Harvey (1950)

Harvey says a lot about filmmaking, and possibly only in retrospect after 64 years of the business and art continuing to change. Whether it's evolution or not depends on who is asking, but most people who watch Harvey will be able to explain why it's a great movie. Harvey began as a play by Mary Chase. The play itself, in print, I'd like to believe would be as in-demand as Shakespeare is in print.

That's why the movie works. It begins with a strong script (written by Chase and Oscar Brodney), and ends with an amazing performance by James Stewart that I believe redefines what it means to be a comedic actor. In the middle of all that are amazing performances by, among others, Josephine Hull (who won an Oscar for her role as Stewart's sister), Peggy Dow, and Charles Drake, and great direction by Henry Coster.

Now, I never said it's a perfect script. Harvey, unfortunately suffers from being a product of its time, and there are some jabs at women here and there. There's much worse in some shows and movies today, but it's especially noticeable in a black-and-white movie. There was also a very subtle remark that points to some racism, but, like before, today we still have things like that in today's media. The other problem with the film is Harvey's existence isn't always clearly defined and I thought there may have been some contradictions to how he's "on screen." It's cleared up in the end, and I'm sure re-watching the film will help me fill in some of these contradictions, but they did take me out of the moment once or twice. The good thing is that these contradictions are so rare because this movie is much more than its initial hook.

Harvey has multiple storylines to take the focus away from its main characters (Harvey and his friend Elwood P. Dowd, who's played by Stewart). Also, Harvey and Elwood aren't always hanging out together, which allows some breathing room for the actors and audience to also focus on who their characters are. This works especially well for Stewart as Elwood because Elwood is a remarkable man.

I seriously need to see more of Stewart's movies...Patrick Stewart, too, but that's another story | Copyright 1950 Universal Pictures

When I think of comedic actors, I usually think of people who go for the punchline, one-line, or slap in the face. They are trying to be funny, and usually they are. Stewart, on the other hand, just plays Elwood as the most regular guy in the world, but occasionally he'll have these moments that are just soul-searching. In the context of Harvey, it's kind of funny. More importantly, it's dramatic. I think Stewart played Elwood P. Dowd like he was in a more dramatic role, and more of a side character (if that makes sense). He's just in this world where he talks to a rabbit that's over 6' tall, and lives his kind of bland life. In fact, Harvey is one of the few things that livens it up. Stewart becomes a bystander in this movie, and he does more than play it straight. He plays it straight with (occasionally) no one crazy to react to since Harvey is a pretty calm character himself.

The rest of the film is rounded out by that excellent cast mentioned above, as they try to figure out how crazy Dowd is, and figure out their own problems. It's mostly love-life stuff, and thankfully it's not overly mushy (I think that was also a product of the times, but I'm not sure.)

I don't want to give anything away, but I'll leave by saying that this film is one of the best escapist movies. Just forget your problems for a while and watch it because Harvey shows that sometimes that's the best use of your time.

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Her (2013) | Short Review

This isn't a review, but I couldn't post nothing about this movie.

The more people talk to each other,  the better the world can become. That's what Spike Jonze's movie Her effortlessly points to, in a time when people are able to easily isolate themselves wherever they are.  The problem with writing a real review is there's a lot to discuss, and almost all of it is better suited to research papers, debates, and editorials, among other places. What can be said in this blog is that Her is amazing.

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We're The Millers (2013)

We're The Millers starts out pretty strong and then _____. It flattens out. A good cast, trying their best, can't make up for a script that begins to die the minute the premise (that thing the trailer uses to get people to see the movie) starts in the second act. What's left is a disappointment.

Jason Sudeikis is David, a drug dealer who is robbed of cash he needs to pay off his supplier (Ed Helms). To erase the debt, Helms arranges for Sudeikis to go to Mexico, and come back with a "smidge, smidge and a half" of marijuana. To cross the border inconspicuously Sudeikis decides to have two of his neighbors, a stripper played by Jennifer Aniston and an eighteen-year-old kid played by Will Poulter, and a homeless girl played by Emma Roberts, pose as a typical American family.

Once they get into Mexico, the terms of the deal become apparent. According to Helms a smidge is roughly a couple hundred bags of weed, enough to fill every hiding spot on a giant RV. Of course, nothing goes as planned and things get complicated when the family runs into a DEA agent, his wife, and their eighteen-year-old daughter (Nick Offerman, Kathryn Hahn, and Molly Quinn, respectively). They also run into other drug dealers who have a problem with the arrangement.

Focus on Molly Quinn and the problems with the movie become clear. It's half-baked. Her role in the film is strictly to hook up with Poulter's character. We know almost nothing about her outside of what her parents are like, the two of them have virtually no scenes together, and in the end Poulter wins her over because that's his major arc in the film. She doesn't get an arc in this movie, but she's used to make Poulter look like a nerd, a freak, and in the end a hero.

