Movie with Abe: Take Shelter

Take Shelter
Directed by Jeff Nichols
Released September 30, 2011

Mental illness is a complicated topic, and that’s part of the reason that it makes for such a fascinating subject for films. The trouble is that it often becomes an excuse to disregard reality or fail to explain what’s real and what’s not, leading to alternately lazy and confusing storytelling. That’s not the case in “Take Shelter,” a dark, heavy drama that follows Curtis (Michael Shannon) as he starts seeing visions of violent storms and launches an internal battle to determine how he can best take stock of his life and ensure that both he and his family are safe.

“Take Shelter” is, more than anything, a character study. Curtis, a construction worker, quickly realizes that he is the only one seeing tornadoes and thunderstorms gathering in the dust, and, unlike many such reality-challenged people, he decides that he should investigate the cause of these visions rather than simply accept them as truth. That doesn’t stop him, however, from putting extensive effort, both mental and physical, into making the tornado shelter in his backyard useable and up-to-date, preparing for the worst just as he knows that what he’s most afraid of is probably just in his head. That dichotomy of belief is what makes Curtis into a fascinating lead.

Michael Shannon, who broke out with an Oscar nomination for playing another man on the verge of insanity in “Revolutionary Road” and has since been portraying the captivating Agent Nelson Van Alden on “Boardwalk Empire,” delivers his finest performance to date as Curtis, establishing him as a solitary man who yearns to fit into society even if the thought of it doesn’t appeal to him, mostly for the sake of his wife and deaf daughter. Jessica Chastain plays a different kind of long-suffering wife than she did in “The Tree of Life” earlier this year, offering depth and personality to an otherwise unimportant character.

“Take Shelter” contains top-notch performances and a compelling story, but where it really excels is in its visual representations of the storms Curtis imagines. Those chilling sights are marvelously accompanied by an eerie score that gives the film a tense feel that keeps the audience on the edge of its seat for the duration of the film. The conclusion is staggering and just right for this particular story, and it makes for a haunting experience that isn’t easy to forget, delivering plenty to process and much to remember.

A-

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Alan Silvestri. The New York native has scored a few notable Tom Hanks movies and frequently works with director Robert Zemeckis. Most recently, he wrote the highly patriotic, adventurous anthem for “Captain America: The First Avenger.” His loud, barbaric composition for “Beowulf” was more than fitting for all its characters, and the magical theme that brings in familiar holiday music was just right for “The Polar Express.” The haunting end credits for the great thriller “Identity” are chilling, and his very distinctive and only semi-serious score for “The Mexican” is part of what makes that film so odd and enjoyable. The melancholy, lonely theme for “Cast Away” is a mood-setter, and the alternately dramatic and buoyant score for “The Parent Trap” establishes a fun-spirited tone for the film. “Forrest Gump” contains a wonderful theme and the classic inspirational running music embedded below. Silvestri provides a frantic introduction to the family world of “Who Framed Roger Rabbit,” but it’s one of his even earlier collaborations with Zemeckis that ranks as one of the best all-time compositions, and that’s the unparalleled, highly invigorating score to “Back to the Future.”

Captain America: The First Avenger (2011)



Beowulf (2007)



The Polar Express (2004)



Identity (2003)



The Mexican (2001)



Cast Away (2000)



The Parent Trap (1998)



Forrest Gump (1994)



Who Framed Roger Rabbit? (1988)



Back to the Future (1985)

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Additionally, to make up for lost time, I’ll also be taking a look at the films released earlier in the year, one or two months at a time. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released September 23rd, 2011

Moneyball
This baseball movie has received surprisingly strong reviews, and there is some Oscar talk circulating for star Brad Pitt and the film itself. For every “Seabiscuit,” there’s an equal “Secretariat” that doesn’t materialize. It may be a crowd pleaser with mass appeal, but I suspect that, by the end of the year, it may fall to the wayside when more dramatic and spectacular fare emerges.

Films released May 2011

The Beaver (May 6)
Mel Gibson didn’t win his Oscar for acting, and Jodie Foster didn’t win hers for directing. There’s some pedigree to be found here, but Gibson is too far from forgiveness, and this film flew too under the radar for anyone to end up considering or remembering it.

Thor (May 6)
This Marvel megafilm could contend in a few of the technical categories, most notably Best Visual Effects and Best Makeup. It’s also a possibility for Best Costume Design, Best Sound, and Best Sound Editing.

Bridesmaids (May 13)
If there was still a ten-wide Best Picture field, this comedy smash could squeak onto the list. I’m not sure will it manage enough number one votes, and despite their current popularity, Kristen Wiig and Melissa McCarthy aren’t going to be scoring Oscar nods anytime soon. Save this one for the Golden Globes.

Midnight in Paris (May 20)
Woody Allen has thirteen Oscar nominations for Best Original Screenplay to his name, and he’ll likely be adding a fourth for his latest, well-reviewed film. The movie could net a Best Picture nomination if voters want to reward what’s been discussed as a great comeback for the director.

Pirates of the Caribbean: On Stranger Tides (May 20)
The first three installment in this series scored several technical mentions, and this fourth film has a decent shot at nominations for Best Visual Effects and Best Makeup, but that’s likely going to be it.

The Tree of Life (May 27)
Director Terrence Malick directs his fifth film, and out of his first four, he earned major Oscar attention for only one of them, “The Thin Red Line.” His latest project was highly controversial and extensively artsy, and it stands a chance for Best Picture, Best Director, Best Actor or Best Supporting Actor (wherever Brad Pitt gets pushed), Best Supporting Actress (Jessica Chastain), and a whole slew of technical categories, most notably Best Cinematography and Best Art Direction. I predict that it will end up with just artistic mentions, but we’ll see.

