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13 Hours: The Secret Soldiers of Benghazi Einlish Movie (2016)

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Story line:

An American Ambassador is killed during an attack at a U.S. compound in Libya as a security team struggles

to make sense out of the chaos.

Review:

In the last decade, Michael Bay has only directed one film that didn’t have the word Transformers in its

title. In the years before he became obsessed with turning toys into movies, he was the go-to guy for

movies that needed excessive explosions and gunfire. While it's not perfect by any means, 13 Hours: The

Secret Soldiers of Benghazi is a return to Michael Bay doing what he does best. Having people blow stuff

up and look cool doing it.

When I heard Bay was going to make a movie that would deal with the tragedy that took place in Benghazi,

Libya in 2012, I was equal parts curious and nervous. The only time that Bay had ever dealt with a real

event previously was in 2001’s less-than-stellar Pearl Harbor. What’s more, the events of the film are

still a political hotbed, making it all but inevitable that this movie will become just one more thing for

the politically divisive crowd to fight over. Prepared for the worst with 13 Hours, I was surprised at how

much I actually enjoyed it.

The movie opens with a brief summary of the events that turned Libya from a nation under the rule of

despot Muammar Gaddafi into a nation in charge of its own destiny. Unfortunately, this transition was far

from clean, leaving the country in upheaval. We are then introduced to our primary character of  Jack

Silva (John Krasinski) arriving in Benghazi. He’s a former military man, now independent contractor on a

short term contract to help provide security for a covert CIA location and a nearby American diplomatic

post. Silva is one of six men at the post. The rest of the team consists of Tyrone 'Rone' Woods (James

Badge Dale), Kris 'Tanto' Paronto (Pablo Schreiber), Dave 'Boon' Benton (David Denman) John 'Tig' Tiegen

(Dominic Fumusa), and Mark 'Oz' Geist (Max Martini).  Each one is a former Navy SEAL or Army Spec. Ops.

soldier. They're the best in the world at what they do (and are classic Bay archetypes).

These also are the men who co-wrote the book on which 13 Hours is based. As such, each one of them is

presented as both a perfect soldier and a loving family man. Maybe it’s true that these six men knew

exactly what to do at every moment when nobody else could do anything right. But as a movie that’s

supposed to be based on a real event, they seem too perfect. Nobody is flawed, nobody makes a mistake at

any point. At the same time, each actor is able to bring some degree of humanity to their character so

that they are relatable, and you do end up caring about them. Krasinski is absolutely the standout here. I

have only a passing familiarity with his time on The Office. Seeing him in this role might be a shock to

some who are in a similar boat, but he looks like a natural soldier on screen here.

The plot advances once U.S. Ambassador to Libya Chris Stevens arrives and insists on staying at a less-

secure diplomatic post (as opposed to the safer CIA location). Stevens is a “true believer” who is trying

to do everything he can to help the nation of Libya get on its feet. The worst fears of our band of

soldiers come true, however, when an assault begins on the compound and the ambassador finds himself in

danger.

While it would be nice to be able to review a movie in a vacuum, that simply isn’t possible. Politics play

a role in the story, although, to be fair, the movie does its best to keep things as even as possible.

Nobody mentions Hillary Clinton or Barack Obama by name at any point. Instead, the villain here is

bureaucracy, as personified by a CIA station chief who is such a caricature they don’t even bother to give

him a last name. He’s the one who orders the team to stand down when they want to go in because it goes

against protocol. The team agrees until a call comes over the radio telling them that if they don’t come

now, everybody will die. The CIA chief (David Constable) still orders the team to stand down. If you

followed the news at the time, you know they decide to disobey the order.

What follows, from that moment, is the 13 Hours of the title, abbreviated to movie length, as they attempt

to rescue those at the embassy, and then keep themselves alive until help arrives to get them out. I’d

forgotten how long it had been since I’d seen Michael Bay direct action and he’s much better at the job

when he directs people instead of CGI robots. The action is intense and well shot.

While we know much more now about what happened that night, these men did not, and so the causes are

barely touched on. This could be a positive or a negative, depending on your perspective, and on what you

hope to get out of 13 Hours. One throwaway line of dialogue implies who is responsible for the attack,

while another mentions the early reports that came out in then States. These are minor details in the

story, though, as what’s important to the characters is simply getting their job done in the moment. At

the same time, you may find yourself wondering who exactly our heroes are fighting. The heroes never ask

this question themselves (which makes sense, in context).

