

The Annual Family Holiday Film Series, presented by The Dayton Holiday Festival, The Downtown Dayton Partnership, Channel 99.9 and THE NEON, has secured titles for this year’s line-up. Films will screen at Noon on December 6, 13, & 20 – and the price is absolutely amazing. Admission is FREE for kids 12 & under and only $2 for general admission. ELF will play on December 6, THE MUPPET CHRISTMAS CAROL will play on December 13, and the Cary Grant classic THE BISHOP’S WIFE will play on December 20. Tickets will only be available starting 45 minutes before each screening, and children must be present to claim free tickets.

Last year, THE NEON hosted a few screenings of THE TRIUMPH for a local non-profit. On December 10, 4Mary.Org will bring back this documentary another time. “THE TRIUMPH is a powerful new documentary film about a prophecy unfolding right now, before our very eyes. From Medjugorje, a tiny village in Bosnia-Herzegovina, comes a message from the Mother of God. Does this woman really know mankind’s future, as millions believe? Decide for yourself.” (taken from press notes) Tickets are $10 each and can only be purchased in advance by visiting the official site. Click this LINK to purchase tickets and this LINK to check out the trailer.

As we head into the holiday season, I want to take this opportunity to express my great thanks for your patronage. We’re trending to make 2014 a banner year, and we wouldn’t be in this great place without your enthusiasm & support. In addition, I want to thank Diana Cordero – our assistant manager. Diana has been right beside me for over 13 years at THE NEON, and I couldn’t do it without her. Thank you!

Wishing all of you a great Thanksgiving!

We hope to see you soon,

Jonathan

SHOWTIMES for Wednesday, Nov. 26 – Thursday, Dec. 4:
PLEASE NOTE: This schedule is more than a week!

THE THEORY OF EVERYTHING (PG-13) 2 Hr 3 Min
Wednesday & Thursday: 2:45, 5:15, 7:45
Friday & Saturday: 11:45, 2:15, 4:45, 7:15, 9:45
Sunday: 11:45, 2:15, 4:45, 7:15
Monday – Thursday: 2:45, 5:15, 7:45

BIRDMAN (R) 1 Hr 59 Min
Wednesday & Thursday: 2:40, 7:30
Friday & Saturday: 2:40, 7:30, 9:55
Sunday – Thursday: 2:40, 7:30

WHIPLASH (PG-13) 1 Hr 47 Min
Wednesday & Thursday: 5:10
Friday, Saturday, Sunday: 12:20, 5:10
Monday – Thursday: 5:10

COMING SOON:
(All Dates Are Tentative. Dates Often Move And Sometimes Disappear.)
Dec. 5 – CITIZENFOUR
Dec. 25 – THE IMITATION GAME
Dec. 25 – WILD
Jan. 9 or 16 – FOXCATCHER
TBD – FORCE MAJEURE
TBD – HOMESMAN

THE NEON Has 2 Big Hits with CHEF & BELLE!

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Hello Everyone,

We had an absolutely terrific holiday weekend. Audiences are loving CHEF and BELLE, and we’re going to hold them both. Many thanks to all of you who came out to support these films.

I know that many of you are anxious to see some of our upcoming selections – like FED UP and ONLY LOVERS LEFT ALIVE and JODOROWSKY’S DUNE…please rest assured that these films will eventually make their way to THE NEON. Our opening dates can move for a variety of reasons, and we appreciate your patience as some of the films get shifted. Stay tuned to this newsletter or our website for the latest date changes.

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“Start Freedom Dayton, a film series started by Peace on Fifth to raise awareness about human trafficking, returns June 19th at 7:30 pm at THE NEON with the newest movie about human trafficking – TRICKED. The sex trafficking industry rakes in $3 billion dollars a year and with little awareness for the general population. TRICKED, released in December 2013, is set on the streets of the US as a clear witness to the domestic sex trafficking ‘game.’ This is a very powerful movie. Age appropriate for 12+, however children should have some level of awareness and emotional maturity. For more information call Peace on Fifth at 937.367.7215 or email [email protected]. To learn more about TRICKED and to see a trailer, visit the official site. All advanced tickets are available exclusively at Peace on Fifth (234 S Dutoit St., St. Anne’s Hill) for an $8 suggested donation. The screening will only happen if 75 tickets are distributed.” (taken from Peace on Fifth press release)

On Wednesday, June 25 at 7:30, THE NEON is happy to host a one-night screening of the new documentary TO BE TAKEI. This is part of Dayton PRIDE‘s month-long LGBT Pride celebration. “Over seven decades, actor and activist George Takei boldly journeyed from a WWII internment camp, to the helm of the starship Enterprise, to the daily news feeds of five million Facebook fans. Join George and his husband Brad on this star’s playful and profound trek for life, liberty, and love. Best known for playing Sulu on the original Star Trek TV series and six movies that followed, George Takei is unlikely social media royalty. Unofficially dubbed the King of Facebook, he counts over 5 million fans in his online empire – including Trekkies, Howard Stern listeners, and the LGBTQ community – who devour his quirky mix of kitten jokes, Star Trek references, heartfelt messages, and sci-fi/fantasy memes…” (taken from press notes) Tickets, just $8 each, are now available at our box office.