Tuesday’s Top Trailer: J. Edgar

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

J. Edgar – Opening November 9, 2011



This trailer debuted last week, and I’m sure I’m not the only one who sees this as an instant major Oscar contender. Despite the iffiness of “Hereafter,” Clint Eastwood had a great run prior to that with “Invictus,” “Gran Torino,” “Changeling,” and “Letters from Iwo Jima,” and this looks to be an even more challenging and hopefully impressive film. Writer Dustin Lance Black won an Oscar for penning the script to “Milk,” and this is another chance to adapt real events into an original screenplay. This could well be the role that makes Leonardo DiCaprio’s professional career, finally establishing him as a skilled and versatile actor, something which “The Aviator” didn’t quite do. In the trailer, it looks like he’s acting more than he ever has before, and the results look excellent. This will be a real test of Armie Hammer’s abilities after breaking out with a dual role in “The Social Network.” I’m always excited to see Naomi Watts in anything, and I’m happy to see Jeffrey Donovan of “Burn Notice” marking his second collaboration with Eastwood after “Changeling,” this time playing JFK. The mood in this film looks superb, and I’m so excited to see this genuinely fascinating story play out when this hits theatres in November. It’s definitely going to be better than the similarly-themed “The Good Shepherd,” also directed by a former actor and starring a lead actor from “The Departed,” and I think it’s going to be truly awesome.

Movie with Abe: Toast (Capsule Review)

Toast
Directed by S.J. Clarkson
Released September 23, 2011



If there’s one thing that everyone should be able to agree on about the new film ”Toast,” it’s that it’s mouth-watering the whole way through. As Freddie Highmore’s Nigel and Helena Bonham Carter’s Mrs. Potter compete to whip up the most appetizing-looking dishes on the planet, the winner is the audience, provided that there’s a meal anywhere near as delicious on the horizon following the 96 minutes of this film. Unfortunately, what you see isn’t what you get, and the film, presumably unlike its food, looks much better than it tastes. The biographical tale of famed food writer Nigel Slater’s upbringing isn’t nearly as interesting as those behind this film seem to think, and its presentation is entirely hokey and excessively exaggerated. Perhaps it’s deliberate that the visualizations of food seem to almost pop off the screen while the rest of the film’s images and backgrounds are rather dreary and one-note, but that definitely underlines the film’s tendency to lag anytime food isn’t in the oven. Freddie Highmore’s growth spurt doesn’t seem to have graduated him to adult roles, and he’s much more awkward and stuffy than nearly-uncredited first-time twelve-year-old actor Oscar Kennedy, who portrays Nigel for over half the film. Carter does her very best to infuse Mrs. Potter with some life and energy, but it’s hardly her best performance either. The film presents an entertaining premise and an alluring plot, but it never achieves what it sets out to, finishing out with nothing aside from a bunch of appetizing menu items.

C-

Movie with Abe: Puncture (Capsule Review)

Puncture
Directed by Adam & Mark Kassen
Released September 23, 2011



In the new drama "Puncture," Chris Evans, who recently starred in the lead role in "Captain America: The First Avenger" after memorable parts in films like "The Losers," "Cellular," and "Fantastic Four," bursts onto the scene as Mike Weiss, a drug-addicted young hotshot attorney who spends his nights in a motel room having his fellow drug user friends pretend to be witnesses as he skewers them with his legal savvy. Evans is an able actor for the part, but the film isn't as clear on what kind of character it wants Weiss to be, imbuing him with this impossible determination to seek out justice while regularly showing him compromising his moral stance on other subjects, such as loyalty to his partner and his obvious regular breaking of the law with his drug use.

The subject of safety needles, designed to prevent frequently-occurring accidental sticks, being distributed to hospitals all around the country, is certainly an intriguing and compelling one, but the film often focuses too much on its own characters rather than its more sweeping themes. The film is strongest when it transforms from a dense downer about individual people into a grander legal drama about a budding class-action suit. The legal content does become a bit much at times, especially when aired in dialogue by an admittedly excellent Brett Cullen as Weiss' opposing counsel, Nathaniel Price, whose haughtiness runs the gamut from delicious scenery-chewering to off-putting smugness. Ultimately, "Puncture" loses steam midway through and never delivers on its genuinely interesting premise.

C+

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Moneyball (recommended): This sports film gets great performances out of Brad Pitt and Jonah Hill as a general manager and whiz kid, respectively, who team up to try to change how baseball works. It’s an affirming, energizing, and genuinely captivating film. Now playing in wide release. Read my review from yesterday.

Puncture (mixed bag): This dramatization of a drug-addicted lawyer who tries to get safety needles into hospitals around the world has a definitive aim which it doesn’t quite achieve. It’s occasionally stirring and affecting, but more often than not, far less interesting and invigorating than it wants to be. Now playing at the AMC Empire and Landmark Sunshine. My review will be up tomorrow.

Toast (anti-recommended): This tale of Nigel Slater’s youth spent trying to become the chef he always wanted to be leaves much to be desired, proving to be satisfying only with its mouth-watering images of food and doing considerably worse with its storytelling and plotting. Now playing at the Angelika and City Cinemas 123. My review will be up on Monday.

New to DVD

Bridesmaids (recommended): This week’s hottest new release was also one of the best surprises for me this past spring, since it turns out that it’s genuinely funny and actually rather enjoyable. Like most comedies, it’s probably best watched in a large group.

Movie with Abe: Moneyball

Moneyball
Directed by Bennett Miller
Released September 23, 2011

For a non-enthusiast (of sports), there are roughly two different kinds of sports movies. There are movies about the players, and there are movies about the sports. In the case of “Moneyball,” Oakland A’s general manager Billy Beane (Brad Pitt) is a former player, who, in his behind-the-scenes role, is more than willing and ready to think outside the box and try to reinvent the game with new technology-based ideas from young up-and-comer Peter Brand (Jonah Hill). “Moneyball” becomes more than a sports movie thanks to its energetic cinematic rendering and a strong, captivating screenplay with great performers in the roles.

Brad Pitt is the kind of actor who, every once in a while, plays a serious part that demands exertion and careful poise from him. But usually, he’s more of an everyman, not quite as ubiquitously as his pal George Clooney, but he does it often enough to make it a standard. Fortunately, Pitt is exceedingly skilled at playing your average Joe, which makes his portrayal of Beane all the more effective. He quickly establishes Beane as someone whose gluttony of money and influence has only served to fuel his passion for the sport he loves so much, to the point that he lives and breathes nothing else.

Pitt is paired with an interesting choice for the role of wunderkind Brand. Jonah Hill, star of “Superbad,” gives what might be his first adult performance, both in a mature role and as an adult. It turns out that it’s a great fit for him, as he’s able to be more subtly comic with his glances and technical sentences. Together, they’re a dream team, going from awkward beginnings to full-fledged camaraderie, demonstrated in one particularly excellent scene in which the two make nearly a dozen back-to-back phone calls to rival general managers.

