Trumbo Einglish Movie 2015

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Story Line:

Trumbo is the story of screenwriter Dalton Trumbo’s remarkable journey from Hollywood royalty to blacklisted writer to Acadamy Award winner. Focusing on the writer’s own indelible words, the film features performances of some of his extraordinary letters, clips from his films and, archival and contemporary interviews with those who knew him best. The film illustrates how one man’s unerring belief in the First Amendment and the power of the written word-plus a drink or two-empowered him to fight back after being blacklisted by HUAC. Forced to write underground, letter writing became a chief repository of Trumbo’s extraordinary talents, and they serve as a wonderfully entertaining testament to his boundless intellect, acerbic humor, and staggering resilience.

Review:

The story of Dalton Trumbo is a long and complicated one – filled with controversy and rebellious attitudes. A fascinating figure who supported the tenants of Communism while also constantly driving towards wealth and success, the legendary filmmaker’s battle with the practice of blacklisting in Hollywood unfolded over the course of multiple decades, with many historically notable events occurring during the fight. To the credit of director Jay Roach, the new biopic about the Spartacus screenwriter, Trumbo, is impressively comprehensive, hitting on just about every important event that occurred during the Communist witch hunt of the mid-20th century – but it’s this same quality that also winds up hurting the film, with it often feeling more like a rote historical reenactment than emotional and drama-driven storytelling.

Based on a screenplay by John McNamara, the film begins in 1947 and finds Dalton Trumbo (Bryan Cranston) at the pinnacle of his career in Hollywood, signing a deal that makes him the highest paid screenwriter in the movie world. He spends days earning accolades and big bucks for his work, and nights meeting with politically likeminded people in the industry to talk about how the world can change and what they can personally do about it. All is well and good, until the news comes down the wire that the House of Unamerican Activities Committee has begun to take an interest in Hollywood, and begins rooting out individuals who they believe to be Soviet sympathizers. When Trumbo is called to testify and asked to name names, he refuses – and the consequences come in the form of not only jail time for obstruction of justice, but also blacklisting in the studio system.

With right wing gossip columnist Hedda Hopper (Helen Mirren) in the ear of every major movie executive and threatening to tear them down should they hire any communist filmmakers or actors, Trumbo is forced to get creative in his attempts to both write and earn an income to support his family. Unwilling to just disappear from the industry and let his voice be silenced, he begins writing scripts with friend’s names on them (the story behind Roman Holiday), but eventually advances to churning out scripts for low-rent production houses under various pen names. Through it all, Trumbo faces pressures from the government, the risk of being caught, and his overworked family (Diane Lane, Elle Fanning, Becca Nicole Preston, Mattie Liptak), but is never willing to let go of his ideals or passion and continues to strive for progress.

Discounting the title cards in the end credits that fill in the blanks of what happened after the movie’s narrative ends, Trumbo covers a span of 23 years, and the unfortunate truth is that you really feel that length while watching the movie. That’s not to say that the film is a slog – as it is compelling and driven by interesting characters – but it’s structured and unfolds more like a beat-by-beat history lesson than a crafted work that cuts deep into what was important about Dalton Trumbo as a man and what he went through. There are some tremendous beats that, if specifically focused on, could have made for a much more interesting approach to the narrative – such as his relationship with his more politically moderate, cancer-striken screenwriter friend Arlen Hird (Louis CK), or the fascinatingly weird director of Exodus, Otto Preminger (Christian Berkel) – but instead, the feature takes a much more standard tactic that doesn’t feel like it takes full advantage of the story’s potential.

With the script not doing much to make Trumbo pop, that pressure is pushed to the extremely talented ensemble of actors – who do actually take the film to the goal line and ultimately make it watchable. Leading the pack, naturally, is Bryan Cranston, who does wonderful work with his portrayal – particularly in selling Trumbo’s penchant for replicating his voice as a writer in his own speech (making everything sound like a proclamation from the mountain top). As the film progresses, however, it constantly reveals the presence of more and more of the industry’s best supporting players, and each of them puts in some great character work – from Michael Stuhlbarg as politically torn movie star Edward G. Robinson, to John Goodman as “I don’t give a fuck” producer Frank King. They’re the ones that keep the feature fun and entertaining as it plays out its extended historical tale.

