The Muppets (2011)

On vacation in Los Angeles, Walter, the world's biggest Muppet fan, and his friends Gary (Jason Segel) and Mary (Amy Adams) from Smalltown, USA, discover the nefarious plan of oilman Tex Richman (Chris Cooper) to raze the Muppet Theater and drill for the oil recently discovered beneath the Muppets' former stomping grounds. To stage The Greatest Muppet Telethon Ever and raise the $10 million needed to save the theater, Walter, Mary and Gary help Kermit reunite the Muppets, who have all gone their separate ways: Fozzie now performs with a Reno casino tribute band called the Moopets, Miss Piggy is a plus-size fashion editor at Vogue Paris, Animal is in a Santa Barbara clinic for anger management, and Gonzo is a high-powered plumbing magnate.

The Muppets have never been something I was interested in. I never wanted to watch them as a kid, and I never really had any longing to see them now. Then the marketing kicked into full gear and did just an awesome job with its constant parodies. It did its job in pulling you in, but I somehow forgot this was going to be a Muppets movie with Muppet problems filled Muppet characters; something I have never found myself enjoying all that much.  

The gang this time around is past their heyday. All spread out around the world living their lives apart, but when the Muppet Theater is about to get destroyed because there is oil under it, an outside named Walter rally’s the troops together to try and save it. The formula is 100% predictable, but that’s now why people go and see this brand. Its for the humor which I thought was absolutely the complete opposite from their parody trailers, and had me practically falling asleep. I am just apart of the audience that doesn’t trigger with this film. I cannot get past a movie where the characters break out in dance and song and then when they are finished, continue along as if nothing just happened. My brain can let a lot of things go in a film, but that is the ONE thing I can’t just let go. That happens way too much for my liking.

With this film, you should be able to walk into it knowing full well if you’re going to enjoy it already. If the previous installments of the Muppets brought joy to you, I don’t see why you wouldn’t have a fun time with this one. If you are like me and have never been a fan, but was intrigued that it may have been something a little different based on the marketing, you will have to be cautious. If you don’t like the first ten minutes, you may as well turn it off because it doesn’t get any different then what you saw. It’s a long one note movie that seems to have a nostalgia factor that swooed the critics into remembering their past, therefor giving it a great review. I simply cannot do that because they were never in my past to begin with. I wanted to love it, but it just didn’t happen.

Overall Score: 4/10

Hugo (2011)

Hugo is the astonishing adventure of a wily and resourceful boy whose quest to unlock a secret left to him by his father will transform Hugo and all those around him, and reveal a safe and loving place he can call home.

If you are just walking into Hugo and watching it based solely off the trailers, you’d think it was going to be a kid’s movie. Just about everything about it screamed: FOR KIDS!!! Then you see it was directed by Martin Scorsese and you just know that something doesn’t add up. There is no way Scorsese would waste his time to direct something so pointless. Then the movie starts and about 5 minutes into it you knew you were right. This isn’t a kids movie, this is a film fans movie; a movie that takes you on a journey through cinema and relishes in the love for the past. One review said it perfect; it’s essentially a love letter.

The film begins as a child adventure with the protagonist on a journey to fix a machine that is dad never finished in hopes that it will fill the hole in his chest that his dad left upon him. This is surprisingly exciting to watch as he maneuvers around the train station hidden in walls and ceilings above. Once he meets a girl who has the key to everything he’s been looking for things really start to kick into gear. The mystery starts to feel more intense, the thrill of what is yet to be found keeps you on your toes leaning forward in anticipation. It’s very well-paced and doesn’t slow down until the reveal. Had the movie ended at the reveal, it would have been a tremendous disappointment because it initially comes as a let-down, but it doesn’t stop there. The background of the reveal is shown and this is when the real movie fans sit back and simply enjoy what’s on screen. All I can say with ruining it for the everyone is that it’s just pure nostalgia that should leave you with a big ass smirk when its finished. Martin Scorsese just simply outdoes himself here. It’s too bad the trailers didn’t sell it to an older crowd because that’s exactly the audience that should give this a watch.