The creative team behind “Moneyball” has impressive credentials, and bringing them all together certainly makes this an impactful movie. Bennett Miller directs his first feature since the Oscar-nominated “Capote,” which is also likely the reason that Philip Seymour Hoffman has a relatively small and amusing role as the team’s disgruntled manager. The screenplay comes from the minds of two heavily established writers, Steven Zaillian, famous for “Schindler’s List” and “Gangs of New York,” and Aaron Sorkin, recent Oscar winner for “The Social Network.” The writing is sharp and makes the story extremely involving, emphasizing statistics and capitalizing on legitimately moving moments. Thanks to the proper focus, on the changing art of the sport rather than any one character’s personal life, this film succeeds as a grand, powerful, and fully entertaining film.

B+

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Howard Shore. The Canada native is a three-time Oscar winner, triumphing each time for his contributions to the “Lord of the Rings” trilogy. Most recently, he teamed as usual with filmmaker David Cronenberg to provide the haunting, foreboding score for “Eastern Promises.” I still find it hard to believe that no awards bodies took note of the music from “The Departed,” which was a perfectly calibrated introduction to the Boston mob world. His theme for “A History of Violence” was frightening and almost deafening, while the anthem for Howard Hughes from “The Aviator” was alternatively triumphant and tentative. His music for “Panic Room” was thrilling and foreboding, and he gave the “Lord of the Rings” trilogy a proper saga theme, filled with much emotion and feeling. The “Philadelphia” soundtrack delivers a message of importance, and one of my favorite scores ever is the music from “The Silence of the Lambs,” just right for the old-fashioned, dated feel of the movie.

Eastern Promises (2007)



The Departed (2006)



A History of Violence (2005)



The Aviator (2004)



Panic Room (2002)



The Fellowship of the Ring (2001)



Philadelphia (1993)



The Silence of the Lambs (1991)

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Additionally, to make up for lost time, I’ll also be taking a look at the films released earlier in the year, one or two months at a time. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released September 16th, 2011
Drive
This film was nominated for the Palme D’Or and won the Best Director prize at the Cannes Film Festival. Opening to excellent reviews, this is a definite dark horse contender, mainly for the Best Actor race, since word on the street is that Ryan Gosling’s Oscar-bait film, “The Ides of March,” isn’t that great. It’s difficult to forecast Gosling’s chances though, since he made it in for “Half Nelson” but was snubbed last year for “Blue Valentine” when his costar was recognized. Director Nicolas Winding Refn could have a shot, but it’s a very artsy choice.

Happy, Happy
If Oscar voters loved this movie as much as I did, Norway’s Oscar submission will be a shoo-in for Best Foreign Film. Given the bleak seriousness prevalent in last year’s choices, however, I imagine this one will be left by the wayside, but I’d love to see star Agnes Kittelsen’s great performance recognized in some way.

Films released April 2011

Meek’s Cutoff (April 8)
This independent film might have earned some buzz for its period setting and lead performance from last year’s Best Actress nominee Michelle Williams, but I think that attention has come and gone by now.

The Conspirator (April 15)
Had this film opened to better reviews, and quite honestly, been better, it could have contended, since it’s an enticing hook with a lead performance from eventual Oscar nominee James McAvoy, who after “The Last King of Scotland” and “Atonement” is still searching for the part that will finally give him that overdue Oscar nomination.

Rio (April 15)
This kid-friendly film may compete in the Best Animated Feature race, but I wouldn’t put as much stock in it as I would the similar-sounding “Rango.”

The Greatest Movie Ever Sold (April 22)
Morgan Spurlock netted a nomination back in 2004 for his documentary “Super Size Me,” and this is the most high-profile film work he’s done since then, so I’d imagine that, if it’s eligible, he may well find himself back on the Oscar list for this entertaining examination of product placement.

Fast Five (April 29)
I remember reading something silly about how Vin Diesel thought this film, which I admittedly loved, could garner Oscar attention. More importantly, would it be so out of the question for this film to earn sound mixing and sound editing nominations? The previous four haven’t, but there’s always the chance this one could break through.

Tuesday’s Top Trailer: Oranges and Sunshine

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Oranges and Sunshine – Opening October 21, 2011



It’s not so often that Emily Watson headlines a film, and it’s always worth noting since she’s such a terrific actress, stealing scenes even in small parts in films like “Synecdoche, New York,” “Red Dragon,” and “Gosford Park.” Here she plays a social worker in what could be quickly categorized as halfway between “Erin Brockovich” and “The Whistleblower,” considerably less severe than the latter because of the time-removed nature of the covered-up incident, but a more substantive and serious than the still solid former. The search by adult men for their parents who might not be dead is absolutely fascinating, and it appears that this film handles that delicately and respectfully. Watson seems to be driven but not overly pushy, and I’m pleased to see Hugo Weaving in the cast, playing, for once in his career, someone without any superpowers, masks, or villainous intentions. Quite simply, this looks like a powerful and inspirational film, and at the very least, an extraordinarily interesting and revealing one. The sunny title is deceptively positive, but I do think the film will possess a sense of hope and a celebration of the reunions that Margaret Humphreys’ work brought about. There also appears to be a bit of artsy cinematography, so I think this could well be a great film all around.

Better Late Than Never: Harry Potter and the Deathly Hallows – Part 2

Harry Potter and the Deathly Hallows – Part 2
Directed by David Yates
Released July 15, 2011

I finally got the chance to see this summer blockbuster as a result of a Living Social Fandango deal which essentially entitled me to see this film in IMAX and 3-D for a grand total of $4.50. I was too busy with other films and travel in July, and was already on to other things in August. Obviously, my anticipation couldn’t have been that high if I let two months pass by without seeing it, but I still figured it would be quite an event. It’s only the third film in the series that I’ve seen in its entirety, along with the first and the seventh.

What I would diagnose this film with is finale fatigue, that is to say that after seven mega-movies, the seventh can’t much stand on its own. There’s little to no introduction for those who can’t recall the details of previous films, and this one is all about plot and action without much character development of any sort. I remember thinking that the second half of the book would make a great movie, but this one just feels distant and unapproachable. On top of that, it’s far too fleeting, packing in a whole lot of activity without seemingly including anything.

