Jem and the Holograms Einglish Movie 2015

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Story Line:

As a small-town girl catapults from underground video sensation to global superstar, she and her three sisters begin a one-in-a-million journey of discovering that some talents are too special to keep hidden. In Universal Pictures’ Jem and the Holograms, four aspiring musicians will take the world by storm when they see that the key to creating your own destiny lies in finding your own voice.

Directed by Jon M. Chu (Step Up series, G.I. Joe: Retaliation), the musical adventure stars Aubrey Peeples, Stefanie Scott, Aurora Perrineau, Hayley Kiyoko, Ryan Guzman, Molly Ringwald and Juliette Lewis. Jem and the Holograms, based on the iconic Hasbro animated TV series, is written by Ryan Landels and produced by Chu, Jason Blum for Blumhouse Productions, Scooter Braun for SB Projects, Bennett Schneir, and Brian Goldner and Stephen Davis of Hasbro Studios.

Review:

Hollywood loves its brands. It’s far and away much simpler to sell an audience something they already know than something new, and so studios regularly plunge deep into their library of intellectual properties to try and find something that’s recognizable and can be reimagined for more modern audiences. As far as these projects go, creating live-action adaptations of old cartoon shows is pretty much scraping the bottom of the barrel… which is the path that’s led us to Jon Chu’s Jem and the Holograms: a shallow, lifeless semi-musical propped up by YouTube videos from fans who will surely be mortified to see what has been done with their favorite ‘80s pop icon.

Despite there being a large number of plots from the original television series that could have been borrowed and adjusted for big screen adaptation, Jem and the Holograms instead chooses the most baseline plot available for any film set in the world of music: a talented band (Aubrey Peeples, Stefanie Scott, Aurora Perrineau, Hayley Kiyoko) with one particular superstar is discovered and gains popularity; signs with a shady record producer (Juliette Lewis) to start what seems like the life of their dreams; and then threatens to be torn apart by offers for the aforementioned superstar to start a solo career. It hits literally every single beat that you expect it to, and does so with a tedious thud instead of any kind of bang. The only thing breathing any kind of life into the movie and providing a sense of individual style is the band’s attempt to find all of the parts to complete S1N3RGY, a broken robot that Jem, a.k.a. Jerrica Benton, got from her father before he passed away. But if you’re expecting a mystery smarter than each discovered part of the robot revealing a direct map to the next missing part, you should just prepare to be further disappointed by this movie.

Unfortunately, it still gets worse. The rote and familiar approach to what could be a uniquely stylized feature is made much harder to watch simply because of the shocking number of holes that are torn in its paper-thin plot. Given the opportunity, every character seems to act as irrationally as they can at any given moment – clearly just to move the plot forward – and it immediately takes you out of the film at every turn. For example, you’d think that Jerrica’s bandmates would react slightly better to the news of Jem’s potential solo career if they knew that it was the only thing standing between their aunt/guardian (Molly Ringwald) and homelessness, but the lead singer never seems to feel the need to bring it up. I’m also still scratching my head at a third act development that sees that band execute a heist to recover Jem’s earrings from the record company’s headquarters… despite the fact that she willfully gave them up earlier in the movie, and almost certainly could have gotten them back just by asking for them.

It becomes a matter of irony that the film puts so much emphasis on the idea of having secret identities, because the reality is that it also happens to keep any and all vivid or notable personalities beyond the central hero and villain kept entirely hidden. At times it even feels as though the film is draining its supporting players of attention on purpose. There are seeds planted in the beginning of the movie suggesting that Kimber, Shana and Aja stand out due to their social media savvy, style, and bad girl attitude, respectively. But those traits are aggressively ripped away from them when they’re informed that they’re no longer allowed to use social media; have been assigned a professional stylist to entirely change their look; and are put under strict curfew as part of their record contract. After that point, they all completely blend into the background, and while it’s an easy joke to make, the reality is that they might as well be holograms.

Coming from director Jon Chu, who has a deep background in dance movies, Jem and the Holograms should at least be an eye-popping experience, showcasing some great choreography to pair with the musical sequences, but that’s completely missing from the movie, as well. Instead, what we get are performances such as one where Jerrica is dolled up in her Jem makeup, and just stands still singing into a microphone on stage while dancers wiggle around her. Without dancing, the film’s only real sense of style is the regular interspersing of You Tube-style fan videos with people explaining why Jem has meant so much to them – but within the context of everything else, they feel like they’re just included as if to say, ‘See, there are people interested in this movie!’

