Premium Rush

When YouTube was still in its infancy, some of the earliest viral videos I remember watching were bicyclists doing trick moves to hop up steep inclines and thread the needle in tough to reach places.

It was parkour… but with bikes!

And you know what I always thought those videos were missing? Bumbling cops chasing these daredevils for absurd comic relief.

Thankfully, “Premium Rush” delivers.

And “delivers” is the right word, because “Premium Rush” is about that most loved of all groups of people, bike couriers. Yes, now those annoying people who you just want to run over in traffic (unless they’re bringing you your Jimmy Johns) have their own movie dedicated to making you wish you were as constantly amped as they are. Continue reading “Premium Rush”

The Grey

The howling of wolves seems to echo around you whichever way you turn. They don’t attack, but they let you know of their presence.

“The Grey” is a film about being surrounded. You must learn to embrace all your senses while watching it, or this film will eat you alive.

I admittedly had low expectations for “The Grey” when it was released in early January. The ads gave the gist that it was a movie about Liam Neeson fighting wolves. Awesome.

Well yes, it is. It’s a gross, claustrophobic, allegoric monster movie in everything but setting. A team of ex-convict workers take a job in Alaska and end up surviving a plane crash in the frozen tundra only to be hunted by wolves in their nesting territory. Continue reading “The Grey”

The Bourne Legacy

After four movies in the Jason Bourne franchise, the only real thing we need to know about Treadstone is that it’s bad, it’s embarrassing to the American government and it’s a PR nightmare that needs to be erased.

So why do we need “The Bourne Legacy” to tediously fill in the details in the same dry, gritty, copycat style as though it were 2+ hours of deleted footage from the Bourne trilogy?

“The Bourne Legacy” is an absurd film bogged down with an endless arsenal of uninteresting characters, pseudo-science jargon and strictly serious attitudes. It’s about as ridiculous as a Bond film but hardly any fun. Continue reading “The Bourne Legacy”

Ruby Sparks

Great fiction is almost always as good as its most interesting character. Zoe Kazan has written for herself a wonderfully infectious sprite in this film’s title character, Ruby Sparks. Her bright red hair beams off the screen, she’s charming as hell and we don’t seem to mind that’s she blatantly a mystical, hipster dream girl.

But the big problem with “Ruby Sparks” is that the film is really about Ruby’s fictional creator, Calvin (Paul Dano), and not her.

Calvin is the modern equivalent of J.D. Salinger, a visionary who wrote the next great American novel at 19, now plagued with writer’s block trying to envision the next big idea. Calvin’s surrounded by pretentious, faux-intellectuals and his shallow, sex-craved brother Harry (Chris Messina), so you can see why Calvin would feel like a hack if these were the people who admired him.

In a desperate fervor to understand himself, Calvin puts into words the girl of his dreams. In his imagination, she’s constantly backlit with God-like sunlight, and his vision of her is an amalgam of romantic quirks. She’s from Dayton, Ohio, doesn’t know how to drive, is an amateur painter, and so on. Ruby is perfect in all her imperfections. Continue reading “Ruby Sparks”

Beasts of the Southern Wild

The lovely independent film “Beasts of the Southern Wild” is set in the near future when the polar ice caps have begun to melt, the Earth is being slowly flooded and the civilized world has constructed giant levees to stave off inevitable destruction.

Many of these adults will know what it is to survive nature and the struggle of living with it. But like the film’s young hero, Hushpuppy, generations will be born with no memory of a world without water everywhere. For them, every move they’ve ever made has and will have an impact on the natural world around them.

Benh Zeitlin’s “Beasts of the Southern Wild” is a wondrous, poetic, beautiful film about all the things humans can do when we stop acting like people afraid of nature and start living like brave beasts that become one with the world. It’s about color, light and discovery. It’s about being loved by the world, loving it back and understanding how to truly live. It’s about facing the other beasts of the world, and doing it head on.

Doing this with such strength, conviction and attitude is Hushpuppy, played by the young, first time actress Quvenzhanè Wallis. Wallis was only 5 at the time of filming, now 8. Boy does she have the spark. Standing scrawny, but tall with a commanding pout, she owns the screen. She’s capable of it because her character believes so strongly that her actions and responsibilities have consequences on the entire universe. Hushpuppy bonds with the world, and Wallis bonds as deeply with us.

She lives on a newly formed island in the Deep South known only as The Bathtub. The ragged shacks, dirty streets and wild vegetation remind us of the images immediately after Hurricane Katrina in New Orleans. But politics and history are the furthest thing from this film’s mind. This community is full of life and beauty.

The camera bobbles around like an excitable child, looking up at the natural world with a short attention span to all the colors, light and details exploding from the frame. It’s as if we’re sharing Hushpuppy’s innocent perspective. We can only pin down a few specifics of what we see, but this place is home.