The moments that were most memorable in the book, particularly “Get away from my daughter, you bitch!” are almost completely ignored and inconsequential in the film, which is overcrowded, overstuffed, and ultimately unsatisfying. It would be wrong to term it a bad film, but I would have hoped for more. Like “X-Men: The Last Stand,” which followed two pretty superb movies in the franchise, the finale doesn’t save the best for last but instead the laziest, focusing on effects and action instead of compelling, and most importantly, coherent storytelling.

Having read the books, it’s hard not to feel disappointed, and if I hadn’t, I imagine the thing I’d feel most is confusion before walking out of the theatre and quickly forgetting the experience of the film. I haven’t thought much about it since I saw it approximately two weeks ago, though I will note that the 3-D was decently enjoyable and definitely enhanced the viewing experience. Otherwise, there’s not much to remember fondly about this film, and I’d deem it forgettable, a far cry from the best film in the series, judging only off of the two others I’ve seen in their entirety. A marathon may one day be in store, but that day, for me at least, is far away.

C+

Movie with Abe: Happy, Happy

Happy, Happy
Directed by Anne Sewitsky
Released September 16, 2011

There’s something about a blanket of snow that just helps to enhance the feel of a film. The snow doesn’t have to be malicious, as in “First Snow,” or help to cover up violent acts, as in “Fargo.” In some cases, it can just help to isolate, to make it so that there might as well only be a few people alive in the world. In “Happy, Happy,” this year’s Oscar submission for Best Foreign Film from Norway, two couples live in adjacent homes far from anyone else, and their interactions become anything but normal as their private lives are slowly revealed in the most fascinating of manners.

Mike Leigh’s Sally Hawkins-led “Happy-Go-Lucky” is a good point of reference from which to frame Kaja, the protagonist of “Happy, Happy.” Like Hawkins’ Poppy, Kaja is eternally bubbly and talkative, determined to see the best in any situation. But unlike Poppy, Kaja’s optimism is not impermeable, since she is covering up an immense loneliness due to her husband Erik’s refusal to touch her and her spirit of adventure not being fulfilled. The arrival of neighboring couple Sigve and Elisabeth brings out a whole range of emotions in Kaja that, at least temporarily, helps her to find some joy in other people.

“Happy, Happy” boasts a cast of characters of only four adults, but they’re all incredibly intriguing and well-defined personalities, as portayed by the strong Scandivian actors in the roles. Agnes Kittelsen is mesmerizing as the sunny Kaja, whose eyes and body language convey a yearning for excitement. Joachim Rafaelsen is icy and distant as Erik, but still manages to make the character three-dimensional. Henrik Rafaelsen presents a laidback front as Sigve that helps to put the rest of the characters as ease, and it’s clear that he’s capable of taking himself seriously even if he sometimes makes the wrong choices. Maibritt Saerens quickly establishes Elisabeth as an elitist snob of sorts, but that just makes her character all the more dynamic and enticing.

In the background of the marital mixing and matching that inevitably happens with the adults, there is a disturbing subplot involving the couples’ children, wherein Kaja and Erik’s son Theodor pretends that Ethiopian-born Noa, adopted son of Sigve and Elisabeth, is his slave. It’s most notable for the fact that the parents, concerned far too much with their own intersecting lives, seem entirely oblivious to it. That tidbit casts the film in the wrong light, since it is very much an layered, engaging and often entertaining portrait of two couples searching for something that they aren’t able to give each other. Nestled comfortably in the peacefulness of snow, it’s all the more moving and enjoyable.

B+

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Drive (highly recommended): This Cannes Best Director winner is an absolutely thrilling, captivating film that’s dark and moody but never sinks too deep. Ryan Gosling is perfectly cast as a near-silent stunt man moonlighting as a getaway driver, and the rest of the ensemble is top-notch as well. Bloody and violent at times, but so worth it. Now playing in wide release. Read my review from yesterday.

Happy, Happy (highly recommended): This Norwegian entry for Best Foreign Film is a fascinating and rich tale of two couples living in adjacent homes whose interactions are less than honest and sincere. It’s a great foreign small-ensemble drama, and definitely recommended for anyone that doesn’t mind subtitles. Now playing at Landmark Sunshine and the Beekman Theatre. My review will be up tomorrow.

New to DVD

Thor (recommended): This loud Marvel action piece is best described as top-heavy. Its first half is furiously thrilling and infinitely exciting, but it peters out and fails to provide much of an ending since everything’s heading towards “The Avengers” anyway. It’s still a good time with some decent laughs and great action, and a fine rental.

Incendies (recommended): This Canadian nominee for last year’s Oscar for Best Foreign Film is among the most depressing and disturbing films you’ll see (also see the rest of the lineup), but it’s made very well and tells a compelling, if horribly disquieting, story.

Hesher (anti-recommended): This miserable mess stars Joseph Gordon-Levitt, Rainn Wilson, and Natalie Portman, but there’s no saving it from the horror of what it is. The mixture of kids and violent behavior is off-putting, and there’s nothing worthwhile to be found here.

Now on Netflix Instant Streaming

I haven't had the time to watch it yet, but I was excited to note the availability of Anthony Zimmer, the original French version of "The Tourist."

Movie with Abe: Drive

Drive
Directed by Nicolas Winding Refn
Released September 16, 2011

In some rare cases, a movie’s excellent quality becomes clear in its initial moments. In “Drive,” every part of the distinct, dreamlike mood of the film is established during its gripping first scene, in which an unnamed stunt man (Ryan Gosling) explains and then executes the perfect getaway as he silently drives his cargo to safety and freedom in the aftermath of a heist. The pensive and foreboding beat in the background and the scribbled pink text that adorns the screen during the opening titles cement “Drive” as a sleek, stylish experience that’s definitely much more than your average movie.

“Drive” has a relatively small cast of characters, but each of them are instilled with extraordinary depth and purpose, and the actors chosen for each of the parts perform commendably. Gosling leads the pack in a role heavy on facial expressions and body language. This is a part Gosling was born to play, and he makes the most careful and thoughtful of performances look effortless. Carey Mulligan portrays his neighbor and budding love interest, and she plays marvelously off of his strong and silent type. The ensemble also includes great villainous turns from Albert Brooks and Ron Perlman, as well as steady support from TV stars Bryan Cranston and Christina Hendricks in much different roles than the ones that made them famous.

