Jersey Boys (2014)

I have not seen the acclaimed Broadway musical, but I imagine it must be better than the film adaptation.  One of the distinctive features of the stage version is that the play is divided into four "seasons" each telling the story from a different point of view.  There are, of course, conflicting accounts of how the famed Four Seasons rose to and fell from fame.  The innovative Rashomon-effect in the stage version gets lost in the movie.

The movie features Tony-winner John Lloyd Young from the original Broadway cast reprising his role as Frankie Valli.  He nails that legendary falsetto, hitting all the high notes.  Christopher Walken provides some comic moments and looks much more comfortable in this movie with music as opposed to the NBC live musical Peter Pan.  Jersey Boys does come off as movie with music, not featuring enough of the great music to really be called a musical.  It has its high moments of musical excitement, but there are too much dramatics in between (in thick Jersey accents).  Clint Eastwood does a good job of capturing an old feel of 1950s/60s New Jersey.  And he makes a cameo appearance in the movie (see if you can spot him).

The Interview (2014)

I readily admit that I probably would not have seen this movie had it not been for all the controversy brought by the cyber-terrorist attack.  It is important that the right to free speech be preserved and protected and that no one, let alone cyber-terrorists, be allowed to decide what may be said.  Political satire has been consistently protected by the Constitution--it is the Constitution not terrorism that dictates law in America.  

The movie just as much a satire on the North Korean regime as it is on the American media.  It presents an interesting idea about politics.  How does a regime fall?  The initial plan is to kill the Supreme Leader, hoping that a better leader will usurp power.  But of course there is a Plan B.  Plan B shows the full potential of the media in its power to affect change and to make the public aware of what has been kept secret.

That being said, it is not a great movie.  It has its funny moments, mostly in the beginning of the film (I appreciate a good Hobbit reference).  As the movie progresses, the jokes get old.  We don't know too much about Kim Jong Un, so Randall Park runs with his portrayal, playing a shy, not-very-charismatic leader.  His depiction of the Supreme Leader is almost as funny as Margaret Cho's portrayal of the late Kim Jong Il in 30 Rock.  I've come to rather like Seth Rogen who is quite likable, but James Franco just comes off as annoying.    

Still Alice (2014)

Julianne Moore is a top contender for the Academy Award for Best Actress this year with very good reason.  Her performance as a Columbia professor with early onset Alzheimer's disease is touching.  We watch Moore transform as her disease progresses in some very emotional, but not overly sentimental, scenes.  One of the most poignant scenes comes when Alice gives a speech at an Alzheimer's conference, resourcefully overcoming her disability to give a beautiful speech.  The movie is not just about deterioration of a brilliant mind, but also has its own moments of joy as life does.  The movie's depiction of Alzheimer's is brutally honest but it refrains from being cliched.

I came into the movie expecting  an excellent performance from Julianne Moore, and I was pleasantly surprised to find a very good supporting cast as well.  Alzheimer's affects the whole family and Alice's children and husband each react in their own ways.  It is interesting to see the different responses of Alice's two daughters, one of whom is played by Kristen Stewart.  She has broken out of her restrictively flat Twilight character to surprisingly show some real depth in a few scenes. Keep an eye out for more good work from Stewart. 

Manhattan (1979)

This Woody Allen classic is a love letter to the great city of New York that so many of his films take place in.  But Manhattan is not just the setting, it is a character in and of itself.  It is a character that Isaac (Allen) "adores" in his quotable opening monologue.    Allen's musings on life and art are narrated over awe-inspiring black-and-white shots of New York and Gershwin's incomparable Rhapsody in Blue.  The shots are timed perfectly with the music, culminating in fireworks exploding on the beat.

The black-and-white photography gives a vintage look to some of the dark scenes, such as the iconic scene by the Queensboro bridge in which the audience sees only in shadows against the night.  The scene in the planetarium is so dark that the viewer can just barely make out the outlines of the characters in a beautifully romantic scene.

Allen delightfully depicts intellectual, upper-class life, epitomized by Diane Keaton's character (a different kind of character than Annie Hall).  But the best performance comes from young Mariel Hemingway, who has the most complex role.  She plays a character more mature beyond her years and it is her performance that keeps the plot grounded    

The Hobbit: The Battle of the Five Armies (2014)

I still maintain that the Hobbit did not need three films to tell a complete and satisfying tale.  In the novel, Bilbo misses the majority of the climactic battle, resulting in a battle that only lasts a few pages. Comparatively, this battle lasts for over two hours.  The movie is mostly this one gigantic battle, and it gets a little old.  The whole movie is literally battle scenes without much room for plot, not that much plot was left after the second film. That being said, this is the shortest film in either trilogy, rightfully so.

Nonetheless, this movie is the culmination of over a decade of work by Peter Jackson.  This is the capstone on JRR Tolkienn's imaginative masterwork that is Middle Earth (I don't see Peter Jackson making a film version of the Silmarillion).  It is a fitting end to an excellent series.  If the series was characterized by epic battles, this movie certainly epitomizes epic battles.  If Peter Jackson was a master of visual effects, the opening sequence in which Smaug the dragon destroys the town is stunning.  Remember that magical score by Howard Shore from the original trilogy?  The final scene in the Shire (coming full circle) closes with the theme we know and love.  The ending credits have a familiar voice in Billy Boyd (Peregrin Took from the original trilogy) who fittingly sings "The Last Goodbye."  Goodbye Middle Earth...  

  

Kramer vs. Kramer (1979)

Meryl Streep and Dustin Hoffman both give Oscar-winning performances in this movie that relies on good actors bringing a strong screenplay to life.  On its face, the movie is about a divorce and its effect on the family, culminating in a custody battle.  At its core, the story is about the evolution of the boy's relationship with his father.  Phenomenal acting from both father and son (Justin Henry is the youngest Oscar nominee ever at age 8) show the changing dynamics of their love.  The story is very touching and raises a lot of thought provoking questions about gender roles in the 1970s.  

Nightcrawler (2014)

Nightcrawler is a devilishly stylish thriller.  Jake Gyllenhaal plays a troubled man who films crime scenes and sells footage to news stations.  The idea is novel and the execution is superb.  Jake Gyllenhaal keeps you on the edge of your seat, guessing what conniving thing he'll do next.  He's a fast talker with a unique outlook on life, which he voices often.  He says his lines straight faced, deadpan in all seriousness, even when the words coming out of his mouth are twisted.  Most of the action takes place at night, and the darkness amidst the lights of Los Angeles adds to the noir feel and atmosphere.  