Our facebook page is blowing up because I announced that we’re considering playing the newly remastered A HARD DAY’S NIGHT during July 4 weekend. This is in celebration of the 50th anniversary. Would you come out to support this Beatles favorite if we played it during the holiday weekend?

Thanks for your continued interest and enthusiastic support.
We hope to see you soon!
Jonathan

SHOWTIMES for Friday, May 30 – Thursday, June 5:

BELLE (PG) 1 Hr Min
Friday, Saturday: 12:20, 2:40, 5:00, 7:20, 9:40
Sunday: 12:20, 2:40, 5:00, 7:20
Monday – Thursday: 3:00, 5:20, 7:45

CHEF (R) 1 Hr Min
Friday, Saturday: 12:10, 2:30, 5:00, 7:30, 9:50
Sunday: 12:10, 2:30, 5:00, 7:30
Monday – Thursday: 2:45, 5:10, 7:40

COMING SOON:
(All Dates Are Tentative. Dates Often Move And Sometimes Disappear.)
June 6 – FED UP
June 6 – JODOROWSKI’S DUNE
June 13 – ONLY LOVERS LEFT ALIVE
June 13 – FOR NO GOOD REASON
June 20 – SUPERMENSCH: SHEP GORDON
July 4 – A HARD DAY’S NIGHT
July 25 – THIRD PERSON
Aug. 8 – BOYHOOD
Aug. 15 – MAGIC IN THE MOONLIGHT
Aug. 29 – LAND HO

Ralph Fiennes’ INVISIBLE WOMAN Opens Friday at THE NEON

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the-invisible-woman-pstr02Hello Everyone,

It’s time to start moving along at THE NEON. If you still need to see AUGUST: OSAGE COUNTY, tomorrow (Thursday) will be its last day with us. The Coen Brothers’ INSIDE LLEWYN DAVIS will stick around for another week, and on Friday we’ll open the new film directed by (and starring) Ralph Fiennes – THE INVISIBLE WOMAN. Remaining showtimes for this week can be found at www.neonmovies.com

Synopsis for THE INVISIBLE WOMAN: “Nelly (Felicity Jones), a happily-married mother and schoolteacher, is haunted by her past. Her memories, provoked by remorse and guilt, take us back in time to follow the story of her relationship with Charles Dickens (Ralph Fiennes) with whom she discovered an exciting but fragile complicity.” (Taken from Sony Pictures Classics) This lovely film, also starring NEON-favorite Kristin Scott Thomas, will delight our regulars who love period costume dramas…but it goes beyond that. Giving the film a 100% review, Scott Foundas of VARIETY wrote, “So tastefully mounted and brilliantly acted that it wears down even the corset-phobic’s innate resistance to such things.” Click on this LINK to visit the film’s official site.

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Fans of THE NEON have requested a special screening of a fantasy film called KNIGHTS OF BADASSDOM (a films about Live Action Role Playing starring Peter Dinklage and Steve Zahn). They worked with Tugg to see if there was enough interest in screening the film in Dayton…and the required reservations crossed the threshold. This means that the screening will happen on Wednesday, February 5 at 8:30. To buy tickets in advance, visit this LINK. If any tickets remain, they will be sold at the door on the night of the screening.

“The Junior Leaguers Club of Dayton, an African American based organization, will hold a fundraiser with the film SANKOFA on Saturday, Feb. 22 at Noon. This film is about an African American model on a photo shoot in Africa who has an ancestral experience which transforms her life and consciousness. ‘Sankofa’ is an Akan word that means ‘we must go back and reclaim our past so that we can move forward.’ The profit from this event will fund scholarships to graduating seniors in the Miami Valley. Applications will be available at the event in case you know a worthy student to submit to the organization. Tickets may be purchased at the Neon for $30. (Student tickets are $15 each.) The price includes a movie ticket, popcorn, soda, and a glass of wine for adults.” (Taken from press notes.)

Thanks for your continued support.
Mark your calendars for our annual Oscar Party – March 2! More details coming soon.
We hope to see many of you this weekend!

Jonathan

SHOWTIMES for Friday, Jan. 31 – Thursday, Feb. 6:

THE INVISIBLE WOMAN (R) 1 hrs 51 min
Friday, Saturday: 12:20, 2:40, 5:00, 7:20, 9:40
Sunday: 12:20, 2:40, 5:00, 7:20
Monday – Thursday: 2:50, 5:15, 7:40

INSIDE LLEWYN DAVIS (R) 1 hr 45 min
Friday, Saturday: 12:30, 2:50, 5:15, 7:30, 9:50
Sunday: 12:30, 2:50, 5:15, 7:30
Monday & Tuesday: 3:00, 5:20, 7:45
Wednesday: 3:00, 5:20
Thursday: 3:00, 5:20, 7:45

KNIGHTS OF BADASSDOM (R) 1 Hr 26 Min
Wednesday: 8:30

COMING SOON:
As always, all dates are tentative. Many of these dates will change.
In some rare cases, titles may disappear.
TBD – OSCAR NOMINATED SHORTS
Feb. 7 – THE ARMSTRONG LIE
TBD – THE PAST
TBD – GLORIA
TBD – GRAND BUDAPEST HOTEL
TBD – TIM’S VERMEER
TBD – LE WEEK-END
TBD – THE LUNCHBOX

