Top 10 Movies of 2013

Well 2013, you've been great to us movie fans. 

After a lackluster beginning, and having to follow up from the mega-year 2012, everyone expected this year to be a bust. But then, among the ashes of Gangster Squad and Movie 43, were a few blockbuster surprises like Oz the Great and Powerful and critical darlings such as 42. No one knew how to handle the summer season, with a few predictable successes (Star Trek Into Darkness, Despicable Me 2), middle-ground surprises (The Heat, Fast & Furious 6), and flat-out bombs (After Earth, The Lone Ranger). By the Fall movie season, early predictions were tossed out the window, with one critical success right after another. This has led to an exciting onslaught of Oscar contenders, which has proven to be a very interesting race.

Now, on the cusp of 2014, it's time to take a look back on the film year that was 2013. So, without further adieu, here are the Top 10 Movies of 2013.

10. The Wolf of Wall Street (Martin Scorsese)

A parable of financial excess, The Wolf of Wall Street is arguably one of the best Scorsese-Leonardo DiCaprio collaborations ever filmed. A pet project of the actor for years, the story of Jordan Belfort is a hedonistic look at the guilty pleasures in life, with obscene amounts of profanity, sex, and drugs lacing the film into a sinful entree. Only Martin Scorsese could turn this movie into an artful character study, making each sinful desire a necessary plot device. Wolf is shot with the same rabid intensity of the infamous day-long cocaine chase from Goodfellas, crafted into a 3-hour drama with so much to talk about. Scorsese makes us want to join this fraternity of criminal stockbrokers, reminding us why the filmmaker is so good at directing evil. 

9. Monsters University (Dan Scanlon)

It was a ripe year for animation, and many people will name half a dozen other cartoons they liked better than this one. But Monsters University stuck with me throughout them all, and for that reason, it makes my favorites of the year. It brings up several eyebrow-raising comments about the education system as a whole, a theme few kids movies tackle. MU is a fun setting with colorful characters, best of all giving fans of the original Monsters, Inc. the same style of humor and pacing. It's a vast improvement over Cars 2 that shows Pixar is still capable of making a good follow-up (even after all these years). Come for the Disney brand, stay for the hijinks, and remember it for the loving emotions behind the best animated movie of 2013. 

8. The Hunger Games: Catching Fire (Francis Lawrence)

Few action movies have the nerve to make audiences think a little bit. They drown them in meaningless babble and nonsensical situations, numbing them from the problems of the real world. But The Hunger Games franchise fights for just the opposite, and Catching Fire is a fine entry into this canon. Fueled by the raw energy of the novel source material, this sequel addresses political themes much better than the original installment, pitting the hero Katniss Everdeen against the corruption of the Capital and its malevolent leader President Snow. Jennifer Lawrence brings her star power into the role once again, leading a beautiful cast of talented performers. It's fast-moving, nail-biting thriller that proves how sequels can fix and improve upon the first, making us excited for future movies and the forthcoming revolution. 

7. The Way Way Back (Nat Faxon and Jim Rash)

In their own way, coming-of-age dramas can say more about a human life than anything else. Under the lens of a teenager, the world can seem a large and intimidating place, and in The Way Way Back, that world is a beach centered around a water park. Liam James plays Duncan with realistic emotion, demonstrating how much more grown up kids can be than adults. Steve Carrell surprises with an antagonistic performance, but Sam Rockwell gives the more shocking show, in easily my favorite role of his to date. It was the summer drama we all needed, and we're thankful for it's wider release than normal. The Way Way Back is an accessible, funny, and heartwarming tale about growing up, and learning how to count on friends to lead the way. 

6. Saving Mr. Banks (John Lee Hancock)

Movies about making movies may not seem appealing, but they have proven to be an intriguing genre that educates viewers on the magic of cinema. This year, it came in the form of Saving Mr. Banks, which chronicles Walt Disney's journey to secure the rights to Mary Poppins from book author P.L. Travers, wonderfully portrayed by Emma Thompson. Disney is played, for the first time, by an actor, and who else better to perform the role than American everyman Tom Hanks. With several allusions to both Mary Poppins and the Disney canon throughout the picture, Saving Mr. Banks is also a fascinating look into the creator of the supernanny, giving viewers an almost separate flick in her frequent flashbacks. It's a touching tale of acceptance, and masterfully demonstrates the lengths to which a person will go to protect their creation. 

5. Captain Phillips (Paul Greengrass)

Much like Argo, Captain Phillips makes a real-life incident surprising, chilling us to the bone even though we all know how it is going to end. This is possible due to three people: Paul Greengrass, whose Bourne experience gave him the necessary camera comfortability to accurately shoot a claustrophobic and gripping story with a documentary-esk shaky cam; Barkhad Abdi, whose portrayal of the film's villain is interestingly sympathetic, giving another layer to this story that easily could be one-sided were it not for such a graceful performance; and, of course, Tom Hanks, who makes a career comeback (yes, a comeback- think of the last good movie you saw him in, odds are it was almost a decade ago) by returning to his roots of the average guy, forced in an impossible situation yet able to keep his cool to protect his crew.

4. Iron Man 3 (Shane Black) 

The best action movie of the summer is not only a superhero movie, but the most genuinely satisfying film of the season. Showing more Tony Stark than the metal hero himself, Iron Man 3 is a refreshing follow-up to The Avengers, with an original story that gave comic book fans and regular audiences plot twists no one was expecting. Robert Downey Jr. carries the film's intensity, but several other characters anchor the project in heightened cinematic technique. It remains one the best entries into the Marvel canon, and started summer with an explosion of fun that was never quite replicated. 

