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Watch The Nut Job Streaming Free.The Nut Job is a delightfully goofy slapstick cartoon with a surprisingly dark heart.
Watch The Nut Job Putlocker Full Movie Once Surly and Buddy case the joint, develop a plan, and deal with the inevitable surprises, The Nut Job could be any classic caper flick.
Watch The Nut Job Online Free The small-town setting of a half-century ago is beautifully animated by director Peter Lepenotis and his team, and there are some nicely staged old-school action sequences. Watch The Nut Job 2014 Full Movie
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We can all be a little nutty, but none more than the animals of the park. Surly the Squirrel is the brains but not always bright. Buddy the rat Surly’s sidekick, Grayson is the narcissist and Andie the one who wears her heart on her sleeve, Precious the pug who just wants to belong and Mole super loveable. Plus Bruisers (a tag team of brothers and diggers) and Racoon the leader of Liberty Park. This is the crew set to take on the world, or at least the nuts in Nut Job which hits theaters Jan 17, 2014
In animated 3D, “The Nut Job” is an action-packed comedy that follows Surly (voiced by Will Arnett), a mischievous squirrel, who must plan a heist to get into his town’s biggest nut shop in order to help his pals in the park gather food to survive the winter. Together with his sidekick, Buddy, he will assemble a ragtag crew to help him get inside – and take them on a fun-filled adventure they’ll never forget.

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"Jack Ryan: Shadow Recruit" (2014)

Starring Chris Pine, Kevin Costner and Kenneth Branagh
Written by Adam Cozad and David Koepp
Directed by Kenneth Branagh
Rated PG-13 - Violence, language
Running Time: 105 Minutes
Trailer

John P. "Jack" Ryan (Chris Pine) is an analyst working for a major Wall Street firm. He's a former Marine, injured in Afghanistan, who had a long and painful road recovering.

He also secretly works for the CIA. Recruited by Tom Harper (Kevin Costner), it is Ryan's job to monitor the economy for any sign of funding being funneled to terrorists. When Ryan uncovers some strange doings by a Russian company partnered with his own, he heads to Moscow to investigate further.

But Ryan's enemies know he's on their trail, and upon arriving at his hotel, Ryan is attacked by the man who's supposed to be his bodyguard. Barely surviving, Ryan contacts the CIA and meets up with Harper who convinces him he needs to stay the course and help him figure out exactly what is going on at the company headed by Cheverin (Kenneth Branagh).

Ryan begins to suspect that Cheverin is planning some kind of terror attack designed to cripple the United States economy. But Ryan is thrown when his girlfriend Kathy (Keira Knightley) appears in Moscow to surprise him. Now she's drawn into the same dangerous world Ryan finds himself thrust into, trying to avert a devastating blow to America that would kill thousands.

"Jack Ryan: Shadow Recruit" comes on the heels of the death of Tom Clancy, who created the Ryan character, in October of 2012. It's unfortunate, then, that such a middling film bears Clancy's famous name. "Jack Ryan" isn't a bad film, but it's just so very generic that it's hard to care all that much.

The weakest part of the film, bar none, is the script. The cast is stellar, direction by Kenneth Branagh is sharp, but the story just feels slight and uninspired. Pacing is an issue in the sense that the film just sort of rockets along without really much examination of the events that are transpiring. It feels like every aspect of the story, from the characters to any of the themes or ideas presented, are just given the most basic lip service and then we're gone.

The cast are all game. Chris Pine has charisma to spare, and always feels believable as an analyst who is also capable of being a fighter. During the action sequences, Ryan is in over his head, but he also knows how to take care of himself thanks to his experience as a Marine. But like Ben Affleck before him, there's something about this film that keeps him from feeling like... Jack Ryan. Now, of course, Ryan himself isn't a character who is easily defined. He's been played previously by Alec Baldwin, Harrison Ford and Affleck, and each one of those actors did it their own way. Pine does so here, and he's very much just... Chris Pine, as each of those actors previously never really created a Jack Ryan character on screen that is definitive.

This isn't necessarily a bad thing; Pine is always a pleasure to watch, as those other actors often are. But it means that the Jack Ryan character never really feels as iconic or special as perhaps he should. There really aren't too many "economic analyst" heroes out there, so Ryan has a lot of potential that feels rarely capitalized upon on screen.

The best role in the movie belongs to Kevin Costner, who plays the part of Ryan's handler, Harper. He imbues the character with something that feels meatier and more real. While each of the characters gets a moment that gives us hints at their backstory and motivations, Harper is the one who feels like the most interesting character in the movie. He consoles Ryan after Ryan kills his would-be assassin, but he also pushes him to continue the job. He protects Ryan, but he's also the one pushing him into more danger. It's an interesting concept and Costner plays it with just the right mixture of boss, friend, and father figure and he gets it right.

