REVIEW: Creed

The good news about Creed is that if there were people wondering if a Rocky spin off would end up turning into a story about Rocky Balboa getting back into the ring 'one last time,' your worries are unjustified.  The story truly focuses on the tale of the illegitimate child of Apollo Creed, the man who died in the ring at the hands of the vicious Ivan Drago and who challenged and then mentored Balboa.

The young and talented actor Michael B. Jordan plays the role of Adonis Johnson, the up and coming boxer who wants to carve his own path and does not want to make it based solely on the name of his father.  The secret cannot stay hidden forever, and the moment it comes out it is the wet dream of the manager for the soon to be jailed light heavyweight champion "Pretty" Ricky Conlan, played by boxer Tony Bellew.  This is not the first time in the Rocky franchise that the choice to have professional boxers in the cast, and it pays off well as Bellew is able to adequately be the villain that is needed to our hero to face and overcome.

But is the movie really about beating someone and becoming the champion?  Absolutely not.  The movie is a character story, with boxing just being the means for which our protagonist develops and learns about himself.  Michael B. Jordan flexes (pun kind of intended, I guess) his talents as he adds an enormous amount of depth to his character, with the solid script from director Ryan Coogler and Aaron Covington making for an intriguing story with an emotional character arc.

One of the best things about this film, outside of the action in the ring, that is, is the chemistry between Jordan and Sylvester Stallone who returns to play the legendary role of the Italian Stallion, Rocky Balboa.  He is a supporting character this time around, and he hits into it more naturally than any of the films since Rocky.  He is written not as a one dimensional character, and he proves to audiences once more that he can act with the right script and the right director.  There are a lot of very touching and emotional scenes between the aging boxer and the new blood who just wants to prove to himself that he is the best.

The directing of Ryan Coogler is one of the main take aways from this film.  Creed is completely stylistically different than his only other feature film, Fruitvale Station, but from what you see on the screen you would think that he had done this kind of film many times before.  He shows a mastery of using dialogue, cinematography, and score to allow the emotions of the film to ebb and flow along with the story.

The action in the film feels like first nature to Coogler.  One of the boxing matches shows incredible ambition and talent as it is made to feel like one continuous shot through out the entire battle, with the camera weaving around the action in the ring and following the boxers to their corners between rounds.  This is the incredible work of cinematographer Maryse Alberti, who also showed an skillful eye in this year's The Visit.  There may not be any talk of her being up for an Oscar for this role, but that boxing sequence alone demands that people give her respect.

Everything with this film comes together to bring audiences a fun, emotion-fueled boxing movie about an underdog working to over come.  It is not just about winning, but about knowing who you are, and what it is that you are fighting for in life.  There is just too much entertainment and talent shown in this movie to not enthusiastically recommend it.

Rating - 3.5 out of 4 stars

Box Office Predictions: The Good Dinosaur, Creed, and Victor Frankenstein

A few days ago I wrote a post on Creed, a spin off of from the popular (and aged) Rocky franchise.  After talking about the film itself, it is time to take a look through the realm of the mystics and forecast just how it will do in the box office this weekend.  Along with it, Pixar's The Good Dinosaur and Fox's Victor Frankenstein are opening as well.

This is the first time that Pixar has released two films in the same year.  Back in the summer, Inside Out became an enormous success both critically and in the box office.  It scored 98% on Rotten Tomatoes and opened to $90 million.  One could guess that this will be another knock out of the park by Pixar, but there is a chance that it won't be quite as successful as Inside Out.

For starters, it is not fairing as well on Rotten Tomatoes, currently sitting at 81%.  Now, that does not necessarily mean anything for a family feature such as this, but it is interesting to note that the audience rating is pretty much the same, with 80%.  Twitter traffic is also relatively low for a Pixar film, with BoxOffice.com reporting that the Twitter activity mirrors that of Hotel Transylvania 2, which opened to $48 million.

I won't play the standard maths and say that it will translate proportionally to The Good Dinosaur, but I will say that all things considered, it looks like this will not be the holiday weekend breakout film that perhaps Disney was hoping for.  It is Thanksgiving weekend of a fall season that has seen a lot of movies flop, but I don't think that will be the case here.  I expect a decent opening weekend for Pixar's latest.

The Good Dinosaur Opening Weekend Prediction - $63 Million


Let's pretend that the name Sylvester Stallone is not attached to Creed.  His name has meant next to nothing in the box office the past number of years, so it would do a disservice to the potential of this movie to lean on his drawing power.  He does play a role in the film, but it is not by getting in the ring 'one last time,' and instead plays a mentor, but in a movie that looks better than when he mentored Tommy 'Machine' Gunn in the fifth and cartoonish Rocky movie.