3. 12 Years a Slave (Steve McQueen)

12 Years a Slave is an educational experience into not only the United State's dark past, but the disturbing potential of humanity itself. Steve McQueen, the director of sex-addiction examination Shame, brings the same canine intensity to this motion picture, a film of symbolic power told from the point of view of a single slave. This is part of the movie's appeal; Chiwetal Ejiofor has finally made his way to the center stage by portraying real-life hero Solomon Northup, who sees first-hand of slavery's brutality after losing his lifelong freedom. 12 Years a Slave does not hold back anything; all cards are on the table, from every stinging lash to every twisted lecture by Michael Fassbender's bible-thumping slave driver. If they can even stomach it, 12 Years should be required viewing for every high school student in America, to show how terrifying the U.S. once was, and to guarantee that it never happens again. 

2. American Hustle (David O. Russell) 

From the moment we first saw the trailer for American Hustle, we knew we were in for a cinematic treat. David O. Russell has slowly become one of my favorite directors, after The Fighter and Silver Linings Playbook made a huge impact on their respective Oscar years. Now, he has combined the best elements of both casts to craft an intricate crime saga, delving audiences into the rich culture of the 1970's. The cast is worth the price of admission alone, and each actor gives a performance of the highest possible caliber. Christian Bale, Bradley Cooper, Amy Adams, Jeremy Renner, and most of all Jennifer Lawrence all prove that they are among the finest actors of our generation. It's an addicting story with the best collection of characters of the year. 

1. Gravity (Alfonso Cuaron) 

Gravity is the most visually spectacular movie since Avatar, and is much better executed. In only an hour-and-a-half, Cuaron takes us on a roller coaster ride of zero-gravity entertainment, making us feel like we are actually in outer space. Gravity is a thrillingly imaginative piece of science fiction that demands to be seen on the largest screen possible, demonstrating all that cinema is and should be capable of when done perfectly. Sandra Bullock gives the greatest performance of her career, and George Clooney is irreplaceably perfect for his comedic part. From the onset of the 13-minute IMAX 3-D opening shot, the film literally took my breath away. I was shaking for hours afterwards, because I knew I had just completed one of the greatest movie theater experiences of my entire life. Or, simply put, the best movie of 2013. 

Well, there you are: the best films of 2013! I hope you enjoyed the list, and are adding these films to your Netflix queues as we speak. Just for fun, here are a few Movie Critic's Club Awards that we hope you enjoy!

Best Actor in a Leading Role: Christian Bale, American Hustle (Runner-up: Tom Hanks, Captain Phillips)

Best Actress in a Leading Role: Sandra Bullock, Gravity (Runner-up: Judi Dench, Philomena) 

Best Actor in a Supporting Role: Sam Rockwell, The Way Way Back (Runner-up: Jake Gyllenhaal, Prisoners)

Best Actress in a Supporting Role: Jennifer Lawrence, American Hustle (Runner-up: Margot Robbie, The Wolf of Wall Street)

Best Director: Alfonso Cuaron, Gravity (Runner-up: Paul Greengrass, Captain Phillips)

Best Screenplay: Eric Warren Singer and David O. Russell, American Hustle (Runner-up: John Ridley, 12 Years a Slave)

Best Song: "Please Mr. Kennedy", Inside Llewyn Davis (Runner-up: "10538 Overture", American Hustle)

Comeback of the Year: Tom Hanks, Captain Phillips and Saving Mr. Banks (Runner-up: Mathew McConaughey, Dallas Buyers Club, Mud, The Wolf of Wall Street) 

Honorable Mentions for the Top 10: The Heat, Despicable Me 2, Philomena, 42, Don Jon, The Wolverine

Flashback Friday: The Fighter (Russell, 2013)

Boxing has always been the sport of cinema. Sure, football and basketball teams coming together in the midst of adversity represents important themes, but the individual underdog's triumph just seems so much more fitted for the silver screen. Each generation has their own boxer: Charlie Chaplin from City Lights in the 1930's, Rocky throughout the 1970's, and Raging Bull's Jake LaMotta during the 1980's. Currently, Mickey "The Irish" Ward is the Welterweight Champion of the movie ring. His family's story captured the hearts of millions, and the film adaptation fought it's way to Oscar gold. With director David O. Russell re-teaming with stars Christian Bale and Amy Adams, along with the main cast of Silver Linings Playbook, in this year's American Hustle, Movie Critic's Club is taking a look at one of the director's finest achievements. Today on Flashback Friday, we're going toe-to-toe with The Fighter.

Mickey Ward is the youngest son among the nine children of Alice Ward, the matriarch and dominating presence of the family. His only brother, Dicky Ecklund, was once a promising boxer who beat "Sugar" Ray Leonard, but ruined his opportunity by becoming dangerously addicted to drugs. Dicky is known as "The Pride of Lowell", referring to his hometown which prizes fighters and the Ward/Ecklund clan.

Micky was always proud of his brother, but never knew if he actually wanted to be a boxer himself. He had the talent and brute strength, but was constantly overcast by his brother's fame and infamous behavior. After losing fight after fight, Micky was about to give up, until his girlfriend Charlene encouraged him to follow his dream. The brothers had to learn to overcome their differences and give Micky the shot at the top like they always imagined for their family.

Mark Wahlberg had sought the rights to the project for years, originally planning to produce the film with fellow Boston native Matt Damon before he learned that the Wards were already approached by Paramount. Not wanting to step on any toes, Wahlberg backed down, but Paramount later asked for him to play the lead character and produce the picture. He excitedly agreed, but with script problems and production issues plaguing the movie, the film was put on a hiatus.

It took almost four years for a director to finally be found- David O. Russell, who Wahlberg personally recommended after working with him on Three Kings. The actor convinced the producers that Russell could perfectly emulate the emotional intensity of the family drama, the power of the fight sequences, and the love between Micky/Dicky and Micky/Charlene.

Despite a nearly four year wait, Wahlberg trained relentlessly throughout that time, and while working on other projects. Every morning, he would practice boxing and exercises with his personal coach, so that when The Fighter would start filming, he would be more than ready. Christian Bale was chosen to play Dicky because of his startling ability to physically and mentally transform himself into a character. After running into Wahlberg at a party, the two became friends almost as close as the real-life Micky and Dicky.

