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Movie Reviews and Ratings

Jack Rico

By

2011/12/16 at 12:00am

Sherlock Holmes: A Game of Shadows

12.16.2011 | By |

Sherlock Holmes: A Game of Shadows

Guy Ritchie’s sequel, ‘Sherlock Holmes: A Game of Shadows’, is a highbrow action film that is exciting, thrilling, and very fun. This second effort, to an original that possessed an incohesive script and an inability to hold my attention throughout its duration, provides a fantastic adversary, stylish action sequences, a creative plot and a seamless flow that all fall perfectly into place. I must confess, this was a delightful surprise worth a second watch.

Sherlock Holmes has always been the smartest man in the room…until now. There is a new criminal mastermind at large—Professor James Moriarty (Jared Harris)—and not only is he Holmes’ intellectual equal, but his capacity for evil, coupled with a complete lack of conscience, may give him an advantage over the renowned detective. Around the globe, headlines break the news: a scandal takes down an Indian cotton tycoon; a Chinese opium trader dies of an apparent overdose; bombings in Strasbourg and Vienna; the death of an American steel magnate… No one sees the connective thread between these seemingly random events—no one, that is, except the great Sherlock Holmes, who has discerned a deliberate web of death and destruction. At its center sits a singularly sinister spider: Moriarty. Holmes’ investigation into Moriarty’s plot becomes more dangerous as it leads him and Watson out of London to France, Germany and finally Switzerland. But the cunning Moriarty is always one step ahead, and moving perilously close to completing his ominous plan. If he succeeds, it will not only bring him immense wealth and power but alter the course of history.

The reason this movie worked so much better than the first one is due to the new villain in town that opposes our protagonist – Professor James Moriarty played wonderfully by Jared Harris, known from the Mad Men television series. Heroes like Holmes suffer from the ‘invincible syndrome’ that affects so many stories of the like. We all know that the hero will always win and it’s hard not to zone out when this happens. But not here; Moriarty supplies the film with a subtle sinisterness, menace and belief that he can defeat Holmes, mind to mind, wit to wit, and punchline to punchline. It’s this plausibility that makes the difference between an ordinary action film churned in a Los Angeles warehouse and a rousing and titillating experience this sequel brings forth.

I would be remiss in not mentioning Robert Downey Jr.’s performance, which is infused with some hilarious moments, but also with a sense of fear for his death and to the loved ones around him. Jude Law serves as a nice compliment to Holmes, but is unequivocally overshadowed by Downey’s performance. Noomi Rapace doesn’t replicate anything remotely to her character of Lisbeth Salander in ‘The Girl with the Dragon Tattoo’ but perhaps proves that she can do a film in English. Finally, Stephen Fry, who somehow has to convince us he is Sherlock’s brother, is a graceful and charming man who manages to stand out from all the action sequences.

What the movie has going against it, at moments, is the English accents that get in the way of understanding the, at times, entertaining but complicated plot. Nevertheless, if that’s the worst I have to endure, then it becomes just a matter of taste because there are many who like those accents.

Guy Ritchie is in rare form here. Not since ‘Snatch’ has he been this good. His stylistic camera shots, his slow-mo trademark moments and his irreverent humor are all present here, but he’s added a maturity to the storytelling that has polished his filmmaking. The action sequences are phenomenal. Some that come to mind are the bullet-fest on a train, Jude Law’s cannon incident with a tower and a sharpshooter, plus the race for their lives through a forest while a deluge of bombs bullets and missiles almost claimed their lives.

‘Sherlock Holmes: A Game of Shadows’
is being released concurrently with another unabashed action film in Tom Cruise’s ‘Mission Impossible: Ghost Protocol’ in IMAX. Even though ‘MI:4’ might be better, your decision will ultimately boil down to your particular tastes in stars, a classic vs contemporary story, and whether one of them is sold out or not. You really can’t go wrong with these selections, making this week in movies, one of the most entertaining of 2011.

