Spring Breakers (Korine, 2013)

I have never walked out of a movie theater regretting my ticket purchase. Sure, I have seen bad films before, but at least they are entertaining and a little bit enjoyable. But now, for the first time in over a decade of going to the movie theater, I regret forking over the $11.50 for the picture, and the $10.00 for the popcorn and soda. Not that there was anything wrong with the concessions, just that they should have been consumed during a film of somewhat notable stature. 

In fact, the movie I saw was so deplorable that I was contemplating not even writing a review of it. I was very embarrassed that I saw it, and did not want to tell people that I had; I went to the picture knowing it had received positive reviews, but could not be more disappointed. I wanted to erase this movie right out of my memory by throwing the ticket stub away, and finding someway to make up the money that I lost. But then I thought about it: if I do not say something about this movie (and notice I say "movie" and not "film"), people may go spend money on it. They may go out and see it. And that is a sin against humanity that I cannot allow to happen. So, here it goes. 

I saw Spring Breakers.

The nightmarish quality and style of Harmony Korine's latest movie is completely unbearable to watch. There is so much room for social commentary, but it is bogged down by senseless imagery and heinous dialogue. Suffice it to say, Spring Breakers is not worth the price of any admission. 

Amidst poor acting, terrible cinematography, and a repetitive storyline is a nonsensical look at the hellish ritual of Spring Break in Florida. Do not let the star's careers fool you; even though Selena Gomez and Vanessa Hudgens have roots in Disney, this is the farthest thing from a kid's film. The large amounts of nudity, profanity, and drug use makes more sense in a porn movie than in this picture. The movie is almost a punishment for the sex-crazed college crowd that makes up the movie's supposed "target audience", expecting to see a naughty comedy and end up witnessing an embarrassing art-house picture.

Four college girls, bored of life in their everyday town, commit crimes to try and gain the money they need for the trip of a lifetime- the college tradition of going down to Florida for Spring Break. Gomez's character, the only one of somewhat moral standards, weakly tries to stop her friends from going too far. Unfortunately for the audience, she fails, and we follow their journey to a booze-ridden party filled with drugged-up and naked college students. The blasting techno music is enough to give someone a headache. 

The police break up the party, and the four girls are arrested for cocaine use and underage drinking. They are worried about telling their parents, but then they are suddenly bailed out by the gangster rapper known as "Alien" (James Franco, back to his typical scumbag performances). The girls are thrust into a whirlwind ride of highly illegal activities, bound by no rules and barely phased by what they are doing. 

The movie is nightmarish and filled with flashbacks, changing camera filters, and repeated voiceovers. The click of the reloading gun is a featured sound, but it's meaning is overshadowed by the annoyance it causes in the viewer. Maybe director Harmony Korine was trying to say something about the terrible ritual of Spring Break, but nearly everything he tries is poorly done and painful. No matter how hard I tried to find some redeeming quality to the picture, there was simply no positive aspect of it. 

Spring Breakers is crude, cruel to watch, and punishing for the senses. It's short runtime feels like an eternity, and it remains a poor attempt to deliver a cliche message. Every scene drags on to no real avail. Throughout the movie, we hear James Franco's character frequently utter "Spring Break...Spring Break forever...". All I can say is that if this Spring Break does go on forever, it will be my own private version of hell. 

One half out of five stars. 

Flashback Friday: JFK (Stone, 1991)

Conspiracy theories have been the stories bred for cinema since time immortal. Whether about Watergate, Area 51, or government takeovers, conspiracies in the film world normally drive motivated individuals to seek the truth. But no other conspiracy theory is as prominent as Presidential assassinations, and, more specifically, John F. Kennedy's murder. A real life District Attorney from New Orleans, Jim Garrison, and his own investigation into the matter became the subject of a 1991 film directed by Oliver Stone. The movie would end up having a bigger impact on the history of the United States than anyone could have ever dreamed. Today on Flashback Friday, we're investigating the assassination of JFK.

Oliver Stone remains a noted left-wing moviemaker who's work frequently deals with the troubled sections of America's past. He won the Best Picture/Best Director Oscar for Platoon in 1986, and has since then received numerous nominations from the Academy (he also won Best Adapted Screenplay for Midnight Express in 1978, and Best Director for Born on the Fourth of July in 1989). In addition to these films, he has also made films like Wall Street, Nixon, and Natural Born Killers. For almost all of his credits, Stone tends also to write and produce his films.