As such, we jump headlong with them on this ride knowing as much as they do about what’s going on. This

makes one of the most overused tropes of modern action movies, the “shaky cam,” actually useful. It’s

nearly impossible to tell what’s going on with the camera jumping around, but then, that’s exactly the

point here. It would have been even more effective if the shaky cam was left out during earlier scenes

when it wasn’t needed.

It’s a shame that 13 Hours likely is going to be swept up in politics, because one side is going to make

the film out to be much more than it is while the other is going to try and make it out to be worthless.

The truth, as is usually the case, is someplace in between. 13 Hours is a perfectly serviceable action

movie that’s worth seeing, if that's the kind of movie you like to watch.

Anomalisa Einglish Movie 2015

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Story Line:

Michael Stone, husband, father and respected author of "How May I Help You Help Them?" is a man crippled by the mundanity of his life. On a business trip to Cincinnati, where he's scheduled to speak at a convention of customer service professionals, he checks into the Fregoli Hotel. There, he is amazed to discover a possible escape from his desperation in the form of an unassuming Akron baked goods sales rep, Lisa, who may or may not be the love of his life. A beautifully tender and absurdly humorous dreamscape, from the brilliant minds of Charlie Kaufman (SYNECDOCHE, NEW YORK) and Duke Johnson ("Community" episode, Abed's Uncontrollable Christmas), this stop-motion animation wonder features the vocal cast of Jennifer Jason Leigh, Tom Noonan and David Thewlis and a stirring strings-based score by Carter Burwell. The darkly comedic and surreal stop-motion journey of a man's long night of the soul, Anomalisa confirms Charlie Kaufman's place amongst the most important of American filmmakers, and announces Duke Johnson as a major creative force.

Review:

The idea of “normal” presents one of the greatest struggles when it comes to identity. We’re all packaged with different DNA, different upbringings, different experiences, and different impulses, yet feel driven to live what appear to be the standard lives of the people around us. And then, of course, when we feel boxed in by that standard reality, we have the compulsion to break free of it. It’s the back and forth that every single one of us have experienced throughout our lives, even as that idea of “normal” has remained completely undefined and subjective. It’s a complex idea to fully explore in words, let alone a feature-length narrative starring stop-motion armatures, but leave it to brilliant writer/director Charlie Kaufman to do just that with the beautiful, deep, cerebral and poetic Anomalisa.

From beginning to end, there probably isn’t a film all year as simple as Kaufman’s movie, but there are few as spellbinding or engaging. Based on a play of the same name written by the writer/director, the movie stars David Thewlis as the voice of Michael Stone - the author of a book on the subject of customer service who is going through an emotional crisis during a business trip to Cincinnati to speak at a conference. Staying in a hotel, the guy is ready to all but completely lose it when, by accident, he happens to meet Lisa Hesselman (Jennifer Jason-Leigh), a shy young woman with a scarred face in which Michael happens to see ultimate beauty. Over the course of a single night, the man and woman begin to connect, both of them believing in the possibility of a different life alongside each other. And because it’s a movie that’s better left seen than described, that’s where my vague description of the plot will end.

Given Kaufman’s propensity for crafting dense work that maintains subtext in every moment, his movies do encourage a certain extra level of attention to be paid for subconscious dissection and analysis. But this is no effort for Anomalisa, which enraptures the audience from the very first moment – as random conversations are heard, which slowly pile on top of each other while the screen remains black. The writer/director’s sharp sense of humor is certainly an important tool in this regard, as an early scene in a taxi is completely disarming and features multiple big laughs, but what ultimately makes the film so compelling is a captivation in Michael Stone that develops out of an empathetic connection. The weight of the ennui floating in this character is carried in his slumped shoulders and heavy head, and he not only feels trapped, but also has no idea what is the key to his possible escape.

Michael and Lisa are each caught in the clutches of their own identity issues, as the former struggles to find something beyond the monotony and sameness that have invaded and infested his life; and the latter – a fan who has traveled a long way to hear Michael speak - has grown depressingly comfortable in being an outsider and feeling like an anomaly (I’ll leave it to you to piece together the film’s title). Their connection together is both a beautiful and fascinating one, but it’s also perfectly grounded in reality – making the stakes and emotions feel real, and their relationship organic. The characters are arguably using each other, their positions at opposite ends of the identity-crisis spectrum, and that lack of fantasy just makes their journey together more impactful.