Karen Posada

By

2011/12/15 at 12:00am

‘Extremely Loud’: 3 questions with Sandra Bullock

12.15.2011 | By |

We had a chance to meet with Academy Award winner Sandra Bullock and newcomer Thomas Horn to talk about their new movie ‘Extremely Loud & Incredibly Close’. The film is based on the book with the same title that deals with the loss of a father during 9/11. We get to see it all through a child’s eyes and his search for closure. With Bullock’s witty personality and this prodigy actor it was a delightful interview. Read More

Karen Posada

By

2011/12/14 at 12:00am

Mission: Impossible – Ghost Protocol

12.14.2011 | By |

Mission: Impossible - Ghost Protocol

This really is a treat for action lovers; ‘Mission: Impossible- Ghost Protocol’ is filled with relentless action almost all throughout the film. Seeing the film in IMAX made it even more enjoyable because a lot of the shots in the film are so thrilling that you feel like you are hanging on by a thread along with our main character Ethan Hunt (Tom Cruise).  This film is one of the best action films of the year and it really lives up to the hype and fits in nicely with the phenomenon of all the ‘Mission Impossible’ flicks.

 

In this sequel Ethan gets some new team members from the IMF: Jane (Paula Patton), Brandt (Jeremy Renner) along with his old pal Benji (Simon Pegg). After a terrible misunderstanding between Russia and the U.S. the team is sent to try to stop a terrorist: Hendricks (Michael Nyqvist), from detonating a missile that will start a nuclear war. The trick is that the team must complete this task on their own without help from the IMF, since because of the misunderstanding the president has shut them down and so they begin what they call “Ghost Protocol”. If the team is not able to stop Hendricks intricate plan, which involves using a satellite, then Ethan’s team will be blamed for the terrorist act and everything they’ve worked for will go down the drain along with their entire lives.

 

Cruise is the exact same Ethan we’ve seen in the past, he still performs amazing stunts and has the same strong character that seems to be untouched by anything physically and emotionally. We travel to Hungary, Russia, Dubai and India. The Dubai sequence has some of the best scenes, my favorite is Ethan having to climb the tallest building in the world with some “spider-man” like gloves. There are some interesting twists in the movie but one of its biggest flaws is the plot. The whole Russian/American tension just like in the Cold War era has been overplayed.

 

If you are a fan of the past Mission Impossible movies this one will certainly not disappoint, it connects it to the rest nicely. Director Brad Bird certainly made his own version of the series while still respecting those that already exist; the combination of both of these elements is what made this film maybe the best out of the Mission Impossible series. 

Karen Posada

By

2011/12/14 at 12:00am

Steven Spielberg: In-depth interview about ‘Tintin’

12.14.2011 | By |

ShowBizCafe.com had the amazing opportunity to listen to Steven Spielberg as he talked about his new 3D movie ‘The Adventures of Tintin’ during the press conference. This is the story of a journalist invented by Hergé, a Belgian comic writer that created endless adventures of the boy reporter from 1929-1983. This was a story in the making for 20 years, Spielberg told us how that came about and what we should expect from it.  Read More

Alex Florez

By

2011/12/13 at 12:00am

Review: Monty Alexander: Music of Sinatra & King Cole

12.13.2011 | By |

Review: Monty Alexander: Music of Sinatra & King Cole

With a stunning backdrop of the Manhattan Skyline, 67 year old pianist Monty Alexander took center stage Saturday night hoping to wind back the clock and turn Jazz at Lincoln Center into Jilly’s Saloon, a famed Rat Pack hangout of the 1960s.

Accompanied by a group of masterful musicians and vocalists, Alexander paid tribute to his heroes Frank Sinatra and Nat King Cole in a cabaret-like show with American standards such as “Come Fly With Me”, “My Kind of Town” and “L-O-V-E.” 

For the role of Old Blue Eyes, Alexander enlisted 22 year-old baritone James DeFrances while tapping charismatic jazz artist Allan Harris to play the “King.” Both traded classics and made for a “swinging session,” but the real delight here was the show’s supporting cast.

Blues guitarist Russell Malone’s haunting solo rendition of “Where or When” might have easily stolen the show. It was the one interpretation of the night that seemed entirely heartfelt and evocative of the nostalgia Alexander was looking to capture with this concert series. Also impressive was percussionist Bobby Thomas Jr., who seemed to hypnotize the audience every time he was given the spotlight.

