JIM's Films

For this family, it takes a little less conversation and a little more action to connect if for only a moment.
    
Two brothers must fight against each other in a Mixed Martial Arts (MMA) tournament in efforts to better their lives.  
Brendan Conlon (Edgerton) is a high school physics teacher wrestling financial hardships and sees the MMA prize money as a way to keep his family under one roof. Tommy Conlon (Hardy) is a former Marine trying to forget his war crimes as well as his childhood under his father, Paddy Conlon (Nolte), in whom he seeks to train him and nothing more.

It’s a film that focuses more on the strained relationship between two brothers and the even greater struggle between two sons and their father rather than the competition. Between training and individual fighting matches, small arguments between either brother or father and son draw us closer to the actual cause of their separation.

Nolte makes us feel pity for a man that we shouldn’t feel bad for given past circumstances as described by both of his sons. Neither son shows cause to accept his persistent apologies, yet it still aches to see a man as quiet and desperate remain unpardoned.

As Tommy, Hardy performs exceptionally saying very little through the bulk of the film. His use of body language says a lot about the stubborn, damaged character he portrays. Ironically, it is his character for which we feel less pity; Tommy sees no reason to forgive his father or his brother. His interactions with either party are very cold and unkind. Hardy, without a doubt, disappears into this detached man.   

It’s hard to see children refuse to reconnect to their family after many years, but it’s that very feeling of irresolution that will make one root even more for a triumphant ending for both brothers.

Jim’s Rating: 9.8/10
 

It’s as if pretending you’re psychologically unstable might make people stop and pay attention.     

Nick Cassidy (Worthington) is an ex-cop who claims to have been falsely accused of stealing an expensive diamond. He threatens to jump off of a building to prove his innocence.

It’s a bold move to attempt to portray this particular plot well on the big screen. Although sad, the thought of someone taking their own life by jumping off of a building is a traumatic thing for family members, for friends, and for people watching. However, very few people would think of it as a way to distract the police department and the news media in order to prove one’s innocence. If anything, it would suggest one’s guilt rather than their innocence; however, the treat is what else is going on while all eyes are on Nick.   

The playful banter between Joey Cassidy (Bell) and Angie (Rodriguez) seems forced rather than necessary. While the reactions from the crowd watching below should suffice for the lack of humor under the circumstances, the mockery between both parties are out of place and not well executed.

Overall, Worthington keeps us well engaged in his character unraveling small details little-by-little; it leaves one wondering whether his intentions are that of an honest man or a criminal.

While it’s not a film that challenges us at all on an intellectual level, it’s an engaging action movie.

Jim’s Rating: 6/10
 

“Real Steel” is an adorable story about a broken father-son relationship that gradually mends itself with the help of several life-sized “Rock ‘Em, Sock ‘Em” robot boxing matches.

A reluctant father, Charlie (Hugh Jackman), sees a quick way to gain money and to convince his sister-in-law in believing that he’s turning a new leaf. He bargains with his sister-in-law’s husband to let his son stay with him over the summer.  

Surprisingly, this movie focuses more on the father than the son. Charlie is a retired boxer; the lack of available boxing matches has made him a bit more desperate for money. He is unable to find many opportunities to box—even if it’s through a machine — and he’s less than gracious when it comes to interacting with family and others.

Dakota Goyo is adorable as the young, sarcastic son whose obsession with robot boxing championships in combination with his father’s boxing expertise help them succeed in each match.

Thankfully, the robots in this film are made with animatronics instead of CGI. The actors are dealing with actual robots rather than having to rely on a green screen and estimating where each robot will be to talk to them. Each match feels like an actual robot boxing match, which makes each situation feel even more authentic.

The film, while engaging enough to keep one rooting for our father-son duo, has a few technicalities that may have been overlooked by the screenwriters and the director. Charlie and Max (Goyo), in the championship, face a robot that has been designed to predict its opponent’s next move. However, this very concept seems to go away once Charlie takes control of Max’s robot. Although it drills a small hole into our plot, it doesn’t take away from the overall story and Charlie and Max still remain closer to each other as father and son as a result.