Stone's work is characterized for intense screenplays, time-jumping narratives, and sharp editing. JFK is no exception. In addition to all of the aforementioned characteristics, the camera work is highly inventive, taking long, continuous shots and splicing them with black-and-white flashbacks.

JFK is the sprawling story of New Orleans DA Jim Garrison (Kevin Costner), who believes that there may be more to the Kennedy assassination than most people realize. Set three years after the "shots the shocked the world", Garrison works with his talented department to learn the truth, aided by Bill Broussard (Michael Rooker) and Numa Bertel (Wayne Knight).

The DA soon learns that the government was most likely highly involved with the shooting. Prisoner Willie O'Keefe (Kevin Bacon) tells Garrison that Clay Shaw (Tommy Lee Jones), who may or may not have been an undercover CIA agent, knew of a possible plan to kill the President. Eccentric pilot David Ferrie (Joe Pesci) also confirms his involvement, which sends Garrison on a paranoid hunt for the truth. Eventually, he cannot trust anyone, and grows distant from his family (led by wife Sissy Spacek). All of his work leads to the infamous trial of Clay Shaw, where he reveals one of the most cleverly hidden government coups of all time.

Led by a stellar cast and Oscar-nominated direction, JFK shines as a complex yet easy-to-follow political thriller. Though there are a nauseating amount of characters and story leads, the movie is not hard to understand because so many of the people are played by well-known actors in seemingly cameo appearances. The film features performances by Edward Asner, Jack Lemmon, Vincent D'Onofrio, Brian Doyle-Murray, Walter Matthau, John Candy, Donald Sutherland, and a creepy portrayal of Lee Harvey Oswald by Gary Oldman. Oldman takes the gold for the best acting in the movie, though Kevin Costner, Tommy Lee Jones, and Michael Rooker are also excellent.

The editing symbolizes the chaos of the plot; frequent jump cuts are made to black-and-white flashbacks, archive footage, and other character's lives. The characters chew the scenery with style and grace, and viewers are shockingly captivated despite the over three-hour runtime. Even if audiences think they know everything about the JFK conspiracy theories, Stone will test their knowledge in ways no other director can.

JFK should also be noted for influencing a real-world political action to reveal secret government documents. Though the "historical facts" of the movie are sometimes brought into question (and for obvious reason; JFK blames the assassination on everything from a small group of outcasts to Lyndon Johnson himself), there is no denying the power of evidence presented by Garrison. After Stone showed a government committee the film, they passed the 1992 Assassinations Disclosure Act. This Act assures that the United States government will release Top Secret documents about the assassination of President John F. Kennedy 25 years after the Act's enactment. Essentially, this means that the truth about Kennedy will be released in 2017, all thanks to the work of Jim Garrison and Oliver Stone.

JFK is a movie that questions all that American's know about the truth of the government that protects them. It makes viewers ponder the reality of the world, and how top officials actually operate. With underrated performances, filmmaking, and dialogue, there's no denying the power of Oliver Stone's 1991 work. JFK teaches you to question everything, for you never know the truth about a government that denies everything.

Who knows? One day, the Magic Bullet Theory may be applied to you.

Olympus Has Fallen (Fuqua, 2013)

After the release of Die Hard in 1988, movie critics began grading action films based on the scale set by the Bruce Willis thriller. The popular phrase "Die Hard in a _________" became the shorthand for all knockoffs of the genre. The impact of the movie is still being felt today; in fact, the latest thriller from Training Day director Antoine Fuqua can easily be described as "Die Hard in the White House". Normally, this denomination would lead to a negative review. But, in this case, "Die Hard in the White House" is actually a pretty entertaining movie. 

And since that is exactly what it's aiming to be, that is the basis for which it should be judged. 

As absurd as the premise is, Olympus Has Fallen still succeeds as a mindless action movie. The film takes the"one-man savior trapped with only bad guys in a confined building" premise from Die Hard, but the action is so entertaining that viewers probably will not care. 