Alexander’s appreciation for the music of Sinatra and Cole is sincere, and for jazz lovers the tunes are timeless and a joy to experience live – especially by such a talented bunch. But somewhere a note is missed when trying to strike the right tone.

While DeFrances holds his own as a singer, he underwhelms as a performer – never quite looking comfortable with the rest of the group. That, is not how we all remember the Chairman of the Board. Thankfully, Harris picks up the slack with his exuberance and Alexander’s anecdotes serve as a reminder that he himself is a direct link to the Rat Pack era.

Jack Rico

By

2011/12/13 at 12:00am

Karen Posada

By

2011/12/12 at 12:00am

‘New Year’s Eve’ steals first place in the box office

12.12.2011 | By |

'New Year's Eve' steals first place in the box office

The romantic comedy ‘New Year’s Eve’ took the first place in the box office this weekend, with a high sum in the United States of $13.7mil and $26.6 mil world-wide, although the number of movie goers in the United States is at its lowest in three years.

Jonah Hill’s comedy where he plays the role of a babysitter, ‘The Sitter’ followed with $10millions.

Lastly, ‘The Twilight Saga: Breaking Dawn-Part I’ went to the third spot after it was in first place for the last three weekends, it accumulated $7.9 million dollars in dim ticket sales.

 

 

 

 

The top 10 movies in the box office are:  

1. ‘New Year’s Eve’ -$13.7millon

2. ‘The Sitter’- $10mil

3. ‘The Twilight Saga: Breaking Dawn – Part 1’- $7.9 mil

4. ‘The Muppets’ – $7.1mil

5. ‘Arthur Christmas’ $6.6mil

6.’Hugo’-$6.1mil

7. ‘The Descendants’ -$4.8mil

8. ‘Happy Feet Two’ -$ 3.7mil

9.’Jack and Jill’ -$3.2mil

10. ‘Immortals’ – $2.4mil

 

Jack Rico

By

2011/12/11 at 12:00am

New York Film Critics Online chooses ‘The Artist’ Best Pic

12.11.2011 | By |

New York Film Critics Online chooses 'The Artist' Best Pic

The digital film organization that I am a member of, the NYFCO (New York Film Critics Online), voted today for the best of the best in film for 2011.

There were some surprises for me, in particular, the animated category. I voted for Rango as the best, but the rest of my collegues felt strongly for Spielberg’s Tintin. I agree that on a visual, Tintin is extraordinary, but as a whole movie, the film dragged to point of boredom. Rango was intellectual, funny, unique, and had very adult themes.

Also interesting was Michael Shannon for ‘Take Shelter’ in the Best Actor category. He wasn’t  a favorite, but nevertheless, I’m happy he took the award as opposed to undeserved Clooney. Shannon is one hell of an actor. He was excellent in Revolutionary Road and was the best part of The Runaways. He should’ve been nominated for Best Supporting actor at the Oscars in 2010.

So many more deserved and surprising moments such as Melissa McCarthy for ‘Bridesmaids’ over Octavia Spencer from ‘The Help’ in the Supporting Actress category. Read on and enjoy the beauty that is film criticism during award season.

BEST FILM
“The Artist”

TOP PICTURES OF 2011 (alphabetical)
“The Artist” (The Weinstein Company)
“The Descendants” (Fox Searchlight Pictures)
“Drive” (Film District)
“The Help” (Walt Disney Pictures)
“Hugo” (Paramount Pictures)
“Melancholia” (Magnolia Pictures)
“Midnight in Paris” (Sony Pictures Classics)
“Take Shelter” (Sony Pictures Classics)
“The Tree of Life” (Fox Searchlight Pictures)
“War Horse” (Dreamworks Pictures)
 
DIRECTOR
Michael Hazanavicius for “The Artist”
 
ACTOR
Michael Shannon for “Take Shelter”
 
ACTRESS
Meryl Streep for “The Iron Lady”
 
