Wednesday Oscar Watch with Abe

Welcome to the latest edition of a seasonal weekly 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 month 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 October 25th, 2013

The Counselor
This film is at the top of my list to see this weekend, so I’ll be able to offer a better prognosis then. It does have two important names attached to it behind the scenes: screenwriter Cormac McCarthy, author of the novel on which big-time Oscar winner “No Country for Old Men” was based, and Ridley Scott, who earned three nominations for Best Director, one for a film that won Best Picture and the other two for films that weren’t even nominated. Among the cast, Michael Fassbender has a much better shot in “Twelve Years a Slave,” while Cameron Diaz, who vied for an Oscar four times in five years but never made it, might finally join the ranks of three-time nominee and costar Penelope Cruz. One or both of them could pop up, but the film doesn’t seem to have nearly enough support for it to make a showing elsewhere.

Films released June 2013

Man of Steel (June 14)
The last cinematic Superman earned one Oscar nomination back in 2006, for Best Visual Effects. Mixed reviews are going to prevent this one from scoring big in any major categories, but a bid for Best Sound, Best Sound Editing, or Best Makeup isn’t out of the question. This will be director Zack Snyder’s first brush with the Oscars.

The Bling Ring (June 14)
Sofia Coppola has had Oscar success twice, once with a Best Picture nomination and Best Original Screenplay win for “Lost in Translation” and a Best Costumes win for “Marie Antoinette.” This one might be a player for actress Emma Watson, who is likely to be an Oscar winner someday, though I’m not sure this film can take her close enough this year. Maybe a Golden Globe nomination?

Monsters University (June 21)
“Monsters Inc” was one of the nominees the first year of the Best Animated Feature category, and also reaped bids for Best Sound Editing and Best Original Score, plus a win for Best Original Song. I’d say the Best Animated Feature mention is locked up, and another technical nomination or two could be possible.

World War Z (June 21)
Big summer blockbusters don’t often equal Oscar nominations. The epic nature of this film could, however, make it in a competitor in the Best Visual Effects, Best Sound, Best Sound Editing, and Best Makeup races.

Tuesday’s Top Trailer: The Grand Budapest Hotel

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 Grand Budapest Hotel – Opening March 7, 2014

What could be better than a new Wes Anderson movie? I’m still thinking about how good “Moonrise Kingdom” was, and “The Darjeeling Limited” was my favorite film of 2007. His latest film looks like an excellent combination of the two, capturing the spirit and energy of his camp-set feature and the more colorful setting of the other. The trailer is at once apparent as something belonging to Anderson, and it’s great to see a new actor he hasn’t worked with before in the lead. Ralph Fiennes is a talented dramatic actor who has done some great work in the past few years, but he’s actually quite funny too (“In Bruges” is a great example). I love the moment in the trailer where he runs away after learning that his elderly guest has died and he is the prime suspect, and it looks like he’s going to be just as good with the physical comedy as with the ridiculous lines. The parade of actors shown at the end of the trailer is always enticing, and seeing a very diverse list, including Saoirse Ronan, Jude Law, Tilda Swinton, Willem Dafoe, Jeff Goldblum, Harvey Keitel, F. Murray Abraham, and returning Anderson actors Owen Wilson, Bill Murray, Adrien Brody, Owen Wilson, and Edward Norton makes it a real shame that this film isn’t slated for release until March of next year. Some people don’t love Anderson’s style, and I understand that, but for those that do, it seems all but guaranteed that this one will prove impossible to resist.

Movie with Abe: Rush

Rush
Directed by Ron Howard
Released September 27, 2013

One of the most important things in a movie, especially a sports movie, is to make sure that what matters to the characters matters to the audience. In the case of a film about two race car drivers whose bitter rivalry was what made them both famous, it’s important that viewers comprehend the feel and power of what it’s like to be behind the wheel of a car on a racetrack. “Rush” accomplishes that immediately, presenting the parallel stories of its two characters from their own perspectives and telling an extremely engaging story of the ups and downs of their careers in relation to one another.

Promotional posters for “Rush” spotlight Chris Hemsworth, likely because he’s a far more recognizable face than German actor Daniel Bruhl, who does get to share top billing and have his face on the poster for “The Fifth Estate,” another current film in which he stars. Seeing Hemsworth featured suggests that the story of his character, British racer James Hunt, is the more important one. That’s far from the case, however, and his rival, German Niki Lauda, portrayed by Bruhl, wisely gets the opportunity to introduce himself first and explain his connection to the other racer. Their lives are intertwined, but neither plays second fiddle to the other.

Director Ron Howard has a certain style that has been present in the Oscar-nominated films he has made over the past twelve years. “A Beautiful Mind,” “Cinderella Man,” and “Frost/Nixon” all tell rather basic stories about complicated people in an overtly dramatic fashion, and that’s definitely true of “Rush.” From its opening moments, it is inherently cinematic, using purposeful cinematography to convey its events in a stark, gritty way, and utilizing a fantastic score by the dependable Hans Zimmer. The film sounds as good as it looks, and this is one cohesive experience that makes for an excellent film-going adventure.

Hemsworth is an indisputably charismatic actor, and he puts that charm into overdrive here as the confident, self-destructive Hunt. Bruhl, given a far better role here than in “The Fifth Estate,” is formidable as self-assured loner Lauda, who knows just how good he is but sees little value in human relationships. In the supporting cast, Alexandra Maria Lara, Olivia Wilde, Christian McKay, Stephen Mangan, and Natalie Dormer all make impressions as part of a tremendous whole. The script by Peter Morgan, who penned “The Queen” and “The Last King of Scotland,” among others, is superb, and represents both central characters with equal commitment. The film’s title is perhaps its best descriptor, and it’s hard not to be swayed by the excitement and the suspense present in this quality biopic.

B+

Saturday Night Movie Recommendations with Abe

Welcome back 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 theatres 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

Capital (recommended): Gad Elmaleh is the standout part of this decent French drama from director Costa-Gavras about an executive appointed to be a placeholder interim CEO of a bank who decides to make the most of his new opportunity. It’s an interesting and somewhat memorable movie. Now playing at the Paris Theatre and Regal Union Square. Read my review from yesterday.

