Terminator Genisys

While Conan the Barbarian made Arnold Schwarzenegger famous, The Terminator made him a star. And after a one-film absence, he's back in Terminator Genisys, the first of the franchise in 3D.

The evil computer network Skynet nuked humanity in 1997. By 2029, its Terminator robots fight John Connor's (Jason Clarke) resistance movement. The humans finally kill Skynet, but not before it sends a Terminator back in time to 1984 to kill John's mother Sarah. John's lieutenant Kyle Reese (Jai Courtney) follows the Terminator back in time.

Kyle finds himself in a past that doesn't need him. Sarah (Emilia Clarke) already knows about Skynet, Terminators and the human resistance that hates them, and saves him from another Terminator. Her "Pops" (Arnold) is a reprogrammed Terminator that saved her before. And they now plan to save humanity from Judgment Day... not at 1997, but 2017. There, Skynet unveils its newest and most surprising Terminator to-date.

Arnold's return should please some fans. He once again spouts his catchphrases and awkwardly passes for human. It was good for a few laughs, but overall, it was average stuff. It's like I've seen a lot of this before. On the plus side, the makeup team convincingly packs on the years and wounds.

The visual effects department was mostly good. The more-robotic Terminators are mostly CGI, but they are convincingly integrated with real actors. The new Terminator was a pretty nifty nanomachine monster; its best effects were its use of super-speed. The film even recreates Arnold's introduction from The Terminator with a body double and some stock-footage. That was the only bit where the cracks in the effects showed.

What I mostly remember from the last installment, Terminator Salvation, is that I saw it. Compared to that, Terminator Genisys is an improvement. The identity of the new Terminator throws the story for a surprising loop. His connection to Kyle Reese, common knowledge from The Terminator, is amusing when Reese learns it. And most of all, JK Simmons' detective character provides some good enthusiasm. That's a lot more in this movie's corner.

I didn't hate Terminator Genisys, but I wasn't blown away by its spectacle. It's a decent matinee at best. And it's a conflicting movie.

Love & Mercy

"Five years from now," says Murry Wilson (Bill Camp) to his son Brian (Paul Dano), "no one’s going to remember you or the Beach Boys.”

Of course, Brian Wilson still has a successful solo career and the Beach Boys are pop standards. Take that foresight. Still, many might not know his story. That's what the biopic Love & Mercy is about.

The story jumps back and forth in time between the 1960's and the 1980's. In the 1960's, Brian Wilson and his fellow Beach Boys are household names. Brian has rather unique ideas for their next album, Pet Sounds, and Beach Boy Mike Love (Jake Abel) doesn't agree with them. Brian finds himself overwhelmed by mental illness and drug use.

In the 1980's, Brian (John Cusack) is a patient of abusive psychologist Eugene Landy (Paul Giamatti). Brian is isolated and alone until he meets Melinda Ledbetter (Elizabeth Banks), a Cadillac Saleswoman. They begin a relationship which Landy doesn't approve. That relationship provides Brian a way out of Landy and his despair.

Its non-linear storyline is comprehensible. We understand who Brian Wilson is in both timelines. The actors portraying him make him a sympathetically eccentric fellow. The climax was pretty trippy, though if I have to interpret, it's him coming to terms with his past, present and future. You'll know it when you see it.

As Landy, Giamatti starts off as a fun guy. It's only later, when we see the extent of his methods, that the audience truly reviles him. The audience doesn't lose sympathy for Melinda and she remains likable to the end. When she's with Brian, they feel like a real couple.

The sound mixers are the standouts of the crew. The soundtrack, from the oldies to Atticus Ross's original score, resonates through the cinema speakers. They also help us get into Brian's head as he's conceiving music or having a nervous breakdown. Their contributions hit the right notes in this musical biopic.

Love & Mercy is an insightful look into the Face of California Sound. You'll learn quite a bit too if you seek this out in your area.

Inside Out

Pixar apparently hasn't made a good film in years. I say "apparently" because I liked Brave and didn't hate the other two. But it was enough of a slump to get Pixar shuffling. They tried to get The Good Dinosaur out last summer but let it sit out till this Thanksgiving. This means that Inside Out is their newest film.

And it is good.

Riley Andersen and her parents move from Minnesota to San Francisco. Meanwhile, Riley's personifications of Joy, Sadness, Fear, Disgust and Anger live inside her head. In their Headquarters, the emotions guide Riley's actions and help her make new memories. And those memories are stored away at the end of the day.

Joy tries to suppress Sadness for Riley and her parents' sake. But it goes awry when both Joy and Sadness are sucked out of Headquarters. They find themselves in the back of Riley's mind, while the other emotions find themselves in control. Joy and Sadness have to get back to HQ before the others cause something drastic.

The personified emotions are the stars of the show. They seem like one-note characters, but they have depth. That's especially so with Joy, who finds herself breaking under-pressure. Sadness's monotony is amusing and sad at the appropriate times. The other emotions are still likable even as they lead Riley to depression. Bing-Bong, a character who joins Joy and Sadness on their journey, is just as relevant. Kids will love their antics while adults will be invested in their development.

Director/co-writer Pete Docter (Up) and his writers created a memorable story. The deadlines Joy, Sadness and Bing-Bong face keep the story moving quick. The gags they encounter are delightful. The resolution of it all won't leave anyone stone-faced. It will stick around in your mind for quite a while.

Inside Out is a perfect psychic metaphor for, among other things, the dangers of suppressing emotions. Whether you see it in 3D or Flatscreen, you'll get the same memorable experience. It's an experience which starts with the musical short Lava, about singing volcanoes. Its end credits give a peak into the minds of other characters.

Jurassic World

A real-life version of Jurassic World would surely run a ginormous bill. There's all the mechanical costs, biological costs and the legal fees if something goes inevitably wrong. But the film makes me want to settle for the next best thing: Universal Studios Hollywood.

Isla Nublar, site of the ill-fated Jurassic Park, is now home to the thriving Jurassic World. Year after year, tourists flock en-masse to see the island's living prehistoric residents. But the novelty wore off and attendance started to decline. Its owners need a new attraction to drive up attendance.