At the end of the day, it’s really hard to tell who Jem and the Holograms is actually made for. The Jem brand is surely meaningless to younger audiences, who must surely just see this movie as some kind of odd ‘80s throwback; and so much has been “simplified” and sterilized that fans of the original animated show won’t even recognize it beyond its character names and appreciation for flashy pink makeup. It’s an experience that’s hard to sit through, and I would highly recommend that you don’t.

Our Brand Is Crisis Einglish Movie 2015

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A Bolivian presidential candidate failing badly in the polls enlists the firepower of an elite American management team, led by the deeply damaged but still brilliant strategist “Calamity” Jane Bodine (Sandra Bullock). In self-imposed retirement following a scandal that earned her nickname and rocked her to her core, Jane is coaxed back into the game for the chance to beat her professional nemesis, the loathsome Pat Candy (Billy Bob Thornton), now coaching the opposition. But as Candy zeroes in on every vulnerability—both on and off the campaign trail—Jane is plunged into a personal crisis as intense as the one her team exploits nationally to boost their numbers. Dramatic, rapid-fire and laced with satire, Our Brand is Crisis reveals the cynical machinations and private battles of world-class political consultants for whom nothing is sacred and winning is all that matters.

Review:

David Gordon Green’s Our Brand is Crisis is an unusual animal. On some level, it’s a conventional underdog story. But it’s set in such a foreign locale – literally and figuratively – that the root material might not interest the casual moviegoer lured by the promise of a sassy Sandra Bullock fixing another problem for a male character in need of emotional assistance. This time around, Bullock is trying to Blind Side the entire country of Bolivia… and maybe learn a little bit about herself in the process.

Sandra Bullock, in full feisty mode, plays "Calamity" Jane Bodine, a one-time ace political strategist who put herself in exile after burning out on one too many campaigns. She’s lured back into the fold, though, by a team eager to back Castillo (Joaquim de Almeida), a potential candidate in the race for Bolivia’s presidency who is far behind the leader but has time to catch up.

Bodine isn’t interested – until she learns that the frontrunner in the race is being guided behind the scenes by Jane’s chief rival, the manipulative Pat Candy (Billy Bob Thornton, stealing every scene). With the players placed around the board, the race for the Bolivian presidency is on. 

Our Brand is Crisis is backed by producers Grant Heslov and George Clooney, and the fact that the duo’s production label, Smokehouse, bankrolled the film should tell you the type of politi-comedy the movie tries to trade in. (Their combined credits range from Argo to The Monuments Men, though Crisis falls closer in line to The Men Who Stare at Goats, or a funnier spin on The Ides of March.)

Let me ask you a question, before we go much further. Who is your dog in this particular fight? The way that Our Brand is Crisis presents itself, we clearly are meant to champion Sandra Bullock. The actress knows how to play the frazzled fighter, and Jane Bodine is another shade of the crass, abrasive, messy and slapsticky character she has played on screen for years. Casting Billy Bob Thornton opposite Jane only helps us jump on Castillo’s bandwagon. We want this guy to win – and we want Jane to finally notch a win against the strategist who routinely has handed her her ass, professionally, over the years.

But why? Do we care about Bolivian politics, or Castillo’s motivations to run for office? Not really. And neither does Jane, which is one major thing that keeps Our Brand is Crisis at an arm’s length. Both Jane and Castillo are weird dogs to back in a fight we have little interest in. There’s no urgency to the election. And even if Jane loses to Candy, the only real stake is her ego, which would be bruised once again. But watching Our Brand is Crisis is a lot like tuning in to watch a well-paced sporting event between two teams you don’t follow. The outcome’s rarely an interest.

Crisis finds its comedy in its outliers. Scoot McNairy is hysterical as one of Castillo’s previous campaign advisors, who’s often operating in his own world and unaware that he’s part of a heated political race. (Anthony Mackie plays a similar role, but has nothing of substance to do here.) The rapport between Bullock and Thornton is delicious, and the film could have used more of them interacting.