New to DVD

Only God Forgives (anti-recommended): Director Nicolas Winding Refn’s first film since “Drive” pairs him with Ryan Gosling again, but the result is far less impressive, a stylized showcase of ultra-violence that doesn’t have much of a point other than to provide visually disturbing images.

The Way Way Back (highly recommended): This winning comedy was one of my favorite films from the 2013 Sundance Film Festival. The screenplay by directing duo Nat Faxon and Jim Rash is a blast, and the film features a terrific ensemble cast that includes Steve Carell, Toni Collette, Amanda Peet, Rob Corddry, Maya Rudolph, AnnaSophia Robb, and particularly Allison Janney and Sam Rockwell. It’s hard not to like this one.

Now On Demand / Netflix Instant Streaming

Our Day Will Come (recommended): This offbeat story about two French redheads who set out for Ireland with hopes of being accepted there, starting fights with those they think have wronged them along the way, is an alluring and intriguing film with both literal and metaphorical values. Vincent Cassel is particularly terrific as a psychiatrist with a penchant for causing a scene. Now available on VOD.

Movie with Abe: Capital

Capital
Directed by Costa-Gavras
Released October 25, 2013

Movies about banks and the possibility for corruption are not in rare supply these days. Many are documentaries exposing the wrongs committed by those who make an unequal share of profits as compared with their constituents, while others are scripted stories about climbing the ladder of power and the dangerously appealing nature of being on top. In this French film based on the 2006 novel “Le Capital” by Stéphane Osmont, one man finds himself catapulted to prominence and snatches it up eagerly and aggressively, only later stopping to ponder the consequences and figure out the best way to come out ahead in a cutthroat world.

Gad Elmaleh, a popular actor in France who might be most recognizable to American audiences for his small but entertaining role as the detective in “Midnight in Paris,” stars as Marc, a bank executive who has the ear and trust of the CEO, and who is put into the position as a placeholder when the CEO’s health suddenly deteriorates. No one means to take Marc seriously, but he bluntly demands a high salary and usage of executive privileges, affirming himself as more than just the removable puppet his peers want him to be. Marc purposely gets himself in over his head, making side deals with his American partners and obsessing over an alluring model despite being happily married to a very loyal wife.

Elmaleh is an energetic, appealing actor, and his performance is what ties “Capital” together. Marc dives into his new role with enthusiasm, unconcerned with what problems it may bring for him later, singularly focused on making his mark and making money. Among the cast, Gabriel Byrne, a non-Frenchman who unsurprisingly speaks mostly in English, is the only internationally familiar face, and this is hardly the best performance he’s delivered. The premise of “Capital” is a simple one, and its twists and turns are far from innovative, though they’re not meant to be. This is not a grand story about the financial crisis and how easy it is to bring about such a thing, but rather a lively tale of one man’s quest for glory. Seeing Oscar-winner filmmaker Costa-Gavras’ name in the credits might indicate more than that, but this is an ordinary film with a solid lead performance that is far from groundbreaking, but satisfying enough for what it is.

B

Movies with Abe: Our Day Will Come & Only God Forgives

Our Day Will Come
Directed by Romain Gavras
Released October 22, 2013 (VOD)

Only God Forgives
Directed by Nicolas Winding Refn
Released July 19, 2013 / October 22, 2013 (DVD)

Sometimes, two films released at the same time are natural candidates for being taken together, while other pairings are less immediately obvious. This week, two films that deal with extreme violence and those who utilize it arrive in homes, one on VOD and the other on DVD. At first glance, “Our Day Will Come,” the story of two redheads in France who begin a rampage in which they exact symbolic justice for all that redheads have been forced to endure, and “Only God Forgives,” director Nicolas Winding Refn’s follow-up to “Drive,” which sets itself in underground Bangkok, couldn’t be more different. Their themes, it turns out, are surprisingly similar, yet their styles and messages are not the same.

“Our Day Will Come,” which had a theatrical run back in 2010 in France, stars Oliver Barthelemy as antisocial teen Rémy, who is humiliated early on in the film by his teammates for refusing to shower naked and by peers when it is revealed that his online girlfriend is actually a guy. Psychiatrist Patrick, portrayed by Vincent Cassel, is first seen casually opening a bag of chips while listening to a patient talk about her troubles. The two soon unite and begin the long drive to Ireland, where they presume redheads will be well-treated, stopping along the way to purposely provoke people into physical confrontations, all for the sake of getting out aggression for the wrongs that have been done to redheads over time.

“Only God Forgives” begins with violence, as American Billy sexually assaults and kills a young prostitute, and is subsequently beaten to death by her father, who is encouraged to exact justice by the cruel Lieutenant Chang. The brutal police chief demonstrates his capacity for violence, regularly dismembering people to drive home his point and ensuring that they know the price for crossing him. When Billy’s mother Crystal, played by Kristin Scott Thomas, shows up in Bangkok, she chastises her other son, Julian, portrayed by Ryan Gosling, for not doing everything in his power to avenge his brother. From there, the bloodbath continues exponentially.

Both of these films deal with cultures of violence, where all parties, no matter how innocent, are subject to vicious attack. The former paints a compelling portrait of mental illness, showcasing one socially incompatible character alongside one who might once have better coped but has now chosen to be fed up with society. The latter purposefully sets itself in a world plagued by evil, where even the most blameless of characters are still guilty of verbal abuse and drug dealing. Violence for the sake of violence is something that feels excessive for the state of today’s world, and these two films both arrive at a disturbing end point from very different starting points.

“Our Day Will Come” is an intriguing film centered on Cassel’s magnetic deranged performance, thought-provoking in the way it externalizes internal turmoil. “Only God Forgives” incorporates far too much visual violence, following in the style of Quentin Tarantino, to no discernable effect. Scott Thomas’ memorable performance far outweighs the impact of the film, which is a disappointingly vague second directorial effort for Refn. Neither film is for the faint of heart, but if opting for a film of this sort, pick disconcerting conversation in “Our Day Will Come” over silent, stylized bloodiness in “Only God Forgives.”

