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Tag: matt tory
One of the hardest parts of loving movies is the inevitable task of whittling them down into some sort of "best of" list.
In an ideal world, films wouldn't be judged by numbers or percentages, but by the way they make us laugh, make us cry, make us think, keep us on the edge of our seats, or open our imaginations. Films are more than numbers on scales and placements on lists. Unfortunately that's just the way we are forced to go about explaining why or how we connected with a film or not.
2018 was a great year at the movies. There could be plenty more said about why each of these moves below were so wonderful but there's only so much room on the interwebs. The best films are, at their core, about what it means to be human – with all the good, the bad, and the ugly. The best ones do it with delightful stories to wrap our heads around, characters to care about, and epic sights to feast our eyes upon.
These are the ones that did it best this year.
MY FAVORITE FILMS OF 2018:
THE RUNNERS-UP:
30) If Beale Street Could Talk
29) Juliet, Naked
28) Incredibles 2
27) Solo: A Star Wars Story
26) Tag
25) Isle of Dogs
24) Three Identical Strangers
23) Mary Poppins Returns
22) Game Night
21) The Hate U Give
20 — Beautiful Boy
The heartbreaking true story of a father coping with his son's struggle with addiction. Emotional, moving and a very un-funny performance from Steve Carell (in a good way).
19 — Ralph Breaks the Internet
Much funnier and original than any studio animated sequel should be, RBTI delivers laughs and internet in-jokes at a ridiculous rate. A heartfelt musical ode to a violent video game called Slaughter Race is worth the price of admission alone.
18 — Mission Impossible: Fallout
In terms of full-throttle wild action adventures, no one does it better than Mission Impossible. And in terms of incredible stunts, this is perhaps the best of them all. Tom Cruise continues to outdo himself in terms of his dedication to making us watch him defy death.
17- First Man
Damien Chazelle's follow up to La La Land is a stirring, subtle exploration of the inner turmoils within the first man to ever walk on the moon. Ryan Gosling makes the quiet, reserved Neil Armstrong a completely compelling character.
16 — Bad Times at the El Royale
A fun, thrilling and original character-driven mystery… they just don't make 'em like this anymore. An incredible cast (Jeff Bridges, Chris Hemsworth, Jon Hamm, Cynthia Erivo, etc) bring life to a smart story about the group of strangers who find themselves together one evening at the quiet El Royale motel.
15 — Searching
What easily could have been a gimmick (the entire film takes place on a character's computer screen) quickly proves to be an innovative way to tell the story of a father's search for his missing daughter.
14 — I Can Only Imagine
Perhaps the first "faith-based" film I can say I legitimately loved? The story of how MercyMe wrote their hit song may not seem like that great of an idea for a movie, but Bart's fractured past with his father, and their restored relationship that led him to write the song, makes for a deeply heartfelt and emotional story about reconciliation and redemption.
13 — Christopher Robin
Winnie the Pooh and his pals in the Hundred Acre Wood are some of the simplest, most beloved characters of all time. It's hard not to fall in love with them all over again when their old friend Christopher Robin returns to the forest (and learns how to re-connect with his childhood). It might be one of the simplest and straight-forward movies of the year, but sometimes those are the best.
12 — Ready Player One
Steven Spielberg has made some great movies recently. But it's been a while since he's made one that's simply just fun. Ready Player One is that movie. Grab some popcorn, throw on your favorite Back to the Future graphic tee, and enjoy all the fun pop culture references in this thrilling alternate-reality adventure.
11 — Won't You Be My Neighbor?
We could all use a little more kindness these days — and there were not many who better exemplified this trait better than Mr. Rogers. An emotional documentary about everyone's favorite neighbor, and his impact on the medium of television and the culture at large, is exactly what our world needs right now.
10 — Mamma Mia: Here We Go Again!
Yes that's right. Don't judge me. It's great — low brow entertainment is welcome here as well… Even when it doesn't make much sense, it's honestly so much fun. And way better than the first one. Beautiful Greek islands, Abba music, tons of nonsensical dance sequences, Lily James as a young Meryl Streep — how could I not be a sucker for this movie??
9 — Spider-Man: Into the Spider-Verse
Not only does this new take on Spider-Man innovate the art form of animation in new and creative ways, it's also hilariously funny… Many may not even plan to see it because, it's like "ugh, another Spider-Man?" But you'll be pleasantly surprised.
8 — Bohemian Rhapsody
There's no doubt Bohemian Rhapsody coasts along on Queen's iconic and beloved music. I'm okay with that. The movie has problems — but it's also so dang fun to watch. Is there anything better than rocking out in your seat to We Are the Champions or Somebody to Love as we see the (somewhat true) stories of how the songs were written, and Rami Malek hams it up on stage in eclectic costumes? That's what going to the movies is all about.
7 — Blackkklansman
The absurdly true (and hilarious) story of the black cop who infiltrated the Ku Klux Klan in the 1970's is one of the craziest and surprisingly funny movies of the year. The humor risks making light of evil at points, but its fresh tone is so different and unique that it's a more-than-welcome look back at one of America's dark corners.
6 — Green Book
Mahershala Ali and Viggo Mortenson give two of the best performances of their careers in this true story about two men from very different walks of life, who find friendship while traveling through the racially-charged South.
5 — Free Solo
I still remember hearing in May 2017 that someone had free solo'ed El Capitan in Yosemite. "What…? Is that even possible?" It's not an exaggeration to call Alex Honnold's free solo one of the greatest athletic achievements in history. If you're unfamiliar with why, consider — At over 3,000 feet tall, El Capitan is considered the largest rock monolith in the world. Its vertical face is perhaps the most popular rock-climbing spot in the world, with many taking days to weeks to summit. Alex Honnold "free solo" climbed (meaning, without ropes — any mistake meaning death) one of the tallest, trickiest rock formations in the world in about 3 hours. You read that right. Watch this on the biggest screen possible.
4 — Eighth Grade
Bo Burnham is the biggest surprise of 2018 for me. If you've ever watched this 28 year-old's stand-up special on Netflix, you probably laughed, but also thought "this is one of the most absurd things I've ever seen" and "this guy is crazy." And then — THEN — he writes and directs this touching coming-of-age drama!? Eighth Grade is such a funny, heartfelt, cringe-because-it's-true look at the insecurities involved with being thirteen years old.
3 — A Quiet Place
A Quiet Place is a testament in telling a simple story, really really well. Like a feature-length episode of The Twilight Zone, the delicious premise of a family living in a world where no one can make any noise — at the risk of death — is clever, intriguing and opens up an entire landscape for dramatic storytelling. John Krasinski pulls off an incredible achievement both in front and behind the scenes, delivering a beautifully-made thriller with heart. If possible, watch it in a crowded theater where it's so quiet that you can hear someone eight rows in front of you munching on popcorn. Trust me, it's a great experience.
2 — Crazy Rich Asians
Oh my goodness, this movie is so delightful. A visually-dazzling romantic comedy full of fun characters, emotional moments, and spectacular screwball humor, Crazy Rich Asians takes the rom-com formula and runs with it in loving, entirely enjoyable fashion. Like many movies on this list, CRA is just a great time — you'd have to have a pretty cold heart to resist its charms. And it might even make you cry.
1 — A Star is Born
A Star is Born is the movie of 2018, and it will stand the test of time regardless of what wins awards and receives glowing critic write-ups. It is a poignant, emotional and dramatic look at addiction, pain, falling in love, the appeals and pitfalls of celebrity, and the struggle to create art that has something worth saying.
I can't say enough good things about this movie. Bradley Cooper is a powerhouse — not only giving a resonant performance as the alcoholic country star Jackson Maine, but also writing the script, directing, and helping create the memorable music throughout. Every song not only stands on its own, but pushes the story forward in a meaningful way. Lady Gaga, meanwhile, will charm her way right into your heart. It's hard to imagine someone being so cynical and callous as to actually dislike A Star is Born. It's an eager and heartbreaking romance for the ages. I will admit that the "just wanted to take another look at you" memes are pretty funny, though.
BECAUSE EVERYONE WANTS AN AWARD:
Who did it the best this year?
BEST ACTOR(s):
Ryan Gosling, First Man
Bradley Cooper, A Star is Born
Mahershala Ali, Green Book
BEST ACTRESS(es):
Elsie Fisher, Eighth Grade
Lady Gaga, A Star is Born
Emily Blunt, Mary Poppins Returns
BEST DIRECTOR(s):
John Krasinski, A Quiet Place
BEST SCREENPLAYS:
BEST MUSICAL SCORES:
BEST CINEMATOGRAPHY: A Star is Born
MOST OVERRATED MOVIES OF THE YEAR (HOT TAKES!):
DESTINED TO WIN THE MOST AWARDS: Roma
So those are my big fat opinions about 2018 at the movies! You don't have to love my list; you don't have to agree. So let me know what your favorite movies were this year! But first, if you excuse me, I think I'll grab my popcorn bucket and head back to the theater. Time to start all over again!
All movie posters shown are used for non-commercial analysis and commentary purposes related to the films mentioned herein.
One of the hardest parts of loving movies is the inevitable task of whittling them down into some sort of "best-of" list.
These are the ones I think did it best this year:
The heartbreaking true story of a father coping with his son's struggle with addiction. An emotional, moving and very un-funny performance from Steve Carell (in a good way).
Perhaps the first "faith-based" film I can say I legitimately loved? The story of how MercyMe wrote their hit song may not seem like that great of an idea for a movie, but Bart's fractured past with his father, and their restored relationship that led him to write the song, makes for a deeply emotional story about reconciliation and redemption.
Steven Spielberg has made some great movies in recent years. But it's been a while since he's made one that's just fun. Ready Player One is that movie. Grab some popcorn, throw on your favorite Back to the Future graphic tee, and enjoy all the fun pop culture references in this thrilling alternate-reality adventure.
There's no doubt Bohemian Rhapsody coasts along on Queen's iconic and beloved music. I'm okay with that. The movie has problems — but it's also so dang fun to watch. Is there anything better than rocking out in your seat to We Are the Champions or Somebody to Love while watching the (somewhat true) stories of how the songs were written, and Rami Malek hamming it up on stage in eclectic costumes? That's what going to the movies is all about.
I can't say enough good things about this movie. Bradley Cooper is a powerhouse — not only giving a resonant performance as the alcoholic country star Jackson Maine, but also writing the script, directing, and helping create the memorable music throughout. Every song not only stands on its own, but pushes the story forward in a meaningful way. Lady Gaga, meanwhile, will charm her way right into your heart. It's hard to imagine someone being so cynical and callous as to actually dislike A Star is Born. It's an eager and heartbreaking romance for the ages. I will admit that the "just wanted to take another look at you" memes are pretty great too, though.