Get On Up (2014)

The James Brown biopic is helmed by Chadwick Boseman who plays the Godfather of Soul convincingly.  He nails the huge ego and personality, the at-times-unintelligible speech, the dance moves, and the unforgettable singing voice.  However, a good performance can only carry the movie so far.  There is a lot of unnecessary time jumping and I think it would have been more appropriate for such a biopic to go through his life chronologically, to simply follow time linearly.  The movie is mostly about Brown's ego and how it affected his personal relationships.  I think we had enough of that; instead we were shorted on music in a movie about one of the greatest musicians of all time.        

Boyhood (2014)

Epic.  This sprawling tale about growing up in America is epic in scope.  Over a span of twelve years, Richard Linklater slowly put together his masterpiece.  At the outset of this project, he had major plot points in mind, but the script was not fully written; in fact, it was updated every year, partially based on how the actors developed.  A beautifully intimate character study, the movie follows two siblings and their divorced parents.  The audience watches these characters (and the actors) grow up.  It is fascinating to watch Mason Jr. and the actor Ellar Coltrane mature. It is heart wrenching to watch the parent-child relationships evolve and to watch life progress uninhibited.

The film has been described as a coming-of-age story of a young boy, which it is, but it is so much more.  While the focus is Mason Jr., we watch life go by for all of the characters.  The experiences the characters go through paint a detailed picture of American life in the twenty-first century.  Having the joy of watching their lives unfold is emotionally touching for the viewer.  Linklater's narrative lets the viewer empathize, relate, and reminisce.. and this experience is epic.

Begin Again (2013)

Begin Again is filled with good music.  Keira Knightley's singing voice is surprisingly pleasant.   Her singing is notably better than Adam Levine's acting.  Mark Ruffalo, as always is phenomenal.  The two leads have excellent chemistry.

However, the star of the film is definitely the music.  Gregg Alexander, John Carney and Glen Hansard have composed a solid soundtrack.  The song Lost Stars is sure to be a front runner for Best Song at the Oscars.  Carney is known for making movies about music, and he succeeds at integrating the songs into the plot.  The film must be compared to Once, and the fact of the matter is that Once is a better movie.  Begin Again seems to lack the emotional depth and the authenticity that Once has.

Cabaret (Broadway) (1998/2014)

In the recent restaging of Sam Mendes's Tony-award winning production of Cabaret, Alan Cumming reprises his role as the emcee at the Kit Kat Klub.  Studio 54 is transformed into the seedy Berlin nightclub with tables and lamps throughout the audience. The atmosphere in the theater is unlike anything else on Broadway.  Gaudy light bulbs line the walls (and light up the room periodically).  The lighting work is excellent, with good use and execution of the spotlight and shadows(especially in the second act).  The first thing you notice when you walk into the room is the stage (which is kind of small for a Broadway stage) which is uncovered without a curtain.  The orchestra sits above the stage and every scene or so you see the musicians shuffle in and out of the pit as they're also part of the company.  The orchestra gets its own moments to shine, with a big solo in the second act, though no overture.

The story of Cabaret is very dark, taking place as the Nazis come to power in late-Weimar Germany.  There is no definitive beginning, middle, end to the plot.  Coming out of the play, I was not quite sure what exactly had happened--if you take out the subplot, not that much happens with the main love story.  Maybe my own fault, the progression of the story is not totally clear.  The ending, especially, is a little difficult to interpret.

I appreciate the excellence of Kander and Ebb.  The songs sung in the Cabaret are metaphors for what is occurring outside the club enhancing the plot.  Their music and lyrics are brilliant. And the very best song is the opening Willkommen.  It is an excellent introduction to the Kit Kat Klub and Alan Cumming has mastered the song after hundreds of performances.

Alan Cumming is devilishly good.  A very versatile actor, this is the role he was born to play. He's so seedy, edgy and dark.  He plays the emcee as an overly sexualized ringleader.  He dances and sings his heart out.  His costume and makeup are perfectly fitting for his character.  A Tony winner already for this role, you can tell that he really enjoys playing the emcee.  Tony nominees Danny Burstein and Linda Emond are both excellent.

I suspect that if Emma Stone originated her role, she too would have received a nomination.  Emma Stone is stunningly gorgeous as the iconic Sally Bowles.  Her singing is not the best, but Sally Bowles is not the best singer.  she believes herself to be very talented, but in actuality is mediocre.  Her first number, Don't Tell Mama, puts her off to a good start.  She really shines in the titular number.  In Cabaret, the audience hears and feels her devastating anguish.  She builds up to the climax at the coda and lets the emotion flow uninhibited.  It noticeably and appropriately affects her pitch.  Her rendition is strikingly different from Liza Minelli's recording.  It is more raw and I think that's what the song calls for.  Any shortcomings she might have had in the first act is made up for completely by Cabaret.  (I hope the new cast, now with Emma Stone, does a recording)

Interstellar (2014)

Christopher Nolan makes some really special movies.  The unique ideas that he comes up with are always thrilling, mind blowing and thought provoking.  This is no exception.

Interstellar presents some really ambitious, out-there science fiction (in science fiction, you just have to roll with it).  Granted, some of the ideas are unbelievable, especially as you get further into the movie, but I feel like I followed it up to the last 20 minutes or so.  Without giving too much away, the story falls apart a bit at the conclusion.  Nonetheless, the film triumphs at integrating powerfully emotional scenes and human drama with a confusing and complex plot.  

On the creativity front, I was most impressed by the conception of the planets that they visit.  It's hard for us to imagine what the environment of other planets might be like, and Nolan shows us two interesting, well conceived theoretical planets.  The robots are not anthropomorphic, rather they are made up of four bars, that can arrange into different useful formations.  Perhaps the wackiest creative freedoms were taken in the physical representation of higher dimensions.

The visuals are stunning and are especially incredible in the IMAX 70mm format.  The visual effects, especially when in the emptiness of space, or in the unreal environments of the planets, or looking in a black hole or a worm hole, are breathtaking.

Hans Zimmer, as always, has composed a magnificently fitting score for the film.  With the backdrop of empty space, or the varied environments of the different planets, or the expansive corn fields on Earth marred by dust storms, Zimmer's score adapts and shines.