The story of Dalton Trumbo is an important and significant one in Hollywood history, and Jay Roach’s film does its job telling it – just not in an overly fascinating or creative way. It’s worth seeking out for the performances alone, but in a season that’s full of biopics, it’s also not exactly a standout.

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. 

Love The Coopers Einglish Movie 2015

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Story Line:

When four generations of the Cooper clan come together for their annual Christmas Eve celebration, a series of unexpected visitors and unlikely events turn the night upside down, leading them all toward a surprising rediscovery of family bonds and the spirit of the holiday.

Review:

I’ve never wanted to punch Steve Martin in the face, until watching Love the Coopers. Voice over is a dicey proposition in the best of times — it’s often an unnecessary rehash of the action you see on screen when the script is either too lazy or doesn’t think viewers are smart enough to understand what they see. And in the latest sprawling all-star holiday ensemble piece designed to capture the affections of Love Actually and Because I Said So devotees, though with little of the charm, the comic legend delivers the most egregious, tedious, infuriating voice over I’ve ever encountered.

Even the twist at the end, which is completely unearned and misplaced, and is sure to enrage a fair number of viewers, can’t save it. Anytime Martin chimes in, which is inevitably ill-timed — just when you think you’ve heard the last of his mild, tepid intrusion, boom, there he is again — it derails and distracts from the story.  With this additions, watching Love the Coopers is like listening to a book on tape based on the novelization of an awkward family Christmas movie.

All of this isn’t to say that Love the Coopers is not without redeeming qualities, but they’re few and far between. Olivia Wilde once again proves that she’s one of the most talented actresses of her generation, bringing life, depth, and an infectious energy to what could have been a typical broken, wounded manic pixie dream girl role on paper.

The basic gist of Love the Coopers is that we’re all similarly fucked up beyond belief by our families, the ones who are supposed to love us the most. The eponymous Cooper family, a dysfunctional middle class clan, where even the ones who look like they have everything together are simply putting on appearances, illustrates this point. And when are all of these issues most likely to come to a head? When else, over the holidays when everyone gathers under one roof.

Charlotte (Diane Keaton) and Sam (John Goodman) are the matriarch and patriarch, the family core, the bright sun that the rest revolve around. Only things are not great in paradise, and they’re getting a divorce after 40 years, after staging one more perfect Christmas dinner for everyone. Ed Helms plays their son, Hank, a sad-sack divorcee with three kids, including a bland brooding teen (Timothee Chalamet) and a little girl who continually repeats the same mild curse over and over in a grating running gag. Marisa Tomei is Emma, Charlotte’s sister, always in her sibling’s shadow and resentful of that fact, who has a dalliance with shoplifting. Bucky (Adam Arkin) is the grandfather who is closer with a waitress at his favorite diner, Ruby (Amanda Seyfried), than his own kids, while Wilde is Eleanor, Charlotte and Sam’s baby, desperate to be seen as anything but.

The bulk of the movie shows these disparate threads heading towards an inevitable collision as the various family members travel to family dinner on Christmas Eve. Like with many similarly cluttered, muddled narratives like this, some of these stories are interesting and engaging, while others are very much not. Attempting to delay the inevitable passive aggressive motherly disapproval, Eleanor picks up a stranded soldier (Jake Lacey from Obvious Child) at an airport bar to stand in for the boyfriend she doesn’t have. Bucky and Ruby’s relationship is strange but uniquely adorable, though there’s a subtext that, while not ever examined with much fervor, is more than you get in the rest of the movie — they may be the two most interesting characters, though outside of the confines of this movie because there’s not much to grab onto here.

On the other side, Charlotte and Sam argue in an endless circle and continually have the same fight as they babysit their dementia patient Aunt Fishy (June Squibb), who exists only for forced comic relief — because old ladies farting and saying inappropriate things is funny, not sad, apparently. Emma’s encounter with a near mute, robotic cop (Anthony Mackie, who has almost nothing to do but reveal his deepest, darkest secret to a total stranger he’s in the process of arresting) is supposed to provide deep insight into both of their psyches and situations.