But David Gordon Green pads his feature with bouts of amateur physical comedy, though if I’m being honest, the one scene I found the most unnecessary – involving a bus race where Bullock drops her pants and moons her competition – played the loudest with our crowd. Like I said, an unusual animal.

Scouts Guide to the Zombie Apocalypse Movie 2015

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Three scouts and lifelong friends join forces with one badass cocktail waitress to become the world’s most unlikely team of heroes. When their peaceful town is ravaged by a zombie invasion, they’ll fight for the badge of a lifetime and put their scouting skills to the test to save mankind from the undead.

Review:

Watching a great horror comedy is truly one of the best ways to revel in and personally experience the spirit of Halloween. After all, October 31st is the one time of the year when we embrace the fun of dressing up in costumes and eating candy in combination with celebrating the legacy of all varieties of ghosts, goblins and ghouls. This fact should work in the favor of director Christopher Landon’s new film Scouts Guide To The Zombie Apocalypse, which has been timed for release with the holiday, but trust us when we say that you’re much better off busting out your Blu-ray copy of Shaun of the Dead or Army of Darkness.

Based on a screenplay by Landon, Emi Mochizuki, Carrie Lee Wilson and Lona Williams, the movie centers on Ben (Tye Sheridan), Carter (Logan Miller), and Augie (Joey Morgan) - a trio of high school students and best friends who have spent years together as boy scouts, but find their relationship in troubled waters. While Augie’s love of collecting badges and camping has thrived, both Ben and Carter are ready to move on with their lives, and want to announce their intentions to do so the night of a big campout being held in their buddy’s honor. They plan on not only telling him that they no longer want to be scouts, but also ditch him and their scout leader (David Koechner) in favor of a super-secret party being attended by all of the town’s cool kids – including Carter’s sister and Ben’s big crush (Halston Sage). Organized as this sounds, however, it doesn’t quite work out, as the entire town gets hit with a zombie plague and sends everything into chaos.

Teaming up with a beautiful cocktail waitress from the local strip club (Sarah Dumont), the three boys must not only try to survive the horror movie that has come to life, but also try and find the location of the aforementioned super-secret party so that they can be sure that Carter’s sister/Ben’s crush is safe. Accomplishing this task requires multiple stops around the neighborhood into zombie-infested zones, and ultimately tests the bonds of friendship between the main characters.

  With a title like Scouts Guide To The Zombie Apocalypse, you’d think that the movie might hinge on the hook of having young characters with survival know-how find creative ways to escape and defeat hordes of the walking dead – but you’d be wrong. Rather than taking advantage of a potentially unique approach, the film translates boy scouts as “losers” instead of “skilled outdoorsmen,” and opts to just play out a prototypical plot that has the protagonists running from location to location, hitting basic story beats while avoiding being bitten. Essentially, it’s a run-of-the-mill zombie movie that the filmmakers hope is buoyed by ridiculously sophomoric humor - but even this doesn’t really work, as with the exception of a few standout scenes (including the big third act set piece and one memorable sequence involving a trampoline), all of it is groan-worthy material that’s regularly hard to sit through.

Beyond the script’s many mechanical issues, the much larger (and much more disturbing) problem with Scouts Guide To The Zombie Apocalypse is the honestly terrible way that it utilizes its female character. It’s much more than your standard failure of the Bechdel Test, as every woman in the movie is either hyper-sexualized, needlessly catty, or put in a position just to be a helpless damsel in distress (this is actually a perfect rundown of the main three female roles played by Sarah Dumont, Niki Koss, and Halston Sage, respectively). It’s one thing to have audiences see the world through the adolescent and perverted minds of the film’s young protagonists – which goes to explain why a strip club is treated as some sort of mecca – but the feature grabs that idea and takes it to a cringe-worthy level, which completely takes you out of the story and makes you think about just how much things still really need to improve for women in Hollywood.

Scouts Guide To The Zombie Apocalypse isn’t entirely without interesting moments – as clever scenes are accomplished with the inclusion of undead animals, and there’s even a nice running gag with a particular zombie who just won’t die – but that’s really as far as compliments can be taken. The film is mostly an assemblage of poor taste, bad jokes, aimless storytelling and unfulfilled potential. You can find a much better way to spend the Halloween holiday.

Chi-Req Einglish Movie 2015

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After the murder of a child by a stray bullet, a group of women led by Lysistrata organize against the on-going violence in Chicago's Southside creating a movement that challenges the nature of race, sex and violence in America and around the world.