This time around, the story is less about Rocky Balboa, and more about the son of Apollo Creed, Adonis Johnson (Michael B. Jordan).  It is hard to base any interest from the general public off of Jordan's name, and let's try to forget for the moment that he was in this summer's (less than) Fantastic Four.  Critics know just how talented he is, and mainstream audiences are about to find out.

Right now it is boasting a tremendous 92% on Rotten Tomatoes and has seen a very effective and emotionally stirring promotional campaign.  Audiences are loving it (giving it 96% on RT), and it is that kind of appreciation that I think could turn into good word of mouth that will give this film a boost over the course of the weekend, allowing it to exceed expectations.

Creed Opening Weekend Prediction - $30 Million


And last we have Victor Frankenstein, a movie whose trailers make it difficult to take the film's chances seriously.  Having stylized movies is a risk, and this one may not pay off at all.  Audiences are currently liking it more than critics, but I doubt that will help out the film.  Stylized reimagining may have worked for Sherlock Holmes, but something tells me that the character of Holmes is much more intriguing to the public than that of Frankenstein.

Victor Frankenstein Opening Weekend Prediction - $7.5 Million

Is Rocky Balboa Ready to be Relevant Again?

With the upcoming film Creed,  I can't help but ask if the aging boxer Rocky Balboa is really something that audiences care about at all.  The movie follows the life of Adonis Johnson, the son of Apollo Creed.  For those who are not familiar with the Rocky franchise, Apollo Creed was the challenge for the underdog Balboa to over come, turning from foe in the ring to good friend.

Sylvester Stallone is a far distance from the cinematic draw that he once was in the eighties.  In 1985, his films Rambo: First Blood Part II and Rocky IV were second and third in the box office respectively.  The characters were cartoonish, but it played well with the general thirst for cheesy action that movie goers had during that time period.

A lot has changed in the thirty years that have passed since then.  The kinds of films that Stallone was known for now have a difficult time even getting wide releases, and when they do, they end up in the dumping grounds of the winter or mid August.  The name of Stallone itself means nothing for ticket sales, with each of his three 2013 releases (Bullet to the Head, Escape Plan, and Grudge Match) all falling short of ten million dollars in their opening weekends.  Even the revitalizing franchise of The Expendables only made $15.8 million its opening weekend last year.  No matter who he is teamed up with, his films just don't have the appeal that they once did.

So, with some pretty dismal numbers leading to an undeniable conclusion that his time of being a draw is long gone, why are we about to see Rocky arrive on screens once again?  Is it just an aging actor refusing to let go?

That does not appear to be the case here.  For the first time in the Rocky franchise, Sylvester Stallone is not writing the story, but leaving that task to the film's director Ryan Coogler and Aaron Covington.  Coogler may have only one film under his belt, but that doesn't mean that he is over his head with this potential blockbuster.  In 2013 he released his first feature film, Fruitvale Station, which won over critics and audiences and showed his abilities as both a director and writer.

What made Fruitvale Station so powerful was the focus on the final day of Oscar Grant (Michael B. Jordan) in a 'based on true events' story that leads to Grant being shot by a BART police officer on new year's eve in 2009.  With a true story such as that, the audience knows exactly how it will end, with the sound of a gunshot and the lead dying.  However, even with the outcome known, Coogler gets us so invested in the character of Oscar Grant that we beg for the inevitable to not happen.

It is that skill that he brings with him to Creed, in a movie that looks to be a character story of Adonis Johnson, who is played by Michael B. Jordan, making this the second time the two have teamed up together.  With Coogler's directing and writing combined with the incredibly powerful yet nuanced abilities of Jordan, it is not surprising that critics are praising this film.

This could be the wisest cinematic move that Stallone has done in recent memory, and that involves the passing of the torch to the next generation.  It felt as though his past movie attempts were about keeping the spark of the action hero alive in him, something that the ticket purchasing public could not get into.  Now, with him playing the part of mentor for an up and coming super talent, movie goers have a Stallone movie to be excited about once again.

PODCAST: The Breakdown of The Hunger Games: Mockingjay - Part 2

If you read my review of the movie The Hunger Games: Mockingjay - Part 2, you already have an idea of just how I felt about it.  However, if you would like more in-depth analysis of the film, as well as the thoughts of my podcasting partner in crime Christopher Spicer, you can check out the podcast as we debate the finale of the popular series.

On the same episode we discuss the latest James Bond film, Spectre, as well as Noah Baumbach's 2015 release starring Ben Stiller and Naomi Watts, While We're Young.  On top of that, we look at director Guillermo Del Toro's first english language film, Mimic.  Topping it off is the Mike Tyson produced documentary, Champs.