The Park's scientists create a genetic hybrid called the Indominus Rex. The new dinosaur proves to be highly-intelligent and vicious. Raptor trainer Owen Grady (Chris Pratt) is called to inspect the I. Rex's enclosure, but he nearly becomes chowder when she escapes. Owen and operations manager Claire Dearing (Bryce Dallas Howard) have to help clear out the park and contain the I. Rex before she kills everything.

Despite its simple sounding plot, Jurassic World finds time for a meaningful story. It takes quite a while before the I. Rex escapes and kicks off the action. We see the characters explore the park and work it from behind the scenes. (They do that too after the escape but under stricter circumstances.) They even discuss the importance of properly socializing wild animals. It gave the film much needed substance.

The only human veteran in the cast is B.D. Wong as geneticist Dr. Wu, here with a much bigger role. The new characters with him are a memorable bunch. Owen is the laid back guy who gets serious when he needs to. Claire is the workaholic who learns to run and fight for her life. Park Security Chief Hoskins (Vincent D'Onofrio) reminded me of Burke from Aliens, right down to a similar demise. And then there's the mammoth Mosasaurus; she appears in three scenes, and it's the third that'll draw a good chuckle.

I didn't adjust to the effects at first. The CGI made the dinosaurs too obviously animated creatures. Fortunately, the CGI got better as the film went on. It helped that, like its predecessors, it used animatronic dinosaurs for close-up scenes. It really helped with their acting.

Although it wasn't filmed in any of Universal's parks, I can't help but recall my visit to Universal Studios Orlando in 2010. The production designers made it look like an authentic theme park. The scale, the color, the layout, it's just as I remember. I'm sure attendance will spike on the Jurassic Park rides in the wake of this movie.

Jurassic Park III was just average in the long run. Jurassic World, on the other hand, was an exciting, meaningful cinematic effort. It surpassed quite a bit of my story expectations. As for its visual expectations, it most certainly deserves to be seen on a big screen.

Spy

As long as there have been spy movies, there have been spy movie parodies. Spy, which reassembles writer/director Paul Feig and star Melissa McCarthy, is a stellar example of the latter.

Susan Cooper (McCarthy) works as mission control for CIA super-spy Bradley Fine (Jude Law). Their latest mission is to track down a villain's suitcase nuke. Unfortunately, Fine kills the villain with his itchy trigger-finger - and itchier nose. The CIA sends Fine after the villain's daughter, Rayna Boyanov (Rosa Byrne), who may know where the bomb is. Rayna gets the drop on Fine and kills him.

The CIA can't go after Rayna since she knows who their agents are. Susan volunteers to go after her; her lack of field-experience is now her biggest asset. She goes all over Europe in tacky disguises to gather intel on Rayna. Meanwhile, Agent Rick Ford (Jason Statham) attempts to deal with the villains.

As Susan, Melissa McCarthy excels as an unlikely spy. What makes her compelling is how she reacts to her condescending world. The world doesn't expect much of her, which is why she has the desk job. Once she has the chance, she can get physically and verbally brutal. It's excellent to see her come out on top.

It helps that McCarthy has a great supporting cast. Statham, in particular, acts like his typical macho movie self except that he's a complete buffoon. One particular moment of him would go nicely with The Price is Right losing horn. Meanwhile, Byrne's initially dangerous Rayna is revealed to be so elitist that she's a spoiled brat. There's also Peter Serafinowicz as the goofy good-guy agent Aldo and Miranda Hart as Susan's co-worker Nancy.

Spy is simply the funniest film so far this year. It entertains and surprises throughout its 2 hour run-time. Feig and McCarthy will next work together on the new Ghostbusters movie; the future is bright if they keep up the comic momentum.

Far from the Madding Crowd

Thomas Hardy's literary romance Far from the Madding Crowd took its title from a line in Thomas Gray's poem Elegy Written in a Country Churchyard. And now, a third Thomas, Thomas Vinterberg, is the latest to visualize Hardy's novel on-screen. I'd paraphrase Gray if my viewing experience was bleak. But it was not.

Bathsheba Everdene (Carey Mulligan) just inherited her late Uncle's farm.  A destitute farmer Gabriel Oak (Matthias Schoenaerts) becomes her new farmhand. Oak is attracted to Bathsheba, but she doesn't want to settle down. Her neighbor, the older gentleman William Boldwood (Michael Sheen), also wants to marry her. She meets Sergeant Frank Troy (Tom Sturridge) and thinks he's the one. But really, Troy's not much of a Gentleman. How will Bathsheba find happiness?

That's the basic story.

The four main characters make it work. Bathsheba is an independent woman; when she does marry, it's not because she has to, but she wants to. Her main suitors, Oak and Boldwood, are willing to concede to another if Bathsheba wants another. Troy just seems perfect for Bathsheba. They're all portrayed as sympathetic people. Eventually, Boldwood gets desperate and Troy throws his audience empathy out the window.

Cinematographer Charlotte Bruus Christensen captures some excellent views of the English countryside. Her work combines wonderfully with editor Claire Simpson in the story's classic scene where Troy woos Bathsheba with swordplay. You'll remember it as much as the novel's readers did. 

Overall, Far from the Madding Crowd is an involving adaptation of the famous story. You'll be invested in the fates of its four leads and supporting characters throughout the 119 minute run-time. That's the most important thing for a cinematic re-incarnation.

Tomorrowland

In the spirit of Disneyland's 60th anniversary, Disney brings its parks' signature Tomorrowland to the screen. The end result is a well-meaning film which trips over its logic.

Casey Newton (Britt Robertson) is seemingly the only optimist on Earth. There's doom and gloom everywhere she looks. She spends her nights sabotaging the demolition of Cape Canaveral's launchpad. One such attempt gets her arrested. But when she's released and gets her belongings, she finds a pin that she's never seen before. 

