In the Heart of the Sea

First Hit:  Started interestingly, ended good, but the large middle was monotonous and slowly sank into the dark of the sea.

Films based in the ocean with underwater sequences have a higher likeliness of not being good. I’m not sure why except they become dark and slow.

Yet, films shot inside submarines and underwater tend to be better (Like: Hunt for Red October 1990 or Run Silent Run Deep 1958) as my dad would have attested to. He probably watched the latter more than 20 times and could recite the dialogue of every character. Why? Probably because submarine films are character based while ocean films must have ocean characters. Of course the film "Jaws" would be an exception.

This story is about a whale called Moby Dick and how Herman Melville wrote this famous story. The view of the story is from one of the survivors of a multi-year whaling adventure which included 90 days of being stranded on the ocean in a dinghy.

The survivor Tom Nickerson (Brendan Gleeson and the young Tom/Thomas portrayed by Tom Holland) is being interviewed by Herman Melville (Ben Whishaw) about the experience he had when the whale scuttled the Essex after almost 2 years hunting whales. Moby destroyed the ship and left the remaining crew to drift.

The other part of the story is about the disagreements and personality differences between Captain George Pollard (Benjamin Walker) and First Mate Owen Chase (Chris Hemsworth). This initial focus of the film was interesting as was Melville’s interview with Nickerson. However, the rest of the film tried to be interesting through visuals and very little on the strength or weaknesses of the individuals and when they tried it wasn’t very interesting.

Hemsworth was OK but there seemed to be little depth to his character. Walker was mediocre as the privileged captain. Holland was good as the young seaman learning how to me a man. Whishaw was very good in his small part as Melville. Gleeson was the spirit of this film and the best part of the film. Charles Leavitt wrote a so so script for most of the characters except Gleeson and Melville. Ron Howard didn’t come close to creating the masterpiece I think he wanted.

Overall:  The previews I saw telegraphed this uninteresting film.

The Night Before

First Hit:  A few sparse funny scenes in this uninteresting poorly scripted film.

There are some out-loud funny scenes but I cannot recall any of them the day after – I just remember laughing, however, most of the time I spent wondering who thought up this stuff. Low grade attempts at humor mixed in with a few heart driven points.

One of the heart felt moments was when Chris Roberts' (Anthony Mackie) mother, Mrs. Roberts (Lorraine Toussaint), tells Ethan (Joseph Gordon-Levitt) to seize the moment for love if it arises and to not be afraid.

The scenes I disliked the most were with Isaac (Seth Rogen) as I didn’t find him funny – mostly low brow high-school humor. The mushroom trip he was on was not effectively shared and was not accurate to a "shroom" experience. The wearing of a large black Star of David woven into his light-blue and white Christmas sweater – was poorly contrived. His running out of the church yelling “we didn’t kill Jesus” was stupid and no one in the theater thought it funny – as there were audible groans.

The film's premise was reasonable in that Ethan’s friends, Chris and Isaac, supported him through each holiday season because his parents died early, but the execution just didn’t seem well thought out. The best part of the film were the scenes with Mr. Green (Michael Shannon) the long time drug/pot dealer.

Gordon-Levitt was fair in this poorly constructed role. Mackie was one of the better parts of the film in that he was believable. Rogen wasn’t believable stoned or otherwise and his annoying laugh made it worse. Shannon was the best part of the film, scary, insightful and thoughtful all at the same time. Kyle Hunter, Ariel Shaffir, and Evan Goldberg wrote a non-cohesive, sophomoric, mostly unfunny script – it felt like it was developed and agreed upon by committee. Jonathan Levine did little to enhance the poor script although a few of the sets were well crafted.

Overall:  I went to this film because of the dearth of new films out this week – should of stayed home.

Creed

First Hit:  This 133 minute film flew by because it was engaging and well done.

I enjoyed the first 4 Rocky films. I didn’t see the 5th because they were deteriorating as the series went on. Of course, like many others, I thought the first Rocky film was wonderful and a great story.

This film feeds off of Rocky IV where Apollo Creed (Carl Weathers) is killed by a Russian fighter. One of Apollo’s out of wedlock children, Adonis Johnson (Michael B. Jordan), never met his father before he died and now carries resentment towards the Creed name and his roots.

He grows up going from foster home to foster home and getting into fights over everything and anything. He likes fighting. Apollo’s wife finds him in juvy and takes Adonis in to raise him, puts him through school and helps him get a great job. But even with a great job, he loves fighting and quits everything to become a professional boxer.

He goes to live in Philadelphia looking for Rock Balboa (Sylvester Stallone) to ask him to become his trainer. When we meet Rocky, he’s a little tired, isn’t engaged with boxing any longer, and runs Adrien’s, his deceased wife’s namesake restaurant. When he discovers that Adonis is Apollo’s son he begrudgingly helps him.

This film is about both Adonis and Rocky growing through their relationship to become better people - together. The boxing scenes are well done, not as violent as the scenes in “Southpaw” or a couple of the earlier “Rocky” films, but they are effective.

This script has Rocky talking to Paulie and Adrian's headstones was vintage Rocky and very touching. Having Adonis meet Bianca (Tessa Thompson) was a throwback to Rocky and Adrian’s budding and then lasting relationship.

