Give It A Chance? is a series of articles based around the horribly overused quote “give it a chance”. Exploring the idea of whether a film has been misjudged or a constant reminder of just because some art forms CAN be exhibited doesn’t mean they SHOULD.

So there I was; at home on a Friday night and needing a creative fix. I thought to myself that maybe a movie would help. Though instead of choosing something that I have been meaning to watch, I thought it was time to give something else a try. After reviewing and watching as many films as I have, many a friend have told me that I have become too “jaded” or “cynical” when watching a film. Friends would tell me that I constantly write something off without just giving it a chance. So it was with that mindset that I took an open mind to check out the critically butchered: Jack and Jill.

Now I won’t divulge who the person who recommended this movie was; but I can tell you he is no fan of Adam Sandler. I on the other hand, have been a fan of his since his days on “SNL” and love his early work such as “Happy Gilmore” and “Billy Madison. This recent Sandler outing however is a far-cry for what in comparison to his earlier days could be described as “genius”.

This movie has no real structure or narrative and simply led me to constantly ask the question “why?” and mutter the response “huh”. The movie begins with what is the only not completely horrible sequences which consist of documentary footage resembling “When Harry Met Sally” and fake home movie footage of the titular characters ala “Happy Gilmore”. Sadly, its from those sequences that the movie is just a steady downhill slope down to the deepest trenches of truly bad movies.

The real problem with this movie (beyond it’s premise) is that Sandler actually is a talented person. But in an ironic twist the film also stars Al Pacino as himself playing someone also capable of so much better. The movie tries to even play to fans of Adam Sandler’s “SNL” days with cameos by David Spade, Tim Meadows, and Dana Carvey. But much like these poorly used cameos, this movie is just a complete waste of time. Adam Sandler has reached George Lucas status. To those question what that means; it’s when you continue to make money off the idea of how something was once good and have done nothing but deteriorate that original idea to the point of total creative annihilation. This George Lucas status has continued to where now Sandler is just surrounded by so many “yes men” who not dare challenge these horrible ideas in fear of not collecting a check.

Whether it’s the blatant product placement in the scene’s tired LA setting or just the act-by-numbers performances; I can’t tell what annoyed me more. This movie is the equivalent of eating at a Taco-Bell for some form of nourishment only to find yourself physically sick afterwards. Although the truly saddest part of this movie is that the movie’s core audience (idiots) will more likely recognize Jared “from Subway” Fogle (yes, he has a meaningless cameo too) rather than Al Pacino. This movie was purely awful, mind-numbing, and probably one of my biggest regrets watching. I truly pity the film critics who were forced to watch this sad excuse of entertainment. So if you’re asking whether or not you should “give this movie a chance” please heed this warning and run far, far away.

Verdict: DON”T GIVE IT A CHANCE

Netflix Limbo is a series of articles that examines the films that may have been skipped over in your Netflix Queue but need to be watched immediately.

To leave a legacy in this day and age can be a tough thing. With so much available to you with technology; to simply document your life is no longer a feat. But what about before all that? What about before we could see a life streaming as it happens on the Internet? If you truly understand what it means to not only leave a legacy, then you will understand why Senna is such an important name.

In the self titled documentary “Senna”, the film follows the career and life of formula one racing drive Ayrton Senna. Now, I will admit my knowledge of formula one racing begins with the video game “F1 Pole Position” and ends with Sacha Baron Cohen’s portrayal in the racing farce “Talledega Nights”. From that limited experience, I can fully admit that a film chronicling an athlete of a sport I knew very little about didn’t interest me. So there it sat at the very front of my Netflix Queue for months on end. Many people told me to see this film but I just made one excuse after the next. Fortunately, one morning I was just awake enough to finally give those suggestions a try. This documentary is not only an amazing work of art but one of the finest films I have ever seen.

What truly makes this documentary extraordinary is the fact that it contains all the necessary factors needed for an amazing documentary and then some. The footage of the film is what truly makes it stand out above the rest, because that is all you see. There are no talking heads but merely voices in the background that narrate this story you feel should have been told a long time ago. We see footage from when Senna was very young all the way and through his famous career. The audience is given a front row seat to this man’s amazing life through family home movies, driver’s seat racing footage, intimate interviews, and private conversations. The footage shown throughout the film feels so personally by the end, you feel as if you truly knew Senna.