One of the hardest parts of watching and loving movies is the inevitable task of whittling them down into some sort of "best-of" list.
In an ideal world, films wouldn't be judged by numbers or percentages, but by what they stir up, inspire, or accomplish. By the way they make us laugh, make us cry, make us think, keep us on the edge of our seats, or open our imaginations. Films are more than numbers on scales and placements on lists. Unfortunately that's just the way we are forced to go about explaining why or how we connected with a film or not. Films are not always meant to be mathematically analyzed; they are meant to be felt.
BTW, there were a lot of good movies this year. Even though all of them didn't make my cut of Favorite Films, I still want to list the rest of the movies I liked as Runners-up: because they were good and they're still worth a watch!
38 – SPIDER-MAN: HOMECOMING
37 – SPLIT
36 – WONDER WOMAN
35 – KINGSMAN: THE GOLDEN CIRCLE
34 – LOGAN
33 – THOR: RAGNAROK
32 – COLOSSAL
31 – STAR WARS: THE LAST JEDI
30 – DETROIT
29 – BATTLE OF THE SEXES
28 – THE POST
27 – MOLLY'S GAME
26 – BEAUTY AND THE BEAST
25 – BRAD'S STATUS
24 – ALL THE MONEY IN THE WORLD
23 – GET OUT
22 – I, TONYA
21 – THREE BILLBOARDS OUTSIDE EBBING, MISSOURI
20 — Last Flag Flying
When a grieving father asks his old Marine buddies to accompany him to his son's funeral, the three set out on a road trip to Arlington Cemetery. Their mission: to give his son the burial he deserves. Along the way, the three (Steve Carell, Bryan Cranston, Lawrence Fishburne, all giving A+ performances) reminisce and end up giving each other what they needed most: a sense of community and brotherhood.
19 — Only the Brave
An emotional true story about Arizona firefighters who risk their lives daily to save communities, families, and cities from the horrors of wildfires — Only the Brave is an inspirational, hopeful, and powerful drama about real-life heroes.
18 — Wind River
Jeremy Renner and Elisabeth Olsen make a killer duo as they attempt to solve the mystery of a local murder on a remote Native American reservation. Some great character development and compelling mysteries make Wind River one of the best dramas of the year.
17 — Logan Lucky
An offbeat and quirky action film with a Daniel Craig performance unlike any you've seen before. If I was to describe it as a "Hillbilly Ocean's Eleven", would that interest you? Yes? You're in luck.
16 — Coco
Pixar is back! After a string of underwhelming sequels, Pixar proves that they still have the power to pull off original, emotional stories about adolescence and fantastic unseen worlds. Just don't make me watch Olaf's Frozen Adventure before it starts again.
15 — The Big Sick
Comedian Kumail Nanjiani's autobiographical romantic comedy about falling in love with Emily (despite his Muslim family's wishes that he marry a Pakistani woman) as she is diagnosed with a mysterious illness is funny, heartfelt, and fresh.
14 — THE SHAPE OF WATER
"Magical" is a good word to describe this modern fairytale. Beautifully directed by Guillermo del Toro, this 1960's-set re-imagining of The Beauty and the Beast is visually gorgeous and bolstered by an incredible cast. Maybe more so than any other movie this year, The Shape of Water "transports" you to a different world. And isn't that what movies are all about?
13 — DARKEST HOUR
The best performance of the year belongs to the unrecognizable Gary Oldman in Darkest Hour. Winston Churchill is a character who has been immortalized on film countless times – but now we have the definitive portrayal of the man who who led, against immense opposition, his nation with the weight of the world on his shoulders. Thrilling and dramatic, Darkest Hour is a historical drama with style.
12 — THE GREATEST SHOWMAN
The Greatest Showman is not a perfect movie — it's clunky in places, and doesn't really work in others. But when it works, it really works. Hugh Jackman increasingly impresses as the energetic P.T. Barnum, giving every scene his all, belting out tunes alongside a game cast. It's hard not to admire how everyone in this movie showed up with their A-game, and how a pure love of movie musicals infuses every frame. This wildly entertaining musical reminds you of what the spectacle of "going to the movies" is all about. And if The Greatest Showman doesn't fill you with utter joy at least once, I'm not sure you have a heart.
11 — THE GLASS CASTLE
Brie Larson is the best. And once again, she's great in The Glass Castle, starring as a young woman who grows up under her wildly joyful yet dysfunctional father's misguided approach to fatherhood. As an adult, she goes on to carve out a successful life for herself, but ends up learning the power of redemption and reconciliation when it comes to her relationship with her estranged father.
10 — Ingrid Goes West
Social media controls our modern lives. Many movies have tried to show this phenomenon on film, but maybe none have done it so well — and so comically — as Ingrid Goes West. The tale of an instagram stalker who travels to LA in an attempt to befriend a fashion idol she follows online is super smart, super dark, and super funny.
9 — WAR FOR THE PLANET OF THE APES
The thrilling conclusion to one of the best trilogies in the last decade or so, War for the Planet of the Apes caps off Caesar's story in spectacular fashion. Andy Serkis is phenomenal as always, and the visuals are incredible – this is how you do CGI. A poignant tale about leadership and the importance of family, War for the Planet of the Apes is everything Hollywood blockbusters should be.
8 — Lady Bird
Sure, I may be biased since I'm from Sacramento and I love the little city I call home. But Greta Gerwig's beautiful ode to adolescence, to growing up in Sacramento, and to coming around to loving the people and places that made us who we are, is such a winner.
7 — STRONGER
So much more than a conventional "overcoming the odds" drama/romance, Stronger is the incredibly moving tale of Jeff Bauman's recovery after losing his legs in the 2013 Boston Marathon bombing. Thrust into the limelight while trying to recover, he reluctantly is forced to take on the mantle of "hero" for his city, even though he may not feel like one. What happens when a new romantic relationship is thrown a wrench in the form of national tragedy, and when life thrusts upon us a role we feel neither prepared for or deserving of?
6 — WONDER
Wonder what the most delightful, feel-good movie of the year is? Wonder no more. This wonderful little movie has some beautiful performances, knows exactly how to tug at the heartstrings, and may or may not have made me cry numerous times.
5 — GIFTED
This endearing indie drama starring Chris Evans as a single father struggling to raise his gifted daughter is the most charming movie of the year. When people say "they don't make movies like they used to," this is the kind of movie they're talking about.
4 — Dunkirk
Christopher Nolan might have impacted the last few decades of film more than any other current filmmaker – no matter what some haters may say. It's easy to overlook how his style, storytelling technique and cinematic influence has created countless trends in mainstream Hollywood filmmaking we take for granted. Dunkirk may not be the best Nolan film, but it shows the Director firing on all cylinders – a thrilling, exciting war movie more concerned with sound, feeling and scope than dialogue or individual characters. This is the story of countless soldiers – on the land, sea, and in the air – who lived through the horrors of Dunkirk. It's a fascinating experience, and it might be the best war film since Saving Private Ryan.
3 — Baby Driver
A thrilling musical adventure through the streets of Atlanta, Baby Driver is the newest from Director Edgar Wright, who has given us some of the most unique, cinematic modern comedies. Baby Driver is a step away from straight-up comedy, blending music and action sequences unlike any film in recent memory. See it on the biggest screen possible – this is one of those movies that reminds you why going to the movies is so much fun.
2 — The Disaster Artist
Okay, I get that many of you haven't seen The Room. I definitely recommend giving that gloriously bad 2003 drama starring the enigmatic Tommy Wiseau a watch. But The Disaster Artist, James Franco's retelling of the behind-the-scenes foibles on the set of The Room, is strong enough to stand on its own as well (though I still contend that you'll enjoy it so much more having seen The Room). What easily could have been a simple comedy mocking the bizarre antics of Tommy Wiseau instead becomes a moving (but still very funny) tale about friendship, ambition and pursuing the things we are passionate about… If you can, get some good friends together to watch The Room on DVD and then go watch The Disaster Artist together. That will not be an evening wasted.
1 — Brigsby Bear
My favorite movie of the year is also the one I'm confident most of you haven't seen. Not only is Kyle Mooney criminally underused on Saturday Night Live, but now only like 87 people went and saw his brilliantly creative, quirky, funny and emotional comedy/drama Brigsby Bear in theaters. It's by far the weirdest movie I've seen in a long time – but weird in so many great ways. I don't really even want to say anything else about it because it would ruin the story. Don't even watch the trailer or anything, seriously. Oh and Mark Hamill is a main character in it too, if you haven't already been convinced.
Honorable Mention — We Make Movies
Okay, I had to put this on here, right? I would never go so far as to imply that a movie I wrote and directed is one of the best of the year – ahem – but I'm pretty proud of it and I think it's funny so maybe you'll find it funny too. Amazon picked it up and you can watch it there for free.
And yes – it's not lost on me how ironic it is that 2017 saw the release of a comedy movie I made about characters making a bad movie (that ends at the premiere of said bad-movie), and then my two favorite films of the year ended up being comedies about characters making bad movies (that end at the premiere of said bad-movies). I'm not sure if there's anything to that or not…
Still need to see:
Phantom Thread, Hostiles, Mudbound, The Meyerowitz Stories
James Franco, The Disaster Artist
BEST ACTRESS: Saiorse Ronan, Lady Bird
Christopher Nolan, Dunkirk
Guillermo del Toro, The Shape of Water
BEST SCREENPLAY: Brigsby Bear
BEST CINEMATOGRAPHY: Dunkirk
DESTINED TO WIN THE MOST AWARDS: The Shape of Water
January 14, 2015 August 7, 2015 Leave a comment
One of the hardest parts of watching and loving films is the inevitable task of whittling them all down into a best-of list.
In an ideal world, films wouldn't be judged by numbers or percentages, but by what they stir up, inspire, or accomplish. By the way they make us laugh, make us cry, make us think, keep us on the edge of our seats, or open our imaginations.
Films are more than numbers on scales and placements on lists. Unfortunately that's just the way we are forced to go about explaining why or how we connected with a film or not. Films are not always meant to be mathematically analyzed; they are meant to be felt.
2014 in Film:
Some notable omissions from my list that you might find glaring include Unbroken, The Hunger Games: Mockingjay, Part 1, How to Train Your Dragon 2, The Amazing Spider-Man 2, Fury, Edge of Tomorrow, Godzilla, The Hobbit: Battle of the Five Armies, and Captain America: The Winter Soldier.