Our Day Will Come: B+
Only God Forgives: C-

Movie with Abe: The Fifth Estate

The Fifth Estate
Directed by Bill Condon
Released October 18, 2013

It’s undeniable that WikiLeaks has had a transformative effect on how news and information are processed and relayed to the public in the current age. Therefore, bringing the story of the two people who had the ideology and made the website happen to the screen seems like an excellent plan. The translation doesn’t work, however, mainly due to the fact that, in great contrast to the ingenuity and technical innovation for which Julian Assange and Daniel Berg are famous, the film feels hopelessly familiar and uncreative, employing dated devices to make it feel hip and relevant when it’s actually anything but that.

From its opening moments, “The Fifth Estate” suffers from an extreme case of overconfidence, adopting the personality and outlook of its eccentric founder, Assange. As portrayed by Benedict Cumberbatch in a maniacal imitation, Assange is convinced that he is the smartest person he could ever meet, and purports to rely on no one for assistance. He certainly doesn’t ask for help, instead content to demand compliance from those he considers inferior to him – everyone – and then deny them the credit later. Berg, by contrast, is hopelessly devoted to Assange, always eager to please him at the expense of his own livelihood and self-confidence. Their relationship seems unhealthy at best, and Assange is cast as the indisputable villain, his fight for the openness of information paling in comparison to the excessive size of his ego.

“The Fifth Estate” is designed as a thriller, one which tries to tell its story in a showy, technological fashion. Displaying chat messages onscreen and scrolling text along moving walkways is far from fresh, and it does the film a considerable disservice. While some gripping stories are hinted at, other interesting components are skipped over altogether, and the content feels far from complete. The film is framed much like “The Social Network,” with two men positioned as the creators of a monumental idea, with one hogging the credit for himself (both are based on books by the one who is denied the credit, for the record), but displays none of the same editing and cinematography techniques that made that film so great. WikiLeaks seems worthy of being told in cinematic fashion, but this subpar drama, which creates intrigue in a less than compelling way, is not what it deserves. Respected British actor Cumberbatch and German actor Daniel Bruhl would do well to move this film to the bottom of their resumes, and to try to use their talents for more quality projects in the future.

D

Wednesday Oscar Watch with Abe

Welcome to the latest edition of a seasonal weekly 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 month 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 October 18th, 2013

Kill Your Darlings
This film features some terrific performances from the likes of Daniel Radcliffe, Dane DeHaan, Ben Foster, Jack Huston, and Michael C. Hall. Foster has come close to an Oscar nomination before, while Hall has earned TV accolades and Radcliffe is well-known because of the “Harry Potter” franchise. I don’t think any of them will be able to break through, but maybe the film could snag a Best Original Screenplay mention if it’s lucky.

12 Years a Slave
This is possibly the most buzzed-about Oscar contender to be released thus far this year. Count it in for Best Picture, and Steve McQueen in for Best Director. Though neither has managed an Oscar nomination before, Golden Globe nominees Chiwetel Ejiofor and Michael Fassbender should have no trouble getting nominated, while supporting actress Lupita Nyong’o will need to overcome not being well-known in the industry. Best Adapted Screenplay is a lock, and I imagine Best Cinematography, Best Film Editing, and a few other technical mentions will also come.

Films released May 2013

The Iceman (May 3)
Michael Shannon likely won’t be remembered for his midyear performance as a family man and killer, but it’s worth putting him on the map since he did get nominated in 2008 for his small role in “Revolutionary Road” and probably came close in 2011 for “Take Shelter.”

Iron Man 3 (May 3)
Marvel movies don’t tend to fare all too well with the Oscars, but this series does okay. The first and second films scored Best Visual Effects nominations, and the first also got honored for its sound editing. I suspect this one will end up with exactly one nomination, for its visual effects.

The Great Gatsby (May 10)
Baz Luhrmann’s Oscar track record includes an art direction mention for “Romeo and Juliet,” a costume design bid for “Australia,” and wins in both those categories, plus a handful of nominations, including one for Best Picture, for “Moulin Rouge.” This one didn’t go over well with everyone, and so I think art direction, costume design, and maybe cinematography are all that will be recognized this year.

Star Trek Into Darkness (May 17)
J.J. Abrams’ 2009 reboot of this franchise came close to getting nominated for Best Picture and probably should have in its first ten-wide field. The fact that it didn’t means this one won’t either, but it should be able to manage at least a few nominations, likely in the same categories where the first one showed up: visual effects, sound, sound editing, and makeup.

Before Midnight (May 24)
Richard Linklater’s decades-spanning trilogy comes to an end this year with this extremely well-received final installment. The second film, in 2004, earned a Best Adapted Screenplay nomination, and it’s likely that this one will as well.

Movie with Abe: All is Lost

All is Lost
Directed by J.C. Chandor
Released October 18, 2013

There’s something to be said for a one-man show. It takes commitment for one person to embody an entire cinematic universe, and to keep audiences watching when not one other person shows up on screen. It makes sense at this point in the career of respected actor Robert Redford, who is now seventy-seven years old, to embark on such a challenging endeavor. It’s a more intriguing and unconventional choice for writer-director J.C. Chandor, whose first film, “Margin Call,” featured an ensemble packed with talented players. Fortunately, its one-man journey is relatively engaging, staying mostly on course for the whole of its 106-minute runtime.

This film’s title conveys its bleak attitude, and, in one of the film’s few spoken lines, Redford’s unnamed protagonist utters that phrase at the beginning of the film before the story flashes back to eight days earlier. As the man sleeps peacefully on his boat, he wakes up to release that a shipping container has collided with his mobile lodging and has damaged the boat enough to let disconcerting amounts of water inside, ruining his electronics and forcing him to make serious repairs. As a storm approaches, the film’s promised darkness literally looms over the man as he prepares for an epic battle with nature.