Interstellar features a star-studded cast, from frequent Nolan collaborator Michael Caine, to Hollywood's current it-man Matthew McConaughey.  McConaughey's character and dialogue resemble the soft philosophical ramblings that we've come to know him for in the Lincoln ads and True Detective. Anne Hathaway is also excellent, though she has way too much makeup for someone going to lonely outer space.  I appreciated the casting of Mackenzie Foy as a young Jessica Chastain.  The resemblance is uncanny and Foy proved to be a very capable young actress.

In summary, despite some problems with the plot and the science, Interstellar is a solid film that truly embodies the magic of the movies, featuring imagination, spectacle, and pure entertainment.

The Theory of Everything (2014)

The most memorable part of this movie is the incredible performances from the two leads, Eddie Redmayne and Felicity Jones.  Everyone will refer to this as the Stephen Hawking biopic, but do not forget that the screenplay is adapted from Jane Wilde Hawking's autobiography.  Stephen Hawking's ex-wife is just as important and Felicity Jones holds her own.  She plays a strong woman under a lot of pressure tasked with caring for not only her children but her husband requiring all of her attention.  Redmayne transforms into Stephen Hawking, and as his health deteriorates, his speech becomes more difficult to understand.  Eventually, he becomes mute but still communicates his feelings to the audience.  He walks crookedly (which is not easy for a mobile person) up till the point that he requires the aid of a wheelchair. And in the wheelchair, he convincingly plays a man who has lived with ALS for decades.

The adaptation does a good job of explaining the scientific theories to a general audience.  These are not easy concepts, and Stephen Hawking understood that.  His magnum opus "A Brief History of Time" made his ideas accessible for an audience without a scientific background.  The movie has some really beautiful scenes thanks to superb cinematography.   Footage from the early years appears as authentic as possible.   Complementing the cinematography is a lovely score.  Altogether, a tremendous movie.  

Gone Girl (2014)

Gillian Flynn pens the screen adaptation of her own best-selling novel.  As the original author, she has an intimate knowledge of the characters' complex mindsets and emotions.  In a very unique manner of storytelling, the audience is given a first person account by Affleck's Nick in the present, and a first person account by Pike's Amy in the past through diary entries. The two separated by stylistic fades to black--both presenting biased narratives.  In this way, the story unravels at a very deliberate pace, with reveals around every corner.

Adding to the intense level of suspense is the soundtrack by frequent David Fincher collaborators Atticus Ross and Trent Reznor of Nine Inch Nails.  The electronic sounds are ominous; they creep up on you and the tension builds mirroring the film perfectly.  Even if not terribly musical in the traditional sense, the score is so fitting and integral to the foreboding ambiance of the movie.

On the acting front, Rosamund Pike stands out in an excellent cast.  Without giving too much away, her character's mental state is quite complicated but she does a very good job.  Ben Affleck, too, acts convincingly as the "concerned" husband who is under close scrutiny for his wife's disappearance. And of course, thanks to David Fincher's direction, this all comes together eerily well.

Dirty Harry (1971)

After a lengthy discussion on 80s New York vigilante Bernhard Goetz in class, we watched this classic featuring Clint Eastwood in his iconic role as inspector Harry Calahan.  Quoting from my course syllabus: "The film is, and was so regarded as, a critique of, and protest against, the Warren Court's imposition of new constitutional rules on police procedures in the 1960s."  The film makes a very clear statement, with the police finding justice when the law fails to do so.  There is the constant conflict between due process and crime control that in a perfect world would not exist.  The law since the 1960s has been designed to deter bad police behavior and protect criminals' rights.  Dirty Harry could not care less about criminals' rights.

Of course, Dirty Harry is known for his famous line: "Go ahead, make my day" which doesn't appear in this film, but instead we get equally glorious "You've got to ask yourself one question: 'Do I feel lucky?' Well, do ya, punk?".  Eastwood does what he does best, playing a character is filled with intensity; he is the ultimate tough guy.  The film editing is exciting, the action is enticing, and the score is just perfect.  

The Giver (2014)

The movie is never quite as good as the book.  This movie never really captures the essence of the Newbery Medal winning book for which it is based. Lois Lowry creates a world of her own imagination, rich with detail.  This "perfect" world eliminates choice through a strict set of rules, creating a society of equality, sameness.  To start off, Jonas narrates the rules of the society.  But he does not explain to the audience what this society is about, only scratching the surface of the Lowry's creation. For those who have not read the book, they are thrown into this utopia/dystopia without the proper background.  Hollywood created a love story where there is none, not understanding that the people in the society are not capable of love.  Even the ending is slightly different (read: worse), not leaving room for audience interpretation.

The dialogue moves very quickly, with characters almost speaking over each other with little pause in between responses.  It comes off as almost robotic.  Maybe the director was going for flat to depict the lack of emotions, because even the incomparable Meryl Streep (whose role does not appear prominently in the book) and Jeff Bridges gives uninspired performances.

It is a very short film and the plot moves very quickly, so the audience is not given much time to digest anything.  But in that short time, there is some really beautiful cinematography.  The contrast of the black-and-white and the vibrant colors is stunning, and the flow of memories produce some incredible images.  In conclusion, read the book. 

Edge of Tomorrow (2014)

Edge of Tomorrow avoids the trap that so many science fiction films fall into.  The concept is refreshingly different and makes you think and thankfully, the plot is not so insane that you can't follow the story.  That comes down to good execution.  The audience doesn't know exactly what's going on until Tom Cruise's character finds out for himself, at which point it is described in thorough detail to make sure we all get it.  My one complaint on the plot is a minor glitch in the timeline that is either not explained well enough or an overlooked mistake.  

The movie resembles a video game, in which death only means starting again from the last checkpoint.  If you get it wrong the first time, you can go back and try again.  What we take for granted in video games is used in the movie as military strategy in a battle that resembles an alien D-Day.  Each day plays the same way, much like a computer program written to do very specific things in a game. Continuing the theme, the imaginative design of the movie is reminiscent of video games, complete with full-battle suits and robotic aliens.    

The Silence of the Lambs (1991)

Widely considered to be the first horror film to win the Oscar for best picture,  this film epitomizes the thriller genre.   Anthony Hopkins is so delectably creepy as the legendary Hannibal Lecter.  Although Hopkins steals the show,  Jodie Foster holds her own and develops her own juicy character of Clarice Starling.  Hannibal is a psychopathic mentalist who analyzes people,  using his skills to mess with people.   But Clarice sees through it and it is revealed that Hannibal can be useful in solving her case.  The two form a bond of sorts that is difficult to describe.    As with all horror movies,  the cinematography is very important.   It keeps you at the edge of your seat in anticipation,  whether it's through the lenses of night vision goggles or watching the elevator descend. Unlike many horror movies today,  the writing is superb.  It's so smart and Hannibal's dialogue is so creepy that it stays with you.    