Englewood Cinema Hosts Horrorama 2012

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Friday October 26th the 16th annual Halloween themed all night movie bash Horrorama played the Englewood Cinema showing five cinema slashers from new brain smashing movies dedicated to 50’s era horror, to early 80’s comic book capers, mid 80’s gory reanimation, late 80’s campy horrifying hair metal and a local, well-made historical true crime shockumentary based on the most infamous ‘family’ of the late 60’s. Since 1997 Horrorama has been a premiere event showcasing the newest in local film, best horror movies of any given era and just plain messed up, underground, weird, cult stuff you’ll never see on any other big screen again… ever.  Event hosts Andrew Copp, Matt Brassfield and Richard Martin once again brought the goods for another year of all night screaming and movie mayhem. The genesis of the event stemmed from Copp and Martin’s appreciation, fascination and admiration of Shock Theater talking to Mr. Hobart about creating a live action version encompassing all the great elements and entertaining moments that made the show a local favorite phenomenon. Splattertude’s imposing painted up bassist A. Ghastlee Ghoul also co-hosted for a while.

Along with the beloved Dr. Creep the night also honored the memory of national entertainer Dow Thomas and local News Anchor Carl Day who appeared in the night’s last feature. This year marks the end of an era sadly due to the universal conversion to digital prints. Friday night was the last time 35mm prints were shown on the Englewood screen. Three of the five flicks Re-Animator, Trick or Treat, and The Manson Family were the last films to grace the long run format and were a fitting swansong. The evening began with one of two digital prints Atomic Brain Invasion and Creepshow.

The kids costume contest opened the show with the young’ens playing a female joker, Carl from The Walking Dead, the devil and a Zombie. However after saying his name three times Beetlejuice won followed by the female joker and the young ‘walker’ killer.

‘Coming attractions’ from yesteryear included Creature of the Walking Dead, The Last Chase starring Burgess Meredith, there was Magic (way before there was Dead Silence), the crowd pleaser Stunt Rock (featuring music giants Sorcery), Blood Bath and  the family friendly G rated Legend of Boggy Creek.

The night’s crème de la cinema began with the fun 50‘s throwback Atomic Brain Invasion. A bunch of big brained aliens land in New England looking to kidnap Elvis and take him back to their leader. Hilarity ensues as the aliens give chase, but the homo-sapiens are cleverer than the creatures thought picking them off with shovels and shotguns and foiling their invasion/kidnapping progress with doors that won’t open. The gang consists of the pretty girl, smart but nerdy main lead, the coon skin cap wearing scared funny guy and the origami loving jock who eventually befriends the nerdy dude to help save the day. A booze guzzling shotgun wielding hillbilly with an invading past joins the fight for survival with a cast of other zany characters from the era. There’s a big Back to the Future feel and the movie gives a unique chance to see what would have happened if Crispin Glover had played Biff.

The adult costume contest featured Doctors, Harley Quinn, Medusa, Saint Mary, Ursula, Werewolf’s, Mermaids and Sherlock Holmes amongst other ghouls and goblins. After much applause the top three were chosen. Top honors and prizes went to the guy for wearing a creative idea, literally, as 50 Shades of Grey followed by the woman who would turn him into stone for beating her and the Movie Damsel who would stand silent and watch.

Before the creepshow began we watched previews for The Undertaker and His Pals (it’s not a wrestling movie), the freakish Giant Gila Monster, the black and white flash version of arguably the scariest movie ever made The Exorcist, Eyes of Hell and the fun 80’s demonic romp Night of The Demons.

Inspired by the 1950’s E.C. comics George Romero and Stephen King bring five tales of terror to the big screen in the early 80’s horror anthology Creepshow. Fathers Day’s about a poor old guy that just wants his cane, cake and to eat it too. The Lonesome Death of Jordy Verrill has Stephen King feeling a little green after a meteor falls from the sky slowly turning him into vegetation. Something To Tide You Over features a young Ted Danson and a rare bad guy performance from comical Leslie Nielsen. Adrienne Barbeau plays a nagging drunk who walks into the wrong stairwell in The Crate. They’re Creeping Up On You, has lots and lots of cockroaches, nuff said. Apparently several patrons bugged out and took an early break on this one.

The scream contest was next. Each contestant caused cupped ears and ringing drums. The winner received some special Dr. Creep artwork. The strong lunged Beth won and earned the admiration and appreciation of the crowd when she stopped.

1985’s gory dark humored tale of post mortem morticious resurrection Re-Animator was next. Based on an H.P. Lovecraft story, a very young Jeffrey Combs plays doctor with dead things, bringing animals and humans back to life with a few CC’s of neon ‘glow stick’ green goo. It was a starring vehicle for Combs reprising the role in two other films. The movies theme is dark and serious playing like a medical drama despite carrying off incredible black humor, gore and a complete lack of professional ethics. Though the decapitated body milling around from the heads POV makes a great pan shot.

Coming attractions for movies made in the late 80’s and earlier included Black Roses, Rituals aka The Creeper, Devils Express, Ms. 45 (possible inspiration for The Brave One), Mardi Gras Massacre and Night Warning.