For the role of Charlene, Amy Adams lobbied for the part, despite Russell's reservations about her nice-girl charm that "couldn't throw a punch". When she won the part, she took boxing lessons to make her sassy nature more physical. Melissa Leo dived into Alice Ward, acting as the flamboyant mother both on and off the set. Other supporting actors included cop/trainer Mickey O'Keefe, who played himself, and Jack McGee as Micky's father George.

The fight sequences were shot in three days- an extremely short time in comparison to most other films. Russell and Wahlberg wanted HBO sports crews to come in and film the realistic recreations, with the actors (Wahlberg included) staging improv fights. Their feat was successful, and as a result the scenes in the ring were highly innovative and fun to watch.

The citizens of Lowell were intrigued with The Figher, and allowed the film crews to make the movie on location. The whole town became involved with the production, and many of them make cameos in the picture. However, some were upset with the film; the sisters of Micky and Dicky were not pleased by their crass depictions, and the real-life Dicky had reservations about the way his character acted. Nevertheless, most were very excited to get the opportunity to have their tales told on the big screen.

The Fighter, after nearly five years of development, was finally released in December 2010 to critical and commercial acclaim. It solidified David O. Russell's place as one of Hollywood's finest directors, paving way for films like Silver Linings Playbook and American Hustle. Christian Bale and Melissa Leo won Best Supporting Actor and Best Supporting Actress, respectively, at the Academy Awards, becoming the first dual-win of this type since Hannah and Her Sisters in 1986; The Fighter was also nominated for Best Picture, and won dozens of other year-end prizes.

The Fighter is a highly entertaining, and very poignant, drama that is regarded years after it's release. It is the best boxing movie since Raging Bull, and has become the Rocky of recent memory. With all the themes of family loyalty, following your passion, doing the right thing, and just being a good human being, there is much to discuss about this unique biopic. However, it is the shamefully un-nominated work of Mark Wahlberg that makes this film timeless. The Fighter is arguably my favorite sports movie ever made, and it's dedicated ensemble, crisp direction, and inspirational story makes arguing that point a tough fight.

The Hunger Games: Catching Fire (Lawrence, 2013)

Jennifer Lawrence really is the Girl on Fire.

After one of the most successful movies of 2012 brought her to global acclaim, she turned around and won an Oscar- becoming the second-youngest actress (22) ever to win Best Actress. Now, she has become America's sweetheart, and she deserves equal praise for her latest blockbuster performance.

The Hunger Games: Catching Fire is vastly superior to the franchise's first installment, drastically improving on all the qualities that made The Hunger Games stall. That's right, that means no more shaky-cam, more political thrills, and all the teenage angst you can possibly hope for. 

Director Francis Lawrence, taking over the reigns from Gary Ross, here crafts a masterful action picture, one that is both highly intelligent and breathtakingly epic. 

Following almost immediately after the events of the first movie, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) struggle to live in a world that supports the brutal slaughter of children. President Snow (Donald Sutherland), threatened by the image of hope Katniss symbolizes, tries to convince the "girl on fire" to speak on their upcoming Victory Tour about the glories of the Capital and the current regime. Katniss initially appeases him, but a chain of events soon sends Katniss to the breaking point with the Capital- and it's cold-blooded leader. 

Those who were waiting for more political themes will not be disappointed; the film addresses issues of government control, citizen responsibility, and the natures of honor and loyalty. Viewers will witness a more fleshed-out story, and the dialogue portions are gripping to watch. 

The cast is once again on par, and are developed significantly more than in the first movie. The supporting players are in top form, and it's almost impossible to ignore Liam Hemsworth's Gale, Woody Harrelson's Haymitch, as well as newcomers like Sam Claflin as Finnick and Jena Malone as Johanna. Stanley Tucci provides entertaining comic relief as Caesar Flickman, the eccentric Hunger Games announcer. 

The two villains are also portrayed with shocking intensity, not seen since the Harry Potter franchise ended a few years ago. Donald Sutherland emits poisonous radiation, literally turning wine into a blood-like fluid. Phillip Seymour Hoffmann is equally menacing, with a snake-like charm that evokes his slimy nature.

But it is Jennifer Lawrence that stands above the rest. She takes Katniss to crazy new heights, elevating her character in ways that audiences have come to expect from the Oscar winner. It's also fun to see her incorporate some of the personality she's come to be known for in her hilarious interviews. Lawrence is an extraordinarily talented actress, and that's all that can be said. 

Catching Fire goes beyond simple action-film cliches, instead harnessing both social allegory and striking prose to make a brilliant work of cinema. Francis Lawrence exceeds expectations in cinematography, editing, and sound.

The production design is on an epic scale, with roaring plains in one scene and high-rise buildings in the next. The coolest set, however, is the place those familiar with the book will be excited by- and it's beyond dazzling to see. The spot-on special effects only add to the awesome production value.

For fans of The Hunger Games franchise, action movies, political thrillers, Jennifer Lawrence, or fun times at the movie theaters, go see The Hunger Games: Catching Fire.

Every revolution begins with a spark, and this one begins with a bang.

Five out of five stars. 

Flashback Friday: The Hunger Games (Ross, 2012)

For a story that features children fighting to the death, this book/film franchise has done remarkably well. After a successful trilogy of young adult novels, author Suzanne Collins decided to work with film studio Lionsgate to craft a faithful adaptation of her beloved novel. They expected a hit, but nothing in the vein of what was accomplished in March 2012. The movie would eventually grow as the highest-grossing non-sequel of all time, shattering box office weekend records and becoming the first movie since Avatar to hold the top spot four weeks in a row. It eventually led to the popularity of an Oscar-winner, and arguably the most beloved youth franchise since Harry Potter. The sequel, Catching Fire, arrives in theaters today, so Movie Critic's Club is taking a look on Flashback Friday at The Hunger Games. 