Branagh plays the villain well enough, but like the other characters, it's all performance without a lot of writing to back it up. He's a very cold presence, only really warming up at all during his dinner scene with Knightley. For the most part, he glowers and delivers his standard villain dialogue. He feels threatening enough, but there's little reason given for why Cheverin is doing any of this. Of course, we're told that he's working for elements of the Russian government with anti-American interests, but... so what? Why does he do that? Is it because he was wounded during the Russian invasion of Afghanistan in the 1980s? The film gives hints, but isn't particularly clear.

Branagh also directs the film, and he proves once again that he's a talented director. In less sure hands, "Jack Ryan: Shadow Recruit" wouldn't be nearly as watchable as it is. It moves along at a brisk pace, perhaps to its own detriment, but is never boring. It just feels slight, but it's always attractive and moving. The action sequences pop, you're never lost wondering what's going on. But like the script, they don't feel particularly memorable in any fashion. You've seen all these chases before.

In the end, "Jack Ryan: Shadow Recruit" is a thoroughly generic action thriller with a few good flourishes, kept afloat by good casting and direction.

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"Lone Survivor" (2013)

Starring Mark Wahlberg, Taylor Kitsch and Ben Foster
Written and directed by Peter Berg
Rated R - Strong violence, language
Running Time: 121 Minutes
Trailer

In 2005, a four-man Navy SEAL recon team consisting of Marcus Luttrell (Mark Wahlberg), Michael Murphy (Taylor Kitsch), Danny Dietz (Emile Hirsch) and Matthew Axelson (Ben Foster) is dropped onto a mountain in Afghanistan. Their mission is to scout the area surrounding a remote village where a Taliban leader named Ahmad Shah (Yousuf Azami) is believed to be hiding a week after orchestrating an attack that killed 20 US Marines.

At first, the only trouble the men run into is problem with their communications. But high up on the mountain, they manage to locate their target and set the stage for phase two of the operation. But while waiting for their backup, the team is discovered by three goat shepherds, one of whom is just a young boy. After a brief argument, the team decides to let the shepherds go and change positions.

Unfortunately, one of the shepherds alerts Shah's men that the SEALs are hiding up in the woods, and soon enough the mountain is crawling with enemies. The men are outnumbered and outgunned. Not knowing if or when backup will arrive, the team must rely on only themselves as the enemy forces close in from all sides.

Based on the real-life Luttrell's memoir, "Lone Survivor" is definitely an ode to US Navy SEALs and the training and ordeals they endure. As a film, it's well made and often thrilling, though apparently it takes a number of liberties in order to make it that way.

I haven't read Mr. Luttrell's book, so I can't really comment on what's changed, but as usual, I like to take the film for what it is rather than what's been altered. The characters in the film all have a very easy chemistry with each other, making some of the early scenes of them and their life on base some of the film's highlights. Sprinkled throughout the middle and second half of the film are also a few moments of levity between the men that help relieve some of the pressure for the audience.

The actors all deliver, but at the same time, there's not a whole lot of depth here. The film makes these characters human through their interactions, but once they're dropped onto the mountain in Afghanistan, they're pretty much all business. The single scene in which the team argues over what to do with the goat shepherds is intense, maybe even more so than some of the film's lengthy shootouts or deaths.

Aside from that scene, the film doesn't really explore the morality of these men's actions, and that might be the film's only big failing. Because for how thrilling and well made it is, it also ends up feeling somewhat slight. It doesn't feel like it does enough to make me care about the characters in more than a surface, perfunctory way. I still cared, but not as much as I think the film wanted me to.

But, plotwise, you know what you're getting into with a film titled "Lone Survivor" right? The fact that the movie opens with Wahlberg's Luttrell being airlifted back to base and nearly dying on the operating table practically spoils everything. It's possible this is meant to make the events of the film feel more tragically inevitable, but I didn't have that particular feeling as an audience member. What was more successful was creating suspense during the action sequences of the middle of the middle of the film. Because although I recalled that Luttrell is the only one to make it out alive, the film has a keen "will they make it?" sense during these parts.

The film is also keen to make sure that although the Taliban fighters are essentially faceless, nameless cannon fodder, we do not think that all of the people of Afghanistan are evil, AK-47-toting nutjobs screaming for the death of America. Thankfully, there are some kindly folk who come to Luttrell's aid, and it helps keep the film from being an entirely one-sided, ra-ra-America piece.