Once she touches the pin, Casey finds herself in a futuristic Utopia, Tomorrowland. But only for a moment. She wants to find out more. Her quest lands her at the home of genius Frank Walker (George Clooney), who once lived in Tomorrowland. Now he's a jaded loner counting down the days until all of humanity's woes destroy the world.

But Frank discovers Casey's powerful optimism. They decide to save the world by going to Tomorrowland. Futuristic pessimists block them at every turn. Frank's un-aging friend Athena (Raffey Cassidy) is there to help them.

Director/Co-Writer Brad Bird's sci-fi adventure is a visual experience. Tomorrowland itself is a CGI extravaganza with impressive vehicles, robots and other contraptions. As photographed by Claudio Miranda, the characters look like they're actually there. Michael Giacchino brings another memorable score to highlight its futuristic optimism.

It's 130 minutes, but it sure takes its time. For instance, it took about an hour before Casey met Frank. This meant they had to get through Tomorrowland quickly. Its opening delightfully broke the fourth wall as Frank and Casey blundered through their narration. But most of the film lacked that energy. The main villain's motivation was hard to grasp. It was hard to sit through it.

Tomorrowland's technical achievements keep it from becoming a total loss. You'll get your moments of theme park fun. But if you want more consistency, an actual theme park might suffice. 

Mad Max: Fury Road

Thirty years after he went Beyond Thunderdome, cinema's favorite Post-Apocalyptic survivor Max Rockatansky is back. This new entry, Mad Max: Fury Road, brings series creator George Miller back in charge. This time, however, Tom Hardy takes on the role that made Mel Gibson famous.

Mad Max still wanders post-apocalyptic Australia in search of peace and quiet. He's promptly captured by the goons of local bad guy Immortan Joe (Hugh Keays-Byrne). Max is made into a human blood bag for aspiring goon Nux (Nicholas Hoult). Needless to say, Max doesn't like his situation one bit.

Joe's trusted servant, Imperator Furiosa (Charlize Theron), drives off with his "wives." Joe and his convoy of freaks give chase. Max is forced to go for the ride. When he and Nux catch up to Furiosa, they find themselves forced to help them on their quest.

You don't need to crash course on Mad Max to prepare for Fury Road. It's a largely standalone piece. There are references to his tragic back-story as told in the first film. But they won't leave you in the dust. Certain plot points from this film, however, zipped by me too fast.

Even with 3D, digital photography and some CGI, Mad Max's aesthetics barely changed. The costume and makeup designers visualized a wide array of freaks and goons. These freaks drive an equally freakish array of vehicles, including one converted to have a rock'n'roll stage! Their future world is a colorful post-apocalyptic desert. The visual experience was like watching a Live-Action rendition of the 1980's anime Fist of the North Star (itself inspired by Mad Max).

You might get better mileage from Fury Road if you're a fan of the older films. For me, it was OK. The purposely minimalist story made the two hour run-time seem longer than it was. Max's withdrawn nature pushes him into the background and lets the other characters lead. Surprising for a film called Mad Max...

Maybe I should get to watching the older films post-haste.

Avengers: Age of Ultron

After their first big get-together, Earth's Mightiest Heroes have found a way to top themselves. That way is to just add more to their cinematic universe. The end result is called Avengers: Age of Ultron.

The cinematic Marvels open the film by raiding the remnants of Hydra, itself the remnants of the Third Reich. Tony Stark/Iron Man (Robert Downey Jr) leaves with the scepter that the Asgardian villain Loki used in the last film. He and Bruce Banner (Mark Ruffalo) use its gem to complete the AI Ultron, "a suit of armor around the world" guarding humanity against Alien threats.

Ultron (James Spader) gets second thoughts about his mission, gives himself a physical form and sets out to eradicate humanity. Naturally, the Avengers aren't pleased with what Iron Man did, especially not Captain America (Chris Evans). But Tony's loyal AI, JARVIS (Paul Bettany), maybe a big help to stop the cybernetic villain.

Once again with writer/director Joss Whedon, The Avengers have another Marvelous cinematic adventure. There's plenty of quips and banter from the characters even during battle. They even have time to develop characters outside of battle, especially Hawkeye (Jeremy Renner) and newcomers Pietro (Aaron Taylor-Johnson) and Wanda (Elizabeth Olsen). It was a good mixture between story and action.

There's plenty of on-screen action waiting for you on either 3D or Flatscreen formats. There's much to behold from the opening assault on the Hydra base to the Hulk and Iron Man fight. There were a few obvious CGI shots, but those were the minority. One particular character appeared to be a motion-capture creation, but he was really a mix of that and prosthetic makeup.

The film fits so much in its 141 minute time-frame. How much time it devotes to its story elements may make or break the film. For example, the re-emergence of Hydra was the key sequel hook of Captain America: The Winter Soldier and they're taken out in the first half-hour. Whedon's original cut was much longer; perhaps we'll see that on home media.

But what we got on-screen was a fun summer movie. Avengers: Age of Ultron is style and substance rolled into one. Even if it's not like the original film, this sequel is still an amazing cinematic adventure.

Be sure to stay to the mid-credits to see the set-up for the two-part sequel, Avengers: Infinity War, set for release a few years from now.

Furious 7

And now cars and racing number seven...

We already know that The Fast and the Furious films have cars that are fast and furious. Maybe we should wonder why its titles are inconsistent. I already reviewed Fast Five and Fast and Furious 6, so now we have Furious 7. It's all over the place.

Moving on...

This time, former illegal street racer and thief Dom Toretto (Vin Diesel) and his motley crew finally get to enjoy retired life. But Deckard Shaw (Jason Statham), elder brother of the last movie's big bad, shows up. Shaw kills Han (Sung Kang), one of the motley crew, in Tokyo and blows up Dom's house. Dom decides to get Shaw.

Agent Frank Petty (Kurt Russell) decides to help Dom and his crew out. He'll help them get Shaw if they get the "God's Eye," a super-duper surveillance program that Shaw really wants. The crew eagerly accepts the mission. And that's pretty much it for overall plot.