This reviewer had the opportunity to screen “All is Lost” immediately following “Gravity,” another film about being marooned in a solitary situation with no hope of being discovered by passersby. The crucial difference here, aside from the space setting, is that Redford’s main character is definitively alone, whereas the two astronauts in “Gravity” at least had each other. By comparison, the other film is far more enthralling and intoxicating, but there’s an unmistakable grittiness to “All is Lost” which makes it worthwhile, and makes its endless sea setting feel completely infinite.

Throughout his career, Redford has been recognized much more for his work behind the camera than in front of it. Despite earning an Oscar nomination in 1973 for his lead performance in “The Sting,” Redford has become more admired for his directing work, winning an Oscar for helming “Ordinary People” and earning additional nominations in that category in other years. His turn here is emotional, but it’s hardly comparable to that of Tom Hanks in “Cast Away,” not embodying his film as spectacularly. The film as a whole deserves more credit, best thought of as “Life of Pi” without the tiger and the magic: an utterly real and human story about one man and his refusal to give up in the face of certain doom.

B

Tuesday’s Top Trailer: Her

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.

Her – Opening December 18, 2013

I caught the end of this trailer before “Don Jon” a few weeks ago, but it was only in the midst of my quadruple feature on Sunday that I had the chance to screen it in its entirety (twice, in fact). Spike Jonze is a completely unique director, ambitiously taking on wild projects like “Being John Malkovich” and “Adaptation” before more recently bringing the classic book “Where the Wild Things Are” to glorious cinematic life. For his fourth feature film, Jonze pens his first original screenplay about a man who falls in love with the artificially intelligent female voice of his computer. It’s a story that only Jonze could tell, and it looks mesmerizing. Joaquin Phoenix, who has struggled to come back to prominence after tanking his career with an inexplicable series of actions several years ago, earned himself an Oscar nomination for his portrayal of a cult member in “The Master,” and he seems more than qualified for this part. This appears to be a focused, hypnotic performance fully in line with the way that Jonze chooses to see the world. Amy Adams, Olivia Wilde, and Rooney Mara all offer excellent real-life female support, I’m sure, but I’m particularly taken with Scarlett Johansson as the voice of Samantha. She’s had a great year so far with an above-average emotive turn in “Don Jon,” and this looks to be another smart role choice. This film could be inconsolably weird, but I think it’s going to be wonderful, and should almost definitely earn Jonze and Phoenix some serious Oscar buzz.

Movie with Abe: Gravity

Gravity
Directed by Alfonso Cuaron
Released October 4, 2013

Sometimes, a premise seems extremely simple, and it’s hard to believe that it could play out over more than a few minutes. The concept of two astronauts being separated from their ship and drifting through space doesn’t sound all that enticing, though it’s certainly a terrifying notion. Leave it to Alfonso Cuaron, whose last feature-length film, “Children of Men,” was nothing short of astonishing, to make it into a workable and extensively captivating film, and to enlist the talents of two big-name Hollywood actors for what’s far from simply a paycheck.

George Clooney and Sandra Bullock both started out as comedians whose reputations as serious thespians took a while to catch on. Ultimately, both won Oscars, Clooney for 2005’s “Syriana” and Bullock for 2009’s “The Blind Side,” and they’ve now reached a happy medium between blockbuster and independent roles. This technically qualifies as both, since a $100 million budget is big, but the film’s arthouse director makes it count as something more than just loud sounds and dazzling visuals. These are two actors who don’t need to try hard to be good giving it their all as two astronauts with very different reactions to the unbelievable news that they’ve quite literally been stranded in space.

“Gravity” runs just ninety-one minutes, and it makes full use of that time to stick with its characters, leaving them only for a moment or two intermittently to remind viewers of the mesmerizing nature of their surroundings. The film’s cinematography is dizzying as Clooney’s Matt and Bullock’s Ryan go tumbling through space for minutes of end, but staying with them as they rotate over and over helps to convey the inescapable nature of being adrift. Though much of the filming process surely didn’t involve the two actors actually suited up in simulated space, it all feels devastatingly real and fully intoxicating.

The combination of Clooney and Bullock here works extremely well. Clooney is his usual smooth-talking, charming self, not missing a beat in his nonstop chatter, telling stories of his wild past over the radio before all hell breaks loose and then expressing a similar calm once it’s just him and Ryan. Bullock is a perfect foil, nervous and skeptical, but ultimately just as determined to survive. The film is fueled by their energy, and, as it progresses, becomes more engaging and interesting, culminating in a thoroughly satisfying conclusion to a story that could easily have ended on a less fulfilling note.

B+

Movie with Abe: Captain Phillips

Captain Phillips
Directed by Paul Greengrass
Released October 11, 2013

Director Paul Greengrass earned an Oscar nomination for Best Director in 2006 for helming “United 93,” a somber recreation of the struggle that occurred on board a plane hijacked and headed for Washington, D.C. on September 11th, 2001. Greengrass’ latest film, which stars Hollywood’s most likeable actor, Tom Hanks, is a fitting companion piece, a matter-of-fact adaptation of real-life events done without much cinematic flair. Like “United 93,” this film is deeply involving and thrilling, adept at turning nonfiction into a compelling story without making it seem excessively dramatic or staged.

Tom Hanks made a reputation for himself playing nice guys, sometimes in comic scenarios, like “Big,” and other times in more serious projects such as “Saving Private Ryan.” Hanks steps up here to play the surly, protocol-pounding Captain Rich Phillips, who was assigned a shipping route from Oman to Kenya which put him and his ship directly in the path of Somalian pirates looking for an easy score and a big payday. Though he’s gruffer than usual, Hanks still has that incredible charm, which works to his advantage as the captain who previously disciplined his crew for taking overlong coffee breaks puts himself in harm’s way to defend every one of them.

While “Captain Phillips” is very comparable to “United 93,” it’s also well-described as a more natural version of “Die Hard” or “Speed,” an action film that never lets up, keeping its audiences on the edge of their seats for the entire duration of the film. At two hours and fifteen minutes, this is not a quick ride, but as soon as Captain Phillips boards his ship, the pace of the film doesn’t let up. Its events aren’t meant purely to thrill, and the Somalian pirates are introduced well before they arrive on the ship, putting weight on telling the full story rather than focusing on creating artificial suspense.