Sorry, but those are not here for a reason.
Then some, like Big Eyes, Begin Again, Wild, The Skeleton Twins, Dumb and Dumber To and Nightcrawler barely missed the cut. Unfortunate casualties.
And some movies that very well could have landed a spot on this list but didn't just because I never got a chance to see them include American Sniper, A Most Violent Year, Mr. Turner, Happy Christmas, Top Five, The Homesman, Enemy, The Boxtrolls, Under the Skin, Lucy, Only Lovers Left Alive, Rosewater, Inherent Vice, John Wick, Tracks, The Guest, Dear White People, The Double, Frank, and Locke.
I could say a lot more about why each of these moves below were so great (and why many were left off), but there's only so much room on the interwebs. The best films are, at their core, about what it means to be human – with all the good, the bad, and the ugly. The best ones do it with wonderful stories to wrap our heads around, characters to care about, and epic sights to feast our eyes upon.
These are the ones that did it the best this year.
You don't have to like my list; you don't have to agree with it. Films touch us all in different ways. So comment, either here or on Facebook, and let me know what you thought about this year's movies! What did I get right? What did I leave off?
Let's relive this year's best!
THE BEST FILMS OF 2014:
30) The Imitation Game
29) X-Men: Days of Future Past
28) Big Hero 6
27) Exodus: Gods and Kings
26) Guardians of the Galaxy
25) Laggies
24) Neighbors
23) The Theory of Everything
22) Chef
21) St. Vincent
20 — Foxcatcher
(Steve Carell, Channing Tatum, Mark Ruffalo)
Directed by Bennet Miller
Despite what you may think, this is not a hilarious buddy-comedy with Steve Carell and Channing Tatum hunting foxes (though I'd pay to see that).
Foxcatcher follows the dramatic true story of Olympic gold medal-winner Mark Schultz (Channing Tatum), who was invited to train for the upcoming Olympics at the estate of an eccentric millionaire by the name of John du Pont (Steve Carell).
Steve Carell is almost unrecognizable here in the chilling role of the wealthy and erratic wannabe-wrestling-coach. Though the film is slow, it is engaging throughout – it plays more like a stage play than a film, full of dramatic speeches, long unmoving scenes, and weighty dialogue. Though what Foxcatcher will be remembered for most is its talented comedic actors disappearing into their roles, weaving together a tale of jealousy, delusion, addiction, and psychotic self-destruction.
19 — Into the Woods
(Anna Kendrick, Meryl Streep, Johnny Depp, Chris Pine,
James Corden, Emily Blunt)
Directed by Rob Marshall
A clever re-imagining of classic fairy tale lore, Into the Woods gives us a surprisingly heartfelt musical about a baker and his wife who go to extreme lengths to break a curse of barrenness upon them, in hopes of having a child.
Meryl Streep can do no wrong as usual, and it's a welcome introduction to American audiences for affable Brit James Corden. As it plays with putting new spins on our favorite fairy tales, Into the Woods is lighthearted and charming fun (with somewhat forgettable music, but still enjoyable).
18 — Men, Women and Children
(Adam Sandler, Jennifer Garner, Ansel Elgort, Dean Norris)
Directed by Jason Reitman
Following a number of high school teenagers (as well as their parents) as they navigate the waters of the internet, social media, interacting with others, forming views of themselves and creating relationships, Men Women and Children wants us to wrestle with the fact that the internet has changed us.
Let me just say, straight up — a large portion of this movie is about sex. And about how people use technology to go about getting it. It's about affairs, immature relationships, pornography, and failed marriages. And though it deals with important topics, it will be too much for most audiences.
Even though technology has changed us, Men, Women and Children reminds us that it's just as possible to make meaningless connections in real life, reflecting a mirror back on ourselves — how will we treat our relationships? How will we interact with technology? Will we pursue genuine connections and relationships, or will we continue to use the advances of our society to take advantage of others for our own gratification?
17 — 22 Jump Street
(Channing Tatum, Jonah Hill, Ice Cube, Nick Offerman)
Directed by Phil Lord and Christopher Miller
Conveniently relocating across the street, Jenko and Schmidt are undercover again – and this time they're in college. Cue the bean bags, bunk beds, and shower caddies.
Jonah Hill and Channing Tatum's brilliant chemistry blossoms in this sharp, clever, energetic comedy sequel that's more than eager to poke fun at itself. 22 Jump Street is a hilarious, if crude, buddy comedy with plenty of laughs and lots of heart.
(And make sure to stay for the end credits!)
16 — The Good Lie
(Reese Witherspoon, Some People You've Never Heard of)
Directed by Phillippe Falardeau
Reese Witherspoon may be the biggest star in The Good Lie, but this movie about the "Lost Boys" orphaned by Sudan's vicious civil war really belongs to three actors you've never heard of.
Actors Arnold Oceng, Ger Duany, and Emmanuel Jal all lost their families in the midst of Civil War, watched their friends die from disease and animal attacks, and faced starvation as they traversed the African desert in search of refuge. Now they've been given the chance onscreen to bring life to the struggles thousands faced.
The Good Lie is an emotional, humorous, and hopeful film about a real human crisis that is still ongoing. And contrary to most Hollywood clichés, the film doesn't approach this story about the Third World from the eyes of a Westerner, but rather from the perspective of those in the situation themselves, which is refreshing and important. It is a moving story about our common humanity — the triviality of so much we consider important, of redemption, forgiveness, loyalty, and family.
15 — Wish I Was Here
(Zach Braff, Josh Gad, Mandy 'Prepare to Die' Patinkin)
Directed by Zach Braff
When they're kicked out of Jewish private school, thirtysomething Aidan Bloom comes to an existential crossroads as he's forced to become his kids' home-school teacher.
In his first film since the poster child for indie films of the 2000s, Garden State, Zach Braff doles out a reflective and heartfelt drama about dealing with adulthood and responsibility.
The film resonated with me because it felt deeply honest. It is an entertaining, uplifting, and joyful attempt to simply convey the confusion, mystery, and struggles of life in times of transition and mourning. With Wish I Was Here, Braff has crafted a sincere and ambitious tale about being lost in life, misguided, not knowing what to do next, balancing responsibility with following our passions, and making the most of the short time we're given.
14 — Muppets Most Wanted
(Kermit, Miss Piggy, Humans)
Directed by James Bobin
Whereas 2011's reboot The Muppets was a delightful mix of nostalgia, tenderness and heart, Muppets Most Wanted gets the gang back to their wacky roots with a full-out screwball comedy with big stars and clever gags. As a longtime Muppet fan, I laughed out loud on multiple occasions, and Most Wanted featured a surprising amount of intricate gags and pop culture jokes for adult audiences.
While it doesn't reach the majestic heights of its predecessor, Most Wanted returns the Muppets back to their silly roots– full of hilarious jokes, funny songs, and great celebrity cameos. It's everything one could want in a Muppets movie.
13 — Snowpiercer
(Chris Evans, Ed Harris, John Hurt)
Directed by Joon-ho Bong
Captain America racing through a train of cannibals — there, that summary will get your friends to watch this one with you. In the near future, the planet's survivors find themselves in a life-sustaining train traveling across the globe called the "Snowpiercer."
Snowpiercer is a mind-trip. It's a bold, ambitous, and smart sci-fi film full of compelling twists and turns, and its phenomenal cast help bring the visually-stunning story to life. As the hero who rebels against the train's 'class system,' Chris Evans in particular shows off an impressive new side unlike anything we've seen from Captain America prior.
12 — Noah
(Russell Crowe, Emma Watson, Rock-Giant-Angel Things)
Directed by Darren Aronofsky
As a piece of art, NOAH is a breathlessly-told drama with sweeping epic visuals, superb performances from all of the Russell Crowe-led cast, and awe-inspiring visual effects (other than some early scenes with the "fallen angels").
In relation to its faithfulness to Scripture, it leaves some to be desired, but it is refreshing to see mainstream Hollywood tackling Biblical stories with such beauty and high production value. This NOAH is a powerful story of belief, guilt, judgment, mercy, and ruinous obsession.
For my complete thoughts on NOAH, read my full reflection on the film here.
11 — Selma
(David Oyelowo, Tom Wilkinson, Racists)
Directed by Ava DuVernay
Fifty years ago, the events that took place in Selma, Alabama helped energize the already-building Civil Rights movement in the United States. Selma shines a light on the actions of Martin Luther King Jr. (a career-turning performance from David Oyelowo) in organizing the Alabama-based protests and marches.
The film enrages and enlightens as it shows how history is changed with a number of small moments. And the Martin Luther King, Jr. we see in Selma isn't a sugar-coated version of the famous leader, but instead a flawed man unsure of his own abilities – which is a welcome sight.
It should be noted, though, that this movie is titled "Selma" – not "Martin Luther King, Jr." This is a film about a movement; not just a particular man. And the story of that movement is gripping, powerful, and infuriating — reminding us that though we have come a long way, there is much still to be done.
10 — The Dawn of the Planet of the Apes
(Andy Serkis, Gary Oldman, Jason Clarke)
Directed by Matt Reeves
Caesar and his band of intelligent apes return in what is proof that Hollywood Blockbusters can be both action-packed entertainment as well as intelligently heartfelt.
I know he played Gollum in Lord of the Rings, but you'd think Andy Serkis was a Wizard. Because the way he brings the computer-generated Caesar to life and breathes so much emotional complexity into the character is unreal. Full of beautiful cinematography, a sweeping soundtrack from Michael Giacchino, awe-inspiring digital animation and rich storytelling, Dawn is a thrilling and heartbreaking look at a leader continually forced to choose the lesser of two evils.
The moment when Caesar embraces his friend Malcolm — one ape, one human, both acknowledging there's nothing either can do to stop a coming war between their species — is easily one of the most beautifully moving scenes in recent memory.
9 — The Interview
(James Franco, Seth Rogen, Kim Jong Un)
Directed by Seth Rogen and Evan Goldberg
Much was made of the controversy surrounding The Interview, expectations were ballooned, and audiences flocked in nationalistic pride without necessarily knowing what they were getting into.
Which is too bad, because The Interview was never meant to be the edgy, intellectual satire everyone seemed to want it to be. It just tried to be a big, dumb, ambitious comedy that stuck it to a genocidal dictator — and it does so hilariously.