But like so much of Love the Coopers, all you get are too-easy platitudes and niceties. There may be decades and lifetimes worth of wounds and injuries between the various members of the Cooper clan, but in this world all you need is one night and you can tie up everything in a neat, tidy bow with a hug and a medley of holiday songs played on a ukulele.

This chaotic presentation plays hell with the up and down pace of the movie. At times you’re engaged and involved, and the action slips nicely along, while other times you can’t wait for a scene to end so you can move on and see what people you actually care about are up to.

Directed by Jessie Nelson (I Am Sam), Love the Coopers only tries anything visually interesting or unique when Wilde is on screen. Extreme close ups that crop out most of her face let the subtle change of expression around her eyes or at the corner of her mouth do more work than you get from the dialogue in the script by Steven Rogers (Hope Floats). This is a treatment that no one else in the movie receives, and though this is a cast full of big names and familiar faces, most of the time is spent with Keaton and Tomei yelling at each other, Ed Helms trying to act serious and not start mugging for the camera, vaguely uncomfortable teen make-out scenes, and kids doing things that I think are supposed to be cute. They’re not.

Maybe this is what you’re looking for in a holiday movie, something warm and fuzzy, full of bent and broken characters, but not too bent or broken, where everyone can hug it out by the end. But unless that’s specifically what you’re after, Love the Coopers is sappy and saccharine, and though there are a few shining moments, overall it is too hollow and muddled to be of much interest.

The Good Dinosaur Einglish Movie 2015

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Story Line:

The Good Dinosaur asks the question: What if the asteroid that forever changed life on Earth missed the planet completely and giant dinosaurs never became extinct? Pixar Animation Studios takes you on an epic journey into the world of dinosaurs where an Apatosaurus named Arlo makes an unlikely human friend. While traveling through a harsh and mysterious landscape, Arlo learns the power of confronting his fears and discovers what he is truly capable of.

Review:

Pixar’s The Good Dinosaur isn't very good. It's OK. Fine, even. But by Pixar’s standards, it’s actually a disappointment – especially when compared with Inside Out, the emotionally potent, intellectual and vibrant movie the animation studio released in theaters mere months ago. That’s the blessing and the curse of Pixar. The bar has been raised so high over the years that when a new story misses the mark, we notice. The bigger issue has become that, from Cars 2 to Brave, we are noticing more often that we initially did with Pixar. Was the decline in quality inevitable?

If you followed the progress of Peter Sohn’s The Good Dinosaur with any real interest, you may know that the story went through major overhauls during its production. For starters, this wasn’t supposed to be Peter Sohn’s Good Dinosaur in the first place. Pixar veteran Bob Peterson (Up) had an idea for a dinosaur movie that dated back to 2012 (at least), imagining a world where the asteroid that hit our planet – leading to the extinction of the mighty dinosaurs – missed. In August 2013, though, Peterson was removed from the project, and Sohn – a co-director at the time – took over. Reports said the story was retooled. A new cast was brought in. The movie was delayed, in hopes of repairing what had begun.

None of this would matter if the film reaching theaters worked, if the behind-the-scenes maneuverings led to the creation of a fantastic feature. They didn’t, and you can actually point to the production’s various conflicts for the reasons that The Good Dinosaur ultimately deflates… or, better yet, never comes together as a movie that engages its audience, or advances beyond its overly simplified concept. If Pixar delayed The Good Dinosaur to improve the movie’s story, where are those improvements? I didn’t see them.

As was initially reported, we start on a version of our planet where the legendary asteroid missed Earth, meaning the dinosaurs that roamed our rock’s surface continued to roam. This could have set up a world where countless creative species of colorful animated dinosaurs factored in to the plot, but Good Dinosaur does little to play with that fun premise, instead focusing on one tight-knit clan of Apatosaurus farmers, led by Henry (Jeffrey Wright) and Ida (Frances McDormand). The duo have three children, all very different in personality, and the parents drive home an important message: “You have to earn your mark by doing something big.” Arlo (Raymond Ochoa), the runt of the pack, desperately wants to impress his father, and he gets the chance while on an expedition to find the “critter” who is eating their supplies. Only – because this is a Disney movie – tragedy strikes and Henry is killed… and Arlo now must find his way home before his family gets to worried. 