There were a lot of recognizable faces in the cast, but the unknown lead Asa Butterfield does a great job here. Normally child actors just annoy the sit out of me, but under the direction of Scorsese, he controls his emotions and delivers a heartwarming performance that only wants you to cheer for him more. Chloe Mertz in a much more defined role then were accustomed to proves she has got to be one of the best child actors to ever walk into Hollywood. She can simply do it all. Her grandfather, Ben Kingsly, seems to get most of the credit in the awards circuit, but he was just alright to me. He didn’t do anything wrong, but I feel when it came down to it, Butterfield showed more raw emotion then Kingsley when called upon. Even somewhat annoying actors Jude Law and Sacha Baron Cohen managed to impress me as much as Kingsley.  It’s no wonder this film wound up so well when you can get the most out of your cast. Not a single character seemed to have been wasted.

If you a fan of movies, you owe yourself to go and watch this. Its one fo the most charming and enjoyable films you can have at the theater. Martin Scorsese use of 3D might be the best I have seen since Avatar, maybe even better since it was used in every single scene, rather than in just sections.  It may be the surprise hit of the year critically speaking, and most certainly deserves to be so. I thank you Scorsese for branching out of your comfort zone and giving us something so unexpected that we can all enjoy.

Overall Score: 9/10

Martha Marcy May Marlene (2011)

Martha Marcy May Marlene is a powerful psychological thriller starring Elizabeth Olsen as Martha, a young woman rapidly unraveling amidst her attempt to reclaim a normal life after fleeing from a cult and its charismatic leader (John Hawkes). Seeking help from her estranged older sister Lucy (Sarah Paulson) and brother-in-law (Hugh Dancy), Martha is unable and unwilling to reveal the truth about her disappearance. When her memories trigger a chilling paranoia that her former cult could still be pursuing her, the line between Martha's reality and delusion begins to blur.

Martha Marcy May Marlene is not only one of the biggest tongue twisters in the world but is one of best character dramas of the year. It centers on a character that is compelling enough to reveal two phases of her life at specific times to show the audience just how much control a cult has gained over her.  It dominates the screen time and reveals with fascinating detail exactly how it happened and what becomes of it.

The film takes place immediately after she escapes this cult and begins to live with her sister and brother-in-law. Through series of timely placed flashbacks, you see how she cannot do certain things in current time due to things they reveal during her time with the cult. Things from simply pouring a cup of water to sleeping come with oddities and difficulties that seem somewhat insignificant to us are a chore for our protagonist. The film’s accomplishment of establishing the cult into her life at a slow pace works wonders.  You begin to understand the cult and the purposes of its core just as you learn about the protagonist. The two gel into a pace that eventually feels like one thing. The editing of jumping between timelines with no warning help reveal tidbits you wouldn’t normally catch, and helps setup the ending of the film. A lot of people don’t like the ending because they probably didn’t understand it. If you paid attention to the similarities between he two timelines, the ending shouldn’t be as sudden as you thought. It has a pretty straight forward scenario that can only end in two ways and it does up to the audience too decide which one it will be. My guess, go with the one that makes the film feel better.

This is a cast that is controlled by two people. The newcomer Elizabeth Olsen, who is indeed a sister of the Olsen twins. She is great here, partially because it comes as a shock to some people because nobody thought an Olsen sister could act, but also because she controls the role ironically to a character whose actions have been twisted around one man. That man being John Hawkes, the leader of the cult. Hawkes has very quickly established himself as a threat to win an Oscar once again, and will surely be nominated for the second time in as many years. As the leader, he is charismatic, deceiving, and powerful despite his form simply because of the way Hawkes portrays himself. He has moved himself up the list of actors I’d pay to see in a movie.

Martha Marcy May Marlene is a rare film with an evener rarer subject matter. It’s wonderfully made; from its acting, to its score, and in the editing room. It is just all around well-done. When you finally get a chance to see this limited release gem, make sure you don’t pass it up.

Overall Score: 8/10

Take Shelter (2011)

 Curtis LaForche lives in a small Ohio town with his wife Samantha and six-year-old daughter Hannah, who is deaf. Money is tight, and navigating Hannah's healthcare and special needs education is a constant struggle. Despite that, Curtis and Samantha are very much in love and their family is a happy one. Then Curtis begins having terrifying dreams about an encroaching, apocalyptic storm. He chooses to keep the disturbance to himself, channeling his anxiety into the obsessive building of a storm shelter in their backyard. But the resulting strain on his marriage and tension within the community doesn't compare to Curtis' private fear of what his dreams may truly signify. Faced with the proposition that his disturbing visions signal disaster of one kind or another, Curtis confides in Samantha, testing the power of their bond against the highest possible stakes.