Lionsgate acquired the rights to The Hunger Games as early as 2009, and backed the film with a hefty budget and lots of marketing. Lionsgate needed a hit, as they had not turned a profit for several years. They hired original author Collins to pen the screenplay, along with director Gary Ross and screenwriter Billy Ray, and she worked to keep the adaptation as close to the source material as possible. 

The film tells the story of Katniss Everdeen (Jennifer Lawrence), a teenage girl taking care of her younger sister Primrose (Willow Shields) and distraught mother (Paula Malcomson) in the troubled District 12 of Panem. She spends her days trying to gather as much food as possible for her family, along with friend Gale (Liam Hemsworth). She is exceptionally talented with a bow-and-arrow, and is a skilled hunter.

In Panem, a terrible war caused a dystopian government to take over from the Capital. In order to quell any sense of rebellion, each year two children (one male, one female) between the ages of 12 and 18 are chosen to compete in the Hunger Games, a brutal fight to the death in which there is only one survivor. Primrose is chosen at random, and in an effort to save her sister, Katniss volunteers to compete. Katniss, along with male tribute Peeta Mellark (Josh Hutcherson), go on a journey to the Capital to train for the Games. There, they are aided by former victor Haymitch (Woody Harrelson), the eccentric Effie (Elizabeth Banks), and stylist Cinna (Lenny Kravitz). Eventually, Peeta and Katniss enter the Hunger Games, and must fight for survival amongst trained killers. 

As the novel is told from the first person, it is limited in its discussion of other characters. As such, Collins took advantage of the ability to expand on other characters. She greatly added to Seneca Crane (Wes Bentley), the gamemaker who kept control of the tournament; his command center was also built. In the film, Crane also several conversations with President Coriolanus Snow (Donald Sutherland) in the gardens, which do not exist in the book. Collins created these scenes to elaborate the differences between the Capital and the outlying Districts. In addition, as President Snow's character becomes the primary antagonist in later stories, it gave audiences a better opportunity to meet him. 

The casting of The Hunger Games is marvelous, and all the actors sink their teeth into these meaty roles. Jennifer Lawrence in particular delivers a heck of a performance, breaking into the mainstream and making the world fall in love with her. Josh Hutcherson gives a biting edge to Peeta, and he and Hemworth's Gale are likable male leads. The supporting characters almost steal the show; Banks as Effie is very fun to watch, as is Stanley Tucci's flamboyant commentator Caesar Flickerman. 

Filming of The Hunger Games took several months, and Gary Ross chose to implement a shaky-cam technique to heighten the authenticity. This hinders the movie, and it is very nauseating to watch the first time. While he does a good job at introducing the story, the first hour of the film (before the actual Games) is not filmed particularly well. However, the competition works with the shaky-cam method, and he does a nice job at capturing the horror of the event. A fun fact about the movie is that the second unit director, who handles some of the more easily filmable scenes to shorten production time, is Steven Soderbergh, who won an Oscar for Traffic in 2000. He notably produced the District 11 riot scenes. 

Despite questionable cinematography, the production design of The Hunger Games is beautiful. The Capital is grand to look at, as is the costuming and make-up (particularly Effie's). The visual effects are awesome, and the action is very entertaining. 

The Hunger Games opened to rave reviews and explosive box office receipts, holding at #1 for four weeks. It had the highest opening day and highest opening weekend for a non-sequel motion picture. Landing in at $691 million over a production budget of $78 million, it was a huge success for Lionsgate. The movie eventually became the ninth-highest grossing film of 2012, an outstanding feat for a film released during the dead month of March. It also made a mild impact during the Awards race, most notably garnering Lawrence a Best Actress for an Action Film prize from the Broadcast Film Critic's Association. 

The Hunger Games: Catching Fire opens in theaters everywhere this weekend, and it is likely to make a huge splash in the box office for the next several weeks. The original movie proved that people will see a movie that looks good, no matter when it is released. As the series and it's stars have only grown in popularity since The Hunger Games, Catching Fire may end up being one the most successful films of the year. 

Catching Fire, may the odds be ever in your favor. 

Flashback Friday: Thor (Branagh, 2011)

When Marvel Studios was deciding which superheroes to use in their Avengers Project, they needed a group that was recognizable yet able to cohesively fit in one movie. Iron Man was a billionaire with an advanced cybersuit, The Incredible Hulk was a scientist who was exposed to a tad too much Gamma radiation, and Captain America was an ultra-strong product of the Super Soldier experiments. The last member? A Norse God who can literally control thunderstorms. The creative team at Marvel had to figure out a way they could integrate this alien into the Avengers line-up without being hokey. So, they hired one of Shakespearean cinema's finest directors and a cast of hugely talented actors to bring the God of Thunder to the big screen. It's sequel is in theaters now, so if you're planning on seeing it this weekend, or still in the mood after already viewing it, this post is for you. Today on Flashback Friday, we're hanging out with Thor.

Stan Lee is the creator of most of the recognizable Marvel brands. He worked on X-Men, Spider-Man, and the Avengers in their earliest days. Stan Lee created Thor because he was interested in God-like superhero, and found that many people were unfamiliar with Norse mythology. So, he crafted a new Marvel world, where science and magic exist as one and Gods roam the galaxy as almighty aliens. Thor soon became one of Marvel's most popular incarnations. 

After the success of Iron Man, Marvel's newfound cinematic universe was green-lighted to continue development. The Incredible Hulk rode it's waves, and Iron Man 2 proved an equal triumph. Thor was selected as the next film, and in 2011 premiered alongside Captain America: The First Avenger later that summer. 

Because of it's epic proportions and deep mythology, Marvel wanted to hire a capable filmmaker to helm the project. Kenneth Branagh, who was eager to branch into action franchises, accepted the offer and immediately got to work. The actors and crew loved working with him, and felt that he brought cinematic innovation to a film that may have otherwise been emotionally stalled.