The Interview is laugh-out-loud funny in the way only Rogen and Franco can do. And even though its full of butt jokes, it's clever and expertly-crafted comedy is miles ahead of what other studios have been shoving into theaters lately. It's obvious that these guys just wanted to make the funniest film they could, and went for it. Randall Park is particularly memorable as the man-child Kim Jong Un who's just trying to get out of his father's shadow.
The Interview is definitely not for everyone — it is filled with crude humor, and it definitely goes over the line of good taste, but the comedic situations, pop culture references and hilarious developments are off the charts here.
And I'll never listen to Katy Perry's "Firework" the same way again.
8 — Whiplash
(J.K. Simmons, Miles Teller, Drum Solos)
Directed by Damien Chazelle
A simple, yet haunting story about an ambitious young jazz drummer (Miles Teller) obsessed with becoming one of the greats, and his terrifying instructor (J.K. Simmons) who ruthlessly pushes him to the brink – Whiplash is a riveting, intense exploration of artistry and obsession.
J.K. Simmons, once known primarily for his memorable cameos as J. Jonah Jameson in the original Spider-Man films, is unstoppable here. And Miles Teller is good too, I guess.
Whiplash is focused on one thing and one thing alone – the relationship between musician and instructor. Little else gets in the way. It is a slow-burning thriller about obsession, artistic perfection, and the lengths artists are willing to sacrifice for their craft.
7 — The Grand Budapest Hotel
(Ralph Fiennes, the rest of Hollywood)
Directed by Wes Anderson
This is Wes Anderson at his most Wes Andersonian. The Grand Budapest Hotel, following the whimsical and dangerous adventures of hotel concierge Gustave H and his lobby boy Zero, is his most ambitious film to date.
Ralph Fiennes is impeccable in the lead role, and just gazing at the poster, one becomes dizzy merely reading the long list of beloved actors and actresses in this thing. The film is delightful, twisted, insane, emotional, dramatic, and hilarious. And it's full of great character work (a massive feat with an ensemble this monstrous), and creative ingenuity (such as each time period taking place in different aspect ratios).
Wes Anderson has delivered yet another trademark exploration of a quirky character on a journey of self-discovery, and though the comedy gets pretty dark, the fast-paced antics will keep a smile on most every face. It gets a bit lost within its own tangled web of tangential storylines, but the impeccable palette of visual feasts and ornate detail make The Grand Budapest Hotel a thoroughly enjoyable romp with plenty of reflections on loss and friendship.
6 — Birdman
(Michael Keaton, Emma Stone, Edward Norton,
and an Unblinking Camera)
Directed by Alejandro González Iñárritu
Washed-up actor Riggan Thomson (Michael Keaton) is most famous for playing iconic superhero "Birdman" in a trilogy of films two decades ago.
Tired of being defined by his role in a billion-dollar franchise so long ago, Riggan sets out to direct, produce, and act in a massive stage play – all while enduring a number of pitfalls leading up to opening night, and suffering from delusions (?) that he may actually possess super powers.
What follows from the first moment of Birdman is a massive creative undertaking, with the film edited in such a way that it appears to be one single continuous take. The camera flows through hallways, rooms, stages, and streets, never blinking. It is a sight to behold.
Michael Keaton gives the performance of his life here, and perhaps the most poignant thing Birdman brings us is a discussion of the purpose and pain of creativity – and why we pursue creative endeavors at all. Birdman is a bit of a head-scratcher, full of surreal and highly-imaginative elements that don't always work. But this absurd, funny, and tragic black comedy is unlike anything you're likely to see anytime soon. If Birdman isn't ambitious, creative, and bold, then no film is.
5 — The Fault in Our Stars
(Shailene Woodley, Ansel Elgort, Laura Dern, Willem Dafoe)
Directed by Josh Boothe
I absolutely loved The Fault in Our Stars, and I know that all of the sobbing 13-year-old girls in the theater with me would agree.
But really. The long-awaited adaptation of John Green's widely beloved novel is an incredibly moving, witty, heartwarming, and heart-wrenching exploration of life, love, and loss. The Fault in Our Stars runs the emotional gauntlet, and works on almost every level.
Fault so easily could have devolved into just another weepy teen chick flick, but it is incredibly fresh because it feels so mature — it is wiser than its years (much like Hazel and Gus). It's impossible not to love and root for these two young cancer patients as they struggle with falling in love while also navigating death's doorstep.
The characters here are authentic and we care deeply for Hazel and Gus by the time they have to actually face the crap we knew was coming all along. Any sappiness The Fault in Our Stars exhibits is well-earned, and those who melt into blubbering balls of sniffles in the theater need not feel like fools.
If The Fault in Our Stars doesn't make you at least contemplate your own life and inspire you to cling to and treasure the people you care for most even more, then you might need to do some soul-searching. This movie makes you laugh, makes you reflect, and charms with its unconventional love story full of natural humor, warmth, and a tender take on a very bleak subject. Hazel's journey serves as an optimistic reminder to make the most of your life, even when you're dying… And then again, aren't we all?
4 — Interstellar
(Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine, Casey Affleck, Matt Damon)
Directed by Christopher Nolan
Don't believe the "haters," as the kids say. This movie is amazing.
It's complex and it's mind-numbing, but Interstellar is an incredible emotional journey through space and time. It is a riveting, ambitious, tense, thrilling and heart-wrenching adventure — and yet, for how big and expansive its scope, it's really just a simple story about a father and his daughter, told with its heart on its sleeve.
The film's logic is stretched a number of times, and a few confusing storytelling decisions are made, but it's encouraging to still see bold, audacious storytellers like Christopher Nolan be willing to stretch themselves creatively and go for broke, trying new things on a big scale. Art only has the potential to be great when it is taking risks. And even though risks don't always pan out, I'd much rather watch failed ambitious, creative risks than some caped superhero trying to rescue a space orb from a generic baddie for the 38th time.
It cannot be denied how incredible of a trip Interstellar is. The pace is gripping, the performances are stellar, the musical score is pulse-pounding, and the action sequences are riveting. It reawakens a spirit of exploration and attempts to wrestle with a number of weighty ideas. Interstellar is exactly the type of fun, bold entertainment I'll passionately cheer on in an age of unwanted sequels, prequels, reboots, and remakes.
3– Gone Girl
(Ben Affleck, Rosamund Pike, Tyler Perry not dressed as a woman)
Directed by David Fincher
Gone Girl is insane. Twisted. Messed up. It's a brilliantly-made film, but it is not for the faint of heart. It thrills, disgusts, and subtly terrifies.
Director David Fincher loves to draw us into bleak and visually-stunning stories about the lives of messed up people.
Gone Girl is no exception. It is a dark look at a marriage in shambles — a well-polished thriller about two spouses who have used their marriage, and each other, for the absolute worst reasons. It's haunting, and it's incredibly tense.
And Ben Affleck and Rosamund Pike are at their absolute best in Gone Girl, both giving performances that are subtly layered and ever-changing.
In Gone Girl, morality is a grayscale, and the audience is left to make their own judgments in determining between good and evil. Both Nick and Amy's selfishness led them to opposite extremes, and crumbled their marriage. And in some respects, there is no clear-cut resolution to this haunting tale.
The world of Gone Girl is surprisingly complex, and its twisted thrills come at a lightning-fast speed. It's not perfect, but it is an exceptionally-made film (for those able to handle it) that must be discussed and wrestled with.
Gone Girl will stay with you.
2 — The LEGO Movie
(Chris Pratt, Elizabeth Banks, Will Arnett, Morgan Freeman, Charlie Day, Nick Offerman, Liam Neeson, Will Ferrell)
"A movie… about LEGOs… Get a grip. This will be awful."
I was beyond doubtful when I first saw the trailer for The LEGO Movie, convinced it was little more than a glorified toy commercial. But I was wrong.
The LEGO Movie is a hilariously wild ride that delivers a crazy hour-and-a-half of all your childhood playtime imaginations come to life.
The laughs come faster by the minute, the colorful animation is amazing, and it never feels like a sales pitch or a commercial — but if you never wanted to play with Lego's before, you will afterwards.
Despite all the laughs and the hilarious characters, the heart of the film is what makes it special. It is truly a film that all ages can enjoy and celebrate together—a delightful story that recaptures the magic of childhood imagination, and reminds us of the importance of letting kids be kids. And that's pretty impressive for a movie based off a little yellow toy.
1 — Boyhood
(Ellar Coltrane, Ethan Hawke, Patricia Arquette,
older Ellar Coltrane, older Ethan Hawke, older Patricia Arquette)
Directed by Richard Linklater
There are no two ways around it: Boyhood is the film of 2014.
Boyhood is unlike anything you've ever seen, or anything you'll probably ever see again. The film itself is a little miracle: filmed over 12 years with the same cast, Boyhood is an intimate and reflective look at growing up. It is truly a sight to behold as Ellar Coltrane (and his parents) age onscreen, going through their lives, Mason slowly transforming from boy to man. Boyhood could have easily become a one-note gimmick, but it turns into so much more.
It's impossible to watch Boyhood and not reflect on your own life – that is what makes it so moving and relatable. There is no identifiable "story" — and that's sort of the point. Instead, the film is made up of a number of small vignettes, watching Mason grow up and go throughout life with his family and friends.
Life is the accumulation of small moments. And perhaps no movie has shown that more poignantly than Richard Linklater's Boyhood. It is a thoughtful reflection on time itself — how it passes, and will continue to pass, whether we like it or not — and a nostalgic ode to both growing up and being a parent.
Boyhood is a little longer than it needed to be, yes, but the film is just too special to spend time complaining about its length. Boyhood is the ultimate mainstream experimental film, and will surely be remembered as Richard Linklater's personal masterpiece (They might as well just mail him his Oscar for Best Director now). Boyhood is proof that filmmakers are still taking risks and trying new things. That's reassuring in an age where movies like Transformers: Age of Extinction are breaking box office records.
Even if you don't think it's necessarily the best, or the most exciting, movie you've seen, I cannot recommend this film enough.
Just the sheer fact that Boyhood was made is amazing. The fact that it's also a beautifully-told little story puts it over the top. And it's only grown on me since seeing it. Boyhood is totally worth experiencing — not only because it masterfully captures the simplicity of life itself, but also because it will spur even the most cynical of moviegoers to look back on their own lives — where did all the time go?
Who gave the best acting performances this year?