Gerard Butler plays a Secret Service agent named Mike Banning, who is forced to retire after he makes a life-or-death decision involving President Benjamin Asher (Aaron Eckhart). Months later, Banning is working a desk job at the Treasury Department, and learns that President Asher is meeting with the South Korean Prime Minster at the White House to discuss the future of the North Korean conflict. 

Suddenly, a heavily-armed plane enters the "No-Fly" zone of Washington, D.C., and manages to cause major damage to the city's defenses. In the span of a few minutes, terrorists take over the White House and kidnap President Asher, holding him hostage in his own capital. Banning rushes to the building to try and help, and ends up being the only Secret Service agent able to enter the building without dying. Now, he must rescue the President, and secure the White House before the terrorists complete their diabolical plans. Meanwhile, Acting President Allan Trumbull (Morgan Freeman) is forced to try and negotiate with the terrorists before it is too late. 

Olympus Has Fallen is the best action movie of the year so far. Despite it's Die Hard-esque familiarity, there are several aspects of this film that manage to provide surprisingly original material. Though the new stuff isn't exactly realistic, it still works within the confines of an action movie. 

Gerard Butler plays the John McClane rip-off well, and gives comic relief to some of the more intense scenes. Eckhart plays a convincing President, but the real stars of the show are the minor characters that show up along the way. Rick Yune shines as the lead terrorist, and is one of the more memorable villains in recent action film memory. Angela Basset is also entertaining as the Secret Service director who vouches for Banning, as is Secretary of Defense Melissa Leo. The only acting disappointment is Morgan Freeman, who remains underused throughout the movie. 

The action scenes are thrilling and intense, beautifully shot with steady cinematography. The set design is equally brilliant, making the White House seem very realistic. Plus, getting to see fight sequences on the White House lawn is pretty fun to watch. 

The film is very patriotic towards the United States, and as such does portray other countries in a poor light. Nevertheless, the director still makes the terrorists a "country-neutral" group that fights for "justice" instead of ideologies. Fuqua handles the foreign issues as best he can, but the stereotypes do tend to leak at points. 

It's a little disheartening and false that one plane can stop the United States capital, but beyond that fallacy, the movie still succeeds. Olympus Has Fallen is not a great film in and of itself, but as a mindless action film, it excels as popcorn entertainment. And for that, "Die Hard in the White House" will uncharacteristically receive a positive review. 

Four out of five stars.  

Flashback Friday: Annie Hall (Allen, 1977)

"I don't want to move to a city where the only cultural advantage is being able to make a right turn on a red light." "Don't knock masturbation. It's sex with someone I love." "La-dee-da, la-dee-da." This Oscar-winning dialogue turned Woody Allen from simple director to legendary filmmaker practically overnight. Woody Allen created one of the most critically acclaimed romantic comedies of the twentieth century, and the film remains one of the latest movies of this genre to win the Academy Award for Best Picture. It is the film that beat Star Wars at the Oscars, and solidified Diane Keaton's startling career in the 70's. But at it's heart, the movie is a touching love story between two completely different characters. Today on Flashback Friday, we're falling in love with Annie Hall.

Woody Allen was a small-time Jewish comedian, who grew famous after producing a few small-budget but funny movies. His work, which frequently features Allen as the director, writer, and lead star, is characterized by fast dialogue, artistic humor, and a Manhattan setting. After the success of Take the Money and Run, United Artists soon backed up Allen's latest project about a murder in Manhattan. Diane Keaton was cast as Allen's lover in the film, and after the director realized how much he loved her character, decided to change the script to base the entire story around her. The result: Annie Hall.

Woody Allen plays the neurotic Alvy Singer, a small-time Jewish comedian who talks fast, is highly educated, and lives in Manhattan (sound familiar?). He has experienced two failed marriages and lives with a pessimistic view of life. Alvy frequently breaks the fourth wall, telling the audience his story in a non-linear, sporadic fashion. After a brief history of his childhood, Alvy explains his relationship with Annie Hall, a ditzy singer who has had just as bad luck as Alvy when it comes to love lives. The two hit it off immediately.