And then? Well, no “and then.” That’s pretty much it. Arlo is separated from his family, carried away from the farm by a powerful river current. By the time he reaches dry land, he’s miles from home, so he starts walking back. He’s accompanied by the “critter,” a human cave-boy who doesn’t speak, and whom Arlo blames for the loss of his father. Together, they form the archetypal odd couple, bickering at first before eventually bonding after a series of episodic conflicts that come across as story patches meant to punch up the placcid Good Dinosaur, whether they fit the narrative or not. 

Take, for example, a long sequence where Arlo and Spot (the name he gives the cave boy) encounter three T-Rex who, for reasons never given, behave like cattle-rustling cowboys. The humor in the detour is scattershot and sometimes grisly, as when the lead dino (voiced by Sam Elliott) relays a story about the time he killed a crocodile and “drowned him in my own blood.” Really, Pixar? Other random scenes come and go with no real connection to the main plot, like the time Arlo and Spot get into some wild berries and start hallucinating. Yes, The Good Dinosaur has a drug montage. Bring the kids!

  I will say that the animation in The Good Dinosaur is stunningly beautiful. The nature shots are photo-realistic, and even Arlo – with his bulbous shape and shiny gloss – looks like a toy that has just been removed from its packaging. This easily is some of the best animation in Pixar’s oeuvre. And yet, the story is so basic, so immature, and so disjointed that the visuals are in service of a dud of a plot. It’s the equivalent of having an ornate table setting, then serving your dinner guests a grilled cheese sandwich.

The Hateful Eight Einglish Movie 2015

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Story Line:

In The Hateful Eight, set six or eight or twelve years after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Kurt Russell) and his fugitive Daisy Domergue (Jennifer Jason Leigh), race towards the town of Red Rock where Ruth, known in these parts as "The Hangman," will bring Domergue to justice. Along the road, they encounter two strangers: Major Marquis Warren (Samuel L. Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix (Walton Goggins), a southern renegade who claims to be the town's new Sheriff. Losing their lead on the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie's Haberdashery, a stagecoach stopover on a mountain pass. When they arrive at Minnie's, they are greeted not by the proprietor but by four unfamiliar faces. Bob (Demian Bichir), who's taking care of Minnie's while she's visiting her mother, is holed up with Oswaldo Mobray (Tim Roth), the hangman of Red Rock, cow-puncher Joe Gage (Michael Madsen), and Confederate General Sanford Smithers (Bruce Dern). As the storm overtakes the mountainside stopover, our eight travelers come to learn they may not make it to Red Rock after all...

Review:

The Hateful Eight is a completely different film than what Quentin Tarantino has been making in the last 12 years. After the hiatus that followed the release of Jackie Brown, the auteur found his career moving towards what could be described as more “epic” movies; and by employing his tremendous cinematic knowledge of great westerns, war flicks and kung fu features, he delivered large-scale mythical stories like Django Unchained, Inglourious Basterds, and the two-part Kill Bill. In contrast, The Hateful Eight is a return to his small-scaled, dialogue-heavy, non-linear storytelling, bloody, shocking origins, and, quite simply, it’s one of his best films.

When I say “origins,” I’m naturally referencing Reservoir Dogs - the 1992 debut that introduced the world to Tarantino and spellbound us with engrossing conversation, all while most of the action took place within the walls of a dinky, drab warehouse. The Hateful Eight is a brilliant return to this kind of storytelling, and with a combination of vile and captivating characters and ever-rising tension, it comes together as a classic-feeling, wholly-entertaining ride. It’s an immensely challenging narrative style, but there’s not a moment in the 187-minute runtime that you don’t feel completely enraptured in the events.

The key to any story like this, be it Reservoir Dogs, The Thing, or Who’s Afraid of Virginia Woolf?, is gathering a diverse group of personalities together and raising the heat on them until their ready to boil over – and with the racial tensions and divisiveness of the post-Civil War era in its back pocket, The Hateful Eight does exactly that. It begins with a confrontation on a snowy road between two bounty hunters. John Ruth (Kurt Russell), traveling with a prisoner named Daisy Domergue (Jennifer Jason Leigh), is unsure if should give a ride to Major Marquis Warren (Samuel L. Jackson), who is hitchhiking with a pile of bodies as his baggage. It’s that lack of trust that carries on as the theme through the entire rest of the film, as these three individuals eventually find themselves taking shelter from a blizzard in a haberdashery filled with shady characters.