James Wan, creator of the Saw films, takes over for Justin Lin as director. He continues the franchise's proud tradition of insane car chases and stunts. Dom and his crew burn all sorts of rubber and jump from many heights on their mission. It all leads to a final battle across Los Angeles. 

The biggest complaint I have is the length. It's 137 minutes long, which makes it the longest of these movies. Its many action scenes go on so long it felt like the movie was longer than 137 minutes. It's one of those movies where important plot points, including secondary villain Mose Jakande (Djimon Hounsou), get lost in the action.

It not only has ridiculous stunts but ridiculous people. Deckard Shaw introduces himself by beating up the staff of a hospital - and blowing it up. Agent Hobbs (Dwayne Johnson) is hospitalized for most of the movie but ignores his injuries to join the final battle. And Agent Petty's always crazy prepared. As for the motley crew, they may be ridiculous, but their comradeship is genuine. That's what makes them good protagonists as always.

Who knows if this is the last of these movies. It seems like it, but they're also saying it might not be. But if it is, it ends with a resonant tribute to long time star Paul Walker, who died during production. And that sends this movie off on a high note. 

And away I go...

Home (for real this time.)

A year after Dreamworks set-up the story for its latest feature, Home, it's finally arrived. Not even getting its Thanksgiving 2014 spot stolen by those Penguins of Madagascar could dull its impact. Your mileage may vary if its impact is positive or not.

The film opens up with the Earth invaded by the Boov, a race of cowardly idiots. They suck up all of humanity and relocate them to Australia. Meanwhile, the Boov mooch off of Earth's abandoned cities. They picked our planet to escape from the destructive Gorg.

One Boov is Oh (Jim Parsons), named such "by [his] many, many friends." But Oh is such is a screw-up that the other Boov dislike him immensely. Nevertheless, Oh decides to invite everyone to his house-warming party. But Oh overdoes it and invites everyone in the whole galaxy; Gorg included.

Now a wanted Boov, Oh makes a run to Antarctica, the closest Boov-less spot on Earth. Along the way, he meets the last un-relocated human on Earth, Gratuity "Tip" Tucci (Rihanna) and her cat, Pig. She wants to get to Paris, the Boov headquarters, so she can find where they relocated her mother, Lucy (Jennifer Lopez). Oh, an alien whose culture prides itself in cowardice, tags along.

Meanwhile, Captain Smek (Steve Martin) of the Boov has to find a way to keep the Gorg from knowing where his race is. Or else boom.

Adam Rex's novel The True Meaning of Smekday was the basis for the film. As visualized by director Tim Johnson and staff, the film is a colorful 3D adventure. The Boov are cuddly creatures ready for merchandising. Their technology is unique and inventive. The scenery is just great. Nothing to complain about in the visual department.

Now for the film's characters. Oh is an idiot whose depth of cowardice is often grating. But he gets better near the end once he discovers the Gorg's secret. Tip, his opposite, is strong-willed and resourceful. Pig is a fun, silent comic relief. Their resolution was the best part of their trip.

Home isn't the best film of the year, but it's pretty fine for what it is. It should keep the animated niche filled for now. The next big animated film out is Inside Out, one of two this year from Pixar. Stay tuned for that.

Cinderella

Again with the Cinderella?

Only three months after she played a part in Into the Woods, Cinderella finds herself on the big screen again. This latest incarnation takes after Disney's 1950 animated film. It's the same old story done differently. How it's done differently gets my recommendation.

The familiar outline is the same. Cinderella (Lily James) is left alone with her evil stepmother Lady Tremaine (Cate Blanchett) and her evil stepsisters. The King holds a ball to find his son a bride. The Step-Family blocks Cinderella's path. Her Fairy Godmother (Helena Bonham-Carter) helps her get going. Cinderella catches the Prince's eye but she leaves at midnight. The Royals find her with her lost glass slipper.

The big difference in this version is story development. We see Cinderella's parents alive. We learn the origin of the name Cinderella. We see Cinderella meet the Prince before the ball. We see the Prince get an actual character. And we really see Lady Tremaine scheme to deny her stepdaughter a future.

Director Kenneth Branagh's Disney fairy tale cost $95 million. It's in many ways more subdued than the CGI-extravaganzas of Alice in Wonderland and Maleficent. But with sets by Dante Ferretti and costumes by Sandy Powell, it's still a colorful experience. Branagh's constant composer Patrick Doyle provides a suitable score for the emotional scenes. Stay to the end credits to hear renditions of two of the older film's standards.

This is a really great cast. Blanchett, as Lady Tremaine, is an over-the-top villainous who soon becomes vicious and bitter. Bonham-Carter's scene as the Fairy Godmother was welcome comic relief. And Lily James, as Cinderella, is a great ingenue who at times struggles to remain upbeat.

I say that this Cinderella is in the same league as the previous Disney film. It's a compelling story you've heard before. But it's still compelling. That's what a good redo ought to do.

A new musical animated short staring the cast of Frozen, Frozen Fever, precedes the picture. It should keep fans of that film happy before the actual feature-length sequel comes out.

Chappie

Chappie is not the best sci-fi film either this year or ever. But it's still a story with admirable intentions. Let's see what it's all about.

In the not so distant future, Johannesburg has its own robot police force. Engineer Deon Wilson (Dev Patel), who designed the robots, wants to do more. His ultimate goal is to create an artificially-intelligent robot on par with humans. His test subject is a broken-down droid.

Deon finds himself carjacked by desperate criminals. The criminals Ninja, Yolandi (played by the same-named members of the rap group Die Antwoord) and Yankie (Jose Pablo Cantillo) have one big heist in mind. They need Deon to shut down the robots to make it work. Once they see the robo parts in his van, they decide to have him build their own. That robot is Chappie (Sharlto Copley via motion-capture).

The rest of the movie is about Chappie's life-education. All the while, Chappie has to avoid scheming designer Vincent Moore (Hugh Jackman) and his ED-209 lookalike, the MOOSE.