For those of us that grew up in the 80’s and loved PMRC inspired movies about devil driven evil heavy metal bands like the previewed Black Roses, Rock n Roll Nightmare and Rocktober Blood know that 1986’s campy horror hair metal classic Trick or Treat is a definite cherished cult classic gem. A definite period piece capturing the cassette/Walkman/vinyl era with backward messaged accuracy. Skippy from Family Ties plays a mulleted metalhead,… well….kinda, sorta, who’s a diehard fan/worshipper of the fiendish shock rocker Sammi Kerr who died in a hotel room fire. The films also famous for Gene Simmons playing a Howlin Wolf type radio DJ and Ozzy Osbourne making two cameo’s type cast as a TV evangelist. Poor Eddie’s the target of some mean abuse and ridicule from the dumb jocks until he starts communicating with the deceased Kerr by playing a demo backwards acting on the messages given by the charred singer. Eddie starts getting revenge and Kerr gains his trust and enough current to come back through a bedroom PA system wreaking havoc on high school kids and has the bizarre cinematic distinction of electrocuting Ozzy through a TV. Kerr’s spirit travels through electricity, a similar theme used in 1989’s Shocker, using radios, Walkman’s and iPods (kidding) to make an entrance.

2003’s The Manson Family directed by Jim Van Bebber and filmed in Ohio includes Andrew Copp and other local actor’s is probably the closest on screen account of what the Manson Family was actually like. The film took several years to make. There’s PLENTY of blood, sex and gore, many family member interview scenes are embellished recreations of the original 1973 Robert Hendrickson documentary. It’s also the only Manson documentary besides Hendrickson’s 2007 follow up Inside the Manson Gang to feature actual family footage. Van Bebber’s version makes you feel like your tripping as your eyes are held hostage with acid like images, trippy rapid fire film cuts and some not so easy to watch but probably accurate blood orgy scenes. The murder scenes are extremely violent and brutal but as horrendous and savage as they are to watch any viewer familiar with the facts of the case would appreciate the accuracy used displaying just how violent, vicious and cold blooded the blunt force trauma and maniacal delivery of these crimes were. Carl Day makes a few appearances before some ‘modern day’ Manson followers break into the studio and take care of business. Mike King the producer and cinematographer lent his personal print for the showing.

A special thanks to everyone that came out this year. Horrorama looks forward to seeing everyone again next October.

A Sinister Approach to Found Footage Genre

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From the producer of Paranormal Activity and writer/director of The Exorcism of Emily Rose, Sinister is being marketing as a horror film which it is but is much more than your run of the mill haunted house story. Its part horror, suspense, psychological thriller, supernatural ghost story, true crime drama and even part snuff film.  It gives plot nods to The Amityville Horror and in smaller extent The Strangers. Ethan Hawke plays Ellison Oswalt a true crime writer moving his family into a murder house so he can write a book about it and re-ignite his career.  The local sheriff’s none to pleased or happy with their presence given the former residents demise and Oswalts reputation and best seller Kentucky Blood.

It’s a different/unique take on the ‘found footage’ genre, having the main character find old home movies stashed up in the attic. The audience watches the strategically placed Super 8’s with him throughout the movie sharing his feeling and emotions. Some start innocently with family get-together’s but end up gruesome. The films grainy footage, high realism and creepy melancholy ambiance give off feelings of hidden discomfort watching them through windows or witnessing a creepy crawl in their homes. A few reels in we see Mr. Boogie. Hawke’s character slowly tries to put the pieces together as things happen around the house from bumps in the night to ghostly projector running. We watch as he slowly starts to mentally unravel while his wife deals with his bizarre behavior and the situation’s influence on the kids. Despite some drawings on the wall the scares for the most part are creative and original.   Past and present events play with his conscious showing an inner struggle questioning his own motivations and the building driving/obsessive desire to know more about what happened and why. Has he written true crime for his own personal gain and legacy or an honest desire to bring justice to the victim’s?

The supernatural element picks up mid-way and the music makes the movie just as scary and perverse as the plot.  We hear subtle background voices whisper in Oswalt’s ear as he creeps around the dark house and genuinely uncomfortable music and effects in the projection scenes, planting a subconscious toying suggestion, though the box was meant to be found, you’re really not supposed to be seeing this. With help from one of the local PD he slowly gathers information on the entity, its purpose uncovering a pattern. The entities appearances are creatively strategic as one might expect to see it waiting in the corner when a character enters a room or a door is closed. Sinister’s ending is dark, twisted, ballsy and disturbing even making movie sleuths ahead of Hawks character think, are they really going there?  Then again how many true crime stories have happy endings?
Much of the tension is built on slow burn suspense and anticipation of what might or is about to happen. There’s of course a few jump scares but many you don’t see coming. The movie will genuinely disturb some people. Several scenes are Saw level violent which isn’t completely expected heightening the impact.  A lot of Sinister is what your mind might conjure up while reading a true crime novel of the movie, put on screen.  One of its great elements is the combination of supernatural/gore and real life horror. To a certain point the movie happens in a real life setting. Hawke’s character doesn’t succumb to the stereotypical actions a character/victim usually does instead comes off real, like a normal guy who happens to write about unexplained, gruesome events and is watching/experiencing them himself.