“Captain Phillips” is an excellent instance of how a true story can be put on screen without doing any disservice to what actually happened. While certain events are sure to be exaggerated, Greengrass and screenwriter Billy Ray tackle the subject matter with respect and admiration. Hanks leads a committed ensemble, which includes a standout performance from Somalian-born actor Barkhad Abdi as the lead pirate who goes head-to-head with Phillips during their confrontation. This is a top-notch thriller that succeeds primarily because of the quality of its filming and story.

B+

Movie with Abe: The Prime Ministers

The Prime Ministers
Directed by Richard Trank
Released October 18, 2013

Films about Israel these days are often very hot-button and controversial. That’s doubly true of documentaries, especially last year’s banner year for the Oscars, which nominated two nonfiction films about current events in the Middle East, “5 Broken Cameras” and “The Gatekeepers.” The first was a scathing indictment of military treatment of Palestinian freedom fighters, while the second exposed the surprising views of the former heads of the Israeli Secret Service about the treatment of Palestinians. This chronicle of Israeli history and its leaders as seen through the eyes of one advisor is far less incendiary, and instead serves as an occasionally enticing look at crucial events in the country’s life.

This adaptation of Ambassador Yehuda Avner’s book, “The Prime Ministers: An Intimate Narrative of Israeli Leadership,” examines some of the most transformational moments of Israel throughout the past sixty-five years. Its wars in particular are covered in great depth, and it’s hard to be drawn in by the intensity of the unlikely nature of Israeli victory in any given situation. Throughout every administration, the mentality is the same: the State of Israel will survive and persevere just like the Jewish people have for so many years.

“The Prime Ministers” comes from Moriah Films, directed by Richard Trank and produced by the token rabbi member of AMPAS, Rabbi Marvin Hier. Like the company’s previous production, “It Is No Dream,” big-name actors are enlisted to provide the voices of its characters. Christoph Waltz, who voiced Herzl, is on tap as Menachem Begin, Leonard Nimoy as Levi Eshkol, Sandra Bullock as Golda Meir, and Michael Douglas as Yitzhak Rabin. Having familiar actors read the memorable lines of these historical figures is effective to a point, but doesn’t always do them justice.

It’s refreshing if nothing else to see a film that presents a country’s colorful history without much negativity, instead identifying the differences in strategy and outlook from various leaders. A film that doesn’t demonize Israel is a rare and important one, but it would have been exciting if this film was more evenly gripping and involving. Instead, “The Prime Ministers” comes close to doing something very interesting, but in presenting too wide a scope from a source who doesn’t seem like the best person to report on all of their activities. Nonetheless, it is a decent documentary with a positive message about its featured nation.

B-

Saturday Night Movie Recommendations with Abe

Welcome back 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 theatres 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

Kill Your Darlings (highly recommended): This was actually my favorite film from Sundance, and I’m so glad it’s finally out for more people to see. Daniel Radcliffe leads a superb cast as a young Allen Ginsberg, and this tale of young writers in a transformative time is a marvelous film that is fully intriguing throughout. Now playing at Landmark Sunshine and Film Society Lincoln Center. Read my review from Sundance.

The Prime Ministers (mixed bag): This documentary is a rare and welcome instance of a positive nonfiction portrayal of Israel, though it’s not nearly as interesting or engaging as it should be given its subject matter. Now playing at the Quad Cinema. My review will be up tomorrow.

12 Years a Slave (highly recommended): Director Steve McQueen’s follow-up to “Shame” is another marvelous collaboration with actor Michael Fassbender, who is excellent in a chilling role as a cruel slavemaster. Chiwetel Ejiofor is just one of many great performers in a superb ensemble, and the film becomes increasingly powerful as it goes on, telling an emotional and extremely involving story. This is sure to be an Oscar movie. Now playing at AMC Empire, Lincoln Plaza, and Regal Union Square. Read my review from yesterday.

New to DVD

Plush (anti-recommended): This edgy portrait of a miserable rock star who gets far too attached to the dangerous new member of her band who replaces her late brother is an incoherent and disturbing look at unsympathetic characters. It’s a far cry from Catherine Hardwicke’s feature film debut, “Thirteen.”

Now on Netflix Instant Streaming

In Bruges (highly recommended): This brilliantly witty and creative film stars Colin Farrell (in a Golden Globe-winning role) and Brendan Gleeson as hitmen hiding out in a very boring Belgian town. While it might be too coarse for some, it’s a fantastic and original delight for those who can comprehend the accents and enjoy the entertainment.

Movie with Abe: 12 Years a Slave

12 Years a Slave
Directed by Steve McQueen
Released October 18, 2013

Steve McQueen’s previous film, “Shame,” was a mesmerizing look at sex addiction with a staggering lead performance from Michael Fassbender. It’s no surprise, therefore, that McQueen would enlist Fassbender for his third film and their third collaboration, and that he would take on an equally weighty subject of an entirely different nature – slavery. McQueen’s adaptation of Solomon Northrup’s autobiographical tale of being sold into slavery is an engaging, heartbreaking, moving look at a miserable era of United States history through the eyes of a man thrown into unimaginable circumstances and whose struggle for survival is utterly captivating.

This is a tale told in a slow, deliberate fashion, portraying Solomon’s journey from free New York resident and upstanding musician to clearly educated slave with a distaste for taking the abuse of his alleged masters. Chiwetel Ejiofor, who has been a crucial player in films such as “Dirty Pretty Things,” “Kinky Boots,” and “Children of Men,” excels in the lead role, filling Solomon with real human passion and imbuing him with a strong will to persevere, always staying true to his convictions no matter the unbearable realities of his situation. His is a powerful and invigorating performance that guides the film through its bleakest moments.

Fassbender, as usual, is excellent. While previous roles in “Shame” and “Fish Tank” have let him use his eyes more than his voice, the part of the Bible-thumping cruel slavemaster Edwin Epps lets him talk more than ever before. His eyes still convey an exceptional amount, demonstrating the depth of his ability to devalue others and praise himself for his own severity. Pairing Fassbender and Ejiofor is wondrous, and these two performances are astonishing.