Take Shelter is a psychological thriller that can be downright haunting at times when it finally gets moving, but it seems to be standing still too long at certain moments in the film to keep you on the edge of your seat. But man o man, when it does get going, it gets 110% of your attention because it has moments of pure gold in filmmaking. Had it kept that pace for most of the film, it would surely be sitting near the top than the middle.

Our protagonist, Curtis, has a problem. He thinks the crazy gene that is passed down in his family has been passed to him. He sees things that nobody else seems to see, hears things only he can hear, and has strong panic attacks that take over his body.  Watching the paranoia overtake him and the eventual climax to all the build-up is fucking perfect. It reminds you exactly why you fell in love with movies in the first place. Its climax and ending both keep the tension at its highest point, and place dozen of questions into your head where the answers can only come from you and your interpretation of the film. Where I didn’t really enjoy it comes from the slow pace to that eventual climax. I don’t mind slowly paced dramas, but at times some of the material didn’t really add anything to the film, distorting your attention away from the film. It affected me from falling deeply in love with the film.

What I did fall in love with was Michael Shannon and the dynamite performance he gives here. He just dominates the screen and watching Shannon slowly go nuts is fascinating. His actions during the climax are enough to warrant his performance a top three for the year. Hopefully, during award season, he gets the attention he deserves and it leads to more roles like this instead of direct-to-dvd type of shit he’s put it out recently. His co-lead Jessica Chastin, the year’s breakout actress with 7 critically acclaimed movies, is in the unfortunate position to be once again cast in the shadow of somebody else. It seems to happen in all her movies, and it sucks because she is good in this, but will no doubt go unnoticed.

Take Shelter was one of this year’s most buzzed about films. Since its debut at Sundance, nothing but great things has been said about it.  It helped create an expectation that just couldn’t have been reached. It’s a film with a very strong performance carrying a good enough storyline that relied on a metaphor that could be the focal point on whether you like the film or not. It wasn’t the gritty drama I wanted, but still a film that tried enough to be worth your time.

Overall Score: 7.5/10

Like Crazy (2011)

A love story is both a physical and emotional tale, one that can be deeply personal and heartbreaking for an audience to experience. Director Drake Doremus' film Like Crazy beautifully illustrates how your first real love is as thrilling and blissful as it is devastating. When a British college student (Felicity Jones) falls for her American classmate (Anton Yelchin) they embark on a passionate and life-changing journey only to be separated when she violates the terms of her visa. Like Crazy explores how a couple faces the real challenges of being together and of being apart.

Like Crazy is a very raw film. You can detect the films low budget and improvised set pieces simply by watching. It’s one of the more important factors that prove to be a strong technique in its story telling because this isn’t your typical romance movie. It doesn’t try to be flashy and come off as a “typical” teenage romance, but instead aims for a far more realistic perspective through the eyes of two people that want to be together, but always find themselves apart. It’s a compelling watch, which at times, becomes hard to get through.  

The relationship of the couple is the films entire story arc and very much like the relationship itself, the interest in watching it does up and down. When the couple is at its happiest, the film is good; when they are at rock bottom, it is fantastic, but when they are middling in-between, it becomes a bit frustrating to watch. You see this is a long-distance relationship that becomes annoyingly repetitive in their goals to keep them apart. Some of the obstacles placed between them make you roll your eyes, become annoyed and just wait for their next plan to fail. This is the aspect of the film that can really flip you from enjoying it. If you can get past this, you can get a unique look into this couple. A lot fo the techniques the director chose to use place these two young adults into interesting scenarios that come to test them. It makes you wonder if they are meant to be, or even if they will end up together. It tries to stray away from predictability and that’s where the appeal comes from. It’s a story that can end in so many different ways, but the only way to see which one it concludes with is to see for yourself.

In the two starring roles as the couple are Anton Yelchin (who has been on the rise for a while) and relative newcomer Felicity Jones. They both are really strong throughout the film, but there best moments come when there characters are truly at their worst. The emotions between them ooze through the screen and even affect the audience. This is the film that will have started it all when you look back at these two stars twenty years from now. Included in the cast in a small but crucial role is Jennifer Lawrence. Despite what the trailers made it seem, she’s a very minor character but steals scenes in them. It helps establish the notion in my head that Winters Bone wasn’t a one hit wonder for her. It’s a small but wonderful cast the gels together to establish an all-around good film.