What really makes “Drive” a superb film is its willingness to think outside the box and not to conform to any standard set of expectations. The story is rather straightforward despite its many complications, and it’s the intensity of the scenes and the way the performers work with them that makes it interesting. That’s an understatement, of course, since so many of the scenes are entirely captivating. Suspense is almost omnipresent, yet the film doesn’t feel overstuffed or forcibly propelled by any sense of the unknown.

There are plenty of twists and turns in the ride that may not be completely surprising, but the way in which they’re played out makes them all the more shocking and awe-inspiring. “Drive” travels a bleak road, but it never gets caught up in its own darkness. With Gosling in the lead, “Bronson” director Nicolas Winding Refn at the helm, and Oscar-nominated Hossein Amini penning the screenplay, “Drive” represents a furious and efficient assemblage of talent. A movie about a stuntman moonlighting as a getaway driver isn’t supposed to be quite this engaging, yet somehow this film manages to be absolutely hypnotic and mesmerizing.

A-

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Thomas Newman. The Los Angeles native is a ten-time Oscar nominee, but hasn’t yet won. I recognize him most as a frequent collaborator with Sam Mendes and Alan Ball. Most recently, he composed the pensive and contemplative anthem for “The Debt” and the multi-faceted, tone-setting soundtrack suite for “The Help.” His moody score for “The Adjustment Bureau” helped give it its signature feel, and the melancholy homecoming theme of “Brothers” was one of its strongest assets. The sad end title of “Revolutionary Road” is particularly somber, while the distinctive music for “Wall-E” is much bouncier. The mysterious, jazzy score for “Towelhead” is quite memorable, and the music “The Good German” is an obvious homage to film noir of old. “Little Children” has stylized, peculiar end titles, while “Jarhead” is aided by mood-establishing desert-crawling music. “Cinderella Man” possesses epic, inspirational main titles, while the theme for “Finding Nemo” is quiet and pleasant. “Road to Perdition” has a moving score that captures the film’s repentance themes, while “Erin Brockovich” has a bold, energetic score, much like its title character. My favorite is “American Beauty,” with its absolutely beautiful and haunting plastic bag theme, though it’s hard to argue that the triumphant “The Shawshank Redemption” score isn’t excellent as well.

The Debt (2011)



The Help (2011)



The Adjustment Bureau (2011)



Brothers (2009)



Revolutionary Road (2008)



Wall-E (2008)



Towelhead (2008)



The Good German (2008)



Little Children (2006)



Jarhead (2005)



Cinderella Man (2005)



Finding Nemo (2003)



Road to Perdition (2002)



Erin Brockovich (2000)



American Beauty (1999)



The Shawshank Redemption (1994)

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Additionally, to make up for lost time, I’ll also be taking a look at the films released earlier in the year, one or two months at a time. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released September 9th, 2011

Warrior
This sports film has earned generally strong reviews and it’s likely that Tom Hardy will end up as an Oscar nominee one of these days, though I think he’ll have to wait a big longer. The film could be a huge crowd-pleaser and end up as a dark horse Best Picture contender, and there’s also been buzz for two-time nominee Nick Nolte for his role as the alcoholic father of the two fighters.

Contagion
Director Steven Soderbergh was once a double nominee and the eventual winner, and an ensemble thriller like this always holds a bit of potential for making some awards noise. This strikes me as less of an Oscar movie, despite the fourteen Oscar nominations and three Oscars held by the members of its cast.

Films released March 2011


Rango (March 4)
This film, which I still haven’t had the opportunity to see, is a sure thing in the Best Animated Feature category, regardless of whether there are three or five nominees.

Jane Eyre (March 11)
This movie went under the radar when it was released, and while its hopes of any acting accolades have probably been dashed, it may still turn up in the Best Costume Design category or another artistic production field.

Win Win (March 18)
This independent comedy may fare well if it places at the Golden Globes, and Paul Giamatti is a strong, well-liked actor with just one Oscar nomination to his name, so he’ll need to be nominated again sometime soon. I’m not sure if people will remember it enough by the time Oscar voting comes around, so it may not have much of a shot.

Miral (March 25)
This film is noteworthy as director Julian Schnabel’s feature film follow-up to his Oscar-nominated “The Diving Bell and the Butterfly.” It also received mostly terrible reviews and is all but out of the race thanks to its controversial nature and self-indulgence.

Tuesday’s Top Trailer: The Artist

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

The Artist – Opening November 23, 2011



I finally had a chance to watch the trailer for a film that I’ve been reading a lot about in preliminary Oscar predictions. This black-and-white silent film from relatively unknown French director Michel Hazanavicius won relatively unknown French actor Jean Dujardin a Best Actor prize at the Cannes Film Festival. It does feature a slew of recognizable American faces, such as John Goodman, James Cromwell, Joel Murray, Beth Grant, and Missi Pyle, in the cast, but the main point of this movie, it appears, is to present a throwback to older times, 1927 specifically, and to a different area. I will acknowledge that when “Almost Martyrs” from the “Life of David Gale” soundtrack, a personal musical favorite of mine, came booming over my computer speakers midway through the trailer, it did detract from the authenticity of this experience for me. I don’t think that the presence of the previously named actors will be a disservice to the film, and I think it should prove a thoroughly intriguing, if not entirely enthralling, fabricated relic of what films used to be like. Whether Oscar voters will take notice is an entirely separate question, but I’m sure it will end up on at least a few ballots.

Movie with Abe: Beware the Gonzo

Beware the Gonzo
Directed by Bryan Goluboff
Released September 9, 2011

High school movies are quite popular. There’s an endless variety of specific storylines and character types, but there are always certain common elements. Nerds and jocks are present in any high school setting, and many films take the side of the less conventionally popular people. “Beware the Gonzo” does just that, aggrandizing its hero Gonzo Gillman (Ezra Miller) and following his quest to start a revolution with the publication of a rather biting underground newspaper. It’s without doubt an engaging plot that picks determined characters as its protagonists, proving to be energetic and entertaining, even if it isn’t brimming over with originality.

Ezra Miller stars in the film
One thing that “Beware the Gonzo” does well, which many other such films haven’t always done, is that it doesn’t hold back its characters. Gonzo is an absolutely unfiltered kid with a serious bone to pick with society, and he isn’t going to stop until he’s absolutely heard and then some. He’s the perfect ringleader for his band of misfits because, for all his eccentricities, he could still pass for cool since he’s not the dork with big glasses or the science nerd. Gonzo’s place in the social hierarchy, however, is quickly defined by the way that blond-haired jock Gavin Reilly (Jesse McCartney) ruins the school and bosses him around.