Review:

Chiraq is not an either-or proposition. It is an and and and and so on. Spike Lee's hand is pejorative, paternal, silly, and compassionate. The most hideous characters are stroked with a tinge of humanity. There is a sense, perhaps tied-in to the nagging paternalism in Spike Lee's depiction of Chicago, that most of the characters are self-indulgent adult babies – from the mayor to the gang leaders. Race is front and center, racial tropes carry much of the humor. The film is unrelenting in its evaluation of hyper-sexualized race taboos, the symbol of "sport", and the definition of "soldier". Handled with a lot of care and some bizarre humor is the tragic mess of rank and file chain-of-command retributive policing and its deplorable outcomes. Angela Basset - an American queen and Jennifer Hudson are so authentic and humane. Their presence on screen literally emotes compassion, warmth and honesty. I don't buy critics that say the film is making fun of death. I refuse to believe those two women could/would participate in that kind of mockery. That notwithstanding, Spike Lee did pay at least a small sum of fealty to the actual victims of Chicago gun violence by including dozens of them in the film. Where Chiraq mostly fell short was in the handling (and possibly casting) of the very complex and chaotic quagmire of Chicago gang dis-organization. The issue deserved a more sensitive touch and more realistic accounting. The thing is, youth violence in Chicago is significantly driven by the chaotic disorder of the gang structure and that wasn't dealt with at all – a clunky shortfall for an intensely nuanced film.

The Top 10 Einglish Movie 2015

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Story Line:

One of the best benefits of working for a movie website is simply getting the opportunity to see lots and lots of movies. During any week of the year, staff members here at CinemaBlend are regularly leaving and coming back from various screenings, always ultimately eager to explain their thoughts and opinions on a particular piece of work. This past year, all of us got to see many great movies, and while we sometimes had different opinions, there were others that all of us could definitely get on the same page about. This list is a celebration of those films.

For all of 2015, the editors and writers here at CinemaBlend have been keeping track of all the movies we’ve seen and logging our opinions, and now that the year has come to an end, we’ve used those numbers to determine the Top 10 for the website. Only movies seen by three or more members of the staff were taken into consideration for the list, and the ranking is based on individual votes out of five (ties are broken by number of votes received). So what are the titles that we consider the best if the year? Read on to find out!

 

Review:

Alex Garland’s Ex Machina is what can easily be described as a high-concept science-fiction film: it’s the story of a tech genius (Oscar Isaac) who invites one of his employees (Domhnall Gleeson) to his secluded home so that he can perform a Turing Test on what could be the world’s first artificially intelligent android (Alicia Vikander). Simple as the premise is, however, the execution is nothing short of immaculate. As a first time director, Garland does an amazing job constructing a unique and incredible aesthetic and atmosphere for the film, while the escalating nature of the story does an amazing job building to what is really a shocking and terrifying ending. Just be ready to be a bit afraid of the future while you’re walking out of it.

Woodlawn Einglish Movie 2015

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Story Line:

In 1973, a spiritual awakening captured the heart of nearly every player of the Woodlawn High School football team, including its coach Tandy Gerelds. Their dedication to love and unity in a school filled with racism and hate leads to the largest high school football game ever played in the torn city of Birmingham, Alabama, and the rise of superstar, Tony Nathan. Starring Academy Award® winner Jon Voight, Sean Astin, Nic Bishop and newcomer Caleb Castille, Woodlawn comes to theaters everywhere Oct. 16.

Review:

Opening on the landmark NCAA football game in 1970 – in which a racially integrated USC beat Alabama – Woodlawn introduces Alabama coach Paul “Bear” Bryant (Jon Voight) realizing the value of black players in football. Things then immediately – and jarringly – jump ahead three years. Set against the backdrop of Birmingham, Alabama circa 1973, Woodlawn actually centers on the struggle of high school football coach Tandy Gerelds (Nic Bishop) as he attempts to bring his newly integrated football team together and win a championship. With racial tension and violence threatening to tear the entire team – if not the school – apart, Gerelds is approached by a sports chaplain named Hank (Sean Astin) who has a radical idea: have the team give themselves over to the word of Christ. Seemingly without options, Gerelds begrudgingly allows Hank to preach his religious teachings to the team, and then watches the “miraculous” effect it has on the town at large.