REVIEW: Consumption Of The Heart/The Collective Volume IV Play Englewood Cinema

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Friday night September 28th local director Andrew Copp premiered the only Dayton theatrical showing of his new film Consumption Of The Heart. A 10 minute short that will be included in Jason Hoover’s upcoming collection of zombie themed films in The Collective Volume V premiering at the November Days of the Dead convention in Chicago. Filmed in two days Consumption is a living dead love story about a couple’s relationship on a downward spiral and how it’s changed when both undergo weird, mysterious physical changes which may or may not be caused by an outside epidemic.

Fans, viewers, local and regional filmmakers all watched taking part in a unique Q&A. Several pondered whether the broadcasted situation was the cause and if the resulting changes made a bad relationship better and drew the couple closer together in emotion and love till the bitter end or if it made a bad relationship worse with both deciding that even with the most dire of circumstances happening it was still better than going on as they were. Slyly, Mr. Copp wouldn’t reveal his true intent or message so we’ll just leave that to the viewer to decide.

Consumption takes a unique spin on the living dead genre and asks are they more dead or dying on the inside or out though the ‘consumption’ works on many levels. The music early in the film portrays the feelings of despair, physical neglect and being unwanted. Brandi Bishop does a great job of turning the situation to her advantage for better or worse taking charge and taking what she wants reawakening their passion and desire.  It could be considered the closest thing to a dark Harlequin novel that a blood splattered claustrophobic cannibalistic romance drama of the living dead can get. Mr. Copp seems to want certain questions to linger without answers and sometimes one’s own interpretation/enjoyment of the film ‘is’ the best answer.

Next up Jason Hoovers The Collective Volume IV: Emotions. This installment in the ongoing series features 10 short films 10 minutes long each showcasing a different emotion. Hoover never uses finished movies, he tells eager filmmakers what he wants and then they go out, produce and return with product. The collective covers a vast emotional gamut filmed in several cinematic styles each with its own creativity, story and delivery evoking a different response from the viewer.

3 O’Clock Productions shares the Regret of a genetic scientist who’s experiments take a violent and beastly turn for the worse in this unique crime/drama update of a classic horror tale. Liberty or Death Productions gets us all loose and filled with Lust when a female ghost hunter decades later visits the house of The Wedding Night Tragedy. She sets up equipment and starts to document and explore but slowly and surely becomes seduced by its spirited charms. Freakwolf Productions makes us Fear the dark and feel slightly awkward watching a not so subtle and creepy psychiatrist advice his patent on how to cure her fear. It’s all about taking baby steps my dear.

Dustin Mills Productions asks for Trust as the doomed main character scarfs down the most deadly Italian pie since Nightmare on Elm Street 4’s Soul Pizza. No worries though, ‘help’ is on the way. Over Analyzed Productions feels Envy with a blast of seedy street drama as Sara is jealous of her hot to trot working girl roommate Kate AKA Desire. After Kate goes out on call Sara takes a shot at customer service at the wrong time and ends up in the dubious clutches of the Crowe brothers but never fear Desire returns and an action tag team is born.

Winged Dolphin Productions tells the story of a sadists Schadenfreude. A somewhat bizarre take on Greek Mythology told with a deadly dose of dental dream analysis and sedative’s. Cinephreak Pictures is the Rage as we’re quickly reunited with the Hook Squad as Sara becomes Envy in this funny and action packed bullet flyin, jive talkin grindhouse thrilla.Seems Mama Crowe’s mighty peeved off about the demise of one of the brother’s so she sends out Brutus and his evil diabolical henchmen brethren to the warehouse to dispose of our heroic sassy gorgeous girl-power. It’s a beastly, juiced up, blood bath showdown for sure as Desire and Envy with new found help from a dice throwing killa pimp combat Mama’s sleazy spawn.  The chainsaw carrying, hockey mask wearing, HGH taking family’s pride and joy and the other hygiene challenged brother are ready to kill and mame. Not everybody’s comin home for dinner tonight.

Spiral Filmworks is in Denial as we learn about the most gruesome untold crime story of the early 90’s, the ‘true’ story of Martha ‘Grammy’ Louise Kemper the town church organist and nice old lady….. or so they thought. Told by narration we revisit the town,locations, sites and the house itself Six Degrees of Helter Skelter style while the gruesome, horrific, unspeakable discoveries and facts come to light about the truly sadistic, evil freak she was. Rivaling Gein, Dahmer and HH Holmes for over 6 decades Kemper amassed a staggering list of victims and a macabre museum of souvenirs. The film finishes with her trial, conviction and sentencing. Red Panic Button Films shows Hate a new face with a story of a destructive street punk loser that basically could care less about anything with a particular dislike for junkyard drivers side truck doors. He’s offered help and salvation mid way through but burns it in another act of rebellious pointless defiance. This one doesn’t have a pretty ending.

Last but certainly not least JABB Pictures causes us Grief by showing us the slow minute by minute, second by second basement torture of a guy who’s past has finally caught up with him and his poor completely innocent and unaware girlfriend. This short may be the biggest strain on the eyes making the viewer time conscious, appealing to fans of faux stuff films similar to August Underground. However this scene of circular torture may be the most impressive of the group considering the entire short is one continuous pan shot with no edits or re-takes. So all the yelling, screaming, dialogue and taunting had to continue for the full ten minutes and it was only shot once.