While the two leads are undeniably fantastic, the supporting cast is populated by talent as well, all used to brief but tremendous effect. Paul Giammati, Sarah Paulson, and Paul Dano convey an incredible penchant for vile behavior, while Brad Pitt and Benedict Cumberbatch represent a more humane sensibility. Lupita Nyong’o, Alfre Woodard, and Garret Dillahunt round out the stellar ensemble, all of whom contribute to a fully functional and affecting film.

“12 Years a Slave” is a quiet and unassuming epic, one which builds its impact by starkly portraying its disheartening events. Describable as a fully serious version of “Django Unchained,” this film incorporates harsh, often unwatchable violence and true evil into its plot, examining the sentiments of the time and its miserable injustices. McQueen is a skilled director, and this film is wonderful proof that his less intimate and grander projects are just as involving and mesmerizing as his less spanning works. This feels like an important and lasting film about slavery, and a memorable instance of top-tier filmmaking.

B+

Movie with Abe: Plush

Plush
Directed by Catherine Hardwicke
Released October 15, 2013 (DVD)

There are films that are edgy, and some that are just completely out of control. Before helming the first “Twilight” movie, director Catherine Hardwicke made her feature film debut with the intoxicating “Thirteen,” which starred Evan Rachel Wood and Nikki Reed as rebellious teenagers spiraling downwards as they sank further and further into sex and drugs. Her newest film, “Plush,” features characters in similar situations but at a later point in their lives, able to blame their dependence on drugs, alcohol, and sex on their rock star careers. Unlike her first film, “Plush” is tethered to nothing in particular, and gets completely lost as it descends into darkness with its protagonists.

Emily Browning, who starred in Zack Snyder’s “Sucker Punch,” plays Hayley, who introduces the film by recounting her life as a musician and the unfortunate loss of her brother and bandmate to a drug overdose. As she struggles to acclimate back to reality and be there for her husband (Cam Gigandet) and young twin children, she is hypnotized by the appeal of Enzo, her band’s new guitarist. As they gets closer and closer and he begins to show up everyone in her personal life, it becomes clear that something is very wrong, and Hayley is in way over her head.

The film’s dark turn isn’t exactly surprising, considering that it starts with an unexplained brutal murder by rock quarry which foreshadows the eventual creepiness of the second half of the film. Hayley is such a bratty, uninspired main character that it’s hard to feel too sorry for her, but her situation is so miserable that it’s just as difficult not to take pity on her awful situation. Enzo (Xavier Samuel), by contrast, is extremely unlikeable from the beginning, and even if he doesn’t seem fully villainous, he’s definitely off-putting.

Browning seems like she might be a talented actress, but she’s not given much to work with here, and her performance is far from exemplary. Gigandet, while much less oily than usual, brings nothing to the table, and Samuel is downright frightening, and not in a good way, as Enzo. Dawn Olivieri, on the other hand, is the film’s lone saving grace in a small part as Hayley’s manager Annie. “Plush” starts out overenthusiastically, gets melodramatic midway through, and then takes an irreversible turn for the improbable and outright laughable towards its end.

F

Wednesday Oscar Watch with Abe

Welcome to the latest edition of a seasonal weekly 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 October 11th, 2013

Captain Phillips
This movie is on my list to see this coming weekend, and so as soon as I see it, I’ll be able to offer a better prediction of how it might fare. By most accounts, the film is terrific, as is star Tom Hanks. A Best Picture bid might happen, as might one for director Paul Greengrass, but I think that Hanks is the film’s best shot, especially since this will be a big year for him with “Saving Mr. Banks.” A Best Supporting Actor mention for Barkhad Abdi will only happen if the film finds itself very popular with Oscar voters and if it isn’t outshone by late December releases.

Romeo and Juliet
This latest adaptation of the most famous Shakespearean play isn’t going to nab any major awards, but, like the 1996 incarnation, might merit a nomination for Best Art Direction or Best Costumes.

Films released March and April 2013

Oz: The Great and Powerful (March 8)
This “Wizard of Oz” reimagining is a good bet to be nominated for Best Visual Effects, and Best Art Direction and Best Costumes bids are also possible.

42 (Apri1 12)
This well-received cinematic realization of the Jackie Robinson story was looking like it might be an Oscar contender back in April, and Harrison Ford, who has only ever been nominated once, was thrown around as a contender. It could happen, but I think he’ll be forgotten by year’s end.

Oblivion (Apri1 19)
This post-apocalyptic sci-fi film could net a nomination for Best Visual Effects, but I’m not sure that it’s likely.

Mud (April 26)
I’d love to see this film get recognized for all of its terrific components, but I don’t know where it might show up. Matthew McConaughey could be considered a supporting actor, I suppose, since the kids are really the leads, and roles in “Dallas Buyers Club” and “The Wolf of Wall Street” could help bolster him to his first-ever nomination this year. Best Original Screenplay is also a possibility, and, though I think it’s out of the question, a Best Picture bid would be awesome.

Tuesday’s Top Trailer: The Secret Life of Walter Mitty

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 Secret Life of Walter Mitty – Opening December 25, 2013

Fantasy is a fantastic genre, and when it’s blended with an utterly boring real life, it can be all the more fascinating. Ben Stiller has directed movies before – “Tropic Thunder,” “Zoolander,” “The Cable Guy,” and his debut, the more serious “Reality Bites.” This, however, is an abrupt departure from everything he’s done before. He was surprisingly good in a more mature role in Noah Baumbach’s “Greenberg,” but here, he’s using the qualities that make him likeable but able to be taken seriously and taking them to a whole new level. The casting of other roles with actors like Kristen Wiig and Adam Scott indicates that this film must be playful to a degree, but having Sean Penn in a non-comic role suggests otherwise. What that should create is a marvelous hybrid of tones and moods to come together for an intoxicating and highly enjoyable film. It seems to me to be a combination of three different films: the reality-detached “The Science of Sleep,” the energetic excitement of a scavenger hunt in “Extremely Loud and Incredibly Close,” and the road movie nature of something like “The Way” with Martin Sheen. Its Christmas release date means that someone has faith in this movie to be a true crowd pleaser, and I think it might straddle the lines between box-office success and critical acclaim, and despite some enormous delays on production, it might even appeal to a wide variety of audiences of all ages.