1) Michael Keaton, Birdman
2) Steve Carell, Foxcatcher
3) Ralph Fiennes, The Grand Budapest Hotel
4) Eddie Redmayne, The Theory of Everything
1) Rosamund Pike, Gone Girl:
2) Shailene Woodley, The Fault in Our Stars
3) Angelina Jolie, Maleficent
4) Keira Knightley, Laggies
BEST SUPPORTING ACTOR:
1) J.K. Simmons, Whiplash
2) Ethan Hawke, Boyhood
3) Andy Serkis, Dawn of the Planet of the Apes
4) Edward Norton, Birdman
BEST SUPPORTING ACTRESS:
1) Patricia Arquette, Boyhood
2) Laura Dern, The Fault in Our Stars
3) Emma Stone, Birdman
4) Keira Knightley, The Imitation Game
Who did the best work behind the camera this year?
BEST DIRECTOR:
1) Richard Linklater, Boyhood
2) Phil Lord and Christopher Miller, The LEGO Movie
3) Alejandro González Iñárritu, Birdman
4) David Fincher, Gone Girl
5) Wes Anderson, The Grand Budapest Hotel
BEST ORIGINAL SCREENPLAY:
1) The LEGO Movie
2) Whiplash
3) Birdman
4) Boyhood
5) The Interview
BEST ADAPTED SCREENPLAY:
1) Gone Girl
2) Snowpiercer
3) The Fault in Our Stars
4) Dawn of the Planet of the Apes
5) Noah
BEST MUSICAL SCORE:
Interstellar, Hans Zimmer
BEST SOUNDTRACK:
BEST EDITING:
BEST CINEMATOGRAPHY:
Other Oddities and Curiosities of the year in movies:
MOST OVERRATED MOVIES OF THE YEAR:
The Hunger Games: Mockingjay, Part 1
MOST UNDERAPPRECIATED MOVIES OF THE YEAR:
Men, Women, and Children
DESTINED TO WIN MOST AWARDS:
MOST LIKELY TO STILL BE A "CLASSIC" IN 20 YEARS:
MOST ICONIC NEW FILM CHARACTER:
Baymax, Big Hero 6
So that's what I thought about 2014 at the movies!
Let me know what you thought, and what your favorite movies were this year! But first, if you excuse me, I think I'll grab my popcorn and head to the theater. Time to start all over again!
December 24, 2014 July 20, 2015 Leave a comment
The true story of Louis Zamperini is one of the most incredible and inspirational stories of modern history. It deserves so much better than it has received in Angelina Jolie's Unbroken.
Zamperini was an Olympic runner who became a WWII war hero, got shot down over the ocean and survived in a raft for 47 days, was taken hostage by the Japanese once making way to land and tortured as a prisoner until the end of the war, came home to find himself a bitter drunk but turned a corner when befriending Billy Graham and joining him in crusades as an inspirational speaker, and eventually decided to show forgiveness by traveling to Japan to find the men that tortured him and forgive them in person.
Quite a life.
Yet, Unbroken seems content to merely show a series of events in Zamperini's life with no real overarching theme or character development. Never discussed is the faith that made Zamperini so "unbreakable." Not even the climactic moments when he forgives the Japanese, which seemed to be what tied all of his experiences together and was the evidences of his being "unbroken" in the book, are shown.
The film feels more like a string of unfortunate events that happened to one man rather than an actual story with plot and character. The character of Louis is never really fleshed out; never once do we truly get inside his head.
Though Unbroken has good intentions, this large-scale World War II film feels formulaic and clichéd rather than one of the most incredible true-life stories that could be told. It shrinks the life of Zamperini, instead making sure to hit all the right notes to be considered for prestigious awards. What many readers of the book will agree are the best parts of Zamperini's story are simply left out, as Unbroken attempts to pull at the heartstrings with a number of "motivational catchphrases" rather than actual characters wrestling with real struggles.
Unbroken is rated PG-13 for war violence and brutality, and brief language.
Having lots of money and gadgets and stuff is what we should all look for to be happy!
Right?… Right? Oh well, that's what Annie seems to think at least.
1982's Annie is considered a musical classic, so it was only a matter of time before it got the Hollywood reboot treatment. But this Annie is a predictable mess of lazily re-created songs and hokey moments that only grows more insufferable as it goes on. If you want to see talented actors like Jamie Foxx and Quvenzhane Wallis shoehorned into awkwardly forced sing-along moments, then Annie has everything you might want.
Despite its well-intentioned charm, Annie plays out as a sluggish, lazy, clichéd and oddly materialistic re-imagining of the popular musical classic. Its heart is in the right place, but not even all of Wallis' joyful personality can save this Annie.
Annie is rated PG for rude humor.
Ridley Scott's (Gladiator, Alien, Prometheus) epic retelling of the Moses story is an ambitious spectacle.
In terms of an entertaining, emotional, faithful adaptation of the Exodus story, The Prince of Egypt has already given our generation a much better telling of this tale. But the spectacle of Exodus is a delight to behold, and Christian Bale compelling in his performance of the man who ushered the nation of Israel into the Promised Land.
As for its faithfulness to the Biblical story, Exodus: Gods and Kings has a few inaccuracies – God himself is represented by a whiny British child, the theological reasoning behind each particular plague are absent, and the overall context of the exodus story is missing.
Though it's refreshing to see such talented artists tackling biblical story lines with massive ambition, perhaps the biggest problem with Exodus: Gods and Kings is the same major problem with most biblical adaptations: a lack of context.
Sure, the story of an ancient people fighting for their freedom from their oppressors is a compelling one – but the whole context of what the Exodus story is really about (Israel's ongoing relationship with God and God's promises to them throughout the generations) is missing. And with it, the resonance of what the Exodus story truly means and represents in the grand scheme of the biblical story line and within the history of the nation of Israel.
Exodus drags through its uneven pacing and adds in a number of confusing elements, but it's just so spectacularly ambitious that it's a pleasure to watch unfold – even if this story has been told plenty of times before, and better.
Exodus: Gods and Kings is rated PG-13 for battle violence.
A slow-burning crime drama, Foxcatcher follows the true story of Olympic gold medal-winner Mark Schultz (Channing Tatum), who was invited to train for the upcoming Olympics at the estate of an eccentric millionaire by the name of John du Pont (Steve Carell).
Steve Carell, known internationally for his hilarious turns in The Office, Anchorman, and Despicable Me, is almost unrecognizable here as the wealthy and erratic wannabe-wrestling-coach. It is a chilling role which will surely allow Carell to be considered for even more heavy parts in the future.
The film is slow, yet compelling throughout – it plays more like a stage play than a film, full of dramatic speeches, long unmoving scenes, and weighty dialogue. It is fully engaging, despite a whiff of pretentious storytelling.
It's a wonder to see such talented actors disappear into their roles, weaving together a tale of jealousy, delusion, addiction, and psychotic self-destruction. But though it may be a well-told drama, Foxcatcher will probably be remembered more for Channing Tatum and Steve Carell's willingness to take on dramatic performances than for it actually being a solid film.
Foxcatcher is rated R for drug use and brief violence.
Buy your tickets now!
Hector (Simon Pegg) is a psychiatrist who no longer knows how to help his patients find happiness. He himself finds "happiness" as elusive and mysterious as ever.
What follows is a high-spirited and spontaneous adventure across the globe as Hector searches for what truly makes others "happy." Simon Pegg is great as always and the film has its share of inspiring moments, but Hector is too sentimental for its own good.
Hector and the Search for Happiness has a lot of heart, but whatever heartfelt parts the film has are bogged down by predictable scenes and unearned schmaltz.
Hector and the Search for Happiness is rated R for language and brief sexuality.
A spin-off from the popular Madagscar films, The Penguins of Madagascar is a frenzied fury of gags, puns, and high-energy hi-jinks. The lovable penguins from one of Dreamworks' best series of films get the spotlight this time, as they are forced into saving all penguin-kind from an evil octopus… Yes, it's ridiculously silly. But what did you expect?
The surreal humor doesn't always come across – though I must say that one recurring gag had me laughing out loud numerous times throughout. Penguins isn't as funny as the original Madagascar films, and it features some surprisingly rudimentary animation, but its silly frantic story is a decent diversion and will certainly entertain young kids.
The Penguins of Madagascar is rated PG for mild action and some rude humor.
How quickly The Hunger Games series has transitioned from the fresh, original drama that captivated audiences in 2012 to yet another bloated, aimless studio blockbuster franchise stretching itself out for pure monetary gain, as seen with Mockingjay, Part 1.
Katniss Everdeen (Jennifer Lawrence) has just destroyed the hold the Capitol exerts over the Districts with the "hunger games." After she is saved by the rebels of District 13, she works alongside them to try her best to fight to save Peeta, as well as rally the nation to rise up and fight against the Capitol.
There is absolutely no reason this final installment of The Hunger Games needed to be split into two movies. I don't even know where the story will go in the next film, but I do know that Part 1 had almost no memorable moments and could easily have been compacted into a ten minute setup for whatever happens next. Even more so than the first two installments, President Snow feels too cartoonish of a villain to take seriously, and the film as a whole has no self-contained story other than serving as a placeholder for whatever is coming with the climactic finale.
Mockingjay, Part 1 is not only unnecessary, but it's boring and full of a series of events that have no longterm consequences. As always, Jennifer Lawrence shines in her career-defining role as Katniss Everdeen, perfectly capturing the struggle this leader-to-be faces as she wrestles with her place in the rising rebellion. But the movie surrounding her is completely disposable.
The Hunger Games: Mockingjay: Part 1 is rated PG-13 for disturbing images and intense sequences of action violence.
December 8, 2014 July 20, 2015 Leave a comment
Disney's been on a winning streak as of late, with verified hits like Frozen, Tangled, and Wreck-it Ralph. With Big Hero 6, they deliver an action-packed comedy about tech-geek teen Hiro and his lovable companion – his robot, Baymax – on the streets of San Fransokyo. The movie is fun, endearing, humorous, and full of heart.
As one who's simply exhausted with cinematic super hero stories, Disney's choice to adapt a Marvel comic book was the last thing I would have liked to see the studio pursue. But Big Hero 6 redeems itself with a clever and delightful little story about friendship and loyalty. Baymax is impossible not to love, and I'm sure my kids will someday be playing with their large cuddly white Baymax action figures in their room.
It's nothing really that original, and it's pretty predictable, but Big Hero 6 is a decent animated film worthy of sitting within the Disney Animated canon.
Big Hero 6 is rated PG for mild action and peril.
Dumb and Dumber To is the epitome of brainless humor – so dumb it's funny; full of far-out gags and stupid situations (and a brilliant blink-and-you-miss-it cameo from Bill Murray). Though it may be inane and ludicrous throughout, there's a number of moments where you just can't help but laugh.