When the film ended I couldn’t help but feel impacted in a way that a documentary hasn’t done in a very long time. I not only implore you but demand of you to see this film as soon as possible. It has a story that unfolds with characters so rich you would think they had to have been written. “Senna” will have you captivated from start to finish with a pacing that simply can’t be matched. The film is directed flawlessly by Asif Kapadia, a director that after seeing this film will be one to constantly watch out for years to come.There are movies that you should see and then there are movies you HAVE to see; the documentary “Senna” is both.

“Senna” is now available on DVD/BLU Ray and Netfllix Watch Instantly

Gone but not Forgotten is a series of articles that talks about films that may have come in and out in theaters or straight to DVD. These films are in this “humble” writer’s opinion not properly recognized… until now

Does a comedy have to make you laugh in order to be a comedy? If a comedian is featured is it required for him to do slapstick? These are a few questions I thought to myself while watching the film “The Big Year”.

The film’s premise is basically three bird watchers or “birders” (Steve Martin, Owen Wilson, and Jack Black) who travel and compete in a contest held every year to see who can “spot” the most birds in that year. Each character comes from a different walk of life but each share the similar obsession and love of bird watching. For me however, I saw the film differently. What these characters truly crave is adventure, most of them have lives outside bird watching and see this as a hobby. But rather than crave something dangerous like cattle driving exemplified in the film “City Slickers”, this craving is sensible. It is because of that fact and this being a hobby, that the film doesn’t reach for more than it has in it’s deck. There are a few falls here and there but the laughs are few and far between. While this would seem like a bad thing for most comedies, this isn’t really like most comedies.

This story is mainly meant to show a life outside of the regular, which I believe is why these men love “birding” so much. It’s also conveniently why I really loved this film. The locations take you all over the world and introduce you to something you may have previously written off as boring. All the while the have characters each with their own internal conflict and show how bird watching helps them solve it.

I really enjoyed this film because as mentioned, it isn’t funny. I can appreciate a film that knows what it has to offer and doesn’t stretch the concept further than it needs to go. More often than not we see films that try to do too much, and while I wouldn’t say this film does too little, it does just what’s expected of it. It’s not everyday you see a film do unexpectedly enjoyable and was actually a refreshing change of pace.

What I admired most  about this film is that with such self-realization, it doesn’t under-perform your expectations but rather leaves you feeling entertained and educated. As simple an accomplishment as that may be, it’s one of the few films that can do that today.

When a film ends I often think of what I take from it, and with this film it was many things. I was left with knowledge of a world I once rejected but now found interesting. I was left knowing that while most of the recent works from it’s three main stars have been “lack-luster” this project shows hope. Though more importantly I left this film realizing that nothing is always what it seems and that film, like life is worth exploring. So if a film that many may have not seen can teach me all of that I’d say it’s worth remembering in the end. The film is directed by David Frankel (“Marley and Me” The Devil Wears Prada”) and based on a book by Mark Obmascik. While conveniently those credits like the film’s plot may not speak to you, this film is definitely worth a second look.

Gone but not Forgotten is a series of articles that talks about films that may have come in and out in theaters or straight to DVD. These films are in this “humble” writer’s opinion not properly recognized… until now

Faith is a funny thing. Faith is an emotional thing. Faith is many things. Though one thing it hasn’t been, is something that can be captured on film. At least that’s what I thought until i recently saw the film “Higher Ground.”

Roger Ebert recently posted an article (http://blogs.suntimes.com/ebert/2012/01/they_wuz_robbed.html) about films that should have been recognized by the academy. One of the films he mentions specifically was the film “Higher Ground”. Now I had heard of the film before, but it feels like it never got the release or publicity it deserved. After watching this film I can say with full confidence it completely lives up to every expectation, and then surpasses it.

The film is directed by and stars Vera Farmiga (“Source Code”, “The Departed”) and shows the progression of spirituality and faith by an individual. From it’s humble beginnings, to it’s growth, and then the eventual doubt that ensues. This film encapsulates the meaning of faith incarnate and is nothing short of extraordinary.