SUPPORTING ACTOR
Albert Brooks for “Drive”
 
SUPPORTING ACTRESS
Melissa McCarthy for “Bridesmaids”
 
CINEMATOGRAPHY
“The Tree of Life” – Emmanuel Lubezki
 
SCREENPLAY
“The Descendants” – Alexander Payne, Nat Faxon, Jim Rash
 
FOREIGN LANGUAGE PICTURE
“A Separation”
 
DOCUMENTARY
“Cave of Forgotten Dreams”
 
ANIMATED FEATURE
“The Adventures of Tin Tin”
 
USE OF MUSIC
“The Artist” – Ludovic Bource
 
BREAKOUT PERFORMER
Jessica Chastain for “The Tree of Life, “The Help,”The Debt,” “Take Shelter”
 
DEBUT AS DIRECTOR
Joe Cornish for “Attack the Block”
 
ENSEMBLE CAST
“Bridesmaids”

Karen Posada

By

2011/12/07 at 12:00am

New Year’s Eve

12.7.2011 | By |

New Year's Eve

There’s not much to expect from ‘New Year’s Eve’, unfortunately this movie with so many well known actors doesn’t have much to give; not even entertainment value.  I can’t help but compare it with Garry Marshall’s ‘Valentine’s Day’, the director used the exact same recipe here: tie in about 7 stories and try to use some humor along with drama on the biggest holiday of the year.  It’s tough to get the audience to care about a character with so many things going on and so many stories to follow, you don’t get much of a background on the characters and just when you are starting to get into one of the stories it changes to the next one. The biggest star in the movie is of course New York City, a place where the holidays; New Year’s Eve in particular is like no other.

 

The film is an analogy to new beginnings, looking back in the past and pushing the rewind button to not make the same mistakes and to accomplish the resolutions we procrastinated on. The only story that has a little substance is that of Ingrid (Michelle Pfeiffer) a woman who has followed the same routine for years and worked endlessly without being appreciated until one day she decides to change it all and we have a little fun with her exploring NYC. We basically follow around the whole cast as they prepare for midnight, some are anxious about their midnight kiss, others are anti-holiday, others are nostalgic about the year that has passed and others are too busy working to care about the holiday. The love stories are predictable and boring, there are some minor twists but not exiting enough to improve the movie. 

 

The audience was surprised with some guest appearances, but we already had enough of a cast for me to find it necessary. The Hispanics in the movie Ava (Sofia Vergara) and Kominsky (Hector Elizondo) have small supporting roles, Vergara plays the exact same character she does in her hit show ‘Modern Family’ with awkward anecdotes and childish behavior, who knows if they’ll ever cast her as something besides a stereotype. Elizondo is always a Marshall aka the help, so no surprise there.

 

A 2 hour-long movie of running around is exhaustingly boring, the movie has a nice (not original) concept but it’s not enough. I’m not sure how I feel seeing Academy Award winners such as Halle Berry and Hilary Swank in such petty roles that seem to be for amateurs. The only thing this movie inspired in me is a curiosity to actually be crazy enough to see the ball drop live in Times Square and I enjoyed recognizing the different sights in NYC, such as Smith Street in Brooklyn towards the end of the film.      

Ted Faraone

By

2011/12/06 at 12:00am

Cowboys and Aliens

12.6.2011 | By |

Helmer Jon Favreau seems to have found his métier as a director of sci-fi flicks.  That may be good for his bank account, but not so good for auds.  Favreau is a very talented guy who has done just about everything that one can do in film and largely done it well.  A few box office hits in the sci-fi genre with bankable stars in the cast (Iron Man and Iron Man 2) have shown him the light.  It’s not exactly the headlight of an oncoming train at the end of the tunnel, but he could do better.

Cowboys & Aliens, which opens Friday, July 29, is a silly movie.  That is not to say that it isn’t fun to watch.  Even the 1936 propaganda film, “Reefer Madness” (a.k.a. Tell Your Children) offers a degree of amusement.  But watching “Cowboys & Aliens” is akin to ordering from a Chinese buffet menu — One from column A, two from column B.  Pic is a blend of clichés from high-tech sci-fi pix (think “Aliens,” “Priest,” and “Super 8”), a morality tale, and a western, topped off by a sucker-punch to auds delivered by a hummingbird.