Ezra Miller and Zoe Kravitz star in the film
Unlike many other high school movies and television shows, the actors in the lead roles actually have recent memories of their own time spent maneuvering through those difficult years. Eighteen-year-old Miller describes how he “had a hard time in high school and felt the need to be outspoken.” Miller shares some of his character’s passion, citing Democracy Now as his daily read and exhibiting similar antiestablishment flair while discussing the film. Twenty-three-year-old Zoe Kravitz says that she had one really bad year of high school in Florida before moving to New York. Both very accurately portray the agonies and ridiculousness that those four years can bring.

Ezra Miller and Zoe Kravitz discuss the film
“Beware the Gonzo” stays true to its central focus, leaving top-billed adult actors Campbell Scott and Amy Sedaris to quietly play the roles of Gonzo’s parents only as called upon, spotlighting its younger stars as appropriate. Miller, previously seen in recurring guest spots on “Royal Pains” and “Californication,” has a furious fire burning within him that makes him just right for this part and should translate to great roles in the future. Kravitz also performs commendably, giving her another fine star turn this year after “X-Men: First Class.” Even Jesse McCartney, who I last saw in the WB’s “Summerland,” does just what he needs to in order to create a highly detestable villain. This is a purely fun and energizing experience that, for what it is, is perfectly impressive and acceptable.

B

Movie with Abe: Rebirth (Capsule Review)

Rebirth
Directed by James Whitaker
Released August 26, 2011



The tenth anniversary of September 11th marks the perfect time for the release of this documentary, which follows five different people who lost family members and friends on that day, checking in over the successive years since the terrorist attacks. Sticking with its subjects for a number of years turns them into real people with individual stories that still prove just as relatable to anyone who lost someone. Whether it’s a firefighter, a construction work, a widowed spouse, someone who was in the World Trade Center, or a teenager dealing with the loss of a parent, the stories are all moving and well-told with a sincere intimacy and honesty. There are many who will have trouble watching any kind of film dealing with these attacks that still feel recent and painfully relevant, but this nonfiction film treats the subject with delicacy and nothing but the utmost respect, honoring the lives of those who died rather than turning it into a spectacle.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Warrior (highly recommended): This sports movie about two brothers both making separate strides towards an intense mixed martial arts competition really surprised me, since the genre hardly interests me. There are great performances, but more importantly, stellar depictions of the fights. Highly recommended. Now playing in wide release. Read my review from yesterday.

Beware the Gonzo (recommended): It’s not clear to me anymore that this film is actually playing in theatres right now, but it should be available on VOD. It’s a high school movie about a loser uprising which may not be wholly creative but still serves as suitable entertainment. My review will be up on Monday.

I’d very much like to see Contagion and you couldn’t pay me to see Bucky Larson: Born to Be a Star. I’d be eager to see Tanner Hall as well.

New to DVD

Everything Must Go (recommended): This quirky film stars Will Ferrell as a down-on-his-luck man who literally ends up with his entire life on his lawn. It may not have some destination or greater purpose, but it’s an enjoyable independent film that’s good for a few laughs and more than a few smiles.

X-Men: First Class (mixed bag): I really wanted to like this new reboot of the X-Men franchise, but such random selection of protagonists and the lack of a compelling plot made this just as disappointing as the series’ third installment from 2006. It still has something to offer, but I had hoped for much better.

Hanna (mixed bag): This loud, violent film boasts an intriguing premise and delivers on it by presenting a far too narrow focus of the world that allows far too many conveniences and posits its protagonist as the center of the universe. It has its moments, but as a whole, it’s a bit of a mess.

Now on Netflix Instant Streaming

Good Will Hunting (highly recommended): This 1997 Best Picture nominee won Oscars for writers Matt Damon and Ben Affleck, as well as for supporting actor Robin Williams. It’s an extremely moving drama with exceptional performances, and something that hasn’t lost much relevance in nearly fifteen years since its release.

The Missing (mixed bag): This was one of Cate Blanchett’s two 2003 films, and while it’s better than “Veronica Guerin,” it still has its high and low points. At times, it’s an intriguing Western, and Evan Rachel Wood does deliver a strong performance. It may be ultimately unsatisfying, but still interesting.

Movie with Abe: Warrior

Warrior
Directed by Gavin O’Connor
Released September 9, 2011

Movies about two brothers present enormous potential. Any family has its idiosyncrasies, and if someone deems two brothers, real or fictional, interesting enough to use as the basis for a film, it’s likely that their relationship is one for the ages. In “Warrior,” it’s the lack of a relationship that makes the dynamic between Brendan (Joel Edgerton) and Tommy (Tom Hardy) fascinating. As both train furiously and head towards an ultimate fighting competition, much is revealed about each of them and what made them the people they are in this above-average sports film that delivers in all areas.

The central plot of “Warrior” stems from patriarch Paddy Conlon (Nick Nolte), a former boxer who aggressively trained both his sons from an early age to become fighters. Paddy’s alcoholism has led to strained ties with both of his sons, and the sudden reappearance of absent son Tommy begins to indicate that he might be able to spend more time with one or both of his sons. The paths of his sons’ lives diverged considerably earlier on, as loner Tommy headed to the military and likeable Brendan became a physics teacher. Tommy’s motivation stems from anger, energy, drive, and purposelessness, while Brendan heads back to the ring simply because he needs the money.

“Warrior” sets up a major rivalry between its two leads that could threaten to spoil the film from the outset based merely on its premise. Yet that’s hardly the case here, since the film is full of intense fight scenes that manage to enthrall and surprise one after another without becoming dull or repetitive. Brendan and Tommy each have very different fighting styles, and the film provides so much background on each of them that it’s almost possible to predict, in a productive and enjoyable way, how they’ll aim to tackle their opponents in a fight. The fight scenes are crucial to the effectiveness of the film, and they’re among its strongest assets.