Jim’s Rating: 7.8/10
 

A film that focuses on the human condition set against the tragedy that befell New York City, a day that still lives with us all.

Oskar (Horn) is a young boy whose father (Hanks) dies in one of the World Trade Center towers on September 11th. One year after he loses his father, Oskar discovers a key hidden inside a blue vase in his father’s closet. Determined to hold onto what’s left of his father, he ventures into the many parts of New York City to find out what the key unlocks. Along the way and through a series of flashbacks, we examine how Oskar views the world around him and the relationship between him and both of his parents.

The narration and the points of view are through the thoughts and vocal observations of a boy with Asperger’s syndrome. Oskar’s mind processes things differently than any of us do without this condition. It’s not just some average person experiencing the sights and sounds of New York City, but it’s a young boy who makes decisions and observations based on calculations and scientific fact, a boy who needs to make sense of every situation. The latter is something we all try to do: make sense of things that, upon first impressions, really don’t compute for any of us logically.

Throughout his journey, Oskar encounters different people and, in the end, his story affects them. It’s a story that should resonate with us all regardless our health issues or psychological stability. The story is set on the backdrop of a day that involved a personal attack on American soil. We may not have lost someone dear to us as a result, but it’s a story that reflects what little control we have over everyday occurrences and how we handle with those events.

It’s a brilliant, insightful film about a boy who has trouble making sense of everyday things coping with the loss of a loved one, moving on, and struggling to remain close to his mother (Bullock) after the Twin Tower attacks.

Jim’s Rating: 9.9/10

A period piece that will move and inspire you to stand for what you believe is right.

Skeeter Phelan (Stone) is an aspiring journalist who seeks to reveal life’s perspective from that of the “help”—African American females in the 1960s who worked as maids in residential homes for very little salary.

Hilly Holbrook (Howard), a popular, well respected housewife, wants a bill prohibiting “the help” from using their bathrooms and requiring a second bathroom to be installed in each home for their own personal use. Skeeter, who feels otherwise, marks this as an opportunity to start a novel for what she hopes induces change.

Risking her family’s reputation, Skeeter enlists Aibileen Clark (Davis) and Minny Jackson (Spencer) to contribute their own stories and recruit other maids to get a wider perspective regarding their challenging lives.

Davis’ performance is of a unique nature. Her portrayal is that of a very strong, but emotionally exhausted woman. Aibileen is an African American woman who works tirelessly each day to serve those who refuse to see her as an equal and who are also responsible for the tragic loss of a loved one. Her inimitable struggles are difficult to relate to, yet Davis’ style demands understanding and sensitivity.

Minny is the sharp-tongued, clever maid whose persistence and brashness help recruit other maids to contribute to Skeeter’s novel. She is easily the most memorable character providing the audience with a large amount of laughs; Spencer delivers this expert comedic timing impeccably.

Regarding the “help”, their struggles are hard to fully comprehend, but the film’s use of characterization and pathos make one so emotionally invested in the film that it compels one to reassess what actions have been taken to help those facing discrimination.

Jim’s Rating: 9.9/10

It is how a family copes and comes together to try to deal with the very last days of a loved one with a bit of a kick!

Matthew King, a lawyer, has a huge decision to make that’s going to affect everyone on the island of Hawaii including his family when his wife suffers a terrible boating accident and ends up in a coma. In her very last days, King must deal with the events that happened prior to her accident, his daughters’ erratic behavior, and a real estate decision.

George Clooney gives an excellent performance displaying equal amounts of frustration and anguish with his unfaithful wife, the connection he’s lost with his daughters, and dealing with their warped personalities and traits as a result. Shaliene Wooley, best known for her role in “The Secret Life of an American Teenager” shows us that she is capable of portraying a young woman struggling with raising her sister, losing and forgiving her mother, and helping her father cope. It’s a complicated role to play, yet she triumphs.

At first, the direction seems unclear; we are given too much all at once. Whether or not this is actually a ploy to get the audience to feel how overwhelmed King is, eventually the story’s main focus gravitates towards dealing with his cheating, comatose wife and finding the man involved with her dishonesty.

“The Descendants” is an honest family drama that balances the tragedy of losing of loved one with the comedy of raising two crude, opinionated daughters.