They have a fun relationship, but it remains strained by Alvy's annoying neurotic nature and Annie's unintelligent demeanor. Alvy makes Annie take college classes, which makes her more confident and encourages her to pursue her singing career. They each go through therapy, resulting in hilarious parallel stories of the same event. Annie soon wants to move to Los Angeles, a symbol of her freedom of expression; Alvy, however, needs to dark and gloomy nature of New York City. The two are the best of friends, but may not be the most compatible boyfriend and girlfriend.

Despite Woody Allen's long and lustrous career, which has seen the likes of Manhattan, Hannah and Her Sisters, Match Point, Celebrity, and Midnight in Paris, none of his works quite compare with Annie Hall. His chemistry with Diane Keaton is pure dynamite, and the continuous shots of them talking remains the highlight of the film. The dialogue is fast paced, entertaining, and hilarious.

It takes multiple viewings to catch all the little nuances of the film. Alvy's clear dislike of Los Angeles comes out when he looks at an L.A. movie theater, and all they are playing is B-rated horror films like House of Exorcism and Messiah of Evil. In Manhattan, Alvy watches World War II documentaries, showing how much more respect he has for New York City. Other classic scenes include Annie "leaving" her body when she sleeps with Alvy, the cocaine sneeze, the scary driving, and, of course, the famous kitchen crab chase.

The star power of the movie is enough to keep newer film goers engrossed. In the 94 minute runtime, audiences not only see Woody Allen and Diane Keaton, but also witness Christopher Walken, Paul Simon, Tony Roberts, Carol Kane, Shelley Duvall, and Sigourney Weaver grace the screen.

As a piece of Academy Awards history, Annie Hall is the latest in a short-line of romantic comedy winners. It was one win away from the Big Five, as Woody Allen lost his Best Actor bid to Richard Dreyfuss in The Goodbye Girl. Woody Allen remains a famous no-show at the Oscars, only appearing once (and not for his own win); he attended in 2002 to present a "New York in the Movies" tribute after 9/11. Annie Hall is the only one of his movies to win Best Picture.

Diane Keaton's bizarre fashion sense in Annie Hall sparked the symbol of American women's counterculture in the 1970's. Women wore the randomly-put-together outfits for years after the film's release. Other legacies of the movie include rankings in several of the American Film Institute's 100 Years...Series, including #2 Romantic Comedy, #4 Funniest Movies, and #35 of the greatest films of the last decade.

No other comedian can write humorous dialogue as well as Woody Allen. His movies have enough emotional depth and pop culture references to entertain people of all ages, and the typical neurotic Jewish characters that he plays are always hilarious. Annie Hall is one of the greatest romantic comedies, and even lands among the most prominent and influential movies of all time. We love this movie. No, that word is not strong enough.

We "lurff" Annie Hall.

Oz the Great and Powerful (Raimi, 2013)

In 1939, the definition of a "movie fantasy" forever changed with the release of The Wizard of Oz, a technical marvel the likes of which the world had never seen. Today, it is considered one of the greatest films of all time, and certainly the most prolific of the fantasy genre. So, naturally, audiences and film buffs (myself included) were skeptical when The Walt Disney Company announced plans to make a prequel to The Wizard of Oz. Would this new movie capture the heart of the original? Will it break down technical barriers? Will it answer the questions posed in the first installment? And, most importantly, will it be any good?

The skepticisms were very warranted, and unfortunately, most proved to be very true.

Oz the Great and Powerful serves as little more than popcorn entertainment, doing nothing to further the cinematic art or reach the standards set by the first Wizard of Oz. It lacks Wizard's charm and originality, providing a mediocre story with second-rate characters.

James Franco plays Oscar "Oz" Diggs, a circus magician who cons his way through life. During the long, boring, and pretty much pointless opening act, Oscar does his usual con show in front of paying customers. He lies to a girl to get her help, and verbally abuses his one true friend (Zach Braff). Oscar's dream girl (Michelle Williams) arrives to tell Oscar that she has moved on, and they each give ridiculously corny monologues about life and happiness. Then, out of nowhere, a large man threatens to kill Oscar. In the span of about a minute-and-a-half, Oscar is floating through the sky on a hot air balloon hurdling towards a twister. (Wait, what? How and why did that happen? It goes by that fast in the theater, too.)