Hoover formed Jabb Pictures in 2008 teaching himself camera work, editing, producing and directing. His first film ‘Spike’ debuted in 2009 at HorrorHound weekend in Cincinnati and was chosen as an official selection at Fright Night Film Fest in Louisville Kentucky.  His second film ‘Polly’ debuted at HorrorHound March 2010. Receiving four out of five stars from several horror movie websites. With momentum on his side in March 2011 he started the Collective series hailed as the most unique short film collection of the independent scene. His first feature film is slated for an early 2013 release.

And The Oscar Goes To…

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A delightful silent film shot in stunning black and white and the moving saga of African-American maids in the Deep South particularly attracted the 6,000 voting members of the Academy of Motion Picture Arts and Sciences who determined nominees for the 84th annual Academy Awards. “Hugo” leads the pack with 11 nominations, but faces stiff competition from “The Artist,” a frontrunner on the verge of a sweep. Equally noteworthy is the best adapted screenplay category which has local ties thanks to “The Ides of March,” co-written by Beau Willimon, George Clooney and Grant Heslov based on Willimon’s fantastic political drama “Farragut North,” the winner of the 2005 Dayton Playhouse FutureFest.
As always, anything is possible when winners will be revealed Sunday, February 26 at the Hollywood and Highland Center in Los Angeles. I’m especially anticipating the overdue return of host Billy Crystal and his signature musical medley of Best Picture nominees. Here are my predictions in the top six categories.

 

BEST PICTURE

“The Artist”
“The Descendants”
“Extremely Loud & Incredibly Close”
“The Help”
“Hugo”
“Midnight in Paris”
“Moneyball”
“The Tree of Life”
“War Horse”

Overlooked: “50/50”; “A Better Life”; “Beginners”; “Bridesmaids,”; “The Conspirator”; “Contagion”; “Drive”; “The Girl with the Dragon Tattoo”; “Harry Potter and the Deathly Hallows: Part 2”; “The Ides of March”; “Like Crazy”; ”Margin Call”; “Melancholia”;  “Super 8”; “Tinker, Tailor, Soldier, Spy”; “Warrior”; “Weekend”;“Win Win”

Will Win: “The Artist”
Should Win/Shocker: “The Help”

I’m still a fan of the Academy’s long-standing tradition of placing five nominees here. Bloating the category to nine still feels excessive. At any rate, “The Artist,” an enjoyable French import saluting bygone Hollywood and the magic of movies, is the clear favorite in the minds of prognosticators and art house aficionados. However, it lacks the gravitas traditionally associated with Best Picture recipients and a compelling emotional center. Did anyone watch “The Artist” and feel a sense of connection? In the scheme of things, it’s important not to underestimate “The Help,” an inherently impactful American tale of triumph in the face of adversity, culturally and financially. Tate Taylor’s wonderfully engrossing adaptation of Kathryn Stockett’s best-seller, the only nominee the majority of America has seen, grossed $170 million. It also sparked a national discussion on civil rights and race relations, fueling the film’s thought-provoking significance in the Obama era. Due to its 10 nominations and critical acclaim, “The Artist” will likely become the second silent Best Picture winner in Oscar history, but I’m hoping “The Help” defies the odds to become the first film since 1932’s “Grand Hotel” to win Best Picture without nominations for direction or screenplay.

 

BEST DIRECTOR

Woody Allen, “Midnight in Paris”
Michel Hazavanicious, “The Artist”
Terrence Malik, “The Tree of Life”
Alexander Payne, “The Descendants”
Martin Scorcese, “Hugo”

Overlooked: J.J. Abrams, “Super 8”; Thomas Alfredson, “Tinker, Tailor, Soldier, Spy”; George Clooney, “The Ides of March”; Stephen Daldry, “Extremely Loud & Incredibly Close”; Drake Doremus, “Like Crazy”; David Fincher, “The Girl with the Dragon Tattoo”; Bennett Miller, “Moneyball”; Mike Mills, “Beginners”; Robert Redford, “The Conspirator”; Nicolas Winding Refn, “Drive”; Steven Soderbergh, “Contagion”; Tate Taylor, “The Help”; Lars von Trier, “Melancholia”; Chris Weitz, “A Better Life”; David Yates, “Harry Potter and the Deathly Hallows, Part 2”

Will/Should Win: Hazavanicious
Shocker: Malik

You can never discount Malik, especially when his exquisite yet polarizing “Tree of Life” gained enough support to be nominated for Best Picture over more commercial fare. Scorcese’s contributions are among his finest, but Hazavanicious skillfully resurrected a forgotten genre with intelligence, flair and whimsy.