The movie is the origin story of Thor, who's father Odin united the Nine Realms and rules over them as king. The God of Thunder is next in line for the throne, but his coronation is halted by a group of Ice Giant thieves. Furious over their entrance, Thor leads a small fellowship of warriors, including his four best friends and his brother Loki, to the Ice Giant homeworld to strike fear into their kind. The Ice Giants retaliate with further bloodshed, and Thor's group is narrowly saved by Odin and gatekeeper Heimdall. Angered by his son's brash arrogance and child-like behavior, Odin banishes Thor to Earth to live as a mortal.

On Earth, Thor meets with Jane Foster, a scientist who is studying the pathways Thor's people use to travel between worlds. Jane, along with mentor Erik Selvig and intern Darcy, work with the hero to try and return him home. However, they may have more trouble than they bargained for when Thor's mischievous brother Loki begins causing havoc of his own. 

For the title role, Chris Hemsworth was selected based on a great screen test in which he made up a huge backstory for the character. He looks at acts like Thor, brining both the physical and emotional depth needed to portray him. Hemsworth is also quite hillarious, and his narcism comes across as comical rather than annoying, as so many protagonists are. 

Natalie Portman is a beautiful love interest, and although she mumbles through most of the science-y jargon, she remains a likable lead. Anthony Hopkins proves he can sink his teeth into any role, and as Odin is the perfect leader, a capable warrior, and a stern yet loving father all at the same time. It's an awesome, awesome role that is thrilling to watch. 

After seeing The Avengers, Tom Hiddleston's Loki is just silly in Thor, and provides only a minor threat; nevertheless, Hiddleston's first foray into the part is a good one. Clark Gregg's Agent Coulson is hilarious as usual, and Kat Jenning's Darcy is excellent comic relief, too.

The production design includes a beautiful Asgardian landscape, shining with a radiance and architectural brilliance that is almost unthinkable. The Ice Giant's homeworld is equally well made, as is the New Mexico towns on Earth. Thor's hammer has a lot of small intricacies, such as latin speech an Odin's symbol. The designers also made the hero's costume more realistic and less intricate than the comics, though Loki's villainous garb is almost exactly like the original. 

Thor remains a unique superhero adventure because it's almost Shakespearean in quality, with a royal family dispute having galactic consequences, and themes of arrogance, jealousy, love, and loyalty. It is extremely well crafted, and features arguably the best overall ensemble of the Marvel lineup (except for The Avengers, of course). It takes a great team to make Norse mythology fit in a semi-realistic setting, and Branagh and company do it wonderfully. Thor is a fun action film with lots of thrills, funny moments, and a ton of heart. 

"Whosoever holds this hammer, if he be worthy, shall possess the power of Thor!" 

  

The Counselor (Scott, 2013)

Oscar-winning director Ridley Scott. Oscar-winners Javier Bardem and Penelope Cruz. Global superstars Michael Fassbender, Cameron Diaz, and Brad Pitt. The writer behind The Road and No Country for Old Men.

It seems like The Counselor should have been a sure thing.

Unfortunately, it is a garbled mess of a thriller, bogged down with uninteresting characters and a shamefully boring story. The film goes nowhere, and at no great speed.

The talents behind The Counselor are geniuses in their craft, but that does not stop the movie from failing at nearly every angle. Cormac McCarthy's ludicrous dialogue, filled with mediocre monologues and a few too many backstories, does not come through with any real effect or emotion.

Michael Fassbender stars as a man simply known as The Counselor, who is currently juggling a new fiancé (Penelope Cruz), a handful of lackluster clients, and his new trade: dabbling in the drug industry, along the help of his associate (Javier Bardem), and a drug expert (Brad Pitt). Bardem's girlfriend (Cameron Diaz) begins to cause problems, however, which propels everyone into a survival-of-the-fittest death race.

The fine actors in this production seem to have no interest in The Counselor. They give little effort to the dialogue, have no chemistry with one another, and act as though they do not even want to be there. Even the costuming is ridiculous; Bardem's design and character is meant to be eccentric, but the Oscar-winner himself just reads his lines and follows the motions with lackluster avail.

Diaz has received some flack for her femme fatale performance, and she does stick out like a sore thumb. However, this remains a good thing throughout the story; her villainous role is so looney it's almost enjoyable. She's certainly better than co-star Cruz, who does nothing but complain and spew petty garble.

The screenplay is thinly written, and the story is clearly progressing in a script-based manner. Ridley Scott's lack of directorial innovation comes across as lazy filmmaking, uncharacteristic of the legendary director. Everything about The Counselor is cheap. 

And what the heck was with the cheetahs? Were they meant to represent the primal instincts of the characters? To show how humans are selfish creatures concerned solely for their own predator-like survival? Please. They're just cool to look at.

The Counselor remains proof that it takes more than a beautiful cast and an Oscar-worthy crew to make a good picture. It's one of the more forgettable movies of 2013, and the ending will leave viewers shrugging their shoulders. Just YouTube some of the more "interesting" death scenes, and that can be the extent of your suffering through the film.

One out of five stars. 

Ender's Game (Hood, 2013)

Science fiction meets coming-of-age meets highly ethical questions. Sound like Star Wars? Well, in the book world, it might as well be. 

Ender's Game, the highly anticipated adaptation of the novel of the same name, is an exciting sci-fi thrill ride, boasted by galactic special effects and fascinating moral quandaries. It features a well-cast ensemble of characters that wonderfully touch every point on the ethical spectrum. 

Asa Butterfield, the successful young actor behind Hugo and The Boy in the Striped Pajamas, plays Ender Wiggin, a "third" who is training to be in the elite children's military. He has great potential, with the intelligence and strength to match even the most respected officers. However, he is psychologically tormented by the mistakes of his older brother, and the pressure of saving the human race. 

In the world of Ender's Game, Earth was attacked by an alien invasion, which nearly decimated the population, and only stopped because of the sacrifice of one brave soldier. Now, as Earth's last line of defense, the people have placed their faith in the children, who's future actions hold the key to humanity's survival. Ender is one of those special progenies, and is selected to join the competitive Battle School. There, he faces not only his fellow classmates, but is own personal demons. 