Director Neil Blomkamp expanded an earlier short of his, Tetra Vaal, to feature length. The end result makes good use of its $50 million budget. The CGI work blended well with the real footage. The cinematography and production design made good use of Joburg. One of the locations, a round high-rise, reminded me of the central location of Dredd, which was also filmed in Joburg.

Chappie is a likable android. His naive attempts to act cool provided the film's best laughs. Meanwhile, the character Ninja spends most of the movie completely unlikable. He wants to shoot either Chappie or Deon for annoying him. He takes advantage of Chappie's gullibility to make him do carjackings. It takes too long before he goes hero. A minor complaint is the minor villain Hippo (Brandon Auret). The film subtitles his dialogue even though most of it is intelligible English.

It would've helped Chappie if its main characters were better developed. I understand what they were trying to do, though. Let's hope this year produces much better blockbusters down the line.

Still Alice

It's almost time for the 87th Academy Awards and it took me this long to see Still Alice. Now that I've seen it, it's time for the review.

Dr. Alice Howland (Julianne Moore) is a respected linguistics professor at Columbia University. Her husband John (Alec Baldwin) and their three grown children are happy and healthy. Everything is normal for Alice. At least she thinks it is.

Alice begins to have periodic memory lapses. She's soon diagnosed with early-onset Alzheimer's Disease. Her prospects look grim as her cognitive abilities fade away. But her family is there by her side. She won't have to get through the disease on her own.

Lisa Genova's 2007 novel was brought to the screen by married filmmakers Richard Glatzer and Wash Westmoreland (The Last of Robin Hood). Glatzer himself suffered from ALS which made the film personal for them.

Julianne Moore's performance is what makes the movie work. As Alice, we know her first as a warm, caring person. It's awkward when the disease first manifests but it quickly turns nightmarish. All the while, we understand how someone in her position must feel. We worry about her safety.

Her on-screen family also stands out. They always mean the best even if their desires conflict with Alice's. John wishes to move to Minnesota for work and financial security. Alice feels comfortable where she is. John's decision isn't vilified; we sympathize with him too. Meanwhile, youngest daughter Lydia (Kristen Stewart) doesn't always get along smoothly with her mother. But she proves quite selfless in the end.

Still Alice is an inherently sad movie about a woman's decline into senility. It's also a hopeful movie about how one copes with dire circumstances. Its message is that it's possible to face a grim diagnosis with dignity and support. It's an all-around well-acted drama.

The SpongeBob Movie: Sponge Out of Water

Nickelodeon's number one star SpongeBob SquarePants last made it to theaters in 2004. Things changed since then but the show's cast and 2D animation style haven't. One thing different? This big-screen entry, The SpongeBob Movie: Sponge Out of Water, is available in 3D or Flatscreen.

It's the same as always in the undersea town of Bikini Bottom. SpongeBob is the fry-cook at The Krusty Krab restaurant, home of the Krabby Patty burger. Mr. Krabs keeps the Krabby Patty formula in his vault. Sheldon J. Plankton, restaurateur of the abysmal Chum Bucket, wants the formula for himself. Also in town are SpongeBob's best-bud Patrick Star, astronaut squirrel Sandy Cheeks and cynical Krusty Krab cashier Squidward Tentacles.

The evil pirate Burger-Beard (a live-action character played by Antonio Banderas) enters the scene. He acquires a magic book which realizes whatever text is written in it. The dastardly villain writes himself in-possession of the Krabby Patty Formula. The town descends into chaos and Mad Max aesthetics in a split-second. Really, it does!

Krabs accuses Plankton of the act but SpongeBob knows better. It's up to him to convince Plankton to help him find the formula before all is lost.

The film needs little effort to acquaint new viewers to the franchise. It's that kind of show. SpongeBob and Co.'s antics and eccentricities are sure to entertain young kids the most. I got a few good laughs from a few gags (including Burger-Beard's attempt to roll credits a half-hour in). If you know what you're getting into, you'll come out unharmed.

Once Burger-Beard steals the formula, he sits on the narrative sidelines until the SpongeBob cast comes to confront him. We don't even get much explained about his book. It felt like an extended segment of the show. At least it was 92 minutes, which meant it wasn't that long.

Antonio Banderas delightfully hams it up as Burger-Beard. Everything he says and does is with gusto. This pirate's bravado lets him look at danger and tell it to scram. One can tell that Banderas is having fun here.

SpongeBob's latest screen adventure is nothing but silliness. You'll get your money's worth if silliness is what you're looking for. But if SpongeBob's brand of overactive silliness isn't for you, don't fret. There's a few more family-oriented films on their way this year.

Seventh Son

The dark fantasy adventure Seventh Son fought a long fight to theaters. I've devoted a whole paragraph to it:

It was first scheduled for February 2013. It went to that October to give bankrupt FX studio Rhythm and Hues more time and resources to complete their work. It went off the schedule when production company Legendary Pictures moved from Warner Bros. to Universal. And now it's here. And it's average.

It's still better than dull.

Directed by Sergei Bodrov (Prisoner of the Mountains, Mongol), this is yet another rendition of a young adult novel. In this case, it's The Spook's Apprentice, the first of The Wardstone Chronicles by Joseph Delaney. The plot is on the next paragraphs.

Tom Ward (Ben Barnes) is an average farmboy. He's also the proverbial seventh son of a seventh son and that qualifies him to be Master Gregory's (Jeff Bridges) apprentice. Master Gregory is a Spook, the last of a knightly order of monster hunters. And he needs an apprentice who won't die like the others.

Master Gregory once left a dangerous witch, Mother Malkin (Julianne Moore), in a pit. Malkin breaks out and sets out for world conquest. She'll be all powerful once the "blood moon" appears. Gregory has to make a fine Spook out of Tom before that happens.

The visual effects get the job done. The CGI allowed for a few convincing monsters and shape-shifting effects. One of Malkin's goons was a four-armed swordsman and that was seamless. Only a few cases of CGI were far too obvious.