After getting to know the various people with whom he’s found himself entrenched, Ruth declares that he knows at least one person in the group is working with Daisy and is going to try and set her free – and while he seems to be working with no proof or even evidence, a simple look around the room helps you recognize the brash, arrogant bounty hunter’s suspicions. Between the menacingly quiet cowboy Joe Gage (Michael Madsen), the intensely bigoted Confederacy General Sandy Smithers (Bruce Dern), and the former Rebel Renegade-turned-supposed Sheriff Chris Mannix (Walton Goggins), most of the folks in the establishment don’t immediately come across as honest. Even the British hangman Oswaldo Mobray (Tim Roth) and the substitute proprietor running the haberdashery, Bob (Demian Bichir), aren’t above suspicion. Understanding that the wolf in sheep’s clothing won’t reveal himself until the storm passes and the snow stops, Ruth works to uncover the secrets being held, all while the rest of the group hash out their own personal connections and estrangements.

All of these spiteful, horrible people have spiteful, horrible things to say to one another, and it’s really a glorious thing to bathe in three-plus hours of Tarantino-scripted dialogue. The writer/director’s darkly humorous wit is still as sharp as it was back in the early 1990s, and The Hateful Eight uses words to delight and hypnotize in equal measure. The filmmaker clearly had most, if not all, of his cast in mind while penning the screenplay, and paired with perfect performances, every character memorably pops and has the chance to either make us laugh or shake us to our core, armed with their own unique perspectives, backgrounds and deliveries. They have the kind of conversations you could listen to for days. They are engaging and exciting on the same level as all the bloodshed eventually unfolds in the latter half of the movie.

Quentin Tarantino is known for bringing out the best in the actors that he collaborates with, and The Hateful Eight only enhances that reputation, as the ensemble of veterans and newbies to the director’s work all deeply fall into the world and their respective roles. Kurt Russell is brilliant as the brash, bullish John Ruth. Jennifer Jason-Leigh’s Daisy is as venomous and awful as they come. And Walton Goggins is amazing as the doesn’t-know-when-to-shut-up Chris Mannix. Walking away from the film, though, it’s Samuel L. Jackson who audiences will be thinking about. Whether he’s playfully seducing John Ruth with a letter he received from President Abraham Lincoln, or delivering an extended monologue explaining how he knows General Sandy Smithers, Major Marquis Warren is captivating at every moment, and when he’s on screen, you’re looking nowhere else. It’s the biggest role that Jackson has had in a Tarantino movie since Jackie Brown, and it’s arguably his best yet.

The Hateful Eight screenplay is one of the best that Quentin Tarantino has ever scripted, but what’s almost intimidating is the fact that the guy is just as talented a director as he is a screenwriter – and in addition to being utterly captivating, the winter-set western is also jaw-droppingly gorgeous. The director and cinematographer Robert Richardson shot the movie using Ultra Panavision 70s lenses – the exact same used by William Wyler on Ben-Hur - and the result is a beautifully wide screen that the film utilizes with each shot. This is not only the case for the stunning sequences set out in the blizzard-struck outdoors, but even the interior events – adding to the paranoid atmosphere as your eye can explore the haberdashery from wall to wall. This comes in addition to all of Tarantino’s typical aesthetic flourishes – from long one-takes, to shots that travel above the characters and through the ceiling - and together create one of the filmmaker’s most visually fascinating features.

Being as big a fan as I am of Quentin Tarantino’s work, I walk into each of his movies with excessively high expectations – and while that can be a recipe for disappointment, I walked out of The Hateful Eight with a smile so wide it made my cheeks hurt. The writer/director’s latest delivers everything that fans love about his work, and is a wonderful cinematic experience that will be eagerly revisited time and time again in the future.

Krampus Einglish Movie 2015

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Story Line:

Legendary Pictures’ Krampus, a darkly festive tale of a yuletide ghoul, reveals an irreverently twisted side to the holiday. The horror-comedy tells the story of young Max (Emjay Anthony), who turns his back on Christmas as his dysfunctional family comes together and comically clashes over the holidays.