My Emmy Picks 2014

Predicting the Emmys is very difficult considering the shear amount of high quality TV nowadays.  This is really a testament to the depth of the medium of television.  There are 26 categories at this Monday's Emmy telecast:

Acting

Lead Actor in a Comedy: Jim Parsons (Big Bang Theory) should repeat here in a relatively weak category

Lead Actress in a Comedy: Amy Poehler (Parks and Recreation), long overdue, should finally win her maiden Emmy though I would not count out Julia Louise Dreyfus (Veep) to win her third in a row

Supporting Actor in a Comedy: I pick Jesse Tyler Ferguson (Modern Family) to win his first but watch out for Tony Hale (Veep) to repeat

Supporting Actress in a Comedy: Allison Janney (Mom) also won this year for her role in Masters of Sex and could win a second, but don't underestimate the influence of Modern Family with its two-time winner Julie Bowen

Lead Actor in a Drama: It's a dead heat between Bryan Cranston (Breaking Bad) and Matthew McConaughey (True Detective) and I think McConaughey will win over Emmy voters though Bryan Cranston is probably the most deserving

Lead Actress in a Drama: Juliana Margulies (The Good Wife) gave her best performance yet and this will be the consolation prize for the snub in the Drama series category, but keep an eye out for Robin Wright (House of Cards)

Supporting Actor in a Drama: I see a three way race between Josh Charles (The Good Wife), Aaron Paul (Breaking Bad), and Peter Dinklage (Game of Thrones).  I think Emmy voters will not pass on the chance to award Paul one last time but I would be happy to see Charles win for his final season

Supporting Actress in a Drama: Remember when Maggie Smith (Downton Abbey) used to be a dead lock? But this is Anna Gunn's (Breaking Bad) race to lose.  A win for Christine Baranski (The Good Wife) would also be acceptable

Lead Actor in a Movie/Miniseries: In a very strong field, Billy Bob Thornton (Fargo) is the favorite to win

Lead Actress in a Movie/Miniseries: Cicely Tyson (The Trip to Bountiful) won a Tony for playing the same role on Broadway

Supporting Actor in a Movie/Miniseries: Matt Bomer (The Normal Heart) makes a huge transformation for his role as a man with AIDS; I would also look out for Martin Freeman (Sherlock) who could win a consolation prize here since he will likely lose in the the Lead Actor category to his costar in Fargo

Supporting Actress in a Movie/Miniseries: Allison Tolman (Fargo) has gotten the most buzz and the trio from American Horror Story will likely split voters paving the way for Tolman

Writing

Comedy: Orange is the New Black

Drama: Breaking Bad (Ozymandias, though it could easily be Felina)

Variety Special: 67th Tony Awards

Miniseries/Movie: The Normal Heart

Directing

Comedy: Modern Family

Drama: Breaking Bad

Variety Special: The Kennedy Center Honors

Miniseries/Movie: The Normal Heart 

Programs

Comedy: This probably comes down to a race between perennial favorite and four-time reigning champ Modern Family and the newcomer with the momentum Orange is the New Black.  I love Modern Family, but I'm betting on Black.

Drama: This category will mirror the Lead Actor category, but don't let the outcome of that race influence this one. Breaking Bad should edge out True Detective for its superb final season that wrapped everything up so perfectly.  Breaking Bad will go down in history as one of the best shows ever and I imagine they will go out on a high note. 

Variety: Last year, The Colbert Report ended The Daily Show's long reign and they could easily repeat this year, though Jon Stewart is still very much a factor.  However, this year also saw the rise of Jimmy Fallon and a revamped Tonight Show that has done well in the ratings and continues to deliver.  I predict a win for the Tonight Show

Miniseries: Fargo, hands down

Movie: The Normal Heart, because Emmy voters love Hollywood stars who do TV, but I love Sherlock. Sherlock is really the best

Reality: The Amazing Race used to win every year, as it should.  I pick Amazing Race to come back as it has before when Top Chef dethroned it.  The reigning champ The Voice is also a very strong contender but it really should be Amazing Race

Update: 11/26 in what was a very surprising award show.  American Horror Story and Sherlock swept the miniseries/movie acting categories (Sherlock deservedly, but surprisingly, so) and Sherlock also picked up a writing award.  Other surprises: Netflix shutout, Ty Burrell a two-time winner, Fargo and The Normal Heart go 0/10 acting awards

Tammy (2014)

Tammy is Melissa McCarthy's latest reincarnation of the same old character she always plays.  She typecast herself in a role that does not really let her talents shine.  She is a very funny comedian but I fear that in the future she will continue to be typecast.  The character is great in Bridesmaids,  but I think the audience has tired of it.  Susan Sarandon makes for a great crazy grandmother character.   The dynamic between her and McCarthy,  however, does not work nearly as well as with McCarthy and Sandra Bullock in The Heat.   Sarandon really gives it her all given subpar script.  It is amazing how many big names this script attracted and really goes to show the power and popularity of McCarthy.   

Capote (2005)

There's no denying that Philip Seymour Hoffman is incredibly captivating, completely becoming Truman Capote.  His Oscar was well deserved.  He nails the voice, the mannerisms, and the mindset of the man who captivated America with his true crime novel In Cold Blood.  I admit that sometimes it was a little difficult to understand what he was saying, but that just makes you listen more closely to the well written script.  While In Cold Blood gives us a little insight into the killers while the movie gives us intimate insight into the author at his height.  Capote spent six long years on this book.  Capote regularly expresses his frustration over how long it took. The film genuinely feels like six years, a little slow at times.  

The Square (2013)

How often do we witness history in the moment and have a camera handy to document it?   The Square follows a group of young people who understood the significance of the moment they were living in.  This is a film that will be shown in history classrooms across the world in fifteen years time when journalists and historians can look back at the Arab Spring with hindsight; and this will only have been made possible by the brave, young, revolutionaries of Egypt.  Throughout the film over a span of two years, we observe the passion in their voices and actions in fighting for a cause they truly believed in.

The footage is very intimate, bringing the viewer right in the middle of Tahrir Square, into the tents in peaceful times and fleeing the military in violent times.  The camerawork is fantastic, especially considering the hectic and dangerous circumstances under which it was done.  The shots of the shear number of angry people, with their different ideologies put aside, coming together to sit-in at Tahrir Square were incredibly moving.  Even the graffiti art is extraordinary.  The well-organized structure of the documentary has three distinct parts: protest against Mubarak, against the military, and against the Muslim Brotherhood.  The filmmakers make the effort to show all sides of the revolution from the viewpoints of the military, Brotherhood, and revolutionaries.