As Master Gregory, Jeff Bridges is reliably eccentric. He's a drunk who knows when to get to business. The weird voice signifies his eccentricity. Julianne Moore's evil villainess Malkin is subdued but still cruel. There's a deep history between the two, but Malkin is so wicked it's sometimes hard to feel sympathy for her.

Its story of destiny and evil rising were familiar. You might find nothing new with the story. There was one thing that kept me invested for the 102 minute runtime. That thing was the relationship between Master and Apprentice. There was so much tension between them that I was surprised the Apprentice either didn't quit or got sacked for the sake of plot. That was one thing right, I guess.

Seventh Son is finally here. It's worth-seeing at least once. If you wish to see it more than once, you're more than welcome. As per custom, it's on both Flatscreen and 3D.

Jupiter Ascending

It's real hard to come up with an overall positive for the space epic Jupiter Ascending. It was supposed to land last July but wound up here to give it more time in post-production. Maybe they should have spent more time in Pre-Production.

Jupiter Jones (Mila Kunis) was born to a Russian mother and a dead father. Years later, she cleans houses in Chicago with her mother and aunt. No one on Earth thinks much of Jupiter. So imagine her surprise when everyone in the universe wants her dead or alive.

Jupiter is genetically-identical to the Queen of the Abrasax Dynasty, the biggest Royal House in the Galaxy. That means she's entitled to the Earth itself under Galactic law. The Queen's evil children don't want Jupiter to have it. And also, humans are the special ingredient of their immortality potion.

The evil prince Balem (Eddie Redmayne) sends some goons after Jupiter. The other prince Titus sends the half-wolf rogue Caine Wise (Channing Tatum) to bring Jupiter alive. There's also some other folks who have interest in keeping Jupiter alive. Good luck keeping track of those. And Jupiter finds herself attracted to Caine.

Did you get all that? I think I did.

There's no doubt that this is a good looking movie. Sibling directors/writers Andy and Lana Wachowski populate their movie world with wondrous alien worlds and creatures. The makeup department created many of the imaginative alien monsters and alien humans. One such alien human was a cameo by filmmaker Terry Gilliam, a fact I didn't realize until after the film. No complaints with the visuals.

But the script was dull. I didn't find myself invested in the plight of these characters. All. Of. These. Characters. It was quite hard, to say the least, to keep track of these characters and their motivations. Balem, whom the film presented as an entitled jerk, had a sympathetic backstory revealed in his last minutes. Most of the film's funniest moments were probably meant to be serious.

But it's 127 minutes long, which means it knows when to quit. It's a far cry from The Wachowskis' Speed Racer, which at 135 minutes, was far too long for a kids movie. But unlike this movie, Speed Racer's aesthetics helped me overlook its flaws.

2015 has a few more films held-over from the previous year yet to come. Let's hope any of them are better than Jupiter Ascending. Let's hope any of 2015's other movies are better than this.

Whiplash

It took forever before Sundance favorite Whiplash became available to me. It came out in way-limited release in October and will come to DVD this month. Now that I've seen it in a theater, here's the review.

Andrew Neyman (Miles Teller) is a first year at New York's Shaffer Conservatory school. Andrew wants to be the best Jazz drummer ever. He'll do whatever it takes to be great. And for this reason he makes the mistake of enlisting in Terrence Fletcher's "studio band."

Fletcher (J.K. Simmons) is Shaffer's most highly-regarded music teacher. Fletcher is affable in public but a tyrant during practice. Expect all sorts of physical, verbal and psychological torture when one practices under Fletcher. "It's all about pushing people beyond what's expected of them," Fletcher later says.

Andrew has to practice hard to reach Fletcher's ludicrously high standards. But will he crack before Fletcher's hard exterior does? Probably.

Writer/Director Damien Chazelle previously filmed a portion of the script as a short film. It also wowed Sundance audiences but cost the final film an Oscar nomination for Best Original Screenplay (it's up for Adapted Screenplay instead). Technicality or not, it's still an excellent script. Its dialogue is memorable and the plot moves quickly and effectively.

Andrew's story is an excellent deconstruction of determinism. We want Andrew to succeed but not with great physical and psychological damage; and especially not to please a teacher who changes the goalposts each second. The audience can feel it as he strains under pressure.

J.K. Simmons is a formidable villain as Terrence Fletcher. All Fletcher wants is to drive his students to perfection. You'll earn his respect as long as you reach his high standards. But as the film progresses, and especially at the end, you'll question his good will. He's purely unpredictable and vicious.

Editor Tom Cross keeps the film going at a breakneck speed. The sound designers let you hear each instrument loud and clear. It's appropriate as it lets you feel what Andrew is thinking. You'll feel the tensity in his practice sessions. The final concert is an exercise in rising tension expressed in Jazz.

Whiplash is a pretty brutal movie. Look elsewhere if you want a calmer motion picture. Those who can stand it will be glad they did. It gets its points across with drum-smashing success.

American Sniper

Last summer, Clint Eastwood's generally fun-less musical Jersey Boys made its mark. This time, he's got the true life story American Sniper to tell. It's quite better than Jersey Boys but is it a masterpiece?

The American Sniper was Chris Kyle (Bradley Cooper), a rodeo star turned Navy Seal. He accumulated 160 confirmed kills on his four tour of duties which made him the deadliest shot in US military history. He wrote a memoir that writer Jason Hall adapted into this film's screenplay.

And he was killed by an unstable fellow veteran.

Oh yes, there's more to this movie.

See Chris meet and marry Taya (Sienna Miller). See their family grow. See Chris deploy to Iraq in service of his country. See Chris do battle against Al-Qaeda's own deadliest shot Mustafa (Sammy Sheik). See Chris struggle a bit against PTSD.

The film neither condemns nor praises Kyle or the Iraq war. It just shows events in Kyle's life. And then it abruptly ends. Some might say it has no thesis, but I think "sense of duty" suits it well. Kyle eventually admits to a psychologist he wishes he saved more servicemen. In other words, "If I don't do it, who will?" It's a compelling theme but the film's distant tone keeps it from resonating.