Of course, the film also represents a hop into a new medium for Charlie Kaufman, who worked alongside co-director Duke Johnson to make Anomalisa as his first stop-motion animated movie – and it’s another genius choice by the filmmaker, as the approach harmonizes perfectly with the story being told and the ideas being explored. Stylistically accentuating the isolation of Michael and Lisa in this world, every other character not only has the same face (with different hair and bodies), but also is voiced by Tom Noonan (working out a variety of different inflections and pitches to at least partially individualize each person). Given the way the animation style now uses removable face plates – evident in the bold line across the eyes and bridge of the nose of every figure – stop-motion just poetically fits with everything being said. It’s also easy to just marvel at the work done by Starburns Industries and their attention to detail, both in character and production design, for Anomalisa.

Fans of Charlie Kaufman’s work have had to wait seven years for the filmmaker to return to the big screen, his last movie and directorial debut being 2008’s devastating and incredible Synecdoche, New York. While we pray that he won’t make us wait that long for his next feature, the staggering brilliance of Anomalisa is a reminder that we can continue to expect works of incredible insight and power that help change the way we look at our world and all of us swimming around in it.

Daddy's Home Einglish Movie 2015

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Story Line:

Daddy's Home follows a mild-mannered radio executive (Ferrell) who strives to become the best stepdad to his wife’s two children, but complications ensue when their freewheeling and freeloading real father (Wahlberg) arrives, forcing him to compete for the affection of the kids.

Review:

It’s not been easy for Will Ferrell to find the perfect comedic sparring partner. For every Paul Rudd, Steve Carell, David Koechner, or John C. Reilly, there’s been an Andre Benjamin, Nicole Kidman, Jon Heder or Kevin Hart.

But with 2010’s The Other Guys, Mark Wahlberg -- having been specifically picked out by writer and director Adam McKay as well as Will Ferrell -- rather surprisingly proved just how amusing he could be in a mainstream comedy, especially with Ferrell opposite him as the perfect foil. That was in an R-rated film, though, where Wahlberg had more freedom to stretch his potential comedic muscles into raunchier territories. Daddy’s Home is firmly aimed at a family audience. With this in mind, I assumed that it had been watered down for mainstream consumption, which meant that I entered with a level of trepidation I usually reserve for an Adam Sandler film.

Sure my worries were slightly proven right, since Daddy’s Home is utterly predictable, and has the same infuriating, meandering structure that has become a staple of Hollywood comedies in recent years, which sees scenes simply piling up on top of each other rather than build in a cohesive manner. But it’s still worthwhile for two reasons: Mark Wahlberg and Will Ferrell.

With Daddy’s Home, the pair are pigeonholed as the goofy, secure step-father (Ferrell) and edgy, cool biological dad (Wahlberg) from the off, with the comedy then coming from every angle you’d expect. But the jokes still produce laughs. Sure, they’re not original, and, at times, you can see the punchlines arriving a mile off. But Wahlberg and Ferrell work so well together on screen together that you’ll be willing to forgive the film’s obvious foibles.

Even scenes that you’ve seen dozens of times before, such as the lame step-father trying to one-up his more impressive rival and constantly being humiliated, still work because of the intensity that they each bring to their characters, while neither selfishly try to hog jokes and instead allow the other the room to be funny.

It’s not just Mark Wahlberg and Will Ferrell who thrive. Every time Thomas Haden Church, Bobby Cannavale and, especially, Hannibal Buress are on screen, they’re hilarious, while there’s a rather stupendous last joke that rounds the film off in the neat little package that it’s constantly striving for. It also helps that there is a flawed humanity to both Will Ferrell’s Brad Taggart and Mark Wahlberg’s Dusty Mayron that means you’re able to understand both of their plights, while there are actually some nice, non-judgmental touches about the construct of the modern family and what it means to be a good father.

Sure, these aren’t done in a subtle manner, but it still adds to an overriding warm aura that permeates throughout Daddy’s Home. And while the more cynical of you will find Daddy’s Home overly formulaic and cheesy, it still delivers a nice blend of laughs and heart that it is perfect for the holiday season. Only once you’ve seen Star Wars, though. Obviously. 