Saturday Night Movie Recommendations with Abe

Welcome back 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 theatres 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

A.C.O.D. (highly recommended): This comedy, which I saw at Sundance, actually came out last week, but I neglected to write about it in the previous edition of this feature and couldn’t pass up the opportunity to do so now. Adam Scott leads a fantastic ensemble in this truly funny and entirely enjoyable story about love and divorce. Now playing at Landmark Sunshine and AMC Lincoln Square. Read my review from Sundance.

Concussion (highly recommended): This is another Sundance feature that I didn’t realize came out last week, but it’s also another one not to be missed. Robin Weigert stars as a happily married lesbian who begins living an unexpected and very intriguing new chapter in her life in this terrific, involving drama. Now playing at the Angelika. Read my review from Sundance.

New to DVD

The Lifeguard (mixed bag): Kristen Bell stars in this lukewarm story about a young woman with a terrific New York City job who moves home to work as a lifeguard. Kristen Bell can’t save this entertaining but aimless entry from Sundance.

The Look of Love (highly recommended): This biopic, one of the best films I saw at Sundance, enjoyed an incredibly brief and unmemorable run at just three U.S. theatres in July, and hopefully more people will see it on DVD. Steve Coogan is superb as Paul Raymond, the British Hugh Hefner, in this lively and engaging rollercoaster ride.

Now on Netflix Instant Streaming

The Rabbi’s Cat (mixed bag): I screened this Best Animated Feature-eligible entry for my Jewish Journal blog, Awards Material, and found it to be quite interesting. That didn’t, however, make it an excellent film, yet it’s definitely worth a watch for being a different kind of movie that addresses some unusual themes with impressive animation.

Wednesday Oscar Watch

Welcome to the first 2013 edition of this returning 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 October 4th, 2013

Gravity
I have yet to see this extremely well-reviewed space drama, but I hear only good things. It’s not typically Oscar’s cup of tea, but they’ll likely make an exception given the players involved. A Best Picture bid seems likely, and Alfonso Cuaron might earn his first Best Director nomination after mentions for his screenwriting in the past. George Clooney and Sandra Bullock, both Oscar winners, aren’t as likely to earn acting nominations, but it’s possible. I’d expect a handful of technical nominations to be sure.

A.C.O.D.
I loved this comedy from Sundance, and it would be really wonderful to see a fresh and original screenplay earn some well-deserved recognition. Adam Scott is a popular actor but seems far away from any Oscar attention, and this feels much more like a Golden Globe hopeful than a true Oscar contender. Richard Jenkins, Catherine O’Hara, and especially Amy Poehler would all be great choices.

Films released January and February 2013

Gangster Squad (January 11)
This movie has plenty of Oscar pedigree going for it, namely two-time Oscar-winner Sean Penn, nominees Nick Nolte, Josh Brolin, and Ryan Gosling, and eventual nominee Emma Stone. Its release date and mostly unenthusiastic reviews all but prohibit a warm Oscar reception, but an art direction or costume design nomination isn’t out of the question.

Warm Bodies (February 1)
It would be wonderful to see this very funny genre parody net a nomination for its adapted screenplay, but I suspect that’s far from reality. I also think that Nicholas Hoult was terrific, though I understand if Oscar voters don’t want to endorse an untraditional film like this one.

Side Effects (February 8)
Director Steven Soderbergh’s rumored last film is unsurprisingly not that, but I think that it was a more intelligent film than many might have expected. Rooney Mara is fresh off an Oscar nomination, Jude Law is a past nominee, and Catherine Zeta-Jones a past winner. If this film had picked up more buzz when it was released, it might have been a contender.

Tuesday’s Top Trailer: Oldboy

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.

Oldboy – Opening November 27, 2013

I saw this trailer almost a week ago before “Don Jon” at the AMC Lincoln Square. As I was selecting a preview to write about for this feature, I couldn’t get this one out of my head. It’s especially interesting because my opinion of the film and my expectations about it changed at the end of the trailer. At first, it seemed to me like one of the many films that has come out in recent years about wronged men hell bent on revenge that I haven’t bothered to see, like “Death Sentence,” and even more disturbing because of the unbearable length of the predicament in which its main character finds himself. Seeing Spike Lee’s names on the credits is a big enough draw, if only for the fact that he does choose intriguing, hot-button projects. This is much more in line with his recent films, like “Miracle at St. Anna” and “Inside Man,” than his earlier work, ambitious projects with one major narrative to tell instead of a handful of plotlines about interacting characters. I never had the chance to see the original “Oldboy,” which I’ve heard is both ultraviolent and excellent, and finding out that this film is in fact a remake of that makes it much more enticing. It’s still an unsettling subject matter, but knowing that the original is supposed to be so good. Josh Brolin is an actor who occasionally comes into contact with good roles, and this may well be one of them. Seeing Elizabeth Olsen in the cast indicates that she continues to make smart role decisions, and the variety of other actors in the cast – including Samuel L. Jackson, Sharlto Copley, Michael Imperioli, Lance Reddick, Hannah Ware, and Hannah Simone – indicate that this is a project on which people really wanted to work. I’m not sure if I’ll want to see it, but it does look like one thought-provoking and involving head trip.

Giveaway Winner!

Thanks to the whopping 56 people who entered to a win a survival kit from "This Is the End" from Sony Pictures Home Entertainment. The lucky winner is ZeroLuck. Please e-mail abe@movieswithabe.com to claim your prize!

Keep an eye out for future giveaways here at Movies with Abe, and please contact me if you have a prize for our readers! Oscar season is just around the corner, so stick around as posts get more frequent. In the meantime, head over to TV with Abe for reviews of all the new fall pilots!