Harrison Ford finally returns to sci-fi as Colonel Graff, the commander of the Battle School who has the ultimate confidence in Ender's potential. Viola Davis beautifully plays his counterpart, Major Anderson, who is a little more conscious of Ender's troubles. Hailee Steinfeld, Abigail Breslin, and Moises Arias round out the cast as Ender's classmates and family. 

The visual effects allow the viewer to delve deeply into the story line, immersing them in this rich and colorful universe. The costumes and sets are well made, and there is a haunting and foreboding familiarity to the whole space stations. The infamous Battle Room is perfectly articulated and designed, and the action in there does not seem choreographed or fake. Ender's world is a really cool place to play. 

As I have stated numerous times before, my personal belief is that a movie should be judged on it's own merits, and not on the book for which it is based on. They are two completely different entities, and should be critiqued as thus. For future reference, this will be my final comparison of book-to-screen on this website. 

Ender's Game follows the novel rather well, with only a few obvious removals and changes. The book focuses more on the relationship between Ender and his siblings, but this would detract from the film's values and point of view. A lot of the story is condensed, but the necessary portions are kept intact. 

The film is also famous for it's curious moral dilemmas: should children be under so much pressure to save Earth? Is Col. Graff pushing Ender too far? Will Ender be forever damaged by his training? There are some very interesting ethical issues presented in the movie, sure to inspire discussion for hours after watching. 

Ender's Game remains supremely exciting throughout, never slowing down or reaching a standstill. The actors are in top form, and the action scenes are loads of fun. Science fiction is the stuff of dreams: they allow us to create new worlds, and question the very issues that plague us today. It's a genre that really benefits when seen on the big screen, and Ender's Game is a welcome inclusion to that group. 

Four and a half out of five stars. 

Flashback Friday: Hugo (Scorsese, 2011)

Martin Scorsese directing a family movie seems like an odd idea. After all, how could the filmmaker behind Goodfellas, Gangs of New York, and The Departed create a moviegoing experience suitable for children? But after watching his first attempt at the genre, it is very clear why he was chosen- the film is an adoring love letter to silent cinema. And who better to direct this passion project than Marty, who is a world-renowed expert on film history? Based on the Caldecott-winning novel, this movie proved that 3-D and emotional drama can blend seamlessly together. With stars Asa Butterfield and Ben Kingsley reuniting for another highly anticipated book-to-screen adaptation, Ender's Game, released today, Movie Critic's Club is taking a short look back at one of 2011's standout pictures. Today on Flashback Friday, we're going on a film-loving adventure with Hugo. 

The Invention of Hugo Cabret made history in 2008 by being the first novel to ever win the Caldecott Medal, which is usually reserved for picture books. But Brian Selznick's Hugo Cabret is not like any other novel- on every other page is striking animation, nearly doubling the book's size but significantly adding to its imagination. 

Almost immediately after the book's publication, Martin Scorsese bought the film rights, hiring the talented John Logan (The Aviator, Gladiator) to adapt the screenplay. Hugo is the first movie Scorsese filmed in 3-D, and his first movie not shot on film. He was curious about the technology, and was eager to make his own contribution to the technique. It had, in recent years, received a revival- but no three-dimensional picture had matched the depth of 2009's Avatar. 

Despite a lukewarm box office draw, Hugo was critically acclaimed, landing on several year-end "Best Of" lists for it's strong depiction of the magic of the movies. It became an awards darling, earning the most Oscar nominations (11) for the 84th Academy Awards, including those for Best Picture and Best Director. Eventually, it tied with Best Picture-winner The Artist for most wins (5). 

Asa Butterfield plays the titular character, with the same emotional baggage he brought to The Boy in the Striped Pajamas (2008). Hugo Cabret is an orphan who lives in a train station, repairing the building's clocks so that inspectors won't find him. He was extremely close with his father (Jude Law), but after his dad dies in a horrible fire, Hugo is left alone and bewildered. His sense of wonder, however, was not damaged, and the child becomes obsessed with repairing a mechanical automaton that he and his father were working on before his death. 

Hugo encounters a group of eccentric characters in the station, played by several successful actors like Emily Mortimer, Richard Griffiths, and Christopher Lee, who shines as the station's kind librarian. Hugo, meanwhile, avoids an obsessive Inspector (Sacha Baron Cohen). Chloe Grace Moretz of Kick-Ass fame co-stars as a lonely girl eager for adventure, who fatefully encounters Hugo and sets out to solve the mystery of the automaton along with him. 

(WARNING: Spoilers throughout the next few paragraphs. Part of the mystery of Hugo is revealed here, so you may want to watch it first before reading the next two paragraphs. Spoilers end with the paragraph that starts with "The CGI is remarkably effective...".) 

Ben Kingsley wonderfully portrays George Milles, a silent film director and highly influential moviemaker from the 1930's. He made over 500 films in his lifetime, but all the footage was lost after World War II, and only a few pictures remain. Best known for his Voyage to the Moon (drawn by the automaton), Milles disappeared for years before receiving a public revival in the latter years of his life. Kingsley's depiction of him in the film is mostly true, despite some minor dramatic changes (Milles actually had two wives, the first of which was the movie star, not like the one in Hugo; plus, Cabret is a fictional character, and Milles managed to bring himself into the limelight). 

Part of the magic of Hugo comes from Scorsese's stark dedication to the preservation of Mille's memory. He features many short films, shot by Milles himself, throughout the story. Plus, there are numerous allusions to other cinematic milestones- the hilarious clock tower theater scene from Safety Last!, as well as various early movies and audience reactions.   

The CGI is remarkably effective, bringing an early 20th century train station in Paris to glorious life. The screenplay packs an emotional wallop, and viewers will find themselves falling in love with Hugo's story and pure innocence. The costuming, special effects, and sound work rather well, and there are several moments of awe-inspiring movie magic. 