Jim’s Rating: 9/10
 

‘50/50’ is a well constructed comedy about the leading cause of death worldwide.

Based on the true story of Will Reiser, “50/50” is about a Seattle radio program writer, Adam (Joseph Gordon-Levitt), and his struggles with how the individuals closest to him react to his sudden, tragic news. Jonathan Levine, the director, lets the audience empathize with our protagonist, but for reasons not as obvious given Adam’s condition. It is because of this news that both people that are closest to him—his family and friends—and people that are paid to help him through this rough patch—his therapist—have more difficulty dealing with cancer than he does. It not only provides for comedic relief, but it is a valuable lesson.

Gordon-Levitt delivers a fantastic performance as a man who copes more with the reactions of others about his condition rather than his own ailment. Near the end of the film, however, he experiences a mental breakdown as he gets closer to a life-threatening surgery. It is then that we really see Gordon-Levitt’s true talent break through his character in handling the question as to whether or not he’d live through the surgery. Seth Rogan plays the quick-witted best friend who uses Adam’s illness as an excuse to win over women.

While his intentions are good, his methods are selfish. Nevertheless, his sporadic antics and sarcasm provide support and comfort for when Adam breaks up with his cheating girlfriend. Although frustrating, his cheating girlfriend, his ironic best friend, his ailing father, worrisome mother, and over-thinking therapist all supply us with plenty of laughs while dealing with distress. They are genuine reactions and that’s what’s makes the bulk of this film hilarious.

It’s a comedy that every one should see, even if only for one viewing. Sometimes the best way to deal with an illness is through laughter.

Jim’s Rating: 9/10

It’s an overhyped situation that provides us with the answer to what might happen if you give a small group of people the wrong idea of what it means to serve God.  

A local, militant church group starts rumors about a party to convince three teens into serving as results of “Satan’s handiwork” in this world.

Abin Cooper (Michael Parks) is the preacher of this small congregation whose messages reflect that of hatred towards homosexuals.

Kevin Smith builds on the fear of individuals using one of the most respected books in the world to justify violence against others and then he kicks it up a few hundred notches. Abin Cooper and his congregation not only believe that it is their duty to rid this world of those whom “God hates”, but they have made it their lifelong commitment. To help them, they have enough weapons for a small militia, which has kept them within eye-level with local government agents.

To this film’s demise, there are too many assumptions made regarding law enforcement. In order to undergo certain actions, all law enforcement — regardless of rank — must have certain procedures in place to ensure the safety of all people. If there are confirmed hostages within an area, specific protocol must be followed. Although the film’s climax provide the audience with a glorifying “fire fight”, the final decision in how to handle the situation seems too convenient even for the government agents making the call.

This straight-to-DVD film is a shocking, yet entertaining experience. Parks stands out as the defiant, abhorrent preacher whose terrifying teachings are enough to start a small war.

Jim’s Rating: 5/10

It’s amazing how often people never think about the consequences of past actions; the two main adults in this film are taught this very lesson.

Hanna (Roman) has been preparing her entire life to seek revenge on a research agent that murdered her mother. Erik (Bana), her father, trains her mentally and physically against many obstacles to prepare for an inevitable encounter. One day, Hanna finally makes the decision to hunt down Marissa Wiegler (Blanchett) in an attempt to end what has been a long search to kill Erik, the only person left that knows more than he should.

Erik’s secret is a twist that one would expect under the circumstances; however, it still has enough impact to startle. Concerning the direction of the movie, it seems to take a detour focusing on Hanna discovering a world unknown to her. As understandable as her confusion and curiosity may be, this deviation takes away from the flow of the story.

Cate Blanchett, while an intense actress, falls short in this role as her character is easily replaceable. Overall, the movie illustrates an excellent performance by Saorise Roman, good action sequences, and a lovely score. Roman approaches the role in a way that suggests that Hanna is a very detached young lady — a girl that, as hard as one could try, no one can easily identify with.

Ironically, while it’s hard to feel bad for a person who isn’t honest, upon hearing the score, the audience is meant to feel pity, if only for a moment, when Erik finally admits his true role in all of this.
    