The revolution was brought about by the younger generation that was fed up with the Mubarak regime.  This is significant because they are the future.  Change is brought about by the large middle class; today's revolutionaries are just regular people.  Social media outlets like YouTube allowed the messages to disseminate quickly to millions of people.  This very much was a revolution of the people: the film shows what the revolution meant to individual people, from an international foreign-born star to a Muslim Brother.  It shows that revolution is long, tough and complex; it is far beyond just politics.  One of the big concerns of the film is that the revolutionaries were not organized enough.  The brutal truth was that they could not offer an alternative to the regime they sought to topple.  The film never shies away from the truth.    

Anchorman 2: The Legend Continues (2013)

This movie is very uniquely Will Ferrell-style comedy.  He assumes the now iconic character of Ron Burgundy and just runs with the ridiculous nonsense.  It is very fast paced, with jokes in rapid succession.  The jokes are not as memorable as those one-liners from the first film,, but many of them hit the nail right on the head thanks to good execution.  The cast has mastered improv techniques and funny-looking facial expressions.  Aside from jokes, the plot is a relevant, clever, and spot-on satire on cable news.   Burgundy finds work at the thinly veiled 24-hour news network.  What do they do when they don't have 24-hours worth of news? He helms the decline of journalism and the rise of car chases and animal videos.  To quote Will Ferrell, "You're welcome, America."             

Need For Speed (2014)

It's like watching a video game, except you're deprived of the joy of holding the controller in your hands.  So actually, it's like watching other people play video games.  Of course, people do that but I just do not get it.  The movie is bound to face comparison to the closest thing to it: Fast and Furious.  But this movie is missing the fun heist element.  Aaron Paul is probably the only redeeming quality in the movie.  I would say that his talents are wasted here on a flat character that is more or less a rip-off of his righteous, conscious-ridden, act-without-thinking Jesse Pinkman.  In the run up to the culminating race, the film actually plays out as a road trip movie across the country in a fancy car.  But much like real road trips, the car ride is boring without laughs or scenery.  

The Intouchables (2011)

This French film is a heartwarming and humorous variation on  Driving Miss Daisy,  though less about race and more about living a full life despite disability.  Philippe is a quadriplegic who hires Driss to be his new caregiver.  He chooses Driss, who is arguably the least qualified candidate,  because he does not want any pity.  The audience learns to not pity Philippe and to even laugh with him.  Driss is not only an employee,  but becomes a close friend.   They confide in each other,  joke with each other and expose each other to their interests.  Both actors do an excellent job and the writing is genuinely funny.

Dead Poets Society (1989)

Robin Williams delivered one of his most memorable roles in his Oscar nominated performance in Dead Poets Society.  Though a brilliant comedian, Williams was excellent in dramatic roles as well.  Full of quotable lines, creative lesson plans and inspirational life lessons, Williams's Mr. Keating is the English teacher everyone wishes they had.  Much of this can be attributed to good acting by Williams as well as a well written Oscar winning screenplay.  The film takes place in an elite boarding school, running the risk of alienating the general audience that cannot relate to the wealthy and privileged.  But this is not the case.  The students are for the most part down-to-earth. They have the same problems associated with growing up that everyone can relate to: academic pressure, family pressure, relationship issues.         

The Wind Rises (2013)

Having grown up with Hayao Miyazaki's films, I was very saddened to hear that he would be retiring.  This was his final film. In the past, Miyazaki has shown a fascination with flight (much like his protagonist), and his films have featured pacifist themes.  It is Miyazaki's only film based on real life, though it retains his signature fantastical elements in lifelike dreams and imagination. The Wind Rises is about Jiro Horikoshi, who designed Japanese war planes during WWII--or rather he designed planes that Japan used for war.  Miyazaki ran into some controversy.  The film does not attempt to glorify a weapons maker, but an engineer and artist whose art was corrupted by war.  Horikoshi sums his feelings up in one line: "All I wanted to do was to make something beautiful."

As always in Studio Ghibli's films, the animation is incredible.  Depicting prewar Japan (which I became very familiar with after taking a class on Modern Japan last semester), Horikoshi experiences the Great Kanto Earthquake of 1923.  Watching this animated world shake and the city set ablaze is a feat of animation.  If there is any question as to Miyazaki's pacifist views, all the characters question who the warplanes would be used to attack, surely not America.  After reading John Dower's Embracing Defeat, I learned that most Japanese in the weapons industry were always aware of how behind Japan was technologically.  They knew that western weapons were far superior and figured Japan would not dare bomb America.  Miyazaki does not shy away from the historical facts, but presents it honestly.

Guardians of the Galaxy (2014)

Unlike Marvel's other offerings,  this movie runs like one long joke.   Lucky for Marvel, it's very funny.  In the theater that I went to,  there was no pity laughter; it was all genuine riotous laughter.   Being unfamiliar with the comics,  I'm not sure how seriously it is supposed to be taken. This proves that action movies can be more than just special effect.   The writing can still shine (talking to you,  Transformers).  The out of place 70s/80s music in an outer space saga adds to the joke feeling.   It really shouldn't work, but it does.  It is mixed into the film well in the form of a mix tape taken from Earth.

The casting of Chris Pratt was perfect,  not too serious at all and so funny.   Probably best known for playing dim witted Andy in Parks and Recreation, who knew he could pull off the hero type (albeit not your conventional hero)? Personally,  my favorite character is Bradley Cooper as Rocket the genetically modified racoon.  The scenes in which I laughed the hardest were funny because of Rocket.  

Chef (2014)

It's delectable. This is simply a faultless feel-good comedy.  You can't go wrong with a movie about food!  Rachel Ray is always talking about a future in which there exists the smell-evision.  This film left me also wanting taste-evision.  Not only does it look like it tastes good, but the food genuinely looks good. Points for plating.

Jon Favreau leads a star studded cast.  I particularly enjoyed the supporting cast, especially John Leguizamo. Along with the Latin jazz soundtrack and Miami setting, he adds to the fun, Latin atmosphere of the film.

This is a very modern film.  Food trucks are the latest craze and the movie also highlights the power of social media.  Because of this, the film feels fresh even though the idea is not so original (man loses job, reinvents himself).