It could never top the original, but for Dumb and Dumber's fans, it's great to see these two (Jim Carrey & Jeff Daniels) back together again – and especially great to see Carrey being his old silly self that we haven't gotten to see in years.
It's not Shakespeare.
It's just dumb characters doing dumb things and making dumb jokes.
That's kind of the whole point.
Dumb and Dumber To is rated PG-13 for crude humor and language.
I've never gotten on the whole Miles-Teller-train, but Whiplash gives the young actor a role perfectly crafted for him; and J.K. Simmons, once known primarily for his memorable cameos as J. Jonah Jameson in the original Spider-Man films, is unstoppable here.
Whiplash is focused on one thing and one thing alone – the relationship between a musician and his instructor. Little else gets in the way. It is a slow-burning thriller about obsession, artistic perfection, and the lengths artists are willing to sacrifice for their craft.
Whiplash is rated R for strong language.
November 14, 2014 July 20, 2015 Leave a comment
*SPOILERS AHEAD*
Our time on Earth is coming to an end.
The planet's resources have gone scarce, and what's left of humanity are forced to struggle to survive — with the knowledge that this world is fast approaching a time when it will no longer be able to sustain life.
A team led by former NASA pilot Cooper (Matthew McConaughey) embarks on one of the most important missions in human history – an exploration into the unknown, beyond our galaxy in search of a planet where humanity can start over.
It's complex and it's mind-numbing. But Interstellar is an incredible emotional journey through space and time.
Much has been made about the so-called "plot holes" and "scientific inaccuracies" throughout the film… I don't really see the problems.
Sure, Interstellar is not a perfect film.
But if you're too busy focusing on the physics of black holes rather than the emotional bond between this father and his daughter, then you missed the entire point of the movie.
Interstellar is a riveting, ambitious, tense, thrilling and heart-wrenching adventure that tackles a number of storytelling elements never really explored on film before.
It's encouraging that Hollywood hasn't degenerated so much that we can still witness bold, audacious storytellers like Christopher Nolan willing to stretch themselves creatively and go for broke, trying new things on a big scale. Art only has the potential to be great when it is taking risks.
And even though risks don't always pan out, I'd much rather watch failed ambitious, creative risks than some caped superhero trying to rescue a space orb from a stock baddie for the 38th time.
And even though a number of Interstellar's risks don't pan out, the majority of them do.
I've noticed a trend among so-called "film aficionados" and "film buffs" to scoff and sneer in Interstellar's direction…
Get off your high horses.
Stop feeding into the cynicism that plagues our generation. I dare you to tell a story more powerful, more inventive, and more moving than Interstellar.
Yes, it's obvious that we are not a people who live within five dimensions. And love most surely doesn't make it possible for us to physically transcend time and space. Yet, within the world of Interstellar, these things are true.
What's the big deal?
I'm also fairly sure "the force" doesn't really exist, and that some of us aren't born with midi-chlorians in our blood streams. Yet, within the world of Star Wars, we accept that reality.
Interstellar throws characters into its fictionalized world and forces them to deal with very human problems, like fatherhood, duty, and abandonment. Much like we still relate to the characters of Star Wars, through all the lightsaber battles and space races, because they are dealing with universal struggles of temptation, fate, and belonging.
Who would'a thought?… Fiction in a science-"fiction" movie!
Criminal!
The Fault in its Stars
The obvious comparison to Interstellar is last year's successful and widely-adored Gravity.
Well, Interstellar isn't as great as Gravity.
(And Warren Buffet isn't as rich as Bill Gates, either.)
Interstellar has its problems. The film's logic is stretched a number of times, and a few confusing storytelling decisions are made.
The inter-cuts between Cooper in space and his family back on earth can be jarring and slow down the momentum, and the entire sequence on the ice planet with Dr. Mann is overlong and borderline unnecessary — even though it provides good drama and a jolt of tension.
Even more confusing is the fact that Michael Caine's character doesn't appear to age at all over three decades, as well as the question of why "they" (i.e. "us") put the black hole so far away from earth in the first place?
And even though I still believe the film was an incredible ride, that finale still seemed out of place and slightly unsatisfying. The whole emotional crux of the film has been Cooper's attempt to get back to his daughter Murph on earth… and the film decides to end on a shortened reunion where she's a century old and basically rushes him out of the room…?
Of course, I'm not the storyteller of Interstellar. But how much more emotional and powerful would it have been — and just as easy — to structure the story in such a way that Cooper's journey had only lasted 20-30 earth-years instead of 100, allowing him to reconnect with his daughter once she had reached the same age as him?
Imagine how beautiful and dramatic that reunion would have been — Cooper's been gone for what's only felt like a few days, but now his little girl's grown up and experienced just as much life as he has. And they both would still have the rest of their lives ahead of them.
"Do Not Go Gentle into that Good Night"
For whatever problems it may have, it cannot be denied how incredible of a trip Interstellar is. The pace is gripping, the performances are stellar, the musical score is pulse-pounding, and the action sequences are riveting. It reawakens a spirit of exploration and attempts to wrestle with a number of weighty ideas.
And yet, for how big and expansive its scope, it's really just a simple story about a father and his daughter, told with its heart on its sleeve.
Are we that spoiled that we now complain about such cinematic gifts as Interstellar because they dare to try something new, take risks, and perhaps fail to stick the landing in a few minor respects?
It may not be perfect, but Nolan's newest film is exactly the type of fun, bold entertainment I'll passionately cheer on in an age of unwanted sequels, prequels, reboots, and remakes. Interstellar is a thought-provoking, visually dazzling, grandiose, challenging, and creative film from one of the world's most ambitious storytellers.
Interstellar is rated PG-13 for action-violence and brief language.
While her friends are all off getting married, having kids, and getting promotions, Megan (Keira Knightley) is struggling just to get by on her job as a sidewalk sign-waver.
She's unmotivated, unsuccessful, and unsure of what she even wants in life. After deciding to get away with her thoughts for a week, Megan ends up sharing a roof with her new high-school age friend Annika (Chloe Grace Moretz) and her dad (Sam Rockwell).
Laggies is a winsome and lively coming-of-age/romantic comedy full of funny moments and interesting characters. And whenever Sam Rockwell's in it, I'm there (by the way, go watch The Way, Way Back right now because he's hilarious in it and I know you haven't seen it yet).
It must be noted, however, how the film's ending felt ridiculously out of place. Laggies' finale just made me, personally, completely dislike Knightley's character and wonder why I even cared about her all the way up until then. The character's whole journey was about learning to grow up – yet in the end she is celebrated for succumbing to her childish whims.
Nevertheless, Laggies rises above its quirky indie vibe, becoming a fresh and lighthearted comedy about the struggles of growing up.
Laggies is rated R for language.
Nightcrawler: REVIEW
Car crashes and crime scenes are what he lives for.
When Lou (Jake Gyllenhaal) discovers a group of camera crews who film news-worthy mayhem during Los Angeles' late nights, he jumps into the crazy world of "nightcrawling" – a profession where the bloodier or grislier the footage, the higher the payout by news outlets.
His job soon becomes an obsession for anything bigger and better. Nightcrawler chronicles' Lou's – an already creepy character played with no emotion by Gyllenhaal – journeys down an even darker path, putting the "shot" above the risk of danger – and even others' lives.
Nightcrawler is an eerie film, and supremely weird – but not always a good "weird." It brings up a lot of compelling themes and powers through an excellently-crafted final act, but it's never quite sure what kind of movie it wants to be. What's left is a messy mismatch of themes and styles, never willing to fully commit to anything it sets out to do.
Nightcrawler is a sleek, intriguing, thriller that wants desperately to make us think about how we get our news. But it ends up a bizarre, jumbled mess of a movie led by a character who's, quite frankly, uninteresting because he never changes. He never grows more creepy or less creepy. He's just there – creepy. And while Jake Gyllenhaal gets to have a lot of fun with the role, that doesn't really make for compelling storytelling.
Nightcrawler is rated R for language and violent images.
Men, Women, and Children: REVIEW
The internet has changed us.
Men, Women, and Children wants us to wrestle with that. And it's an important conversation worth having – if anyone in our society cares, that is.
From Jason Reitman (Juno, Up in the Air), Men, Women and Children follows a number of high school teenagers, as well as their parents, as they navigate the internet and social media when it comes to the way they interact with others, view themselves, and create relationships.
Though there's a plethora of characters that tend to get lost within the tapestry of the film, the talented cast elevate what could have been a predictable, sluggish drama into an engaging and timely tale. Adam Sandler, in particular, gives his best, most simplistic performance in years, making me wonder why he doesn't take a crack at drama more often.
Let me just say, straight up – a large portion of this movie is about sex. And about how people use technology to go about getting it. It's about affairs, immature relationships, pornography, and failed marriages. It's definitely only for mature audiences, but it's still an important discussion to have. MW&C reflects a mirror back on our society – what have we become?
At times, viewers will feel disgusted. And I think that's the point. Whether it be a grown man using his son's computer for "intimate" websites, or a mother taking risqué photos of her high school-age daughter for financial gain. Though, the film fails in that it goes too far over the edge of "showing" rather than "discussing." It could have easily exposed us to the problems of using media for sexual gratification without teetering on the edge of being what it's warning us about.
But perhaps the most surprising thing about Men, Women, and Children is that its real message seems not to be one about technology at all… By the end, we remember that it's just as possible to make meaningless connections in real life. Humanity is the same it's always been – these evils existed before the internet and social media. But perhaps new avenues have made these impulses easier to act on.
So how will we treat our relationships? How will we interact with technology? Will we commit to real, genuine relationships based not simply on our own selfish desires, but on the connecting with another and looking after their best interests? Will we pursue authentic connection and relationship, or will we continue to use the advances of our society to take advantage of others for our own gratification?
Men, Women, and Children is rated R for sexual content and language. Please be warned that the main focus of this film is on sexuality — and in that, deals with a number of sexual scenarios, including teenagers. While the "sexual" scenes are never intended to titillate, I would caution viewers to be prepared for what they are going to experience. The film is full of characters seeking out ways to be "sexually fulfilled," whether it be through pornography, affairs, 'escorts,' or meaningless sex. Men, Women, and Children is only for mature audiences ready to wrestle with a heavy topic, though my recommendation of the film is limited due to the times when the content shown goes a bit too far.
Birdman: REVIEW
The film itself is a fresh and original commentary on the modern "blockbuster" (read: superhero movies), and this superhero-parody ends up being the best superhero movie to hit theaters in years.