Finally, after the black-and-white 4:3 ratio opening, we are in the colorful fullscreen world of Oz. Oscar's balloon subsequently crashes into a pond, where he meets Theodora (Mila Kunis), a young witch who has troubles of her own. Theodora believes Oscar is the Wizard from the Prophecy, which states that a mighty wizard will one day come to Oz to defeat the Wicked Witch and claim the throne of the kingdom. Realizing how rich he will be if he keeps up the illusion, Oscar tells Theodora that he is indeed the wizard, and travels with her to the Emerald City. He meets Theodora's sister, Evanora (Rachel Weisz), who tells him that in order to become king he must kill the Wicked Witch. So, Oscar sets out to fulfill the destiny and learn who he truly is in the process.

The story of Oz the Great and Powerful is riddled with cliches, predictable plot twists, and a poor screenplay. Nothing comes at any great surprise; audiences will slap their hands to their faces after some of the plot developments occur. It was nice to see China Town, a land filled with China-glass people, as it did not make it into The Wizard of Oz; and, there are several allusions to the source book series by L. Frank Baum. But for a world as rich and diverse as Oz, the writers could have done more to incorporate improved story lines and introduce new characters. For example, the original Wizard double-cast all the actors as both people in Dorothy's life and their counterparts in Oz, giving the possible conclusion that it was all in Dorothy's mind. With the exception of three characters, The Great and Powerful's black-and-white circus performers do not interact with Oz's witches and fantasy creatures. This would have made an interesting addition, but perhaps this situation will be better addressed in the inevitable Great and Powerful sequels.

Franco makes Oscar a very detestable character, so much so that we hardly believe or realize his transformation throughout the movie. The selfishness of the character is a little overdone, and as such makes for a very unlikeable protagonist. Kunis and Weisz do not hold a candle to Michelle Williams, who double-plays both dream girl Annie and the good witch Glinda; but, in the end, virtually no one in the cast really seems to want to be there, and they give strained performances at best. Characters and actors float in and out of the movie's story without any real reason, and by the end viewers are unsure of who is important and who is not.

The only characters I really enjoyed were the two played by Zach Braff, who was so good in the movie  that I am willing to give a half-a-star addition to what Oz should receive. He plays both the helper Frank in the beginning of the film and the monkey assistant Finley, who after Oscar saves him from a lion, owes his life to the wizard. Braff is funny, charming, and emotional when all the other actors fail to impress. His comic relief dissipates as the film wears on, but I loved every scene in which he was featured.

I was constantly reminded of Tim Burton's far superior Alice in Wonderland (2010) when I was watching The Great and Powerful, as on a technical level they are virtually the same. Yes, Wonderland and Oz share many characteristics, but did director Sam Raimi really have to make them seem so literally identical? The stories were familiar in each, but Raimi's work lacked the imagination and new spin on the series brought forth by Burton on Alice. The CGI and 3D work is impressive in both, but since Alice in Wonderland came first, Raimi merely seems to be copying what Burton has already done.

That being said, Oz the Great and Powerful is indeed visually stunning. The sweeping plains of the Yellow Brick Road capture audience's imagination and attention. And the movie is fun at times, whether by the action sequences, or by the references to the original The Wizard of Oz. But the poor screenplay, lazy acting, and uninspired direction make Oz the Great and Powerful yet another prequel/sequel the world really didn't need.

Two out of five stars.

Flashback Friday: The Breakfast Club (Hughes, 1985)

High school movies have never been known for their serious fare. By nature, these films are geared towards a younger audience, usually in the form of comedies or romantic stories. But a coming-of-age film can be very enlightening, very dramatic, and all to familiar to older crowds. Director John Hughes single-handedly turned the coming-of-age genre into a labyrinth of philosophical ideas, appealing to audiences young and old alike. His masterpiece, though not necessarily his most popular film, is a library-set detention story. In this motion picture, he turns the commonly-held stereotypes of The Jock, The Princess, The Criminal, The Basket Case, and The Nerd upside down, opening the viewer's eyes to the never-ending possibilities of the world. Today on Flashback Friday, we're joining The Breakfast Club. 