When they accidentally unleash the wrath of Krampus—an ancient entity from European folklore—all hell breaks loose and beloved holiday icons take on a monstrous life of their own. Now, the fractured family is forced to unite if they hope to survive.

Krampus and his mischievous underlings are being created by the combined efforts of Weta Workshop and Weta Digital, both renowned for their epic work on The Lord of the Rings and The Hobbit trilogies and King Kong, among many others.

Written and directed by Michael Dougherty (Trick ’r Treat), Krampus is co-written by Zach Shields and Todd Casey and produced by Legendary’s Thomas Tull and Jon Jashni, Alex Garcia and Dougherty. The film will be released by Universal Pictures.

Review:

When you think of holiday movies, the first things that come to mind are warm and fuzzy stories where, no matter the trials and tribulations, everyone hugs at the end and walks away feeling good, right? But for every Miracle on 34th Street and It’s a Wonderful Life, there is a horror movie that takes a darker side of Christmas, like Silent Night, Deadly Night, Rare Exports, or Christmas Evil. This season, director Michael Dougherty is looking to get in on the act and do for Jesus’ birthday what he did for Halloween with Trick ‘R Treat, with his new horror comedy Krampus. The results are mixed at best, and something of a tonal mismatch.

Krampus putters along for a while with the story of a dysfunctional, mismatched family begrudgingly gathering together for an attempt at holiday cheer. There’s dad, Tom (Adam Scott), mom, Sarah (Toni Collette), daughter, Beth (Stefania LaVie Owen), and the son, Max (Emjay Anthony), who, though he knows Santa is total BS, still believes and clings to the true Christmas spirit. Then there’s the stereotypically shitty redneck in-laws: Howard (David Koechner), Linda (Allison Tomlin), and their kids that don’t really matter because they only exist to be terrible.

They also live with Tom’s German mom, Omi (Krista Stadler), who, when things start going south, knows what’s really going on, but only chooses to share when it’s too late to do anything proactive. Though when she does reveal what she knows, she does it in a Coraline-esque animated flashback scene, so there’s that.

Getting the whole family together is little more than a set up to let you know that Tom and Sarah have issues and for the ultra-manly, Hummer-driving, shotgun-toting Howard to question Tom’s manhood. You’ve been through all of this many times before, and the cast is far too good to be wasted on this bland, tedious set up. It’s not the worst thing you’ve ever seen, but full of obvious, too-easy jokes, neither is it interesting in any way, and the script from Dougherty, Todd Casey, and Zach Shields gives them nothing memorable to do.

However, after awkwardly bumbling around for a while, trying to increase the tension by introducing the idea of Krampus, a kind of horned, cloven-hooved anti-Santa Claus who shows up when all hope and Christmas cheer is lost, things take a wingnut turn and go completely off the deep end, in the best possible way.

Once Krampus moves beyond the tedious, predictable set up, shit gets all kinds of crazy. On his own, the titular monster is a dark, sinister figure feeding on misery, and there’s definite promise in the legend. But he is also far from alone in his quest, and his henchmen are gleefully demented, or as Howard says, “Twisted, fairytale horseshit.” We’re talking a kid-eating Jack-in-the-Box, demonic gingerbread men wielding a nails gun, and a teddy bear with far more teeth than you expect. Then there’s his cadre of dark elves, which, more than creatures, resemble little dudes in creepy masks, lending a sinister air to the manic insanity. In all honesty, his underlings do most of the dirty work, including chimney fishing for a fat kid (it makes sense when you see it), while the big guy, in true supervisor fashion, just kind of hangs back orchestrating it all and looking scary.

All of this mayhem isn’t enough to entirely save Krampus, which ends with a whimper, wrapping up in appropriately bland fashion. Though there’s nothing particularly scary, especially for even a moderately seasoned horror fan, there are a handful of eerie practical special effects, and while you’re in the middle, it’s goddamned fun.

There are enough fantastic, frantic, entertaining-as-hell elements in Krampus—once it hits its stride, it’s not afraid to feed small children to flesh-hungry monsters— that, as great as they can be in the moment, primarily serve to show you what could have been. There’s basically an act’s worth a madness and frenetic disorder, propped up by two of dreary tedium.