  

The Lego Movie (2014)

This is the best conceived animated film of the year by far.  The level of creativity on this film is at the highest level.  The dreaded super weapon is known as the Kragle, that's Krazy Glue with a few letters scratched out.  The animators have created entire cities out of Lego pieces and the characters quickly construct vehicles out of the beloved children's toys.  It looks like a really good stop motion, but it is in fact just innovative computer animation.  The visuals are just incredible.

The humor is fast-paced, clever, full of cultural references and just pure fun.  The movie is reminiscent of the cut scenes that can be found in Lego's series of video games (which I admit are quite fun).  The jokes are similar, the animation is similar, and the master builders are basically video game characters.  Whereas the video games and Lego sets separate Batman from Star Wars and pirate ships and the wild west, this film melds them all together, much to the benefit of Lego's marketing department.

The voice work is fantastic.  Chris Pratt is having a very good year.  As Emmett Brickowski, he nails the dim-witted, unassuming hero-type.  Morgan Freeman is perfect as usual as the wise mentor-type.  And Will Ferrell makes a surprise appearance in human form towards the end of the film.  Without spoilers, it is his appearance that gives the film its heart.  It was unexpected, but pleasantly thoughtful and wholly welcome.  

Cloudy with a Chance of Meatballs 2 (2013)

I'm a sucker for puns and this movie is just chock full of them, one after another.  The food that once rained down from the skies comes to life, each as a different appropriately named animal.  It's kind of like the animated food/animal version of Jurassic Park.  They create their own ecosystem and of course we can leave it to the evil corporations to destroy it.  There are some funny jokes but as far as animated flicks go, it does not have the emotion that you'd find in a Pixar movie or even in its predecessor.  The original was...well, original (though based on a book).  The sequel was less so, and not really necessary.    

Breaking Bad (2008-13)

I have finally finished Breaking Bad and it was certainly worth all the hype.  This was indisputably one of the best shows ever created.  It's so good that there is a Spanish language remake that has also found success.  All of the acting was superb--not just Emmy winners Bryan Cranston, Anna Gunn, and Aaron Paul, but everyone including the supporting cast and guest actors.  All of them are strong Emmy contenders.  But what makes this show so great?  It's the writing.  The plot is brilliant.  A high school chemistry teacher is diagnosed with cancer, and turns to cooking meth to pay his medical bills and support his family.  Walter White is a smart man who takes pride in his work.  Throughout the five seasons, Walter hatches intricately woven plans to achieve his goals and his been a joy watching them unfold slowly, deliberately, and perfectly.

In its final season, Breaking Bad really went above and beyond.  Every character (even those you might have since forgotten about) gets to wrap up his/her story line.  All loose ends are tied up and each person is given a satisfying ending.  Now, we have the spin-off Better Call Saul to look forward to.              

One Chance (2013)

The Paul Potts biopic features Tony-winner James Corden, who plays the nerve-wracked opera singer.  He is the best thing about this mediocre movie (It is rumored that he will succeed Craig Ferguson on the Late Late Show) .  The comedy is TV movie-type cheesy, though I admit some of the jokes are quite funny.  The Welsh accents are spot on.  Maybe that's what was so entertaining.  As an ardent Britain's Got Talent fan, I was disappointed to find that the majority of Potts's time on talent show was omitted from his story.  We get to watch a glimpse of his audition, with clips edited in from the actual audition of the judges (that means no one plays Simon, Piers, Amanda, or Ant and Dec)--Amanda gets teary eyed.  Potts struggled to follow his dream, then when he finally finds success on Britain's Got Talent, the movie ends.  Wish we could have basked in that success a little longer.    

The Amazing Spiderman 2 (2014)

This movie unfortunately will face comparisons.  Marvel had an incredibly strong showing this year with Captain America, X-Men and now Guardians of the Galaxy.  Spiderman is the weak link.  On top of that, I do not think the sequel was as good as the first one.  There were some really great scenes.  The movie really emphasizes Spiderman's  super quick reflexes with slow motion scenes.  The effects are well done in those scenes.  That being said, they are not nearly as entertaining as Quicksilver's shining moment in X-Men.

Andrew Garfield and Emma Stone are excellent.  Spiderman, as a superhero, has always been kind of lame/goofy when it comes to dialogue.  But I think the dialogue throughout the movie was relatively weak (You don't have dim sum at 8, Emma Stone!).  The screenplay was a little all over the place.  I would have been satisfied with just Green Goblin or just Electro, but we unnecessarily get both.  

Guess Who's Coming to Dinner (1967)

I had the luck to catch this historically important classic on TV the other day.   It is notable for being Katharine Hepburn's last collaboration with Spencer Tracy.  Both received Oscar nominations, with Hepburn winning. And I was pleased to see a shout out to Hopkins,  Sidney Poitier's character's Alma mater. Having been released in the sixties, the issue of race was highly controversial.   But I think this movie is still very relevant today, for interracial coupling is more common now than ever before.  It is interesting that much of the debate in the film seemed to not be over prejudice.   Based on merit, Poitier's Prentice is perfect.  Their only objection is based on color, but not because of bigotry.  The Drayton family is rather progressive, but they acknowledge that in 1960s America, such a marriage would face obstacles.  

Muppets Most Wanted (2014)

Some people don't get puppets.   But these are not just ordinary puppets.   The Muppets are special.   I am a fan of the Muppets.   The songs and dance, clever jokes with cultural references (Shawshank  Redemption!) ,  and oodles of cameos are pure fun.  Right from the start, they lower the bar from its fantastic predecessor, though they didn't have to, with the opening song "Everybody's knows the sequel is not quite as good."  It's actually a very catchy song as is the rest of the soundtrack.  As usual Tina Fey is hilarious as a Siberian gulag guard.   I'll admit,  puppets aren't for everyone,  but I can't resist the Muppets. 

The Hobbit: The Desolation of Smaug (2013)

A big improvement over its predecessor, but not quite as good as the original trilogy.  I'm still a little miffed that the very thin Hobbit was split into three movies.   This middle movie takes us almost to the end of the book.  And yet, I bet the third installment will be another three hour saga.  For the amount of plot that occurred,  the movie was just too long.

That being said,  there were some exhilarating scenes such as the one in which the dwarves and Bilbo are "barreling" down the river with the orcs and elves in pursuit.  Of course,  what we have all been waiting for was Smaug,  the fire-breathing Sherlock-voiced dragon.   He is certainly an incredible sight to see.   Peter Jackson's higher, realer frame rate shines in these scenes.   The visuals are enough to hold us over till the big Battle of the Five Armies. 