Three of its six Oscar nominations went to the film's editors and sound designers. And with good reason. Their work is inseparable in portraying the dangers of war. It does especially well in portraying the misery of PTSD.

American Sniper focuses mainly on the "Legend" and not enough on the man behind the "Legend." I'm sure it's possible to do that without offending anyone on the right or left. I found it an OK war film overall. But at least it was the best of the three war films 2014 unveiled.

Foxcatcher

The dark wrestling drama Foxcatcher is another real life story told by director Bennett Miller. Don't be surprised if I allude to the endgame.

In 1984, brothers Mark (Channing Tatum) and Dave Schultz (Mark Ruffalo) both won Olympic gold for wrestling in Los Angeles. Three years later, Mark is an aimless young man while Dave is a successful high school coach and family man. They've been close since childhood but Mark feels overshadowed by Dave's success. Mark gets a phone call from a representative of a certain John E. Du Pont.

Du Pont (Steve Carrell) is the reclusive heir of his family's chemical company. He invites Mark over to his family's Pennsylvania estate Foxcatcher Farm. Du Pont is a huge wrestling fan and wants to sponsor the next U.S. Olympic wrestling team. Mark accepts the offer and joins Du Pont at Foxcatcher. Dave eventually joins the team as well. Meanwhile, the initially affable Du Pont devolves into an unstable control freak.

Steve Carrell certainly acts like a creepy old man. He's generous to his would-be protege at first. But that disappears when things don't go his way. His agitation is so subdued that you'd think he'd kill someone before the moment he does. The now Oscar-nominated makeup work lets Carrell look creepy as well.

Mark Ruffalo is even more unrecognizable as the bearded, balding Dave. He's also a likable family man and a good voice of reason. That makes the ending more painful to watch.

Channing Tatum perfectly plays Mark as the deconstructed idealist. All he wants is to do the best he can for himself and country. In one scene, he argues with his sister-in-law Nancy (Sienna Miller) when she doesn't greet Du Pont like royalty. It also leads him to trust in Du Pont's increasingly poor judgement. We might want Mark to succeed but not at a terrible cost.

The dark outcome of Foxcatcher might put off casual viewers. I found it an interesting morality play of the dangers of greed and idealism. So while tragic, the ending gives you a lot to think about.

Paddington

Paddington, the most famous literary immigrant bear, has a movie to call his own. Movie audiences now have the first great family film of the year.

The movie opens with a newsreel of sorts by explorer Montgomery Clyde. Clyde tells about his time in "darkest Peru." There, he met a family of talking bears who just love some marmalade. He tells them that they're always welcome to visit London.

Years later, the bears Lucy (Imelda Staunton) and Pastuzo (Michael Gambon) live out their golden years together. Their nephew (Ben Whishaw, who replaced Colin Firth last summer) also lives with them. An Earthquake strikes their home and kills Pastuzo. Aunt Lucy heads off to a retirement home for bears. Her nephew stows away on the first freighter to London.

He winds up in Paddington Station. The Brown family gives him a new home and name. Mrs. Brown (Sally Hawkins) loves Paddington's company but Mr. Brown (Hugh Bonneville) wants him out. Paddington proves a good companion to the Brown children, Judy and Jonathan. The wicked museum taxidermist Millicent (Nicole Kidman) wants Paddington for her collection.

It's not as stupid as the advertisements suggest. Paddington's heavily-advertised bathroom trouble is one scene out of many. The rest of it is delightfully deadpan (Mr. Brown's long but unpleasing euphemism for an orphanage) and punny (a gag with a Chihuahua). Julie Walters provides great comic relief as the eccentric Mrs. Bird. It gets serious when it needs to be and it's honest when it does.

Writer/Director Paul King shows what $55 million can create. Paddington is a well-animated CGI creation. He feels real even if you can tell he isn't. There's an inventive flashback scene set aboard a miniature train. The best effect depicts the Brown household as a dollhouse. The film's colorful production design brings out the best in London.

Paddington is a film kids and adults are sure to love together. Though be warned that some of it can upset the youngest of filmgoers. Still, its good humor makes it a fine introduction to Michael Bond's most famous creation.

Big Eyes

Big Eyes is, without a doubt, director Tim Burton's most subdued film in years. Yes, subdued. It's got bright primaries but his gothic stylings aren't there. It's all the more impressive for it.

In 1958, housewife Margaret Ulbrich (Amy Adams) leaves her husband Frank and begins life anew in San Francisco. She has no job experience but a lot of paintings. These paintings are of children and animals with big puppy dog eyes. One day, Margaret sells her work at an outdoor art gallery. That's when fellow artist Walter Keane (Christoph Waltz) shows up. They fall for each other right away.

Walter sells Margaret's paintings at a nightclub. Walter takes advantage of a few misunderstandings and starts taking credit for Margaret's work. He convinces her to go along with it despite her misgivings. Eventually, copies of Walter-but-really-Margaret's work is mass produced. Margaret feels powerless to stop Walter's misdeeds. She'll have to act as Walter's ego grows out of control.

As I said, the film emphasizes bright primaries. It has the brightest shades of red, green and blue possible. It easily evokes the suburbs of Burton's Edward Scissorhands. It also looked like a living painting at times.

The film is about Margaret learning to assert herself in life and art. As portrayed by Amy Adams, her arc is a compelling story. As Walter, Waltz is slick and charming as if to say "obvious con artist alert." He's scary once he drops the nice act. He's amusing again once we understand him as a pathetic loser. Among the supporting cast, James Saito stands out as the Judge of the Keanes' climactic trial who won't tolerate the family circus.

The music also scores good points here. Danny Elfman's emotive score is another memorable score. Singer-Songwriter Lana Del Ray has two songs which include a mesmerizing title track. It's also a great lyrical description of the story. Listen to it and you'll hear what I mean.

Those who can't stand Burton's usual styling may find Big Eyes more to their liking. Its true-life story isn't drowned out by the production design. It's a story you'll be invested in from beginning to end. When you look into the story, you're sure to find many interesting overlaps.