But at its heart, Hugo is a coming-of-age adventure that provides a fun history lesson in early filmmaking. Through various allusions and a sympathetic protagonist, Martin Scorsese proves he was the right man to bring this motion picture to life. In some ways, like Roger Ebert said, this was the mob director's most personal project: filled with a passion for the movies, Hugo radiates with an adoring love of cinema. And for us film lovers, there's no greater treat than that. 

Last Vegas (Turteltaub, 2013)

There are only four reasons to see Last Vegas: Robert De Niro, Michael Douglas, Morgan Freeman, and Kevin Kline. 

With all the people that are necessary to make a movie, sometimes it comes down to the actors to determine how good a film really is. In the case of Last Vegas, at best decent direction comes through as entertaining comedy when the stars take center stage. 

Michael Douglas leads the cast as Billy, a wealthy businessman who finally decides to settle down and get married... to a woman nearly half his age. He calls up his three childhood best friends, Paddy (De Niro), Archie (Freeman), and Sam (Kline), who are living at various locations across the country. The friends decide to hold a bachelor party for Billy in Las Vegas, to take a break from their now monotonous lives. 

In Vegas, the guys meet Diana (Mary Steenburgen, who manages to hold her own against four powerhouse performers), a lounge singer who helps the men loosen up and enjoy the city. Health problems and a lack of connection with the younger Vegas crowd causes hilarity to ensue. But soon, jealousy and a long-standing feud between Billy and Paddy could cause the four guys their friendship. 

The movie itself is clichéd storytelling, with a minimalistic effort done on the part of the production team. Fortunately, Last Vegas succeeds thanks to it's four charismatic lead performers, arguably the best male actors in the motion picture industry today. Their chemistry is undeniably addictive to watch. 

Michael Douglas plays his usual charming businessman, and manages to wrangle the most effective drama in the story. Kevin Kline steals every scene he is in, and he has the best lines of the film. The comedic performance evokes his glory days of A Fish Called Wanda and The Big Chill. Morgan Freeman's family subplot is uninteresting and done before; but he, like Kline, nails his dialogue, and seems to be having the most fun of the leading cast.  

Robert De Niro feels out of place, and is the "one of these things is not like the other" factor in the film. Nevertheless, he plays his usual character: a tough-as-nails paternal figure who harasses his friends, but in the end is passionately loyal, and the one you want watching your back. His participation in Last Vegas is certainly not the worst comedic decision the actor has made either (Little Fockers, anyone?).

Kudos to the casting department, by the way, who managed to find four young actors that completely look and act like the four leads for the film's opening credits. 

The comedy is good, better than the average modern farce. It jokes on getting older in an affable way, and puts the characters in some truly hillarious situations. This is both fun to watch and easy to relate to, no matter how old the viewer is. The best work done by director Jon Turtetaub in the movie is the frequent phone conversations, which are nicely edited to create a standout comic effect. Again, not to beat a dead horse, but this is mostly due to the stars. 

Last Vegas frequently dabbles in murky subjects, most of which could have been removed with little to no impact. Themes such as aging, loyalty, love, and death are heavily emphasized with lackluster energy. There are several slow scenes that bog down the picture; however, the scenes with the four stars are highly entertaining, and they go on fun misadventures that will make viewers laugh hysterically.

Ultimately, your appreciation for Last Vegas will come from how much you like the four stars. If you don't, then the movie is a slightly better-than-average comedy that may or may not make you laugh. If you do, on the other hand, then Last Vegas is a special treat that will provide escapist entertainment for a little under two hours. 

Three out of five stars. 

Flashback Friday: The Rocky Horror Picture Show (Sharman, 1975)

Let's do the time warp, shall we?

Most movies that bomb fade away after a short time. Once in a full moon, however, the perfect audience combines with the right film to create something truly magical. Even if that magic involves rice, toast, water, newspapers, playing cards, costumes, and a live cast singing along with the show. It's the midnight movie that arguably has the largest single-movie cult following of all time. For after all, it's just a jump to the left, then a step to the right. Put your hands on your hips and lock you knees tight. You do the pelvic thrust, it really drives you insane. Let's do the time warp again today on Flashback Friday's look at The Rocky Horror Picture Show.

No, this movie is not a critical masterpiece, in any stretch of the imagination. But in terms of pure theater enjoyment, pure longevity, and pure madness, there's hardly a film like it. It's an acid-trip of a plot, nightmarish yet thoroughly enjoyable. From the crazy songs to trippy story-lines, you will have more fun watching and participating in The Rocky Horror Picture Show than any other horror-fest this Halloween. There's a reason 20th Century Fox has kept it in limited release for almost 40 years... longer than any movie in the history of cinema.

Director Jim Sharman had no idea the sensation he was making, a film based on the successful stage musical The Rocky Horror Show. Richard O'Brien, the brainchild of the theater production, helped Sharman to write and develop the feature length adaptation.

The movie follows Brad Majors ("ASSHOLE!") and ("Dammit") Janet, a couple who get lost on their way home from a wedding. They make their way to a mysterious castle, the home of Dr. Frank N. Furter (Tim Curry). But the couple quickly learns that this is no ordinary castle, and after a dance rendition of "The Time Warp", find themselves coming face-to-face with the "sweet, sweet transvestite" himself.

It was the film debut of Tim Curry, who played the iconic Dr. Frank N. Furter on Broadway and in the motion picture. Curry was highly involved in crafting the character, and played him throughout several productions of The Rocky Horror Show all over the world. His appearance in the movie made him an international celebrity and cult icon.

Brad Majors is played by Barry Bostwick, best known for this and his role as the Mayor on the '90's television sitcom Spin City. Janet is played by none other than Academy Award-winner Susan Sarandon, thrust into the world of the bizarre. Charles Gray (best known for playing Ernst Stavro Blofeld in Diamonds are Forever) plays the narrating criminologist, Meatloaf cameos as "the ex-delivery boy" Eddie, and Richard O'Brien rounds off the main cast as the Igor-like Riff Raff.