Perhaps the most poignant (and important) thing Birdman brings us is a discussion of the purpose and pain of creativity – and why we pursue creative endeavors at all.
Michael Keaton and Edward Norton both give stellar performances, and even funnyman Zach Galifianakis gets to show off his grown-up acting skills here.
Birdman is a bit of a head-scratcher, full of surreal and highly-imaginative elements that don't always work. But this absurd, funny, and tragic black comedy is unlike anything you're likely to see anytime soon. If Birdman isn't ambitious, creative, and bold, then no film is.
Birdman is rated R for language and sexual content, and brief violence.
St. Vincent: REVIEW
October 27, 2014 July 20, 2015 Leave a comment
Forced to work long hours, Oliver's mother (Melissa McCarthy) has no choice but to leave him in the care of their new neighbor, Vincent (Bill Murray) – a grouchy old man with a fondness for gambling, alcohol, and cynicism. But the two soon form an odd friendship that helps them both begin to look at the world in a new way.
St. Vincent is pretty derivative of other indie dramedies that have come before it. But it's great to see Bill Murray bringing the laughs again, and playing a more serious, complex character than he has in quite a while. The relationship Vincent forms with Oliver is genuinely interesting and funny.
St. Vincent may veer too much towards the sentimental, but Bill Murray is back in fine form in this heartfelt, funny film that reminds us not to rush too quickly to judge others based on their resumes – or their criminal records.
St. Vincent is rated PG-13 for language and mature themes, such as alcohol use and sexual situations.
Fury: REVIEW
October 20, 2014 July 20, 2015 1 Comment
David Ayer's Fury is a brutal, vicious look at a tank crew (including Brad Pitt, Shia LaBeouf, and Logan Lerman) behind enemy lines in Nazi Germany. As masterful as it is at recreating the hellishness of war, Fury adds nothing whatsoever to the canon of WWII films.
Fury is a pretentious wartime drama whose reach far exceeds its grasp. Each character is flat, dull, and one-note. Brad Pitt in particular seems to have phoned-in in this performance – his expression doesn't appear to change even once in the whole film. And as much as Fury wants to be a "character study," the characters aren't really worth caring about.
The film plods along, full of redundant battle scenes and a mostly uninteresting series of events. And when Fury finally kicks it into high gear, in the far superior final sequence of the film, it's already too late. The last act of the film is riveting, intense, and masterfully directed – but it's impossible to not wonder by the time it's over how much more incredible the sequence could have been had it been occupied by characters we actually cared about.
The writing is bogged down by stilted dialogue, the special effects strangely feel better-fitted to a scifi movie, and whoever edited the film seemed to have gone a little crazy with Instagram filters.
Fury is well-made, features a great cast, and is wonderful at showing – whether intentional or not – how war slowly strips soldiers of their humanity, one dead body at a time. But it's too slow, too redundant, too dull, and too insignificant to matter.
Fury is rated R for wartime violence and language. This is a brutal film full of grisly images and realistic wartime sequences, and is appropriate only for mature audiences.
The Good Lie: REVIEW
Three of the "Lost Boys" orphaned by Sudan's vicious Civil War are among the thousands of young victims forced to travel thousands of miles on foot towards safety. And when a humanitarian effort allows a large number of them to relocate to America 15 years later, they are given the chance to start a new life.
Reese Witherspoon may be the most famous star in The Good Lie, but the movie really belongs to three actors you've never heard of.
Actors Arnold Oceng, Ger Duany, and Emmanuel Jal all were real-life "lost boys" who lost their homes and families in the midst of Civil War, watched their friends die from disease and animal attacks, and faced starvation as they traversed the African desert in search of refuge; Emmanuel Jal was even forced into slavery as a child soldier for a number of years. Now they've been given the chance onscreen to bring life to the struggles thousands faced.
The Good Lie is a moving, emotional, humorous, and hopeful film about a real human crisis that is still ongoing in our world. And contrary to most Hollywood clichés, the film doesn't approach this story about the Third World from the eyes of a Westerner, but rather from the perspective of those in the situation themselves, which is refreshing and important.
And as good as she is, the worst thing about this Reese Witherspoon movie may be Reese Witherspoon. Her character is responsible for getting the boys jobs and settling into American life, but this is not her story.
This is a story about humanity. It's a feel-good Hollywood tearjerker, but The Good Lie honestly earns those tears, as well as its laughs.
If the real tragedy and struggles of these innocent Sudanese children does not move viewers, and their small victories make them cheer, nothing will. It's a poignant story about our common humanity – the triviality of so much we consider important, of redemption, forgiveness, loyalty, and family.
The Good Lie powerfully tells the story of Sudan's "Lost Boys" with three actors who experienced it firsthand. Both entertaining and important, it's definitely a film worth your attention. But if they needed to add Reese Witherspoon into the mix to plaster a famous pretty girl all over the posters and get people to actually go see the movie, then who am I to argue? I guess that's a good lie.
The Good Lie is rated PG-13 for language and brief violence.
Alexander and the Terrible, Horrible, No Good, Very Bad Day : REVIEW
When luckless 11-year old Alexander experiences one of the most terrible, horrible days of his young life, he finds little sympathy from his family who all seem to have everything going their way. But he soon learns that he's not alone in his bad luck when his parents (Jennifer Garner and Steve Carell) and siblings find themselves living a terrible, horrible, no good, very bad day of their own.
To enjoy the silly antics of Alexander, one must turn off that part of their brain that questions the absurdity and simply sit back to appreciate the wacky shenanigans and surprising amount of innocent fun.
The story is obviously simple, but the cast is fully committed to selling the snowballing troubles this family find themselves in — giving us a movie that viewers of all ages can enjoy.
It may be corny and simplistic, but Alexander's significantly better than the average family-comedy fare pushed out by the studios today. A number of gags just don't work, but a few of them are laugh-out-loud funny as well.
And on a side note – it might almost be worth seeing just to say you saw a Disney movie that says "penis" a number of times and has a scene with male strippers in it (believe me, it's still family-friendly, but it was just surprisingly jarring for a Disney movie… in a good way).
Alexander is a throwback to the movies that aimed to be nothing more than simply an enjoyable time for families and viewers of all ages to spend together at the movies. It's charming, fun, cute, and pleasant, and not much more. But it doesn't need to be.
Alexander is rated PG for rude humor. Should be fine for older kids.
Kill the Messenger: REVIEW
Journalist Gary Webb (Jeremy Renner) stumbles onto classified documents that implicate the CIA in illegal drug trafficking, and against all warnings vows to uncover the conspiracy and bring those responsible to justice in this suspenseful political thriller about the power of journalism.
Jeremy Renner kills it in his best performance since The Hurt Locker, but this "true story" is plagued by historical inaccuracies, and embellishes numerous facts to service its own plot. It succeeds at being a dramatic character piece, and deftly takes on a number of big subjects, but the story is occasionally slow and it just isn't as intriguing as it could be.
Despite its factual inaccuracies, Kill the Messenger is admirable, though, for its dedication to showing us a hero committed to sharing the truth, no matter the cost. Ironic?
Kill the Messenger is rated R for language and drug content.
The Skeleton Twins: REVIEW
An unexpected reunion forces estranged twins Maggie (Kristen Wiig) and Milo (Bill Hader) to come together in the midst of dark times in both of their lives. Both are confused about why their lives turned out so wrong, and their reconnection begins to show them what's really important.
For a movie full of so much dark and depressing topics, it's a wonder this movie is successful at being "funny" at all. But it is. And it's great to see the SNL power team of Kristen Wiig and Bill Hader together again, taking on much more dramatic roles than we're used to seeing these two loveable goofballs portray.
The Skeleton Twins is a bit slow, and a bit one-note, but it's an effective story about broken, hurt people just trying to make their ways in the world, living on their own – but learning that sometimes, regardless of how much confusion and frustration it can bring, we need others to join us along the way. The Skeleton Twins is a funny, touching dramedy about troubled siblings that could have been completely depressing, but is infused with a good amount humor and heart.
The Skeleton Twins is rated R for language and some sexual themes.
Gone Girl: REVIEW
October 6, 2014 July 20, 2015 Leave a comment
Director David Fincher is a master of suspense, tension, and twisted storytelling. The man behind Fight Club, Se7en, The Social Network, The Girl with the Dragon Tattoo, The Curious Case of Benjamin Button, and Zodiac loves to draw us into dark, bleak, and visually-stunning stories about the lives of messed up people.
He makes the mundane into art – and Gone Girl is no exception.
On the morning of their fifth anniversary, Nick's (Ben Affleck) beautiful wife Amy (Rosamund Pike) goes missing – and the crime scene in their home looks eerily staged. Law enforcement and an ever-growing media attention quickly cause the whole world to begin to ask the same question: Did Nick Dunne kill his wife?
Gone Girl is a look at a marriage in shambles. Some may confuse the film for a profound piece of art that speaks volumes about modern marriage, but it's ultimately just a slick, well-polished thriller about two married people who have used their marriage — and each other — for the absolute worst reasons. It's haunting, and it's incredibly tense. But it's pulpy well-crafted entertainment.
Its dark comedy brings an odd quality of humor to the chilling story, and Ben Affleck and Rosamund Pike are at their absolute best in Gone Girl, both giving performances that are subtly layered and ever-changing.
And as for David Fincher, he's simply a master of tension. Gone Girl is not his best film, but it is still an impressive achievement in tone, character, and world-building.
Many do not respond well to Fincher's sense of cynical storytelling, and that's perfectly understandable. In a Fincher film, the world is a dark, sick, and hopeless place. I don't necessarily relate to this aspect of Fincher's films, but he is such an artist that it's hard not to fall for the mysterious little worlds he creates.
Did they ever really "love" each other in the first place?
Is the film's conclusion actually a worse punishment for Nick than what he originally feared?
Did anyone really "win?" Or did these two miserable people get what they deserved in the end?
Gone Girl is rated R for language, sexual content, and violence. This film can be highly disturbing, and is not appropriate for any children, or anyone unable to handle this level of disturbing storytelling. It is brilliantly-made, but stay away if you are easily unsettled, frightened, or upset.
The Drop: REVIEW
Tom Hardy stars as a bartender who finds himself entangled in a robbery investigation that digs deeper into his history than he'd like, in this bleak, tense noir. James Gandolfini's final film is an entertaining, smart drama about the underground crime world of Brooklyn bars, and the script is smart.