The podcast can be found here, or you can also find The Movie Breakdown on iTunes now, where you can subscribe and keep up with the latest Hollywood films.  There will be some big shows in the future, including an upcoming special episode where we look at the influence of the Star Wars films.

REVIEW: The Hunger Games: Mockingjay - Part 2

When sitting down to watch The Hunger Games: Mockingjay - Part 2, it was very difficult to not think of of a television show where the opening would have the narration, 'previously on a very special episode of Blossom.'  The reason being, the first half of the film ended so abruptly without a conclusion that it could own as an individual film.  Normally in a film series the movies should still have an element that makes them viewable as a stand alone feature, but that was not the case in the cinematic division of Suzanne Collins final book in the Hunger Games series.

It points to a bit of a fad, and problem, in modern movie story telling.  Franchises, especially ones that are extremely successful, are difficult to come by.  The solution to this by studios is to bleed the content as far as they can.  The trilogy, as we once knew it, is dead.  Even The Avengers have a ridiculous two part third movie.  I call it ridiculous because there is no main source material that they are sticking with, so why not just make two more movies instead of creating a part one and a part two?

What this exhausting extracting of material leads to is films that feel like they have more in them than is needed.  The best example was the completely unnecessary Hobbit 'trilogy' which did everything it could to recreate the success of the Lord of the Rings series from a singular book that was written in a much different tone and could not translate the same way.  It was obnoxious and downright boring at times.

I personally really liked the first half of Mockingjay, as it was a good character story about the pressures faced by Katniss Everdeen.  The main issue was that blunt ending.  However, when watching the recently released final chapter, the problem of dividing the book into two parts became even more clear.  There were many scenes that felt like filler to justify the two hour plus run-time, and these scenes did nothing to service the central tensions that faced young Everdeen.

Director Francis Lawrence, who also directed the first part of Mockingjay, shows a very talented hand when it comes to building anticipation and delivering on action sequences.  There is one scene in particular where Lawrence plays on the typical Hollywood builds to jumps and leaves them dangling. This leaves the viewer to believe that something may end up happening, but never being able to settle down and guess when everything will hit the fan.

It is this skill that would have made for a very concise and exhilarating feature film if perhaps they had forgone the idea of breaking the novel into two movies.  Everything would have flowed much better, including the music.  The score was such an emotional power in the first part, but it lacked the opportunity and delivery in the second part.

Of course, there was one incredible constant across the entire series, and that was the performance of Jennifer Lawrence.  It is difficult to believe that this young lady in her mid-twenties has won an Oscar and has been nominated for two others.  In teaming up with director David O. Russell this year for the film Joy, it is almost a forgone conclusion that she will be receiving another nom.  Her performance as Katniss has kept pace with her nominated roles, where she is the pure conduit for the audience in experiencing the emotional ups and downs of the film.

Overall, it is a decent film.  The sad part is that the best thing that I am saying about it is decent.  It is a long way from the incredibly successful Catching Fire, but it serves well as a finale.  Unfortunately for audiences, it could have been tighter and would have been better packaged as one epic film instead of two separate parts.  It also would have saved the viewer money by only asking them to pay for one ticket instead of begging for them to pay for two.

Rating - 3 out of 4 stars.

REVIEW - While We're Young

Have you ever felt that age is concrete?  That the years you have walked the earth dictate where you are to fit socially, fashionably, or economically?  I will admit that while I don't always feel that way, there is a pull from societal expectations regarding age that I know I have not lived up to.  I am in my mid thirties (although some would argue and say that I am technically in my late thirties) and currently unemployed.  My wife and I, due to medical reasons, do not have children.  We rent instead of owning a home or condo.

Each of the things that I listed are unwritten expectations for someone of my age to have.  I am not climbing any corporate ladder, or any ladder to be honest.  Not fulfilling these expectations does wonders when it comes to fuelling my already abundant anxiety and stress, letting me know that I am really a failure at my life.

But is that the reality?  On the good days I am able to remember that age is an empirical measure of time, and that is all.  Age need not be the yard line on the field of life to know how far downfield we have come.  Like a football game, it is just a reminder of how much time has elapsed.  The real measuring stick needs to be something more personal and intimate, such as happiness and contentment.

This, the very thing that I am many other people deal with (and why the midlife crisis exists) is explored in Noah Baumbach's film While We're Young.  It follows the characters of Josh and Cornelia, played by Ben Stiller and Naomi Watts respectively.  They are a married couple in their early forties who see constant reminders around them that they are not living the life that they believed they should have had.  Time has passed, and they must come to admit that their chances in life have come and gone.