Reviewing a film like Woodlawn comes with some inherent challenges because of the way it treats its subject matter. Despite its early exposition about race relations in the American south, the film’s central conflict ultimately has more to do with separation of church and state than it does with racial integration. While it certainly features some scenes that depict the racial tensions of the time – and they are by far some of the best scenes in the film – they are too few, and ultimately do not contribute to the resolution of Woodlawn’s core conflict: Coach Gereld’s struggle against a secular school board. The film opens on a promise that Christianity played a major role in breaking down racial barriers, but pushes those barriers to the periphery to instead assert that people in the American south simply embraced the teachings of Christianity – not exactly a groundbreaking revelation. In many ways, such a glossing over of significant events in American history feels disrespectful to the racial violence and turmoil of that time (tones that still resonate to this very day).

Christianity is made out to be a panacea for the problems of every single character in the film – instantly improving the lives of the people who accept Jesus. Absent fathers suddenly become Dads of the Year. Racist blowhards immediately see the error of their ways, and even Woodlawn running back Tony Nathan (Caleb Castille) instantly becomes a better, more confident player because he believes that God has a plan for him – basically religion is something akin to Michael’s secret stuff from Space Jam. Such emphasis on faith takes much of the action out of the characters’ hands and makes them passive, causing events to drive the characters forward rather than the other way around.

Woodlawn’s polarizing theme is far from the film’s only issue. The script is paced terribly, which makes the film’s two hour running time feel eternal. Seemingly important characters introduced early on either do not reappear until towards the very end to make a negligible difference on the proceedings, or simply disappear entirely without making any meaningful impact on the narrative whatsoever. So many different plot threads are introduced, such as Gereld’s relationship with his son, Tony Nathan’s high school romance, and a conflict with a rival high school, that none of the resolutions offered by the film ever feel earned.

Such pacing issues are compounded by some absurd editing techniques during moments off of the football field. If you opt to see Woodlawn, watch for a scene towards the end of the film in which Coach Gereld confronts the Board of Education. It’s a simple dialogue scene, but for some reason the Erwin brothers decided to edit it like a choppy Liam Neeson fight sequence.

These script issues generally lead to some pretty lackluster performances. Sean Astin’s Hank comes across as a decidedly one-note Christian Mr. Miyagi, possessing only a paper-thin backstory and no real motives for sticking with the Woodlawn team. Essentially every resident of Birmingham is presented as a two-dimensional character – either being redeemed by accepting Christ, or relegated to ugly stereotypes of their respective race. Very few scenes involve characters intelligently discussing their differences to come to a resolution; opinions only change after listening to someone give an impassioned sermon. As the two leads, Nic Bishop and Caleb Castille give the best performances in the characters’ private moments, but many of their conflicts with antagonistic characters repeatedly boil down to tense staring contests.

With all that said, the film does have some moments where it works. When the religious overtones are downplayed to highlight either football, or race relations, it’s easier to get on board. Woodlawn also features a pretty stellar soundtrack that makes the football games and montages enjoyable to watch. With these strengths, one can’t help but feel like Woodlawn’s budget could have been better spent ditching the weak main narrative and instead telling the story of USC vs. Alabama three years earlier.

Those who have already embraced the sort of philosophy preached in Woodlawn could likely have a great time with it. The film wastes its strong soundtrack and historically authentic aesthetic on a poorly constructed narrative that plays exclusively to a religious crowd. Distilled to its core elements, it all plays out like Friday Night Lights if Billy Graham instead of Billy Bob Thornton coached the team, and it just doesn’t work.

My All American Einglish Movie 2015

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Story Line:

What Freddie Steinmark (Finn Wittrock) wants most in the world is to play football. Deemed too small by the usual athletic standards, his father trains him hard, and Freddie brings a fight to the game that ultimately gets him noticed — by none other than legendary University of Texas coach Darrell Royal (Aaron Eckhart). Awarded a scholarship and a chance to play for the Longhorns, Freddie sets off to Austin with his loving high school sweetheart Linda (Sarah Bolger), determined to make the team. Alongside his old teammate Bobby Mitchell (Rett Terrell) and new pal James Street (Juston Street), Freddie is put through the paces of a grueling practice schedule, but the boys' camaraderie off the field translates into solid playing on it, and they rise up the depth charts, giving the Longhorns a real chance to turn the team around. But just when they’re reveling in the success of the season, Freddie suffers an injury that leads to a shocking diagnosis and the biggest challenge he will ever face. From the writer of Hoosiers and Rudy, My All American tells the true story of a boy who became a hero and what it truly means to have the heart of a champion.