It’s a subtle action film with a satisfying ending.  

Jim’s Rating: 6.5/10
 

George Clooney, in his directorial debut, shows us a realistic view of the corruption behind a presidential campaign.

Like the Shakespeare's "Julius Caesar," the bulk of this film plays out as a tragedy. We are introduced to Stephen Meyers (Gosling), a staffer for a newly appointed presidential candidate, Governor Mike Morris (Clooney). Meyers shows much promise throughout each day outlining every speech, every suit, and every conference.

Politics is a game of deceit and ambition. One must be willing to make certain decisions in order to insure that your message and your plans are placed above all others to ensure your position in government. It’s a lesson our protagonist must find out for himself and a philosophy Morris, Paul Zara (Hoffman), and Tom Duffy (Giamatti) live by every day.

Like Caesar, one of Stephen’s character flaws is trusting in the wrong people. Determined to keep his job and to earn a position in the White House, he puts his trust in, if only for a moment, members on the opposing side. Once this decision is made, it marks a turning point in the film for Meyers.

Ryan Gosling is excellent in playing the ambitious young campaign manager. Gosling has a focus and drive that is unlike any of his co-stars, all of whom are talented actors. His approach to the character really adds to Meyers’ desperation and determination to put Morris in the running for the next president.

The chemistry between Giamatti, Hoffman, and Gosling is compelling. There are two scenes towards the end of the film that in which Meyers is having an argument with Zara or with Duffy that showcase the true talent in all three of these men. In regards to the screenplay, these scenes provide audiences with more character development in showing the lengths as to which Meyers will go, the cleverness of Duffy’s deceit, and Zara’s disappointment in Meyers’ dishonest decisions.

Although the plot weans for a while from Meyer’s schemes into his romantic endeavors, it’s a well-told and beautifully- constructed film. “The Ides of March” is a sharp, political drama that follows a young man’s gradual character downfall from being respectable to cunning stemming from the seed of one tiny, selfish decision.

Jim’s Rating: 9.7/10

Sherlock Holmes and Dr. John Watson team up once again to solve a case in which only quick wit, playful banter, and physics-defying tricks will help defeat their most diligent nemesis, Professor James Moriarty.

James Moriarty is a brilliant professor who has a significant political influence in England and plans to expedite World War II. To ensure his plans are executed, he involves the brother of a young gypsy. Holmes offers to help the young woman find her brother in exchange for assistance in learning information on Moriarty’s exact plans.

Hans Zimmer gives us another exciting score—one that encompasses the liveliness behind our heroes’ comedic, brotherly-like repartee and the sequences in which we observe Holmes’ vigilant thought process.

In this sequel, there are more mini stories within the overall plot that are easy enough to follow and make it a more enjoyable experience than its predecessor. In addition, two of Holmes’ disguises go so far as to trick perhaps the most observant of audience members!

However, the ending suggests an insult to our intelligence. With blockbusters such as “Sherlock Holmes”, the director must create a dramatic finish to leave the audience craving yet another sequel. Nevertheless, one has to wonder to what lengths a production crew will go to in order to keep us entertained. For audiences familiar with Guy Ritchie’s style, especially pertaining to the first installment, he is well known for pushing the limits. Near the movie’s finale, the writers knock us overboard with a convenient way to get out of an otherwise difficult situation.

However, if one’s toleration for unrealistic stunts is more moderate, “Sherlock Holmes” is a very entertaining sequel with more of Holmes’ troublesome antics, Watson’s subtle, comedic timing, and an exceptionally clever villain. 

Jim’s Rating: 6.5/10

Finally, a time-traveling comedy without all of the technicalities.

"Midnight in Paris" is a subtle time-travelling comedy with a relatable message and wonderful performances by Owen Wilson, Rachel McAdams, Michael Sheen, and Marion Cotillard. The story centers around the character Gil (Wilson), who is a successful screenwriter who. While visiting Paris with his fiancée Inez, he struggles to write a novel.