BEST ACTOR

Demian Bichir, “A Better Life”
George Clooney, “The Descendants”
Jean Dujardin, “The Artist”
Gary Oldman, “Tinker, Tailor, Soldier, Spy”
Brad Pitt, “Moneyball”

Overlooked: Antonio Banderas, “The Skin I Live In”;  Asa Butterfield, “Hugo”; Dominic Cooper, “The Devil’s Double”; Daniel Craig, “The Girl with the Dragon Tattoo”; Tom Cullen, “Weekend”; Leonardo DiCaprio, “J. Edgar”; Joel Edgerton, “Warrior”; Michael Fassbender, “A Dangerous Method” and “Shame”; Paul Giamatti, “Win Win”; Ryan Gosling, “Drive” and “The Ides of March”; Joseph Gordon-Levitt, “50/50”; Tom Hardy, “Warrior”; Woody Harrelson, “Rampart”; Thomas Horn, “Extremely Loud & Incredibly Close”; Jeremy Irvine, “War Horse”; James McAvoy, “The Conspirator”; Ewan McGregor, “Beginners”; Chris New,
“Weekend”; Michael Shannon, “Take Shelter”; Jim Sturgess, “One Day”; Anton Yelchin, “Like Crazy”

Will/Should Win: Dujardin
Shocker: Bichir

Two months ago Clooney seemed unstoppable in his quest for a second Oscar. But as silent film star George Valentin, the incredibly expressive and charismatic Dujardin, attacking the Oscar campaign trail with a foreign charm not seen since Roberto Begnini (“Life is Beautiful”), including a visit to “Saturday Night Live,” scooped up precursor victories from the Screen Actors Guild and British Academy of Film and Television Arts. Although Clooney and Pitt delivered solid portrayals and the superbly understated Bichir could have a last-minute surge, Dujardin is a safe bet, particularly when his exceptionally detailed, Douglas Fairbanks-inspired performance wholeheartedly carries the believability of his film.

 

BEST ACTRESS

Glenn Close, “Albert Nobbs”
Viola Davis, “The Help”
Rooney Mara, “The Girl with the Dragon Tattoo”
Meryl Streep, “The Iron Lady”
Michelle Williams, “My Week with Marilyn”

Overlooked: Kirsten Dunst, “Melancholia”; Vera Farmiga, “Higher Ground”; Anne Hathaway, “One Day”; Felicity Jones, “Like Crazy”; Adepero Oduye, “Pariah”; Elizabeth Olsen, “Martha Marcy May Marlene”; Emma Stone, “The Help”; Tilda Swinton, “We Need to Talk About Kevin”; Charlize Theron, “Young Adult”; Mia Wasikowska, “Jane Eyre”; Rachel Weisz, “The Whistleblower”; Kristen Wiig, “Bridesmaids”; Robin Wright, “The Conspirator”

Will/Should Win: Davis
Shocker: Williams

The heated battle between Davis and Streep isn’t necessarily a nail-biter. Davis is in a Best Picture nominee. Davis has never won an Oscar. Davis received a standing ovation at the Screen Actors Guild Awards. Davis is on the brink of becoming only the second African-American to prevail in this category. Two-time winner Streep, whose excellent embodiment of Margaret Thatcher wasn’t enough to salvage her disjointed film, will undoubtedly return here again and again. In fact, she’ll probably be a serious frontrunner in 2014 for “August: Osage County.” It’s simply time for someone else to bask in the Oscar spotlight. Williams, slowly becoming an Oscar darling, could benefit from vote-splitting among her chief rivals, but expect the Academy to follow SAG and rally behind Davis’ phenomenally complex mix of introverted intensity and heartbreaking emotion as Aibileen Clark. If you’re not sure, just reflect upon “The Help’s” dramatic final minutes. Davis’ knockout confrontation with Bryce Dallas Howard (Hilly Holbrook) and tear-jerking farewell opposite Eleanor Henry (Mae Mobley) is the stuff Oscars are made of. Does Streep compare? Not this year.

 

BEST SUPPORTING ACTOR

Kenneth Branaugh, “My Week with Marilyn”
Jonah Hill, “Moneyball”
Nick Nolte, “Warrior”
Christopher Plummer, “Beginners”
Max von Sydow,” Extremely Loud & Incredibly Close”

Overlooked: Niels Arestrup, “War Horse”; Jim Broadbent, “The Iron Lady”; Albert Brooks, “Drive”; Jesper Christensen, “The Debt”; George Clooney, “The Ides of March”; Robert Forester, “The Descendants”; Paul Giamatti, “The Ides of March”; Armie Hammer, “J. Edgar”; John Hawkes, “Martha Marcy May Marlene”; Philip Seymour Hoffman, “The Ides of March”; Jeremy Irons, “Margin Call”; Ben Kingsley, “Hugo”; Kevin Kline, “The Conspirator”; Hunter McCracken, “The Tree of Life”; Viggo Mortensen, “A Dangerous Method”; Patton Oswalt, “Young Adult”; Brad Pitt, “The Tree of Life”; Christopher Plummer, “The Girl with the Dragon Tattoo”; Alan Rickman, “Harry Potter and the Deathly Hallows, Part 2”; Stellan Skarsgard, “Melancholia”; Andy Serkis, “Rise of the Planet of the Apes”; Kevin Spacey, “Margin Call”; Corey Stoll, “Midnight in Paris”; Burt Young, “Win Win”

Will/Should Win: Plummer
Shocker: Von Sydow

Two 82-year-old veterans rule this race. Plummer, splendid as the terminally ill Hal Fields who joyously comes out of the closet, has swept the precursors, but faces a surprising challenge from the quietly captivating von Sydow as an elderly mute who joins his grandson for a life-changing exploration through New York after 9/11. Nonetheless, Plummer, who should have been nominated for “The Sound of Music,” will finally and deservedly be an Oscar winner.