The Imitation Game

The Imitation Game opens with an effective fourth-wall breaking narration. It's addressed to a police officer, but it may as well address the moviegoers in the audience. "Are you paying attention?" the narrator asks. "If you are not listening carefully, you will miss things. Important things. If you cannot commit to this, then please leave the room."

Writer Graham Moore's foresight works. The screenplay might throw off people as it goes between three different time periods. But if you heed the advice and pay attention, you'll be amazed as the relevance of certain plot points is clarified.

Now I have to get to the movie.

1939-1945. War is declared. Prof. Alan Turing (Benedict Cumberbatch) is summoned to Bletchley Park for a secret mission. The British Army has an Enigma code machine in its possession. Alan's mission is to lead a team to crack the Nazi's code so the Army can get the drop on them. Alan works to create a machine to do the work, the ancestor of the modern Computer.

One of the team is Joan Clarke (Keira Knightley), who Turing likes but not in that way...

1920's. Young Alan is picked on by the older boys at Sherbone School. Christopher Morcrom is Alan's only friend and secret crush. But his fondness for Christopher was cut short...

1953. Alan is arrested for the crime of homosexuality (termed "Gross indecency" by the court). The government he dutifully served gives him a dreadful choice...

As Turing, Cumberbatch convincingly plays a repressed genius. He might seem arrogant, but he's someone who can't properly express himself. His inner torment is easily understandable. He'll surely have the audience's support as Cdr. Denniston (Charles Dance) threatens him with unemployment.

The crew assembled by director Morten Tyldum is also great. Composer Alexandre Desplat has another fine score to his name. Editor William Goldenberg keeps it moving as the Nazis and strict officials threaten Alan's progress. Cinematographer Oscar Faura provides subdued imagery to suit the thriller mood. And the sets and costumes evoke the time periods in style.

The Imitation Game does a great job telling a story not many have heard. Whatever Oscar cliches it may have, they didn't bother me as the story kept me interested throughout.

And speaking of Oscars, it's a few hours till the nominations announcement. Expect this to show up at least a few times. It earns its praise.

Selma

Selma is about yesterday today. One can't help see this movie without thinking of certain modern mass demonstrations today. I know as I witnessed one such mass demonstration during my latest excursion to San Francisco.

Selma opens with Dr. Martin Luther King Jr. (David Oyelowo) accepting his Nobel Peace Prize in Oslo. Back home, he tries to convince President Johnson (Tom Wilkinson) to pass pivotal legislation guaranteeing the black vote. But Johnson wants to put it off until whenever. So King and his associates set their sights on Selma. From there, they and their supporters will march to Montgomery to demand equality.

The mission isn't easy. Racist cops and citizens will do anything to uphold their values. King's life unravels as spies reveal his secrets. Supporters start to wonder if the cause is worth it. The movement needs a leader and King is that leader. But King needs to persuade President Johnson to act if it's to succeed.

Its creative team is a great one. The names to remember the most are writer Paul Webb, director Ava DuVernay, cinematographer Bradford Young and editor Spencer Averick. Their movie's tone lets the audience understand the cruelty of injustice for themselves. Its depiction of police brutality is sure to provoke moral outrage in any viewer. A certain act in the opening is far too easy to see coming and its depiction is disturbing. The film surely succeeds in depicting a tough time in American history.

Its ensemble is made of great actors. You'll think of them as characters and not as actors on screen. Oywelo, as King, perfectly humanizes the legendary man. Kudos to the makeup team for making Oyewelo into nothing short of a dead-ringer to King. Wilkinson, as Johnson, antagonizes King, but is more exhausted by other matters than stubborn. Carmen Ejogo, as Coretta Scott King, has a test of faith that earns the audience's empathy.

Selma is subdued for an "Oscar movie." And that's a good thing. Its manner of story-telling gets its message across in its 127 minute run-time. That by itself is praise worthy.

Unbroken

Olympic athlete and war survivor Louis Zamperini's long life ended peacefully on July 2nd, 2014. Before then, Laura Hillenbrand documented said epic life in her 2010 book, Unbroken. That book is now the basis of Angelina Jolie's 2nd film as director, also titled Unbroken.

Zampeirini (Jack O'Connell) grew up the son of Italian immigrants. After a childhood of mischief making, his brother Pete (Alex Russell) inspired him to greatness. He successfully tried out for a regional track team and made it to the 1936 Olympics.

Those events above are flashbacks in the film's bigger story. In it, Louis serves his country in World War II as a bombardier. On a routine mission, Louis's Lemon plane goes kaput and crashes into the Ocean. Only two other crew members survive the crash with him. He and his friends survive in lifeboats on shark-infested waters for 47 days. Only one crew member survives with Louis by the time the Japanese navy finds them.

For the next two years, Louis and his other crew member (but mostly Louis) are prisoners of war. Their camp commander is Mutsuhiro Watanabe (Miyavi), a man who will find any excuse to beat up Louis. Louis has to stay tough if he's to survive the ordeal.

Four writers are credited on the film. It's more like three writers considering that two of the four are the always together Joel and Ethan Coen. The other two are Richard LaGravenese and William Nicholson. Their screen story is a juggling act about to collapse.

Let's start with some ending captions. It said how Zamperini had struggled with PTSD for years after his interment and eventually made peace with his captors. Why's that the ending caption? That's a great movie right there! The interment scenes, which make up a bulk of the film, should have been flashbacks. Kind of a missed opportunity.

And why did they give Watanabe a hint of sympathy near the end instead of anytime before then? He kind of wants Zamperini to respect him but the audience can't oblige him. His favorite tactic ("(Don't) Look at me!" *Whack!*) is so protracted it kind of turns into a running gag.

It was not all a loss. Alexandre Desplat has yet another good score, one which I had time to experience as my theater's sound system muffled quite a bit of the dialogue. The art department crafted incredible recreations of the 1940's. Roger Deakins' cinematography was rich and colorful as always.

Jolie personally knew Zamperini, which led her to this project. So while I may fault Unbroken for being a wobbly juggling act, at least it was a well-intentioned one.