That is until they meet the young and exciting couple of Jamie (Adam Driver) and Darby (Amanda Seyfried) who entice Josh and Cornelia with a life of spontaneity and energy.  The young couple's love for life reinvigorates Josh and Cornelia, making them forget their age while they act and feel younger.  As with life, reality does catch up eventually, and the older couple must make difficult decisions based on what they realize is truly important to them.

There is a lot that is relatable in this film, which is fresh, fun, and extremely funny.  Baumbach, who previously made the incredibly sincere and heartfelt Francis Ha, shows an understanding of the human nature and is unrepentant about the commentary he makes in regards to age and measures for success and happiness.

The film is anchored by the incredible acting talent that is involved in the four main roles.  Nobody feels out of place, and they completely embody the emotions and nuances that their characters demand from them.  It is another showcase for the up and coming Adam Driver who will be getting some main stage shine when The Force Awaken arrives in theatres next month.  He is capable of hitting the wide spectrum of skills needed, and can easily steal a scene, as he did in Inside Llewyn Davis in the Please Mr. Kennedy scene.

While We're Young is well paced, beautifully scripted, tightly edited, and with a great and flowing soundtrack.  Above and beyond being a technically solid film on all fronts, it is a wonderful reflection on just what age means, and if it should ever be tied to the idea of happiness and success.  It is a piece of work that allows both entertainment and contemplation that is relevant for a wide variety of audiences.

Rating - 3.5 out of 4 stars 

The Effect of the Internet Age on the Movie Experience

The age of social media and instant reactions and conversations via platforms such as Facebook and Twitter has reached its grasp into many realms of life, and movies are no exception.  From trailer releases, to film speculation and rumours, the internet not only buzzes about movies but also generates its own stories.

From the topic of reporting rumours as news to the effect that Rotten Tomatoes has on film interpretation, we chat and analyze how the internet has affected the movie going experience.

To hear the podcast The Breakdown of the Social Media Effect, click here.

REVIEW: Steve Jobs

Are there many diverse directors in Hollywood who can bring high quality movies from many genres?  It is a task to find a long list, but Danny Boyle’s name would have to be somewhere near the top.  From his early days with Transporting to terrifying us and redefining an entire genre with 28 Days Later. Boyle flexes his muscles of being able to drive both characters and locations such as with 127 Hours and Slumdog Millionaire.

Most recently he has focused an entire two hour movie around three scenes, a Herculean task that is the biopic Steve Jobs.  The film looks at his life and relationships in the moments before three product launches.  And there you have the entire synopsis of the film.  It is simplistic yet utterly ambitious as it strives to define its characters as well as present a personal arc for Jobs, played fantastically by Micheal Fassbender.  He is not a spitting image of the man he portrayed, and that was not at all what the film’s team were going for.  They desired someone to capture the socially awkward, controlling, yet still fractured essence of the tech icon.

The true standout in this movie is the captivatingly sharp screenplay from Aaron Sorkin.  In any film that has limited scenes and location, the script is the foundation which can determine whether it is a dud or a quality affair.  Think of a film like San Andreas where Dwayne Johnson runs around crashing buildings and buckling roads to get to his wife and daughter.  The main attraction is the sense of adventure that we are supposed to get, and a serviceable script is all that is needed.

Serviceable, however, does not work in a film with limited eye candy or threats of physical danger to the protagonist.  A 'serviceable script' can flatten the film as quick as the earthquake battling The Rock in San Andreas levelled buildings and the Hoover Damn.  At the time of writing this I am currently halfway through Circle, a film that takes place in one location and attempts to be a psychological horror.  The concept for it, which I won't share here, is an interesting one, but it suffers from a very blunt and didactic script.  Hence the reason I have only watched half of it so far.

Of course a wonderful script can only work if the actors involved are able to pull it off.  With Steve Jobs we have an outstanding supporting cast who elevate the material.  Kate Winslet, Seth Rogan, and Jeff Daniels are able to keep up with the performance from Fassbender giving Danny Boyle a rich deposit of recourses to string together in an outstanding biopic.

In the end I walked away with feeling that I had just witnessed much of the human experience, from rage and pride to emptiness and sorrow.  In the right hands, a film can leave out many of the lavish peripherals that modern cinema dictates are necessary for a thrilling experience.  With the force of the film in the hands of actors to deliver what special effects, explosions, and locations normally would.  This lands much in the same realm Lincoln or The King’s Speech, it is proven that thrills can happen through words alone.

Rating - 3.5 out of 4 stars