The performances also help to make “Warrior” what it is. Tom Hardy, recently seen in films such as “Bronson” and “Inception,” imbues Tommy with an inherent antisocialism, wherein he’s bred to fight and not to forge relationships with people. He makes for a fierce, fearful loose cannon. Brendan, on the other hand, was brought up the same way yet choose a different life for himself. Joel Edgerton, who appeared in 2010’s “Animal Kingdom,” gives Brendan a sadness and nervous determination that makes him the emotional core of the film. The movie’s more triumphant and exciting scenes are spectacularly-handled, managing to grip and captivate this particular reviewer whose interest in sports is practically nonexistent.

B+

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is James Horner. Perhaps best known for his collaborations with director James Cameron, Horner has an eclectic resume with many compositions, a good number of them epic in nature. His score for “Avatar” helped supplement the visually astounding experience of the film. His music for “The Boy in the Striped Pajamas” was appropriately solemn and probably the strongest part of an otherwise lacking film. His stylized score for “Apocalypto” was just right for the messy Mel Gibson film, and I personally love the main title theme for “All the King’s Men” even though the film was inconsolably horrendous. His scores for action thrillers “Flightplan,” “Troy,” and “The Missing” were also strong, while a more somber theme for “House of Sand and Fog” proved effective. His suite for “Iris” is wonderful, and the music of “A Beautiful Mind” was one of its defining aspects for me when I first saw it in theatres in December 2001. There’s not a person in the world who doesn’t known the music of “Titanic,” and listen to it at your own risk of getting it stick in your head for weeks. His score to animated film “Balto” may not be as well-known, but it’s still powerful and moving. Prior to that, he composed the music to three majorly epic films: “Braveheart,” “Glory,” and “Aliens.”

Avatar (2009)



The Boy in the Striped Pajamas (2008)



Apocalypto (2006)



All the King’s Men (2006)



Flightplan (2005)



Troy (2004)



House of Sand and Fog (2003)



The Missing (2003)



Iris (2001)



A Beautiful Mind (2001)



Titanic (1997)



Balto (1995)



Apollo 13 (1995)



Braveheart (1995)



Glory (1989)



Aliens (1986)

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Additionally, to make up for lost time, I’ll also be taking a look at the films released earlier in the year, two months at a time. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released August 31st – September 2nd, 2011

The Debt
This thriller features a whole handful of great performances, and I’ll spotlight three of them that could have a fighting chance at a nomination. Helen Mirren is an Oscar winner and a three-time nominee, and if she could get nominated for “The Last Station,” she can get nominated for anything. Tom Wilkinson is a two-time nominee, and it’s been a few years since he was last recognized. Rising star Jessica Chastain has multiple roles out this year, and this is the most substantial of the bunch, but I think she’ll ultimately be eclipsed by Mirren. Director John Madden was nominated for “Shakespeare in Love,” though I’m not sure this film will catch on in the same way.

Seven Days in Utopia
It’s worth noting that Oscar winners Robert Duvall and Melissa Leo appear in this G-rated golf movie, but any awards recognition for this film is highly doubtful.

Films released January & February 2011

I would seriously love it if ignored Best Foreign Film contenders from last year When We Leave (January 28) and Of Gods and Men (February 25) could earn some recognition this year, but I think that’s extremely unlikely.

Cedar Rapids (February 11)
This independent comedy probably won’t win any awards, but it’s the kind of film that could make some noise at the Independent Spirit Awards or the Golden Globes and is hard not to like, if voters haven’t forgotten all about it.

Gnomeo & Juliet (February 11)
I haven’t seen this one, but it could be a contender for Best Animated Feature.

Tuesday’s Top Trailer: Texas Killing Fields

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Texas Killing Fields – Opening October 7, 2011



I caught this trailer on IMBD’s rotating home page list, and I’m most intrigued because of the actors involved. This makes sense as a career move for Jeffrey Dean Morgan, who followed up a string of dying dad TV gigs with “Watchmen” and “The Losers.” I’m curious about Sam Worthington’s involvement, since he burst onto the scene as an action star in sci-fi fare like “Terminator: Salvation” and “Avatar,” and has lately been doing more independent dramas like “The Debt” and “Last Night.” I’m so thrilled to see Jessica Chastain in this, and it’s good to know that she has something booked on top of her four major breakout roles this year. And then we have young Chloe Moretz, who starred in two films I still haven’t seen, “Kick-Ass” and “Let Me In,” doing exactly what she should be doing with her career now, taking on another seemingly challenging part that makes her seem older than she is. The story of this looks to be dark but not quite as frightening as the title might suggest, since tit definitely seems to be a thriller rather than a horror movie. This is the kind of film that, if done right, is actually part of my favorite genre, and I’m hopeful that it does it justice and can serve as one of the fall’s most memorable offerings.

Home Video with Abe: Wild Target (Capsule Review)

Wild Target
Directed by Jonathan Lynn
Released October 29, 2010



Browsing for a film to watch on Saturday night, I found this crime comedy available from Netflix Instant Streaming. This wacky film follows three characters brought together in one parking garage, as veteran assassin Victor Maynard (Bill Nighy) fails to take out his latest target, con woman Rose (Emily Blunt), and instead saves her from her fate while the innocent Tony (Rupert Grint) is nearly caught in the crossfire. The trio makes for an absolutely entertaining bunch, as the tightly-wound, suit-sporting Victor emphasizes order and tradition, the flirtatious Rose steals anything and everything she sees, and the kindly Tony is simply mesmerized by the events going on around him. Nighy is fun, Blunt is charming, and Grint proves he can do more than play Ron Weasley. They’re joined in the cast by Rupert Everett as the gangster who put a hit out on Rose, Martin Freeman and Gregor Fisher as two of his hit men, and Eileen Atkins as Victor’s rather committed mother. The movie is sleek and stylish, but more importantly, it’s a blast. If anything, it’s a bit fleeting and light, but overall, it’s an enjoyable experience and definitely something worth watching on Netflix.

B+

Movie with Abe: A Good Old Fashioned Orgy

A Good Old Fashioned Orgy
Directed by Alex Gregory & Peter Huyck
Released September 2, 2011

There’s hardly a better setup for an ensemble comedy than a title like “A Good Old Fashioned Orgy.” This film assembles a fun cast of eight best friends, all of whom haven’t quite grown up and still return to a Hamptons home on summer weekends to engage in irresponsible partying. It’s a film ripe for raunchy, depraved humor and filled with potential romantic entanglements. “A Good Old Fashioned Orgy” delivers on that premise with ninety-five minutes of good old fashioned entertainment that isn’t frequently laugh-out-loud funny but serves its purpose just fine.