This could have been a new, left-of-center holiday classic in the vein of Gremlins—the potential is there—but with the pat, we-need-to-remember-how-much-we-really-love-each-other platitudes, the tacked on postscript ending, and insipid set up, there’s little more to cling to than a few brilliantly insane moments. That’s not enough to make it a new classic or a must-watch, but for some of you this will be a welcome treat sitting underneath your cinematic Christmas tree this holiday season.

Mississippi Grind Einglish Movie 2015

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Story Line:

Down on his luck and facing financial hardship, Gerry teams up with younger charismatic poker player, Curtis, in an attempt to change his luck. The two set off on a road trip through the South with visions of winning back what's been lost.

Review:

It’s a story heard all too often in the gambling realm. A guy has it all — a wife and kid, a good job, and decent money. But once he feels the initial thrill that comes with winning a bet, he falls down the greased slope that leads to rock bottom. This is where we pick up with Ben Mendelsohn’s Gerry in Mississippi Grind, and although his future is predictable for the most part, it’s also one that suckers you into the ride.

Mississippi Grind is the third joint directorial effort from filmmakers Ryan Fleck and Anna Boden (Sugar, It’s Kind of a Funny Story). It begins with an image of the elusive but hard to ignore double rainbow, and the film will not let you forget this metaphor. Curtis (Ryan Reynolds) magically appears at a poker game and perks Gerry up and out of his slump. Suddenly, Gerry’s luck turns around, and he attributes his newfound success to Curtis, who Gerry calls his lucky “leprechaun.” See? There’s that rainbow metaphor again. He’s earned some money, but we soon learn that he’s in some pretty hot water with the local bookies, one of which threatens his cat.

His master plan to make everything right is to road trip it down the Mississippi River to New Orleans, stopping at all the casinos and hot spots along the way before hitting up the high-stakes, high-payoff bids. Curtis is a gambler of a different color. He only settles down when there’s a game to be played, money to be earned, but when there’s not, he’s feeding his wanderlust. It’s unclear at first why he sympathizes with Gerry, but he agrees to join him on this dark road trip of errors.

Ryan Reynolds’ charm is infectious, but it’s the same shade we’re used to — even a bit muted when you think of the extremes to which he can go. Curtis is not enough to lead us on this venture, but Gerry is. Slightly reminiscent of his character in the Netflix series Bloodline, Ben Mendelsohn is the tragic driving force of this movie. And he just so happens to be the man who physically drives the car. Much like his exuberant and wise-cracking counterpart, it takes a while for Gerry to reveal his true nature, but I reveled in watching each layer slowly, satisfyingly peel off to reveal an even more hardcore addict underneath. When I think of this movie, I think of the subtlety in Mendelsohn’s face — the camera close up — when he loses everything on the road. Like a recovering alcoholic who’s been wandering a trail of temptation in a daze, he finally stumbles on that drink he’s been craving but hasn’t touched. In an instant, his face shows the decision he makes to take a deep swig.

He’s the reason why Curtis is going on this ride, and he’s the reason we are, too. Curtis may be able to make the ladies (played by Sienna Miller and Analeigh Tipton) swoon, but I could only stomach the same routine for so long. When I did reach my limit, it was about halfway through the film, and all of sudden it became a chore to watch. The story splits its time between these two gentlemen, both of whom are exposing themselves more and more. But, if we’re to go back to that double rainbow that is constantly referenced throughout the film, I was twiddling my thumbs for when I’d see either the double rainbow (Curtis and Gerry together) or the initial rainbow (Gerry), but the second one by itself (Curtis) is passable.

Do these two men ever find the pot of gold at the end of these rainbows? It doesn’t really matter. Curtis’ mantra is that it’s not about the destination, it’s about the journey — and that’s equally true of the film. Even though I could tell where the film was going, it was all about the ride. Although, I’d prefer if this ride was an out-of-control train wreck heading straight for New Orleans. Instead, the actual “trip” part of this film moves at the pace of an inebriated driver who’s incredibly paranoid about who he might run over in his stupor, so he rides the speed limit the entire way.