If you’re in the mood for a thoughtful, sometimes messy, romance film in the same veins of Blue Valentine, this is exactly what you’re looking for. It’s a great detour from all that flashy predictable shit Hollywood tries to sell you. It can be a tough watch but seems worth it for a movie where the young protagonists don’t come off as dumb twats in needing of a slap to the back of the head. Try not to let this indie fly past you, you may regret it.  

Overall Score: 7.5/10

Wrong Turn 4: Bloody Beginnings (2011)

Friends on a winter break snowmobiling excursion make a wrong turn during a snowstorm and get lost in a nightmare. Seeking shelter in a presumably abandoned sanatorium, they awaken the horrific residents, including former patients and cannibals.

When you get to the fourth film in a horror series that has only gotten progressively worse with each film, you know you’re in for a real treat. You can expect to see plenty of dumbass things, but the entire point of it all is to just sit back and enjoy the film for the B movie that it’s trying to be. Wrong Turn 4 does a really good job with this concept for the first hour or so, but then the film reaches a point to where only the brave and insane dare test their eyes.

To the viewer’s familiar with the franchise, this film reveals the origins of the deformed, people-eating, psycho hillbilly brothers. It’s fairly standard stuff from this genre; mental hospital, escaping and killing everyone, living there for 15 years, you know, standard. Everything is dark and gloomy for them until a bunch of college kids get caught up in a storm and are forced to seek shelter in the now abandoned hospital. Here is when the crazy brothers go to town and they pick them off one by one, and then eat them in front of the camera for your viewing pleasure. It gets disgusting, violent, and terribly acted; in other words, exactly what you wanted. Its fun watching amateur actors taking no these type of shitty roles in hopes that it’s a jumpstart into something bigger. They put themselves in some terrible situations to fail, and they accomplish that goal with flying colors. I’d need more than two hands to keep track of the number of times I got a kick out of something someone did or said. Seeing these brothers again just ripping through these kids is just plain dumb fun.

Then something happens about an hour into the film and it completely raises the stakes in pure awesomeness. In a blatant spoiler, our protagonists have the brothers trapped in a jail cell and right before they go to burn them alive a character suddenly has a change of heart and convinces them not to become like them. SO they leave one person in charge of watching them while they go off and have sex. Then this character in charge of watching falls asleep right next to the cell where the brothers that killed a bunch of his friends now secretly escape and continue onward with their reign of chaos over the hospital. The rest of the film is so god damn bad, you’ll either find yourself looking with disgust or laughing with a smile. This is the type of film you already know if you’d love and if this is the crap that keeps you entertained, have yourself a good laugh. It really makes up for the god awful third one in the series.  

Overall Score: 3/10

Paranormal Activity 3 (2011)

 In 1988, young sisters Katie and Kristi befriend an invisible entity who resides in their home.

Another year, another installment in the ghostly “realistic” franchise. It’s strange because unlike a lot of folks, I thought the first was terrible and the second was awesome. There was something about the second installments audio that scared the shit out of me; so when the third entry leaned more towards the second than the first, I was somewhat excited to see what kind of scares they had in store for its audience this time around.

They went into prequel territory again, but this one feels a little too much for the audience to believe in. The entire setup of getting the camera involved is came about in a very absurd way and really hampers any type of thought that this is reality, but it’s a necessary component because it’s the key selling point for the franchise. If you can get past that, you get a much more complex plot, filled with twists, annoying characters, and daresay witchcraft. This idea to bring in witchcraft helps prolong the franchise, but for me personally, I immediately get turned off with this type of shit. I bet others are in the same boat as me. Then to make matters worse, these choices the parents of these children make are downright awful to the point that you want to go through the screen and give them a nice slap in the back of the head.

As far as the scares come, the film does a few things right. The audio is fantastic once again that only a theater or a great home theater system can provide. The vibrations cause more scares then what’s on the screen itself. It’s about the only improvement each film has made. The on-screen material is very creative and relies less on CGI this time around, but a lot of the characters reactions quickly cause you to react much differently. You may have a decent time with Paranormal Activity 3, but it’s not very good. It’s probably the worst entry and makes the franchises original appeal feel stale and repetitive now. Unless something drastically changes for the next one, the upcoming sequels can be in real trouble. If you’re in the mood for a few jumps and a pretty quick watch, give the third installment a go.

Overall Score: 3/10