No matter how hard he tries to keep writing the story—based on a main character much like our protagonist who is obsessed with the past—he cannot help but talk about moving to the beautiful city much to his wife’s dismay. By day, he competes with Inez’s friend, Paul, in having intellectual debates about art and literature. By night, Gil discovers that he can escape it all when he gets inside a car that takes him to a party downtown that is being hosted by the very 1920s literary scholars that inspire him.

At midnight, Gil is thrust into the '20s without any special effects or teleportation devices; the act of traveling through time just happens. “Midnight in Paris” is a film that is both comedic and didactic. The film plays on the concept that life may have been simpler in earlier times. When times are difficult, it’s easiest to reflect on how simple times were in the generation before, but that’s not the truth. In each generation, everyone faces hardships and wishes they could go back to when they felt “times” were less demanding.

It would have been nice to see the 1920’s characters reacting more to Gil’s unusual demeanor, especially for those times. While it might have added a bit more comedy and continuity, too much emphasis on this detail may have taken away from the general flow of the film.

Jim’s Rating: 9.5/10

“Colombiana” takes the saying, “Hell hath no fury like a woman scorned," to an erratic level.

Cataleya, as a child, watched as her parents were murdered by the order of a Colombian drug dealer. Even as a girl, she proved to be ruthless and cunning by managing to escape Colombia after dodging gang members.

When she finds refuge at her uncle’s house, she’s determined to become a professional assassin and to murder the accomplices in her parents’ death. As a sign to those responsible for killing her parents, a flower from where her name originates is left behind after each assignment. Cataleya’s “calling card” captures the attention of an FBI agent eager to make an arrest.

The obstacles that Cataleya go through require great skill, flexibility and agility. Zoe Saldana does this effortlessly and emphasizes an intensity and focus that is unlike any other role that she’s done. Her character is relentless, volatile, and blind. Cataleya’s actions and goals are, in her mind, justified in what she has been through and the consequences aren’t realized until the few people lives that she does care for are at risk.

“Colombiana” is a movie that’s sole purpose is for entertainment. Where it shines in action, it dramatically lacks in substance. Cataleya’s personality traits do not suggest that she have a love interest. It seems more like an attempt from writers to make Cataleya less of a flat character. Danny’s only useful role provides for a convenient lead to track down Cataleya.

While the story is entertaining, the editing is poorly constructed. Each scene by itself works as its own story, but when they are put together in the order they are presented to us, it makes less sense relative to the overall plot.

Jim’s Rating: 5/10

“War Horse” is a unique portrait of the war on both sides of the fray.

Albert is the son of a poor father who’s battling to keep the farm. In an effort to restore it, he buys a horse. To his dismay, the horse isn’t fit to plow the field and, in a drunken stupor, he threatens to get “rid” of the horse.

Albert, distraught and mesmerized by the horse’s beauty, offers to train the horse—whom he names, Joey—and through perseverance, patience, and desperation—he gets Joey to plow the field.

Unfortunately, a terrible storm destroys the crops and, as a last resort, the father sells the horse to the English army. Heartbroken, Albert vows to Joey that he will find him again someday.

It’s a film through the point of view of a horse, Joey, whose non-speaking role drives the story. The audience must rely on the actions and body language of a strong, intelligent animal.

We have a front-row seat to compassion and hatred being emphasized on both sides in both citizens and soldiers. We are also shown the cruelty in Germans that we have come to know through years of cinema, and yet, in this film we are also shown an uncommon, tender side with that same enemy.

The cinematography is warm and inviting; it’s clear and as mesmerizing as its main character.

Although brilliant, the story is a bit too melodramatic at times, especially in scenes when humans must decide the fate of the beloved horse. Characters are too concerned with its safety and well-being. It pushes too hard by trying to tug at our heartstrings rather than giving the facts.

Nonetheless, "War Horse" is a deeper look into the first World War and into the minds of the soldiers that fought it. War is both cruel and rewarding; it’s an event that affects us all whether human or creature.

It is the journey in which the horse makes that has one yearning for the reunion of the horse and the young man whose personality mirror that of his friend.

Jim's Rating - 8/10 

Finally, a violent movie that illustrates what a battle amongst gods and titans looks like.