Saturday Night Movie Recommendations with Abe

Welcome back 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 theatres 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

A River Changes Course (recommended): This Cambodian documentary explores the effects of the changing landscape in its country, as director Kalyanee Mam exposes the world to her home country and how its people are faring in this personal and powerful film. Now playing at the IFC Center. Read my review from yesterday.

New to DVD

Morning (mixed bag): Just one week after its theatrical release, this bleak drama is available on DVD. This is the feature directorial debut from actor Leland Orser, who previously made a short about the same subject matter, parents grieving after the death of their young child. While its aim is emotional, its characters are difficult to connect to and the movie never reaches a relatable or cathartic point.

Now on Netflix Instant Streaming

Brighton Rock (anti-recommended): This film noir starring Sam Riley and Andrea Riseborough wants to be a slick, stylized drama about a mobster on the rise, but it doesn’t get anywhere, stuck on being moody and unsure whether it wants to be taken seriously or not.

Fargo (highly recommended): This Oscar-winning 1996 film from the Coen Brothers ranks as one of my top ten favorite films. Frances McDormand, who won an Oscar for her performance as a pregnant policewoman, is incomparably fantastic, and William H. Macy, Steve Buscemi, and Peter Stormare are terrific too as some of the funny-sounding crooked people in North Dakota in this fabulous, one-of-a-kind black comedy.

Movie with Abe: A River Changes Course (Capsule Review)

A River Changes Course
Directed by Kalyanee Mam
Released October 4, 2013

Some documentaries tell a story and others evoke a personal passion. This film, which was a hit at Sundance, comes from Cambodian filmmaker Kalyanee Mam, who returns to her homeland to take a look at how the landscape of her country has changed due to industry and infrastructure, and the staggering effect it has had on its people. Mam gets close to the people and allows them to tell their own stories, explaining in great detail their daily lives and the way that they work so hard to try to support their families on meager wages. The subtitles for the native Khmer dialogue reveals that workers earn at most one hundred U.S. dollars per month, and the way that they think is inconsolably different from how those in first-world countries operate. This documentary digs deep and really gets to know its subject matter, presenting a worthwhile and thought-provoking look at how one country is responding to its own internal crisis.

B+

Movie with Abe: Don Jon

Don Jon
Directed by Joseph Gordon-Levitt
Released September 27, 2013

Joseph Gordon-Levitt is a rare success story. The 32-year-old actor started out his career on television, and shot to fame with a regular role on the comedy “3rd Rock from the Sun.” After a decent dent in independent film, Gordon-Levitt has been on fire, triumphing equally in action movies like “Inception, “The Dark Knight Rises,” and “Looper,” and comedies like “500 Days of Summer” and “50/50.” For his first feature-length effort behind the camera, Gordon-Levitt chooses drama, blending in comedy and parody for an extremely effective and involving story about an addict unable to recognize his addiction.

Gordon-Levitt’s first time behind the camera produces an extremely-stylized, slickly-edited product that truly understands its protagonist. Jon narrates his story, explaining the important values in his life and exposing his firm commitment to watching porn on a daily basis and finding more satisfaction in it than he ever finds in sex, which he also has quite regularly. Jon is unapologetic about his passions, even going to church routinely to confess his sins, only to be given a strict regiment of easy actions to get himself absolved. As always tends to be the case, all that changes when Jon meets a girl and can’t see straight anymore.

This film oozes New Jersey, giving all of its characters thick, unmistakable accents and imbuing them with distinguished, stereotypical personality traits – the young guy who works out and puts gel in his hair, the well-primped girl who is always chewing gum, the father who always watches TV, the sister who is literally glued to her phone, among others. That exaggerated portrait is an asset to the film, since Jon’s obsession fits in perfectly. Though it may be purposely overdone, “Don Jon” feels authentic, and when it does goes over the top, it’s to marvelous, deliberate effect.

Gordon-Levitt dons his accent proudly and gives a tremendously committed performance, toning his mannerisms like his character tones his body and creating a sentimental jerk who is easily endearing. Scarlett Johansson deserves equal credit for contributing an irritating but seductive romantic foil for him, much more complex than she initially seems. Though she appears at first an odd fit, Julianne Moore proves exceptionally competent as a classmate of Jon’s, and Tony Danza and Brie Larson perform to perfection as Jon’s parents. Gordon-Levitt and Johansson are on exactly the same page, and so is the rest of the cast. This movie works because of its ensemble’s efforts and its sharp script by Gordon-Levitt, and there’s never a dull moment throughout this poignant and very well-executed film that heads in unexpected directions.

B+

Tuesday’s Top Trailer: Diana

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.

Diana – Opening November 1, 2013

I haven’t had the chance to go to the movies all that recently, but that hasn’t stopped me from watching movie trailers. On one of my more frequented trailer sites, Movie-list.com, I got the chance to watch this theatrical trailer for what’s sure to be one of this year’s major biopics. Though I wasn’t completely enthralled, “The Queen” was a big hit back in 2006, winning an Oscar for Helen Mirren and plenty of other nominations, including a mention for Best Picture. Now, this is the other side of the story, the princess who was seen as a loose cannon and a rebel, but revered by the public as an icon. Naomi Watts, who earned an Oscar nomination for a physically and emotionally taxing role “The Impossible” last year, seems to have netted the biggest role of her career thus far, fully in the spotlight as opposed to some of her most impressive independent performances, in films like “Mulholland Drive” and “21 Grams,” and ready to show the world what she can do. It looks like she’s well-equipped for the role, and unless the movie flops, she’s all but guaranteed another Oscar nod and maybe even the win. It’s also a major showcase for Naveen Andrews, who appeared in the Oscar-winning Best Picture “The English Patient” seventeen years ago but has since come to greater cult fame for his work on TV on “Lost.” As her love interest, he’s almost unrecognizable, but this should be a great role for him. This movie is all about the story, and though it’s presented as a dramatic thriller of sorts in the trailer, I think it will likely be an extremely compelling and involving motion picture, both for its performances and the legacy of its protagonist.