It's a slow-burning story of greed, control, and moral ambiguity, and is compelling throughout. But by the end, The Drop brings nothing particularly original to the crime thriller genre, despite another outstanding performance from Tom Hardy.
The Drop is rated R for language and brief violence.
This Is Where I Leave You: REVIEW
When their father dies, the Altman family is forced to spend a week together in the same house to honor their late father's dying wish for them to hold a Jewish Shiva as they mourn his passing.
An incredible cast has been corralled for This is Where I Leave You, which – despite it being moderately entertaining – can't help but feel like a sort of letdown. Jason Bateman and Adam Driver are the film's highlights, but Tina Fey and others' comedic talents are completely wasted.
But the story has so many moving pieces and storylines that it's juggling that it's a miracle it works at all. It does, but barely. TIWILY has plenty of joyful small moments even if they don't add up to an impressive whole.
Aside from a completely out-of-left-field plot twist towards the end that adds nothing to the story and seems forcibly added in to appeal to a certain demographic, This Is Where I Leave You is pretty entertaining throughout, and its dark comedy adequately tackles this story about how life will never be "perfect," and how that's okay.
This Is Where I Leave You is rated R for language, sexual content, and drug use.
Calvary: REVIEW
Father James must continue to comfort his daughter and his own parishioners in the midst of a troubling threat on his own life.
Intense and dark at times, and slow and compassionate at others, Calvary is a soulful, humorous, and slow-burning drama that proves a great showcase for Brendan Gleeson. Calvary trudges along, but it's a compelling study of broken people, of faith, and of what exactly we're willing to die for.
Calvary is rated R for language and brief violence.


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Kristi Toliver's big game leads Los…
Kristi Toliver's big game leads Los Angeles Sparks into WNBA playoffs
The Sparks' Kristi Toliver, right, shoots the ball over Minnesota's Maya Moore. Toliver scored 29 points in the Sparks' 71-63 victory on the road.
By Associated Press | |
MINNEAPOLIS >> The Sparks clinched a WNBA playoff spot on Tuesday, and in the process they sent a strong message to a potential first-round opponent.
Kristi Toliver scored 20 of her 29 points in the second half as the Sparks beat the Minnesota Lynx 71-63.
"We're a playoff team and we wanted to do our own work," said Toliver, who hit five 3-pointers and tied her career high in scoring. "We didn't want to have to rely on other teams losing and different circumstances. We wanted to take care of our own business, and that's why we came out the way we did tonight. We wanted to close the door."
The Sparks (15-17) are battling San Antonio for third place in the Western Conference. Meanwhile, Minnesota (24-8) is locked into second place after Phoenix clinched the top spot in the West by winning at New York on Tuesday.
Beating the Lynx on the road for the first time in four years is a step in the right direction for the Sparks, who were swept by Minnesota in the conference finals two years ago.
"It goes to show that you can play with the big dogs," Sparks coach Penny Toler said. "I told them I need them to play to their potential because right now, nothing else matters. When you get in the playoffs, you're back at 0-0."
Candace Parker scored 12 of her 16 points in the second half as the Sparks rallied from a seven-point halftime deficit.
The Lynx led 63-62 with 2 minutes to play, but Los Angeles closed the game on a 9-0 run. Toliver put Los Angeles on top with a turn-around jumper, and then buried a 3-pointer from the top of the key to give the Sparks a 67-63 lead.
Minnesota had won 11 straight before losing at Phoenix on Saturday. In that game, Diana Taurasi hit a jump shot with 2.9 seconds left and the Lynx couldn't get off a final shot.
"It's not like us. We're used to finishing up games," Lynx guard Lindsay Whalen said. "When it comes down to the last seven minutes, you want to be able to execute."
The Lynx made just 2 of 9 3-point attempts on the night and shot 34.4 percent from the field in the second half. But WNBA leading scorer Maya Moore said it's not time to panic.
"I'm not concerned about it snowballing because we're in control of that," said Moore, who led Minnesota with 20 points. "I think we're absolutely going to respond. The good thing is that for us, it's the small things. We're not having problems with anything major. We've just got to tighten some things up, come together and feel the sense of urgency."

redpajama_set_name: RedPajamaCommonCrawl


Fishers newest neighborhood- Hunters Run w/wooded and pond view homesites! Highly acclaimed HSE schools and located near interstates and outdoor shopping/dinning. This Boardwalk flrpln offers a bedroom on the main level and spacious open great room. Nice kitchen with large island, SS appl, walk-in pantry and planning area. Convenient upstairs laundry room, loft and 4 additional beds. The master suite includes private bath with double sinks, shower stall, and walk in closet. 2 car garage with storage area, garage door opener and keyless entry. Photos shown may be an artist rendering, model home, or of the same model.


FRWRC Dare to Dream Video – Inspiring future dreamers!
The Dare to Dream program was founded in 1999 by founder JoEllen McNeal. The purpose of the grant is to provide women living in Warren County, 18 years and older, opportunities to move forward with their lives whether it be to continue their education, start or expand their business, buy a computer or provide a specific service to the community, etc. The process involves putting out a call for grant applications throughout the community in the Fall for about a three month period.
Applications are then reviewed by committee members and a consensus regarding who the final applicants are to be interviewed. Applications are considered based upon the merit of the project; research and efforts made toward the dream and financial need. The committee then interviews the finalists and the awards are made. We present the grant recipients at our Dare to Dream breakfast in March. Grant amounts vary with maximum amount of $1,000 which goes directly to the school or vendor, etc.
Begun in 1999, the Front Royal Women's Resource Center grant programs have provided 148 grants totaling over $105,500 to empower women and girls in Warren County.
March 2018: Total Grants Awarded: 8 grants totaling $6,000.
See more about our past Dare To Dream recipients and the program.


OM Restaurant is a small Indian restaurant that impressed me to the point that they shouldn't consider themselves a fast food place! Compared to other Indian restaurants, their delicious plates have more reasonable prices. A young fellow who worked there was kind enough to give us ideas on how we should order our foods - if we wanted to sample more of each other's foods, he suggested us three to get combo plates instead of a platter which are bigger.
If you're just craving for a quick meal in the area of Eastern Ave between Interstate 215 and Silverado Ranch Blvd (which are full of restaurants), come and give Om a try!


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Educational Trip The Netherlands & Amsterdam 2019
Young Horticulturist of the Year 2019
Hort Skills Fun Day 2019
Bloom Teagac Education 2019
Educational Trip to the Netherlands and Belgium 2019
Photograph taken on the rooftop of Paleis Het Loo
In April of this year the staff and students from Teagasc, College of Amenity Horticulture in the National Botanic Gardens and Kildalton traveled to the Netherlands and Belgium to visit some of the best horticultural destinations Europe has to offer. The tour began with a visit to Royal Flora Holland, the flower auctions in Aalsmeer. From the elevated walkway which spans the length of the giant warehouse, we witnessed the hustle and bustle of what is the worlds largest flower auction in action. Thirty million plants are sold on a daily basis, exporting mainly to Germany, the United Kingdom, and France. The logistics of how a warehouse the size of 220 football fields runs and operates is a thing to behold and left each one of us impressed with the magnitude of the operation. From Aalsmeer we traveled south to Belgium to visit a rare and special tree nursery. Solitair tree nursery specialises in the production of trees with diverse shapes and sizes. Here we received a passionate and very insightful tour by Valarie Cools, the daughter of Dirk Cools, who originally founded the company that he now operates with Valarie and his other daughter Emma. Solitair was a visit which really captured the student's imagination, a very unique tree nursery who's plant material ends up in large landscape projects all over Europe including Ireland.
Photograph of Valarie Cools speaking to the staff and students from the Teagasc in the Botanic Gardens about Solitair Tree Nursery.
On the second day of our trip, we began with a visit to Batowue nursery, a very different operation to that of Solitair. Batouwe was established by brothers Willem and Henk Huibers in 2005 and specialise in the production of P9 grafts. We visited their Dodeswaard site consisting of 5 hectares of cutting comprising of mainly common and unusual tree and shrub varieties. Willem explained to us some of the new techniques they employ in the nursery, such as the Air Pot U system that allows plants to generate a fibrous root system quickly that secures better establishment upon plantation in the fields. Batouwe produces over four million plants a year, of which two million are P9's and exports to over 25 countries worldwide. Our next visit was the royal gardens of Paleis Het Loo, a Dutch garden with impressive fountains and symmetrical parterres in the Apeldoorn region. A guided tour of the magnificent gardens and palace was given to us by one of the conservationists at the Paleis. Our tour guide Emma explained to us how thousands of meters of boxwood hedging in the formal gardens had to be replaced in recent years following infected with box blight.
On the final morning of our trip, we visited the Hortus Botanicus and Bloomenmarket in Amsterdam. Finally, no trip to Amsterdam would be complete without a visit to the world-famous tulip fields, to witness the blanket of colour that dominates the landscape for the month of April each year.
See Video of our Educational Tour here


"Solar thermal decoupled water electrolysis process II: An extended inv" by S. Nudehi, C. Larson et al.
We examined the kinetic and transport processes involved in the production of H2 from water with Co2+ as the electroactive species being oxidized at a Ni electrode in 40 wt% KOH at 318 K. The relevant transport parameters such as electrochemical rate constants, transfer coefficients, diffusion coefficients, and adsorption coefficients were estimated from a combination of cyclic voltammetry experiments and numerical modeling. Fourteen parameters characterize the electrochemical reaction on a clean electrode, with the Butler-Volmer equation describing the electron transfer step to solution and to adsorption bound electroactive species. A Frumkin Isothermdescribes the thermodynamics of the adsorption process. Experimentally realized anodic current densities at cell voltages below 1.23 V were circa 1 mA cm−2, a hydrogen production level far too low for commercial viability of the solar thermal decoupled water electrolysis process. However, our 3-D finite element model of the electrochemical cell operating at 318 K, suggests that current densities approaching 20 mA cm−2 can be reached in a cell with forced convection and a solvent that increases the solubility of CoO by a factor of 10 above that for KOH. Finally, the current density calculations from the perspective of industrial viability suggest producing porous metal anodes for which the actual surface area is 10–100 times larger than the electrode's planar area.
Nudehi, S.; Larson, C.; Prusinski, W.; Kotfer, D.; Otto, J.; Beyers, E; Schoer, J.; and Palumbo, R., "Solar thermal decoupled water electrolysis process II: An extended investigation of the anodic electrochemical reaction" (2018). Engineering Faculty Publications & Patents. 85.