I can say personally that I may be giving this special treatment because of my own experience with the subject. My parents are both ministers and have encountered many of the same issues faced in this film. But it’s because of that experience that I simply can’t recommend this film enough. With it’s simplistic dialogue of how faith is explained to a child, this film nails this subject.

The acting is superb as well, with a stunning performance by Vera Farmiga that carries the film. The film features a stellar supporting cast as well that includes Joshua Leonard (“Humpday), John Hawkes (“Winter’s Bone”) and Donna Murphy (“The Fountain”). “Higher Ground” is simply a revelation from start to finish.

The film’s structure also boasts something familiar yet re-discovered. It takes place throughout the life of Vera Farmiga’s character and is able to use that timeline to effectively take you through the stages of faith. Though many films have tried to tackle the subject of faith comedically, it’s always failed. Whether it’s as an unintentional joke (“Fireproof”) or an intentional one (“Saved”) and up until now no one has been able to nail it. Because faith can be a funny thing, but the important thing is that’s not all it can be. It is such a multi layered subject and one as I mentioned earlier could never be handled properly. This film will make you laugh, swoon, cry, and everything else that truly makes film great.

This is Vera Farmiga’s directorial debut and one that I hope means we can expect much more to come from this talented auteur. Please support this film and rent or buy it as as soon as possible.

Higher Ground is available now on DVD/Blu-Ray.

by Ray Velez

Let’s get this out of the way first: “The Thing” (2011) is a good monster movie. It has the scary jump moments, the CGI creature effects, the gore…pretty much everything that would make it a good monster movie. The problem is that, in making it a prequel to an awesome film (John Carpenter’s ”The Thing”), you have asked me to at least expect your film to play by a particular set of rules. Rules that were set up in the 1982 film.

Like I said, this is a good monster movie. But what made the 1982 film so good was that it wasn’t necessarily a monster movie. It was a film that played with paranoia, and when the monster did appear, the practical effects (which will ALWAYS be better than CGI, in my opinion) made you cringe with disgust. This monster was really there. But again, the monster only appeared out of necessity! It wanted to survive, and the best way for that to happen was to lay low until it was called out by Kurt Russell’s magnificent beard! Which I hear can cure cancer, but that’s neither here nor there. In the prequel (or reboot or whatever they are calling it), the monster is almost predatory, spending most of the film giving itself away, hunting most of the crew in its monster form. One of the scenes is reminiscent of the raptors-in-the-kitchen scene in “Jurassic Park”, which is NOT what “The Thing” should be! The people behind this film had an opportunity to make a film on par with the John Carpenter version, dealing with claustrophobia and paranoia. Instead, they just turned it into a loud affair, with very little subtlety.

All that said, the movie was nice to look at. The cinematography by Michel Abramowicz was beautiful, the direction by Matthijs van Heijningen Jr. was visually appealing, the script by Eric Heisserer was strong, and the actors were all very good. Mary Elizabeth Winstead takes the lead, with Joel Edgerton as the helicopter pilot, minus any sort of epic beard. The rest of the cast, filled with what I assume are popular Swedish/Danish/Norwegian actors, were all very good, and believable in their roles. The lack of any real stars made it less obvious who was going to perish. And bonus points to the director and writers for having a good portion of the film in Norwegian with subtitles.

The score evoked John Carpenter’s film in some of its score, but again, most of the time just turned into a loud mess. The CGI effects of the monster were good, but the 1982 film still holds up today because of its practical effects. Sadly, this film’s special effects will be outdated in a few years. There were a few questions that I did have throughout this film that kind of bugged me. When Mary Elizabeth Winstead discovers for the first time what the cells of the creature are actually doing, she doesn’t tell anyone except her friend. Why!? Call me crazy, but you would have caught me blaring it over the loud speaker, writing the message in the snow with my own urine, and leaving post-it notes for everyone to find! Also, if this is a Norwegian base, why are most of the items in the background in English?

All in all, “The Thing” (2011) is a good, effective monster movie. I just wish they would have played with more of the elements that made the John Carpenter film such a classic. And though they left the film open to a sequel, I highly doubt we’ll get the opportunity to see it due to this film’s low box office numbers. Sad really, given that when the new Twilight film comes out in a month, it will more than likely break records… I miss the horror films of the 80’s.