Anomalisa Einglish Movie 2015

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Story Line:

Michael Stone, husband, father and respected author of "How May I Help You Help Them?" is a man crippled by the mundanity of his life. On a business trip to Cincinnati, where he's scheduled to speak at a convention of customer service professionals, he checks into the Fregoli Hotel. There, he is amazed to discover a possible escape from his desperation in the form of an unassuming Akron baked goods sales rep, Lisa, who may or may not be the love of his life. A beautifully tender and absurdly humorous dreamscape, from the brilliant minds of Charlie Kaufman (SYNECDOCHE, NEW YORK) and Duke Johnson ("Community" episode, Abed's Uncontrollable Christmas), this stop-motion animation wonder features the vocal cast of Jennifer Jason Leigh, Tom Noonan and David Thewlis and a stirring strings-based score by Carter Burwell. The darkly comedic and surreal stop-motion journey of a man's long night of the soul, Anomalisa confirms Charlie Kaufman's place amongst the most important of American filmmakers, and announces Duke Johnson as a major creative force.

Review:

The idea of “normal” presents one of the greatest struggles when it comes to identity. We’re all packaged with different DNA, different upbringings, different experiences, and different impulses, yet feel driven to live what appear to be the standard lives of the people around us. And then, of course, when we feel boxed in by that standard reality, we have the compulsion to break free of it. It’s the back and forth that every single one of us have experienced throughout our lives, even as that idea of “normal” has remained completely undefined and subjective. It’s a complex idea to fully explore in words, let alone a feature-length narrative starring stop-motion armatures, but leave it to brilliant writer/director Charlie Kaufman to do just that with the beautiful, deep, cerebral and poetic Anomalisa.

From beginning to end, there probably isn’t a film all year as simple as Kaufman’s movie, but there are few as spellbinding or engaging. Based on a play of the same name written by the writer/director, the movie stars David Thewlis as the voice of Michael Stone - the author of a book on the subject of customer service who is going through an emotional crisis during a business trip to Cincinnati to speak at a conference. Staying in a hotel, the guy is ready to all but completely lose it when, by accident, he happens to meet Lisa Hesselman (Jennifer Jason-Leigh), a shy young woman with a scarred face in which Michael happens to see ultimate beauty. Over the course of a single night, the man and woman begin to connect, both of them believing in the possibility of a different life alongside each other. And because it’s a movie that’s better left seen than described, that’s where my vague description of the plot will end.

Given Kaufman’s propensity for crafting dense work that maintains subtext in every moment, his movies do encourage a certain extra level of attention to be paid for subconscious dissection and analysis. But this is no effort for Anomalisa, which enraptures the audience from the very first moment – as random conversations are heard, which slowly pile on top of each other while the screen remains black. The writer/director’s sharp sense of humor is certainly an important tool in this regard, as an early scene in a taxi is completely disarming and features multiple big laughs, but what ultimately makes the film so compelling is a captivation in Michael Stone that develops out of an empathetic connection. The weight of the ennui floating in this character is carried in his slumped shoulders and heavy head, and he not only feels trapped, but also has no idea what is the key to his possible escape.

Michael and Lisa are each caught in the clutches of their own identity issues, as the former struggles to find something beyond the monotony and sameness that have invaded and infested his life; and the latter – a fan who has traveled a long way to hear Michael speak - has grown depressingly comfortable in being an outsider and feeling like an anomaly (I’ll leave it to you to piece together the film’s title). Their connection together is both a beautiful and fascinating one, but it’s also perfectly grounded in reality – making the stakes and emotions feel real, and their relationship organic. The characters are arguably using each other, their positions at opposite ends of the identity-crisis spectrum, and that lack of fantasy just makes their journey together more impactful.

Of course, the film also represents a hop into a new medium for Charlie Kaufman, who worked alongside co-director Duke Johnson to make Anomalisa as his first stop-motion animated movie – and it’s another genius choice by the filmmaker, as the approach harmonizes perfectly with the story being told and the ideas being explored. Stylistically accentuating the isolation of Michael and Lisa in this world, every other character not only has the same face (with different hair and bodies), but also is voiced by Tom Noonan (working out a variety of different inflections and pitches to at least partially individualize each person). Given the way the animation style now uses removable face plates – evident in the bold line across the eyes and bridge of the nose of every figure – stop-motion just poetically fits with everything being said. It’s also easy to just marvel at the work done by Starburns Industries and their attention to detail, both in character and production design, for Anomalisa.

Fans of Charlie Kaufman’s work have had to wait seven years for the filmmaker to return to the big screen, his last movie and directorial debut being 2008’s devastating and incredible Synecdoche, New York. While we pray that he won’t make us wait that long for his next feature, the staggering brilliance of Anomalisa is a reminder that we can continue to expect works of incredible insight and power that help change the way we look at our world and all of us swimming around in it.