As a glorious tribute to B-rated science fiction and horror cinema, the movie's castle setting is reminiscent to the mise en scene of Hammer Horror films (movies about monsters like Frankenstein and Dracula, and frequently starred the likes of Peter Cushing and Christopher Lee). The style of these movies are different than, say, Universal Horror, but their gothic interpretations inspired The Rocky Horror Picture Show's plot and setting.

As shocking as it may seem, a movie that featured transvestites, dance numbers, and Meatloaf did not do well in theaters during it's initial run. Halloween theater runs in 1975 were cancelled after it became a commercial bomb in the locations it did open at. Distributer 20th Century Fox even tried to release it for cheap at colleges for a double feature, but it flopped there as well.

Then, as if almost instantly, the movie had midnight performances in New York City throughout April 1976, and eventually many of the same patrons kept returning to see the show again. As this developed, audience members began shouting at the screen, talking back to characters and singing/dancing alongside them. By Halloween of 1976, people arrived at The Rocky Horror Picture Show in costume, and within two years it became a national midnight sensation.

Critics have always looked favorably on the film, with nearly unanimous praise for Curry. However, many agree that the film needs to be seen on a big screen with audience participation to truly appreciated as a cultural icon. Seeing the film by itself is kind of weird, and almost laughably bad.

The midnight shows continue to this day, with each theater having a unique set of shouts, props, costumes, and interactions. Oftentimes, a shadow cast mirrors the movie onstage. No experience is doubled from theater to theater- a very rare feat when it comes to movies. Seeing it annually under these conditions makes for a wonderful perk, and people have been watching this film for the past forty years. It's a part of their Halloween tradition as much as watching It's a Wonderful Life at Christmastime.

The words "cult following", "midnight showings", and The Rocky Horror Picture Show are synonymous. It's a Halloween experience not to be missed. So find a local theater playing it, buy tickets, dress up in drag, and check it out.

And in case you don't know it:

Flashback Friday: The Mask of Zorro (Campbell, 1998)

Robin Hood. Django. The Lone Ranger. These are just a handful cinematic heroes who have appeared in a multitude of films and sequels, oftentimes having very little to do with one another (besides the central hero himself). These movies, popular in the 1940's and 50's, brought repeated heroes that captivated audiences back to the big screen. Another popular hero was the character of Zorro, a Californian vigilante who protected the people and fought against the corrupt Spanish who ruled over them. In the late 1990's, the character of Zorro returned to the movies, in the form of a man who would become one of Spain's most prominent actors. It eventually became one of the best swashbucklers in the better part of two decades. Today on Flashback Friday, we're putting on The Mask of Zorro.

The character of Zorro was created by pulp writer Johnston McCulley in 1919, and since then has become a staple of film, television, comic books, and novels. Much like Batman and Robin Hood, he fights for the greater good, the poor who otherwise cannot defend themselves. His secret identity is Don Diego De La Vega, a Spanish nobleman living in California. In The Mask of Zorro, Don Diego is played by Anthony Hopkins, who had long desired to star in an action flick. The role was originally written for Sean Connery, who after months of stalled development had to leave the project.

The Mask of Zorro had a troubled start, with Steven Spielberg initially spurring interest in the idea in 1992. After the script was written, the film was passed along to several directors who all dropped out to pursue more stable pictures. Robert Rodriguez, the at-the-time much discussed director "cheap" movies, was eventually hired in 1995 due to his ability to work under a tight production budget. He brought Antonio Banderas, the star of his own El Mariachi and Desperado, to play the titular character.

However, when Rodriguez refused to budge on lowering the budget, TriStar asked him to leave. With Banderas still attached to star, the studio turned to Martin Campbell to direct. Campbell was fresh off his success on the James Bond film Goldeneye, and he agreed to direct The Mask of Zorro instead of the next Bond movie, Tomorrow Never Dies.

The Mask of Zorro furthers the tale of Don Diego De La Vera (Anthony Hopkins), who at the beginning of the picture decides to retire from his life of heroism, and settle down with his wife and baby daughter. However, a series of events leads to his imprisonment, and bent on seeking revenge against the corrupt Don Rafael Montero (Stuart Wilson).

Years later, Alejandro Murrieta (Antonio Banderas) and his brother live their lives as successful thieves, but during one botched heist Captain Harrison Love (Matt Letscher) ambushes and kills Alejandro's brother. Fueled with rage and eager for revenge, Alejandro comes across the path of Don Diego, who soon identifies himself as the hero once known as Zorro. Don Diego agrees to train Alejandro to be the next Zorro, so that each may exact their destinies.

Meanwhile, a beautiful woman named Elena (Catherine Zeta-Jones) captures the eye of Alejandro. Zeta-Jones was introduced to American audiences in The Mask of Zorro, and quickly earned her title as one of the world's most beautiful women. She is greatly talented as an actress, able to integrate heavy dramatic emotion, comedy, and physical prowess into her performance. She herself credits this movie as her breakthrough film.

Martin Campbell again proves himself as a capable action film director, because he can combine emotion with the action. The sword fights and horse chases are a ton of fun. The drama scenes are just as amusing, with lots of humorous dialogue and situations, as well as touch of heart, too. In fact, the party scene may just be the best part of the movie. But above all else, this is an action flick, and in that regard it doesn't fail.

The Mask of Zorro works because it is a mindless swashbuckler, yet has a fairly decent plot. It's highly entertaining to watch, despite the near two-and-a-half hour runtime. Some '90's touches none-withstanding (the hero emerging from the fog in the first frame, and slicing the iconic "Z" into the screen; the subdued sexuality; lots of largely unnecessary explosions; the "poppy" end credits love song), the film is a lot of fun.

So, pick up your sword, fire up your Netflix Instant queue, and get ready to have some good old-fashioned fun.