The 1980's were a glorious time for director John Hughes. Known as the King of Teen Movies, Hughes remains known for his direction on Ferris Bueller's Day Off, Sixteen Candles, Planes, Trains & Automobiles, and Weird Science, as well as writing movies like Home Alone, Christmas Vacation, Mr. Mom, 101 Dalmatians, and Beethoven. He featured a wide array of new actors, who have almost all grown up to be major success stories. These actors include Mathew Broderick and Michael Keaton, as well as what film historians have deemed "The Brat Pack"- a group of young actors in the 1980's who frequently starred together in movies. 

The Breakfast Club is one of the more subtle Hughes/"Brat Pack" collaborations, but manages a more surprising gut-punch than most of others. Rated"R" for language and extreme sexual innuendos, it's clear from the rating alone that this one is not just for kids. And the further into the plot it gets, the more heartbreaking and emotional the characters become. 

The basic premise of the movie is that five students go to Saturday Detention for various reasons. They are there in the school library from 9-4, and as the tagline of the movie says, "They only met once, but it changed their lives forever." Initially, as they are all from different social groups, the teens do not interact. But "The Criminal" John Bender fights with and talks back to the adult in charge, Assistant Principal Richard Vernon. Vernon is abusive and cruel towards Bender, but because of their respect of authority, the other four students at first see Bender as the nuisance. Bender eventually breaks the library doors so that Vernon cannot see them from his office, so the students begin to relax and move around. Various misadventures and revealing conversations later, and the students have formed an irrevocable bond. Ultimately, it all boils down to the sins of the father: all five students realize that they despise their parents and everything they stand for. 

Characters play a major role in The Breakfast Club. With it's themes of breaking stereotypes, learning about others before judging them, and dealing with parents, the movie would not nearly be as successful without fully developing all of it's central leads. And developed they are. Each character represents a high school social clique. Emilio Estevez plays Andy (The Jock), Molly Ringwald plays Claire (The Princess), Judd Nelson plays John Bender (The Criminal), Ally Sheedy plays Allison (The Basket Case), and Anthony Michael Hall plays Brian (The Nerd). 

The actors all delve completely into their characters; all five dress, act, and talk like their respective stereotypes do. Hughes proves his mastery by doing this, because from the get-go, we immediately begin to judge all five characters like we would in real life. Andy wears a sports jacket, Claire constantly puts makeup on, Bender disrespects adults and others, Allison remains anti-social and "kooky" throughout, and Brian tries to act cool but ultimately fails to impress. 

The upper-library circle scene is one of the most fascinating yet devastating conversations ever captured on film. As each character talks about out the truth of their existence, the audience begins to realize the harsh realities of life, symbolized in each of the character's individual struggles. But in a way, all five are exactly the same: they all struggle with depression, experience pressure from their friends, and deal with troubles at home. The worst part, as Claire shamefully admits, is that when Monday comes, they likely will never talk to each other again, bound by "rules" of social life in high school. A Princess must never be seen with a Nerd, and the Jock must never date a Basket Case. Even though they have revealed their true identities to each other, they may never speak again. It's almost impossible not to shed a tear during this heartbreaking conversation. 

On a lighter note, The Breakfast Club is also categorized as a comedy, and there are indeed scenes of pure hilarity. Allison makes a sandwich by mixing bread, Pixie Sticks, and Captain Crunch, and the dance montage is a ton of fun. The stereotypical actions of the characters is also funny, as they are so extreme at times that viewers cannot help but chuckle. The movie was also filmed at the same high school as Hughes' Ferris Bueller's Day Off, so there are brief crossover moments like a "Save Ferris" poster and a similar hallway design. 

Everybody can find a part of themselves in one or all of the students, as we all have had high school experiences that mirror our current realities. Everyone has stories of fighting with their parents and making preemptive judgements about others. It's just as likely that we each belonged to our own social cliques at some point. The Breakfast Club is trying to prove this point to both teens and adults, by making it all seem so foolish yet serious so that we want to learn along with the characters. This movie should be required viewing for all high school students, to learn about the serious consequences of social cliques and the effects of pressure. 

And of course, we can't finish off any discussion of The Breakfast Club without mentioning that little Simple Minds song. So, like the movie it's featured in, "Don't You, Forget About Me".