True Detective: Season 1 (2014)

True Detective is not just an average mystery.  It is half detective gothic, half rich character development, and its the latter half that really lets Matthew McConaughey and Woody Harrelson shine.  McConaughey is widely considered a front-runner (along with Bryan Cranston) in the Emmy race and rightly so, but Harrelson holds his own and does not let his costar overshadow him one bit.  If it had not been for McConaughey's momentum fresh off his Oscar win, I think Harrelson would be right up there with him.  His character might not be as mysterious or philosophical, but he has equal depth and range.  Together, their brilliant dialogue reinforces the intense atmosphere and dark style set by the Louisiana bayou.  T Bone Burnett backs that up with a fittingly ominous and gorgeous soundtrack.

We watch the characters evolve as well as the mystery unfold over a twelve year period.  In terms of storytelling, the format of the show allows for the story to unfold slowly, keeping the viewer transfixed.  Multiple timelines reveal different stages of the detective-work sometimes out of order, letting the viewer piece it together.  

Lone Survivor (2013)

Mark Wahlberg's war drama shows a mission gone wrong in Afghanistan.   This is a profile of modern warfare,  which is strikingly different from traditional war.   To be totally honest,  the setup seemed a little slow,  but such is modern war in which you must be patient.  Once the action starts,  it is unrelenting--fitting for such a brutal war.

The character development is a bit weak.   Why do we care about what happens to these characters?  Because they are servicemen who sacrifice their lives.  Their bravery and courage is inherent.   The opening sequence gives us a general sense of comradery and brotherhood.   We can characterize them stereotypically by what we know about the military,  but we don't really get to know any of these characters as individuals,  not even Mark Wahlberg's protagonist.

     

20 Feet From Stardom (2013)

This Oscar winning documentary profiles the lives of background singers,  including Rock and Roll Hall of Fame inductee Darlene Love.  If you like listening to some of the best singers in the industry belt out some good music,  well then you can't go wrong with this movie.   But moreover,  the movie really moves us into their shoes.   It begins at the start of their careers and the audience lives their ups and downs as they relive them. 

Locke (2013)

Locke is an experimental film, taking place completely within the tight confines of a car over the course of long drive to London.  This requires some creative camera work,  which was quite impressive.  The entire narrative is told over a series of phone calls.  On one end of the line is Tom Hardy's character,  whose smooth voice and captivating accent amazingly remains calm and collected as his life falls apart.  He is literally talking about of cement drying, no joke.

The Normal Heart (2014)

Unfortunately, I missed the Tony-winning production of The Normal Heart a couple of years back.  In the movie adaptation, Jim Parsons reprises his role, while Mark Ruffalo takes over the lead from Joe Mantello, demoted from his Tony-nominated performance as Ned Weeks to a supporting role.  Julia Roberts plays the role that won Ellen Barkin a Tony, and Matt Bomer plays the role that won John Benjain Hickey a Tony.  As with all of HBO's annual Emmy contenders, the acting is superb, scoring six well-deserved acting nominations.

The Normal Heart tells a very important story about the lack of attention the AIDS epidemic was receiving in the early eighties and I am surprised it had not been adapted for film earlier.  In any case, the issues are still relevant today.

The transition from stage to screen is evident.  There is a lot of grandstanding, soapbox speeches, and furious monologues.  It is very theatrical and though I did not see the play, I'm sure it worked well on stage.  But these theatrical elements are slightly awkward on screen.          

Non-Stop (2014)

Liam Neeson's latest action flick takes place within the confines of a plane.  The premise is intense, it's actually near-genius.  The possibility of the plane coming down constantly looms over Neeson.  The first half of the film is exhilarating, exciting.  But then it starts to go downhill into absurdity.  Without giving away too much, the resolution is unsatisfactory.

Perhaps the film's most egregious error is its waste of very fine actors.  Oscar winner Lupita Nyongo might just be the biggest actress of the year.  And yet, she has no more than 5 lines in the entire film.         

Mandela: Long Walk to Freedom (2013)

Idris Elba plays one of the most important figures of the twentieth century.  He is given lots of monologues to showcase his acting chops, including the very famous "It is an ideal for which I am prepared to die" speech.  Elba is very good, but, in my opinion, not as good as Morgan Freeman in Invictus.

U2 redeems itself with an Oscar-nominated original song, after the disaster that was Spiderman: Turn Off the Dark.  Ordinary Love has the authentic U2 sound that we know and love.  Had it not been for the infectious Let It Go, U2 likely would have won.

Mandela lived a very full and eventful life.  The fight against apartheid was very long.  Consequently, the movie tries to squeeze in too much, moving very quickly without going into much depth or explanation.    In that respect, the film does not strike an appropriate balance.  The movie already runs nearly two and a half hours and it still moves too fast.        

Emmy Nominations 2014: Who Is Missing and Who Stole Their Nominations?

Aside from reviewing movies, I will also offer my commentary on other media and entertainment. Here is who was left out of the Emmy nominations, and who took their place instead.

Lead Actor in a Drama Series
I, along with everyone else, expect this to be a close race between Bryan Cranston and Matthew McConaughey, fresh off an Oscar win.  I do not imagine Jeff Daniels will pull off another upset.  James Spader carries his show and he's devilishly good, but does not score a nomination.

Lead Actress in a Drama Series
Thank goodness Juliana Margulies broke back into this category after a stellar season.  Unexpected was Lizzy Caplan, sneaking into a very crowded category for a performance that is allegedly worthy.  However, I would have expected (preferred) to see Elisabeth Moss return with her dance to "My Way" or Tatiana Maslany, who is getting all the buzz on the internet.  It was excusable to overlook Maslany once, but two years in a row just tells us that the Emmys might be out of touch.

Lead Actor in a Comedy Series
Ricky Gervais managed to fill Jason Bateman's spot for Netflix, who scored 31 nominations (more than double its nominations last year, and more than perennial stalwart AMC).  William H. Macy successfully made the transition from Drama to Comedy for the same show.  Andy Samberg fails to convert his Golden Globe win into a nomination here.

Lead Actress in a Comedy Series
Taylor Schilling scores a nomination here as she should.  No big surprises here.  Perhaps Amy Poehler will finally win her much-deserved Emmy, riding a win at the Golden Globes and a brilliant finale.

Outstanding Comedy Series
Silicon Valley is a big surprise in this category, stealing a spot from Golden Globe winners Girls and this year's Brooklyn Nine Nine.  And of course Parks and Recreation is often unjustly left out.  Modern Family is going for five in a row, repeating the feat that only Frasier has achieved.