King Hyperion is a man who seeks the Epirus Bow to release the Titans in an attempt to destroy the gods whom he feels he’s been wronged by. In Hyperion’s desperate search, he hears a prophesy suggesting that a young stonemason, Theseus, will defeat him. At Hyperion’s hand, Theseus’ mother is murdered to threat Theseus should he decide to rise against the tyrant king. Nevertheless, Theseus vows revenge, races to find the Epirus Bow, and helps lead an army against Hyperion. 

Henry Cavill has an intensity that suggests he not be trifled with which translates nicely in this film in both the action sequences and his emotional scenes. Although his character is hardly round, Mickey Rourke’s approach to Hyperion almost suggests no need for more than a one-dimensional portrayal. Rourke shines as an intimidating man and one who is fiercely determined in achieving one specific goal.

Tarsem Singh has an amazing talent as an artist to engage his audiences in his stories. The cinematography makes the battle scenes look as though it’s a fight among supreme beings with the way that the gods use their influence on both time and space to fight. 
    
With each action film, there’s always pressure to add a touch of romance to make the film more versatile. In fact, with the way the story unfolds, there’s no point in a love interest! It comes in the form of an oracle agreeing to assist Theseus in his journey to finding the Epirus Bow. After having just met Theseus, she decides to take him as a lover. From that point on, she has no more use other than to nurse him back to health in a later incident.

"Immortals” is a violent, visually brilliant take on a familiar mythological revenge story that makes for a very entertaining experience.

Jim's Rating - 7/10

Utilizing an excess of symbolism isn’t always the greatest tool. While an incredible story, the film ends up being longer than it needs to be.

Brad Pitt, in yet another role that highlights his acting skills, plays a father whose harsh methods in discipline test the innocence of his eldest son, Steve. Until we see his father behave this way, Steve has always viewed the environment in the eyes of his mother, a young woman who has a graceful, caring outlook on life. However, her views are constantly being severely challenged by his father, which leaves Steve testing the gray areas between what’s right and what’s wrong. 

Terrence Malick ensures that we see a little piece of the big picture in each frame. With narration to go along with these small fragments, each character admits their inner most thoughts and feelings, which only adds more power and purpose behind the underlying message in this film.

While the story is relatable in the way that it tackles the struggle we all have with growing up and understanding our parents’ morals, there is still the unnecessary amount of symbolism used in this film.

We are immediately brought into the news of a tragic loss to the family and the mother’s inner conflict with understanding God and her faith in Him. Malick, then, devotes twenty minutes to the film to images depicting the birth of the universe as a response to the mother’s question about their purpose on Earth.

Additionally, throughout the film we are reminded of Jack, the middle brother who witnessed Steve’s downfall, as an adult. At the end of the film, we are led to believe that he has reconciled his differences with both of his parents in yet another symbolic sequence. Even though we are provided the results of their parents’ upbringing, the story is ultimately about the eldest son’s transformation leaving the glimpse at Jack as an adult superfluous.  

Overall, it’s a beautifully made film with its outlook on one’s inner conflict with family, principles, faith, and adolescence.

Jim's Rating - 8/10 

Do not trust the trailer — holiday movie “Hugo” is not what it seems. Sure, it has fun parts and a great story, but you had better have your box of tissues ready.

The character Hugo is a young boy working as a clock mechanic in a train station in Paris, France. His father having passed in a fire leaves behind a broken automaton, a robot-like toy that can perform a remarkable task. Having learned how to repair clocks, toys, and other gadgets from his father, he obsesses over fixing the automaton to discover what he believes is a hidden message from his father.

In working tirelessly over repairing the automaton, he’s caught attempting to steal a toy mouse from an old toy mechanic in hopes to use the parts. Angry, the old man demands Hugo to empty his pockets. Reluctantly, Hugo pulls out a small notebook that will expose secrets — secrets that mend loose ends for both characters’ lives.   

Martin Scorsese is a very unique and gifted storyteller; the characters are very well rounded, each having very distinct traits. The story flows almost perfectly save for the choppiness and lack of dialogue in the beginning.

Hugo is worth a few tears for what its passionate characters and its lovely ode to classic film invent for its characters and audience.

Jim's Rating - 9.5/10