Review:

The opening scene of My All-American telegraphs just about every problem that the film will have right from the get-go. Beginning in 2010, a student at the University of Texas sits down to interview coach Darrell Royal (Aaron Eckhart horrendously aged-up with makeup), and what ensues is an exposition-heavy exchange that establishes Royal’s long career – replete with cringeworthy “grandpa jokes”. The interviewer asks if any of Royal’s former players stand out as having a profound impact on him, and he responds with “Freddy… Freddy Steinmark.”

What follows is a film that chronicles the life and athletic career of Freddy Steinmark (Finn Wittrock), who overcame his small stature through hard work and faith in God to be a great safety for the University of Texas – with coach Royal and his girlfriend Linda (Sarah Bolger) at his side. My All-American ultimately flounders due to its script. It’s framed as an underdog story about Steinmark’s collegiate football career, but we as an audience seldom see the diminutive football player at a disadvantage.

Whenever Steinmark is on the field, he dominates his fellow players – a trend that continues even through the leg injury that the film centers around. Steinmark is put on a pedestal by the filmmakers to the point where he has no real character arc; he is perpetually perfect, and when faced with new adversity immediately overcomes or accepts it with minimal deliberation. There’s a scene towards the end of the film in which Royal has a private moment with Steinmark; he tells Freddy that they’ve both been through hell but they did it together. The problem with this attempt at a touching moment is the fact that the audience never really sees any moment where they formed such an incredible bond; they just sort of begin to like each other.

The film also has very little respect for the intelligence of the audience. Dialogue continually feels clunky because many of the characters don’t talk like real people. Exposition is spoon fed to us in ways that feel unnatural, and could have just as easily been picked up from context clues.

For a movie that takes place during the 1960s. My All-American tends to ignore many of the major social issues that were taking place at that time. That’s not to say that the film is under any sort of requirements to broach a subject other than football, but it glosses over major events happening around the characters. Vietnam plays a major role in one of the main characters’ lives, but accounts for just a handful of scenes. Student protests of the war and the rise of the hippie movement added some intriguing elements to the backdrop of the film that were never explored in exchange for a more wholesome – and less interesting – central focus.

That being said, when compared to the other historical, faith-based football movie that hit theaters this, Woodlawn, My All-American does a much better job of downplaying its themes. Freddy has a relationship with God that seemingly serves him well throughout his football career, but that relationship is handled in such a way that even people less inclined to share his views can empathize.

It’s also worth noting that the film’s entire cast does rise above the major problems in the script. Although Steinmark is written as a single-minded fanatic who thinks of nothing aside from football, Finn Wittrock does everything he can to keep the character likable and sympathetic. He also threw himself into the physicality of the role, which helped sell Steinmark’s hard-earned athleticism. Sarah Bolger does an excellent job with what little material the script gives her to work with. Early in the film she is portrayed as a timid nerd with no interest in football, but then somehow she is later a boisterous member of her high school cheerleading squad – despite certain inconsistencies she manages to sell the character and ground Freddy during his darker moments toward the end of the film.

Aaron Eckhart work on this film reaffirms my belief that he’s one of Hollywood’s most underrated actors working today with his take on the character of Darrell Royal. I emphasize “the character” because it’s difficult to say how accurately the script captured the character. Royal is made out to be something of a kindhearted football guru in My All-American, but a 1972 bestselling novel by Gary Shaw titled Meat on the Hoof was a brutal coach who engaged in hazing, racism, and manipulation of NCAA scholarship rules. Eckhart manages to sell certain glimpses of this darker character, but by and large the script endeavors to make him out to be a heroic father figure for his players.

On paper, My All-American had potential to be an amazing football story, but squandered it to put its hero on a pedestal. In a world where Rudy exists, it becomes difficult to justify this decidedly inferior football movie. The cast tries their best but in the end it becomes almost impossible for the audience to revere Freddy Steinmark as much as the film does.