 

BEST SUPPORTING ACTRESS

Berenice Bejo, “The Artist”
Jessica Chastain, “The Help”
Melissa McCarthy, “Bridesmaids”
Janet McTeer, “Albert Nobbs”
Octavia Spencer, “The Help”

Overlooked: Kathy Bates, “Midnight in Paris,”; Sandra Bullock, “Extremely Loud & Incredibly Close”; Jessica Chastain, “The Debt,” “Take Shelter” and “The Tree of Life”; Marion Cotillard, “Midnight in Paris”; Judi Dench, “J. Edgar”; Dagmara Dominczyk, “Higher Ground”; Elle Fanning, “Super 8”; Charlotte Gainsbourg, “Melancholia”; Bryce Dallas Howard, “The Help”; Anjelica Houston, “50/50”;  Allison Janney, “The Help”; Keira Knightley, “A Dangerous Method”; Helen McCrory, “Hugo”; Carey Mulligan, “Drive” and “Shame”;  Vanessa Redgrave, “Coriolanus”; Maya Rudolph, “Bridesmaids”; Amy Ryan, “Win Win”; Sissy Spacek, “The Help”; Marisa Tomei, “The Ides of March”; Cicely Tyson, “The Help”; Emily Watson, “War Horse”; Naomi Watts, “J. Edgar”; Evan Rachel Wood, “The Conspirator” and “The Ides of March”; Shailene Woodley, “The Descendants”

Will/Should Win: Spencer
Shocker: McTeer

This is a terrific slate, particularly the inclusions of breakthrough talent Chastain and the strikingly transformative McTeer. Still, Spencer’s marvelous Minny Jackson was a luminously earthy, comedic and dramatic force to be reckoned with. Hopefully she will make Oscar history by joining Davis to become the first African-American duo to take leading and supporting honors. Davis and Spencer’s probable acceptance speeches could be very powerful so you might want to keep some tissues handy.

 

The 84th annual Academy Awards, hosted by Billy Crystal, will be telecast live on ABC Sunday, February 26 at 8:30 p.m. In related news, The Neon Movies, 130 E. Fifth St. in downtown Dayton, The Little Art Theatre, 247 Xenia Ave. in Yellow Springs, and FilmDayton will host Oscar parties Sunday evening. For information about the Neon’s festivities, call (937) 222-7469 or visit www.neonmovies.com. For Little Art inquiries, call (937) 767-7671 or visit www.littleart.com. For FilmDayton’s festivities, which will be held at Geez Grill and Pub, visit www.filmdayton.com

 

PINA is visceral tour de force must see film for everyone

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Having reviewed dance in Dayton for DMM for the last season and a half I have always talked about my love and passion for all things related to dance. This passion has driven me literally to commute to Columbus for three years for a Masters Degree in dance. I have sacrificed my paycheck to send a needy student away to a summer dance program to give them a chance. I am willing to get up at the crack of dawn to read dance articles and watch YouTube clips of companies from around the world. I have drawn the ire from some people in this community because of my honest and less than salutatory reviews of our local dance companies. It is obvious my passion is deep and resolute.

After seeing Pina I feel the sacrifice and passion are vindicated. This was more than a film about dance it was a visceral journey to a world that we so rarely get to see and inhabit. It is a world in which the singularity of Pina’s vision as an art maker (choreographer is just too limiting of a term) is brilliantly mapped out by the legendary filmmaker Wim Wenders with such loving and passionate detail. It is fascinating hearing her dancers speak about their lives with her, the company is still in existence and performing her work even though she passed away in 2009. They tell us how she did not need to over explain her process, that they [the dancers] will get it. You will get it to as a audience. Seeing that their commitment has an almost quasi-religious fervor, that they are missionaries for the high priestess that was and is Pina Bausch, was inspiring.

But what stood out to me the most was the assemblage of her stage works for the film. The carefully chosen locations for outside performances, which were juxtaposed against the staged works was fluid. It made you feel as a viewer that the level she is operating at as an art maker transcends the confines of mere mortal comprehension and limitations of the proscenium stage. This is heady stuff but it is also rooted in the emotive and spiritual realm that only a genius can tap into for artistic inspiration. We have to acknowledge in a world were everyone thinks they are special and worthy, that we are not, when faced with the staggering creative abilities of Pina Bausch. It is humbling. I couldn’t breathe after seeing this film. I ran through a gambit of emotions just walking to my car, culminating in tears.

I have said in several reviews and speaking at the last installment of Pecha Kucha that the Dayton Arts community needs to step it up. I have been very critical of the arts patrons for not educating themselves about the world outside the bubble of Dayton. Here is a golden opportunity if you are willing to take the journey. Jonathan and the crew at the Neon Movies have provided us with a venue to view brilliance. There are no more excuses.

After seeing this masterpiece (which I am planning to see again at least two more times), I am even more committed to this crusade for “quality” being the lynch pin of the art viewing experience in our community. So dance community of Dayton, I am serving notice. In the immortal words of Bette Davis, “Fasten your seatbelts, it’s going to be a bumpy night!” This film is here for a limited one-week engagement if you miss it, shame on you. This is the level we should all be striving for as art makers and patrons. It took a movie to give me the visceral dance experience that I have desperately wanted to see on our local stages.