At the head of this cast are Jason Sudeikis, graduated from simply starring on “Saturday Night Live” to lead roles in “Horrible Bosses” and “Hall Pass,” and Tyler Labine, a former comic scene stealer on several TV shows including “Reaper” and “Invasion.” Sudeikis and Labine do a terrific job of energizing their considerably tamer costars and helping to make the chain of events that lead to the suggestion of the orgy rather believable. Among the supporting cast’s standouts are Lake Bell and Lindsay Sloane as two particularly insecure friends, and Lucy Punch and Will Forte as the only married friends in the pals, not invited to participate. Overall, the cast is strong, and works together well to form a fully functional ensemble.

The film itself is considerably less serious, but that’s exactly what it’s supposed to be. It deserves tremendous commendation for not devolving when it comes to the execution of the orgy, but instead offering a less ferocious and far more reserved take on what happens when friends have to put their money where their mouths are. There’s plenty of potty humor to be found in “A Good Old Fashioned Orgy,” but it’s a smarter film than its title might suggest, and only gets stronger rather than weaker as its formidable event approaches.

While the film is reliably and evenly entertaining, it’s not the laugh fest that it could perhaps have been given some of the stars’ other projects. There are times when the film comes surprisingly close to exhibiting too much sentimentality, and it feels like a much tamer film than it should be. Fortunately, it manages to keep that in check and focus on what’s really important: a tight-knit group of eight friends who decide that maybe it’s time for something more, eager to do something new, exciting, and memorable. This film may not quite succeed on that level, but it’s still a great time.

B

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

The Debt (recommended): This thriller based on an Israeli film follows a Mossad team in two time periods and features some strong performances. It’s not entirely excellent but is certainly competent enough, both thought-provoking and suspenseful. Now playing in wide release. Read my review from Wednesday.

Seven Days in Utopia (mixed bag): This G-rated golf movie is very determined to be inspirational, and in that pursuit, it skips over any sort of conflict that might arise for its main character. Even though it doesn’t offer much intrigue, it’s a perfectly pleasant and enjoyable film. Now playing at the AMC Empire. Read my review from yesterday.

A Good Old Fashioned Orgy (recommended): This wild comedy stars Jason Sudeikis, Tyler Labine, and a whole slew of other people. Like last week’s release “Our Idiot Brother,” it’s not as hilarious as it could have been, but that doesn’t mean it’s not still a lot of fun and highly enjoyable. Now playing at multiple AMC theatres in the city and Regal Union Square. My review will be up tomorrow.

New to DVD

In a Better World (highly recommended): I implore you to see this Danish film if you haven’t yet, the best film of the year thus far and the Oscar winner for Best Foreign Film last year. It’s an intense, emotional experience, but highly worthwhile.

Movie with Abe: Seven Days in Utopia

Seven Days in Utopia
Directed by Matt Russell
Released September 2, 2011

Sports movies are almost always about one particular athlete’s struggle to get back in their game. What sport it is can be often unimportant, while the themes of patience, perseverance, and redemption are usually present. “Seven Days in Utopia” is the prototypical example of this, showcasing one particularly meaningful week in the life of disgraced golfer Luke Chisholm (Lucas Black) as he visits a small Texas town and finds himself once again with the help of Johnny Crawford (Robert Duvall). It’s an extremely simplistic and straightforward story that doesn’t do much to distinguish itself or enthrall its viewers.

Black and Duvall star in the film
“Seven Days in Utopia,” for all its faults, is a film laced with authenticity. Though fictional, the story is set in the real town of Utopia, which all its stars describe as an absolutely beautiful location. David L. Cook, who penned the novel on which the film is based, is well-versed in golf and is a recognized expert in sport psychology. Actor Lucas Black was selected because of his real-life golf experience, since it was important that he truly understood the art of golf in order to properly portray the character. Duvall describes himself as being “well-liked” in Texas, so his involvement in the film was a stroke of good fortune for those behind it.

Duvall and Black discuss the film
This is the third collaboration between Black and Duvall, following Black’s second feature film role in “Sling Blade” and 2010’s “Get Low.” It’s easy to see how well they get along on screen, and they effectively convey the gradual formation of a friendship. The cast also includes Melissa Leo, Deborah Ann Woll (“True Blood”) and Brian Geraghty (“The Hurt Locker”) as residents of Utopia who offer help to Luke as he adjusts to this new place. The cast is able enough and performs as well as can be expected given the material.

Leo discusses the film
What’s sorely missing in “Seven Days in Utopia” is any sort of true conflict. The film offers many flashbacks early on, repeating them again and again, to explain Luke’s troubled relationship with his victory-obsessed caddy father. Aside from that, however, Luke has a surprisingly easy time adjusting to life in Utopia and never really struggles to overcome any hurdles. Obstacles quickly become friendly, and the film understandably boasts a G rating since it contains nothing objectionable. It peaks in its third act as the film focuses on the gold, but a quick switch back to religious narration immediately bursts that bubble, returning it to the status of a film that’s truly far too hard to be overly inspirational.

C

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Alexandre Desplat. The Paris native is a four-time Oscar nominee and has been scoring many notable American films for the past decade. Most recently, he wrote the rather epic music for Terrence Malick’s majestic “The Tree of Life.” His regal themes have been particularly memorable, for 2010’s “The King’s Speech” and 2006’s “The Queen.” His music for “The Ghost Writer” was rather distinctive and energetic, as were his anthems for French film “A Prophet” and animated feature “Fantastic Mr. Fox.” He wrote sweet melodies for lifespan pictures “Coco Before Chanel” and “The Curious Case of Benjamin Button,” and a magical tune for “The Golden Compass.” He also specializes in melancholy music for movies about doomed lovers like “Lust, Caution,” “The Painted Veil,” and “Girl with a Pearl Earring.” He’s competent in thriller scores as well, as evidenced by 2005’s “Syriana.”

The Tree of Life (2011)



The King’s Speech (2010)



The Ghost Writer (2010)



A Prophet (2010)



Fantastic Mr. Fox (2009)



Coco Before Chanel (2009)



The Curious Case of Benjamin Button (2008)



The Golden Compass (2007)



Lust, Caution (2007)



The Painted Veil (2006)



The Queen (2006)



Syriana (2005)



Girl with a Pearl Earring (2003)