The rest of the movie has the "family" getting to know each other in some admittedly sweet scenes, and getting out of a few ridiculous jams. Unfortunately, this doesn't make up for when characters, mainly Sudeikis, have to behave like assholes just because the screenwriters throw another curveball to pad the movie.

In the end, the performances do save this movie. I believed all the actors involved liked working with each other, which is the only reason why this movie may be worth watching. They're all funny in it, but they have only themselves to thank for that.

But creating a meme template earns it another 

I'm keeping a copy right here for convenience.

The staying power of We're The Millers | Copyright 2013 Warner Brothers

Update: Also, this isn't Sudeikis at his toxic best. That's Colossal. His performance, and the writing around it, are phenomenal. 

We're The Millers is a Warner Brothers film directed by Rawson Marshall Thurber

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Iron Man 3 (2013) | Spoiler-Free

How do you successfully follow up The Avengers? That's is:
A) An obvious question Marvel Studios asked themselves
B) An obvious opening to this review
C) Scale back
D) All of the above

D is the answer.

Marvel did what they do best by bringing in the right people and changing the formula a bit from the previous films. This feels like a different Iron Man film than the others because it tries to bring certain elements full circle, even though the end of the era isn't until Avengers 2 (at least). Downey's role mostly remains the same (in quantity and quality), but Paltrow, Favreau, and Cheadle are all given a chance to do more than just act as Stark's foil this time.

The plot of the film is based on The Extremist storyline and the villains are The Mandarin and Aldrich Killian. These men are terrorists, who just want to wreak havoc on Tony and the world. To beef themselves up, Extremist is used to give Killian an edge against Tony's suits. This is one of the best parts of the film, as this movie has the best fight scenes of the stand-alone Iron Man films, people are actually able to physically threaten Tony, whether he has the suit or not.

Balancing out the action is a heavy dose of comedy, and some nice drama. Since this film is directed by Shane Black (who directed Downey in Kiss Kiss, Bang Bang), the banter, comebacks, and general a-hole-ness of Tony Stark is better than ever. Luckily, it's consistently funny, but not constantly present.

Since Shane Black is the director, it's also a Christmas movie | Copyright 2013 Marvel/Disney

A major focus is put on what happens to Tony after The Avengers. He's on put on edge after the experience and worries about the safety of himself, Pepper, and Rhodey. The scenes come through at a moment's notice, and to his credit, Downey transitions between everything thrown at him seamlessly. In doesn't matter if someone's wearing a super-suit and in the middle of a fight, or just relaxing on a couch because everything fits together perfectly in this film, and I'm probably going to look back and call it the best film of the summer.

Note: I recently revisited the movie and created a TV spot for it. It can be found here.

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Rise of the Guardians (2012)

Going against other big-name films at the box-office is always risky. There's a chance that each new film released will reach its own large demographic and everyone wins regardless of the final rankings, but there's also a chance that everyone will see that one franchise film-and who can blame them. Sadly, that happened to DreamWorks Animation's Rise of the Guardians. Years from now, it will be looked back on as that film people should have seen on the big screen and a holiday classic.

Rise of the Guardians is about the eternal battle between good and evil, and the soldiers in this battle are Santa, The Tooth Fairy, The Sandman, The Easter Bunny, and their new recruit Jack Frost, against Pitch Black: Creator of Nightmares. Both sides need the belief of children to exist and do their jobs, so both sides fight to make sure kids believe in them. That belief comes with its own reward as it allows The Guardians and Pitch to spread either joy or fear in fantastic ways.

This film tries to go deep into what it means to be one of these landmark figures that kids idolize, but only scratches the surface of what that means, leaving the rest up to the interpretation of kids watching the movie.

There aren't many characters in this film, and that's the way it should be. When dealing with all of the holidays coming together it's easy for small cameos to come up, and quickly become overwhelming. Instead, we are treated to a lot of great one-on-one moments with the people we've been introduced to. So, in a couple of ways, this is kind of like DreamWorks's Avengers.

Rise of the Guardians focuses on Jack Frost (Chris Pine), a mischievous little trouble maker who just likes to have fun. The role of being a guardian is thrust upon him without warning, but he ends up being a fast learner. Jack gets the most screen time and has a lot of great moments with each Guardian. I'm almost certain that all of the actors in this film recorded their lines together because the chemistry between everyone is phenomenal.

Since this is a DreamWorks film, people can expect nothing less than stunning visuals. Stunning action, set pieces, scenery, character design, the standard of Hollywood CGI films. Honestly though, that standard is really only guaranteed by the computer. Without designers coming up with this stuff, this film could have looked like a glossy video game-repetitive environments, characters, and everything else. Instead, any number of details could pop out to someone during any scene.

Two of my favorite scenes in this film involve how the Easter Bunny gets all of his eggs painted for easter, and a contest of who can collect the most teeth for The Tooth Fairy. Both scenes show how much fun these filmmakers wanted Rise of the Guardians to be, as the character's are constantly, comedically bouncing off each other while doing their tasks.