Contrast that with the pallid white and blue lighting of the “civilized world.” Never has such a place looked so foreign, and never has a little girl looked so lost in a cute powder blue dress. Hushpuppy and her father Wink (another first time actor, Dwight Henry) end up in the hospital after a horrible storm has nearly drowned The Bathtub. Wink has been coughing blood, and in a desperate attempt to find dry ground so he can recover, ends up blowing up a levee wall.

The heartbreaking beauty of “Beasts of the Southern Wild” is that, in her naïve innocence, Hushpuppy feels responsible for her father’s illness. She was angry at him, and his sickness seemed to send the rest of the planet into imbalance. For her, everything is connected, and she can’t let the world fall into ruin any more than she can allow her father to die.

Hushpuppy observes death and life with practical metaphors. Her childlike pronunciation achieves a poetry of its own that’s typically absent from gritty indies such as this. To her, being put on life support means being plugged into a wall. Or before there were people, all the beasts in the “Iced Age” were strong and didn’t act like “pussies.” Wallis grants the movie such authenticity by just acting her age.

And “Beasts’s” authenticity is its greatest gift. It views a futuristic, post-apocalyptic world of sorts, and yet it maintains a rustic, at home flavor that feels wondrous and fantastical. Zeitlin has the film’s tone in the right place. There are some gruesome images of poverty and the violence of Mother Nature, but it doesn’t drown the audience in depression or inundate us with parables and winning spirits. Like the tough-love fire in Wink’s eye as he yells at Hushpuppy to eat her crab not with a knife but with her bare hands, the movie has a hard-knock pluck that inspires and moves us in every moment.

It forces us to use our bodies and our hearts, not our tools of logic, to appreciate its charms. “Beasts of the Southern Wild” will demand some patience and strength to appreciate its vivid, visceral charms. But those who embrace their wild side will discover a whole new, beautiful world.

4 stars

Hope Springs

I confess that there are problems married couples encounter in their sex lives that I am not yet equipped to understand. Even after decades together, two people can reach a point where they cannot create intimacy, romance or spontaneity. They are stuck; too afraid to make sparks.

It’s one reason “Hope Springs” will resonate more with elderly audiences than it did with me. The rift between Kay and Arnold may be all too familiar to some. In that way, David Frankel has organized his film and his characters in such a way that anyone could project their own problems onto the scenario. Continue reading “Hope Springs”

Wordplay

I need an eight-letter word for “clever, fun documentary.” “Wordplay.”

The simple answer to “Wordplay” is that it’s a pleasant doc about the joy of doing crossword puzzles. If, like a crossword, you think such a documentary would be a meaningless waste of your time, you may find that Patrick Creadon’s film is actually about thinking differently and finding uses for these trivial facts. Continue reading “Wordplay”

The Dark Knight Rises

The bat signal is lit. Since 2008’s “The Dark Knight,” the world needed another proper superhero movie, one that tested our minds and rattled our core.

Christopher Nolan’s follow-up, “The Dark Knight Rises,” is more of an enduring challenge than some will expect. For others, it will even feel little like a superhero movie. But its heavy themes of untapped emotion and social anarchy dwarf the flimsy blandness of “The Avengers” and “The Amazing Spiderman.” It does the Batman franchise proud. Continue reading “The Dark Knight Rises”

To Rome With Love

“To Rome With Love” is a disappointing follow-up to Woody Allen’s delightful “Midnight in Paris.”

Woody Allen’s “To Rome With Love” is a movie about living out your fantasies of love and discovery. Its stories aren’t likely, so it’s a fantasy of its own, but not in the way of “Midnight in Paris.” Rather, it’s like the warm and gooey dream that feels embarrassingly stupid after you wake up.

In the last few years, Allen has made a trilogy of films in Europe, first in Barcelona, then in Paris and now the Italian Eternal City of Rome. The first problem is that this feels more like a travelogue than any of the others. It invites you into the city and makes time for sightseeing and an admiration of architecture, but then it makes its native Italians into goofy caricatures.

We see Romans as adulterers, Communists, sex craved, tabloid craved, wanderers with no sense of direction and angry mothers brandishing butcher knives.

The movie itself has this two-handed approach to its fantasies. “To Rome With Love” simultaneously tries to pull you toward and away from the romance of the story. The four anecdotes it tells are too dopey to be taken seriously and too familiar and incidental to really laugh at. Continue reading “To Rome With Love”

The Tsunami and the Cherry Blossom

The Japanese word “sakura” refers to the blooming of Japan’s cherry blossoms in the spring, but it literally translates to “beautiful, but not showy.”

The documentary short “The Tsunami and the Cherry Blossom” is steeped in artistic beauty, but it feels just right in capturing the mood between tragedy and hopeful optimism for the future.

Lucy Walker’s Oscar nominated short documents the tsunami that hit Japan on March 11, 2011. The opening sequence is a cell phone video of the destruction in near real time. It all happens so quickly, but as we see it unfurl, it seems to be gradually happening as though time has slowed to a sickening crawl. It’s a powerful sensation. Continue reading “The Tsunami and the Cherry Blossom”