Outstanding Drama Series
Downton Abbey managed to somehow keep its spot in a rather nothing-special season, a far cry from its brilliant first season.   Instead I was hoping for, praying for, and really believed The Good Wife would break back into the category for the Big Four networks after a long campaign.  Game of Thrones leads the way with 19 nominations, but in the end, it will come down to Breaking Bad's final season and newcomer True Detective, which bravely chose to enter into the Drama category instead of miniseries, where it surely would have dominated.  

Other Notables

• As usual, Survivor is inexplicably left out of the Reality Competition category. Jeff Probst, the only host on reality television that isn't just reading a teleprompter or cue cards, somehow loses out to the likes of Betty White's Off Their Rockers.
• Emmy voters pass on Emilia Clarke in favor of her costar Lena Headey in the Supporting Actress in a Drama category, rightfully so.
• Modern Family does not steal all of the Supporting spots with only three nominations, notably leaving two-time winner Eric Stonestreet out.  Though his replacements deadpan Andre Braugher and SNL alum Fred Armisen are worthy.  On the other side, Kate McKinnon picks up the SNL slack with a nomination; she is in almost every sketch.  
• Orange is the New Black scores three guest acting nominations.  They will likely fight it out.  If they split Emmy voters, an SNL host could sneak a win.  
• Miniseries and Movie are split into two categories, so Fargo does not have to compete with The Normal Heart.  Consequently, no one is forgotten.    
• The new Tonight Show gets a nomination and actually stands a serious chance against favorites The Daily Show and The Colbert Report.  But in the future, the variety category needs to be split up to allow room for brilliant shows like Key & Peele, Inside Amy Schumer, Conan, and Portlandia.  Because really Real Time and SNL do not belong in the same category.

I will post my predictions as we get closer to awards night!

The Grand Budapest Hotel (2014)

Right from the beginning as the film opens with a yodel, you can tell that this film is something special.  Wes Anderson must be one of the most stylish directors out there and his storytelling ability is superb.  From his use of miniatures for wide shots, to the colorful costumes and ornate sets, Anderson gives this triumphantly fun adventure his distinctive signature stamp.  He presents an intriguing whodunnit that builds layers of mystery in a unique world of his own creation.

Ralph Fiennes is perfectly cast as the mustachioed concierge.  He delivers Anderson's trademark fast-paced, witty humor effortlessly.  Newcomer Tony Revolori shines as the dutiful young lobby boy Zero among a fantastic ensemble cast.  This movie has serious Oscar potential.  Maybe Wes Anderson will even land his first nomination for Best Picture.        

Smurfs 2 (2013)

Katy Perry's singing voice isn't the best, but her speaking voice as Smurfette is just unbearably annoying.  There were lots of recognizable voices behind the little blue creatures.  The only one that really made me laugh was George Lopez as Grouchy Smurf.  Jayma Mays has a funny bit disguised as Audrey Hepburn.  Hank Azaria's awkward gargantuan villain did not make me laugh either, but he gave a valiant effort as he always does. Usually, Neil Patrick Harris makes things better, but he really isn't given much to work with.  For the record, I have never really been a fan of the Smurfs cartoon.  They were creepy and they still are.  

Short Term 12 (2013)

Brie Larson plays a line facilitator at a group home for troubled teenagers in an incredibly moving and emotional performance.  The film does not shy away from the inherently heavy subject matter, rather Short Term 12 embraces it quite frankly without any sugarcoating.  The beautiful camerawork brings the audience the perspective of these kids far too often neglected.  Yet somehow, this story manages to be uplifting.  This is thanks to an exceptionally strong screenplay.

The teens, too, give excellent, believable performances.  Particularly, the actors who played Jayden, Marcus and Luis stood out.  Personally, my favorite scene is Marcus's brutally honest rap "So You Know What It's Like," which many Oscar pundits had predicted would score a nomination (It certainly should have found a spot over "Alone Yet Not Alone").  

The Pianist (2002)

As a classical pianist myself, Roman Polanski's depiction of a Jewish musician struggling to survive through the Holocaust really resonated me.  The film prominently features Chopin's Ballade No. 1, a favorite of mine that I have performed in the past.  Adrien Brody plays (or pretends to play) the piece, along with other pieces by the Polish virtuoso, convincingly.

I would like to compare this film with The Lady in Number 6: Music Saved My Life, the Oscar-winning documentary short.  The documentary depicts the beauty of music amid the horrors of the Holocaust.  It was music that helped the victims persevere.  The Pianist, historically accurate, is based on Wladyslaw Szpilman's autobiography.  On the contrary, he hides in quiet, denied the healing power of music even when he sits right in front of a piano.  When he plays for the patrons of a cafe, his music is ignored.  The movie is heartbreakingly powerful--but don't mistaken it for a movie about music, it is a movie about a musician, a survivor.  

How To Train Your Dragon 2 (2014)

The sequel to the children's favorite from 2010 does not disappoint.  In fact, it builds on the intriguing world created in the first film, including a new game of Quidditch on dragons.  The Vikings of the fictional town of Berk, much like those of the real world, begin to explore and consequently encounter new lands and peoples.  This movie takes a slightly darker, more mature turn than its predecessor, appropriately growing up with its audience.  With Pixar taking a break this year, Dreamworks picks up the slack with Pixar-level emotion.  It is highly imaginative film and the animators keep up with incredible artwork.  Who knew dragons could be drawn in so many different ways?  And the image of the giant Bewilderbeast is a brush stroke of brilliance.

Jack Ryan: Shadow Recruit (2014)

The latest installment in the Jack Ryan series features Chris Pine as the titular spy.  It appears that Pine is the go-to young actor for Hollywood reboots after two films playing Captain Kirk as well.  Quite frankly, Kirk is better.  Keira Knightley's performance is not her best work either.  A far cry from her much anticipated role in the upcoming Begin Again.  She did not seem very comfortable with the American accent.  Kenneth Branagh, on the other hand, nailed his accent and role as the Russian villain (just listen to how he says the word 'hotel').

The plot moves very quickly and as it unravels, it becomes a little ridiculous just how fast the questions are answered.  They go from having nothing to having all of the answers in three minutes.  However, I will give them points for one unusual plot point for a spy movie.  Jack Ryan works in finance and having taken a course this past semester on international macroeconomics, I was able to appreciate that the plot was advanced by Ryan entering the action after noticing financial inconsistencies.