My only problem with this film is there may be one or two loose ends story-wise, and on the surface it is a real basic story. And what I mean by that is that the trailers (and this review) make it look like a lot less than it really is, so please check it out for yourselves.

Rise of the Guardians is a DreamWorks Animation film that stars Chris Pine, Alec Baldwin, Hugh Jackman, Isla Fisher, and Jude Law. It was directed by Peter Ramsey, adapted by David Lindsay-Abaire, and produced by Guillermo del Toro.

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The Amazing Spider-Man (2012)

I will always say this movie came out too soon (it's been almost five years and two months to the day that the Raimi trilogy came to a screeching halt). I will always compare this film to that entire trilogy, as well as the comics and tv-shows, and I will always say this is one of the best reboots since Batman Begins.

Marc Webb's Spider-Man does everything it can to both differentiate itself from and pay homage to the Spider-Man stories that came before it, to great effect. The origin story many of us can recite in our sleep has been given some flexibility and is actually able to start, and keep, the film going at a brisk pace. In this universe Peter Parker (Andrew Garfield) has not gone to college yet, has not met Mary-Jane Watson, and is still reeling from the disappearance of his parents. Also, he has to fight a very large Lizard...finally.

The film sets itself apart by trying to reinterpret every familiar moment in past stories, and creating new scenarios or ways to put that moment on screen. It all works well because it does maintain a very fresh feel to it. The performances behind the film are also fresh, and pretty wonderful all around. Andrew Garfield has made Peter and Spider-Man his own by stripping away some of the confidence the spider bite should have given him, and replacing it with the feeling that not much has really changed for the newfound superhero, and I mean all that in the best possible way. Emma Stone's Gwen Stacy is a great foil for Garfield as they have great chemistry together, and Stone is put through the ringer as Stacy goes through her own significant changes throughout the film.

Finally, Rhys Ifans Dr. Conners/Lizard is very different than any of the Lizards before him. He's not a family man, he seems pretty far from being in his late 30s or early 40s, and he's very much in control of his actions. Instead of being a mindless monster, which could have easily happened, the Lizard is a very strong, very smart mastermind. And the only thing I found weird about him is that he didn't have the elongated jaw The Lizard is known for.

This was my desktop image at one point. If I could have one high-quality Spider-Man costume, it'd be this one | Copyright 2012 Sony

Visually this film is the definition of the word eye-candy with great moments Spider-Man swinging through New York in first and third-person views. Everything is done very quickly, but very smoothly too as you can see every impossible feat of acrobatics in full view.

I couldn't find any real faults with the film other than some of the romantic elements between Peter and Gwen could have been played a little faster, and a few questions have been left for the sequel, guaranteeing that I'll come back for more.

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Snow White and the Huntsman (2012)

Snow White and the Huntsman is the second film this year to turn the fairytale of Snow White and the Seven Dwarfs on its head, and the first one I've seen, since I missed Mirror, Mirror. So while I am missing one basis of comparison, I think I've seen enough other films I can use to draw comparisons, as Snow White and the Huntsman doesn't offer a lot of new things. What it does offer is great performances by two of three major stars, Chris Hemsworth as the Huntsman and Charlize Theron as the evil queen Ravenna, and a good performance by Kristen Stewart as Snow White. These performances don't make up for a film that typically feels jumbled, senseless, and long and boring.

Snow White and the Huntsman is about how Snow White escapes from prison and is then hunted by the queen and her army because taking her heart (the same way Mola Ram takes hearts) will grant the queen eternal life, youth, and power. She employs the huntsman, who quickly joins Snow White anyway, and they trek back to the kingdom and meet a lot of weird creatures, like a troll, ravens, a stag, and a few dwarfs, along the way.

To fill the unnecessary two-hour runtime, the journey is full of several set-pieces and scenes that range from great and short (such as the troll scene) to just filler (the scene with the stag, which features a sour ending). A few puzzling moments are why did the queen let Snow White live in the first place, when she is clearly cold-hearted enough to kill her as a child? Why is a horse conveniently available when needed? Why can't I remember key scenes in this film? There aren't many. Honestly, the film started out strong and I wanted to see it in the first place, and it's not as jumbled as you may think it is. But the more it went on the more disappointed I got. I kept analyzing it, and not in the way I like to. It wasn't, "what's going on in this scene and these characters?" It was, "what the hell am I watching, this is weird." My main problem is all the characters and situations were underwritten (by Evan Daugherty, John Lee Hancock, and Hossein Amini), except for Hemsworth and Theron, so I didn't give a damn what happened.

The production value, effects, and behind the scenes work on this film all looked great to me, but it's all wasted on a weak script and weak film. Other than that if you still see it, enjoy the fight scenes, it's all there really is.

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