It also stars Daniel Craig as bandito Jake Lonnergan who has a bad case of amnesia and Harrison Ford as former Union Army Civil War Colonel Woodrow Dolarhyde and current local cattleman and padrone of a one-horse town in the wild American West of 1873.  In other words, it was bankable.  Dolarhyde is a greedy bastard who has trouble showing emotion.  He also has a son, Percy (Paul Dano) who is the local bully.  Keith Carradine is perhaps one of pic’s two or three most convincing thesps as the local sheriff.  And Olivia Wilde graces the screen as a good space alien — which explains why her eye makeup withstands explosions, physical attack by bad space aliens, and plunges into deep water.  Max Factor, eat your heart out!  At least she gets a better part than she had in “Priest.”

Throw in a cast of thousands including a plucky kid (Noah Ringer), a loyal dog, a tough-talking minister (Clancy Brown), and an Indian chief (Raoul Trujillo), and a bunch of bad space aliens who look like a cross between the thing from “Super 8” and the acid-blooded creatures from “Aliens,” and shake until the mixing glass is frosty.  You get a movie of sorts.

What little humor “Cowboys & Aliens” offers comes from some deadpanned punchlines uttered by Craig, Carradine, and Brown.  Dialogue is not pic’s strong suit.  Best lines seem to go to Trujillo who allegedly speaks only in the Apache language.

There is a moment in an adventure or crime movie when an experienced filmgoer will say to himself — or to the very attractive and incisive amateur critic seated to his left), “I knew that was going to happen.”

“Cowboys & Aliens” has more than a few.

Pic opens with a wounded Craig waking up in a desolate landscape wearing an odd metal bracelet and being set upon by a trio of bad guys.  He dispatches them with super-human dispatch, a gift which serves him well throughout pic’s 118 minutes.

Arriving in the one-horse town, he dispatches the local bully and gets the attention of gun toting Ella (Wilde) and the sheriff, who recognizes him from a “Wanted” poster.  What Craig doesn’t remember is that he has stolen gold from Ford and that he was abducted and escaped from the bad space aliens.  Evidently amnesia is one of the after-effects of alien abduction.

Just as Craig and Percy the bully (who accidentally shoots a deputy) are about to be handed over to U.S. Marshalls, Ford arrives to spring his kid.  At the same time, the bad aliens attack the town with what appear to be jet fighter-bombers.  In the process they kidnap about half the inhabitants.

The rest of pic centers on a few revelations (Craig’s memory slowly returns thanks to Ella and some Indian mysticism) and the need for banditi, greedy guys, a good space alien, and the Apache to join forces to defeat the aliens before the planet is taken over for its gold deposits.  The bad space aliens arrived on a rocket-powered space ship which contains both gold mining and refining equipment.  Like Nazis, they even pull the gold teeth from their captives.

Ending is totally predictable.  Harrison Ford’s shell cracks.  The “Wanted” poster is forgotten.  The bad aliens appear to be dispatched, some good guys die heroic deaths, and the plucky kid comes of age early.

Pic’s sucker punch comes in the form of a hummingbird, a special-effects hummingbird, no less, connected to Ella, which appears to Craig first as he regains his memory and again in the final reel only to scream a figurative “sequel!”

“Cowboys & Aliens” offers more than a few good action scenes.  Special effects, save the bad aliens, are not bad.  Best effect is Wilde emerging buck naked from a funeral pyre set for her by the Apache.  In order to keep pic’s PG-13 rating Craig covers her with an Indian blanket before any more than her fine backside appears on screen.  Have no fear in taking the kids.

The morality tale, utterly politically correct in today’s climate, is that greedy people have to set aside their greed and unite with their erstwhile enemies for the common good.

A final note:  “Cowboys & Aliens” boasts a list of writers, producers, executive producers, and production companies almost as long as its cast of thousands.  With that many cooks, it is no wonder that the stew verges on mish-mash.

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