Jordan was very good in this part and his ability to be touchy and touching are a wonderful strong point. Stallone was magnificent. I wouldn’t doubt he will receive award nominations for this performance. Subtle, true to the character, and very engaging. Thompson was a great conduit for and in this film. She rounded out the testosterone nature of this film. Phylicia Rashad was perfect as Apollo’s widowed wife and Adonis’s stepmom. Ryan Coogler and Aaron Covington wrote a wonderfully insightful script that brought together wonderful historical aspects of the old Rocky films. Coogler did a great job of putting the script and actors together to make this film really work.

Overall:  This was a thoroughly enjoyable film.

Trumbo

First Hit:  Although I didn’t like the main character much, this was an excellent well executed film.

This is one of a few new films that reach back into the 1950’s and the cold war with Russia. All of them, including this one, are very good.

This movie is about how Congress, more specifically a few Republican members, decided to railroad anyone in Hollywood that was connected with the Communist party. The fear based thought of these politico was a reminder of some of the fear based thought we have today in the Republican candidates.

The film doesn’t focus on Communism or anything other than people sticking up for their beliefs under the rules set forth in the Constitution and Bill of Rights in the United States. This is the heart of the story and how a group of writers, led by Trumbo (Bryan Cranston), were blacklisted from writing Hollywood scripts and therefore making a living because they were Communists.

Famous Hollywood gossip columnist Hedda Hopper (Helen Mirren) was a major source for identifying Hollywood folks who had communist leanings. When actors and sympathizers like Edward G. Robinson (Michael Stuhlbarg) couldn’t find work, they named names as well.

Led by John (Duke) Wayne (Davis James Elliot), a group of Hollywood stars jumped on the Congressional band wagon and supported rooting out and keeping Communists from getting work. Trumbo’s family suffered and did everything he could to keep his family with a roof over their head.

He also helped his writer comrades as well. But of course it was hard and it hurt his relationships with his wife Cleo (Diane Lane), family, and especially his admiring daughter Niki (Madison Wolfe and Elle Fanning). On his side was B level film producer Frank King (John Goodman) and fellow writer Arlen Hird (Louis C.K.).

Bryan Cranston was very good. He embraced this character fully and made it work very well. Mirren was fantastic as Hopper – very believable. Davis James Elliot was very good as John Wayne. He embraced the man I ran into once in Newport Center coming out of a bookstore. Stuhlbarg was fair as Robinson however, my history of watching the real Edward G. on film this performance didn’t quite match up. Lane as Trumbo’s wife was perfect: Strong, intelligent and also devoted with perseverance. Both Wolfe and Fanning were great as daughter Niki. Extra kudos to Fanning as she showed once again how to command the screen and scene when needed. Goodman was very good as B film producer King. C.K. was very strong as blacklisted writer Hird. John McNamara wrote a very strong script. Jay Roach did a great job of piecing together real historical footage and filmed footage.

Overall:  This was a valuable story and came through the lens elegantly.

Secret In Their Eyes

First Hit:  There were some good moments, but it lacked the kind of tenseness to make it interesting.

There are films that do time shifts well and others that do not. This film does not.

When the audience has to work, look for clues, to find out what time period they are in, it takes them out of experiencing the story. This is what happens here, because some of the characters don’t show the 13 year change or difference enough to know what time frame we are in at that moment of the new scene gets presented to the audience. I had to think “what time are they in now?”

The character that was the most difficult was Claire (Nicole Kidman), she was rarely discernable. Ray (Chiwetel Ejiofor) was, at times, discernible between the two different time periods, and other times I had to look hard at his hair or facial features to figure out where the film was. Jess (played by Julia Roberts), however, was easily discernible between the time periods mostly because her grieving and self-made purgatory created a look that was far different than the earlier time period.

This story is about three people, Ray, Claire and Jess who are attempting to capture and prosecute a man Marzin/Beckwith (Joe Cole) who raped and killed Jess’ daughter Carolyn (Zoe Graham). It is also about obsession. How people get obsessed with people whether they are, friends, infatuations, or object of an investigation.  

Initially the murderer gets off on a technicality but Ray's obsession of finding and trying Marzin, after 13 years of looking, is a good story. When he finds, who he believes is the man, he's convinced the team can put him away this time. The film tells the initial story of Carolyn’s death and the killer getting off, as well as the new road the three take to get Marzin convicted this time around. I did think that Roberts was really good in unglamorous role. The way she wore the pain of the death of her daughter was spot on good.

Kidman was OK, her best part was interviewing Marzin. The sultry, focused, primal nature of her questioning was amazing. Ejiofor was strong however there were too many scenes I didn’t know what time period he was in soon enough – I had to think about it. Kidman was good but besides the interviewing Marzin scene, her role wasn’t dynamic. Dean Norris as Bumpy Willis was the easiest character to know the time span, his role and the makeup did him right. In this role he was very good. Michael Kelly as Reg Siefert was also very good as the antagonistic cop who worked both for and against the main characters during all these years. Billy Ray and Juan Jose Campanella wrote an interesting screenplay but the execution wasn’t quite good enough through Billy Ray’s direction.

Overall:  The story good, the execution was less than good which brought down what could have been a better film.