The action sequences are impressive to say the least. Most of the gunfights involve lots of real stuntmen running at each other and fighting, real splatters of fake blood (yeah, I know how that sounds). Special note has to go to a couple of sequences in which the team retreated down rocky cliffsides - painfully. The filmmakers apparently had real stuntmen throwing themselves onto rocks, and it all looks incredibly real and painful on film. It's one of the movie's more effective action sequences, and had the audience in the theatre reacting audibly.

If you're looking for a factually-accurate telling of this story, I'm not sure "Lone Survivor" will do it for you - you may want to read Mr. Luttrell's memoir instead. "Lone Survivor" is a pretty good way to spend a couple hours at the theatre. I didn't find it a powerful war film, but like "Black Hawk Down," to be a thrilling one. If these sorts of films are your thing, you'll find a lot to like in "Lone Survivor."

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"The Wolf of Wall Street" (2013)

Starring Leonardo DiCaprio, Jonah Hill and Margot Robbie
Written by Terence Winter
Directed by Martin Scorsese
Rated R - Strong language, frequent drug use, graphic nudity/sex, some violence
Running Time: 179 Minutes
Trailer

Jordan Belfort (Leonardo DiCaprio) is a man destined to be rich. Arriving on Wall Street in his early 20s, he quickly catches the notice of the brokers above him, including Mark Hanna (Matthew McConaughey) who takes him to lunch and teaches him the secrets of his success. Soon enough, though, the market crash of the late 80s leaves Belfort jobless. Desperate, he takes a position selling penny stocks at a small accounting firm where he's shocked to find he can make 50% commission selling junk stocks to desperate losers.

Inspiration takes hold. Belfort practically takes over the place, up-selling these lame stocks with the promise of huge profits and taking massive commissions. It's not long before he starts his own firm with his neighbor, Donnie Azoff (Jonah Hill). Belfort hires a bunch of his childhood friends, most of whom are just drug dealers, and teaches them how to sell stocks over the phone.

Business booms, and Belfort's firm quickly explodes onto the Wall Street scene. And now he's got a new target: Rather than sell junk stocks to desperate people for a few thousand dollars, why not sell them to rich people for much, much more? With all of his fantastic success, Belfort's life becomes a roller coaster of debauched excess. He falls for a former model, Naomi (Margot Robbie), and it ruins his first marriage to a hair dresser Teresa (Cristin Milioti).

His office is so out of control, he's forced to hire his father "Mad" Max Belfort (Rob Reiner) to keep everyone in line. That includes declaring the bathrooms "No-fuck zones" to keep employees from having sex during working hours.

All of this catches the eye of FBI agent Patrick Denham (Kyle Chandler), who becomes determined to unravel Belfort's life. But Belfort's escalating drug use and misbehavior might make that job easier...

It's always a fine time at the movies when Martin Scorsese teams up with Leo DiCaprio. I'm a big fan of previous collaborations "The Departed" and "Shutter Island," so I was very excited to see what these two came up with this time.

"The Wolf of Wall Street" is a strange film, with many highs and one egregious low. The film is riotously funny, a brightly-colored film full of very dark comedy. It is filled to the brim with great performances from a talented cast, with even the smallest roles seeming perfectly filled. The film has an energy that is hard to deny, and is full of attractive, well-composed images.

But its running time is just too damn long.

I can see why the movie is three hours: it's full of fantastic material. If I'd shot that much golden footage, I wouldn't want to cut it, either. But the simple fact is that I felt exhausted coming out of the movie. Even as I was enjoying watching Belfort's life spiral hilariously out of control, I was becoming more and more painfully aware of how long I was spending sitting in this movie theatre.

Despite that, "The Wolf of Wall Street" is incredibly entertaining. DiCaprio commands the screen as he does his underlings. He's capable of whipping his employees into a fervor, standing on a stage at the front of the office he seems more like some kind of preacher than a stock broker. And make no mistake, these men and women positively worship him. And it's easy to see why. DiCaprio exudes just the right attitudes to draw you in, with a role full of rage, drive, and comedy. And even in the few precious moments when Belfort sees a glimmer of how terrible he is, DiCaprio never falters.

The rest of the film's roles are filled out with lots of talent, as well. Jonah Hill is perfect as Belfort's best bud, talking through a set of hilariously odd false teeth. There's a sense of Donnie that he's just not quite there, not quite right, and Hill nails it. Some of the biggest laughs in the movie come from Hill delivering a line almost in a whisper, with a straight face.

One of the film's best sequences involves DiCaprio and Hill's characters so high on quaaludes that they become slurring, drooling idiots on the floor. This sequence has to be seen to be believed, especially the punchline about Belfort's Lamborghini.

The rest of Belfort's buddies all get moments to shine. McConaughey's lunch scene is a howler. A scene in which the brokers are interrogated by the SEC is also gold, with the cast just delivering awkward variations of "I have no recollection of that."

Probably the film's most serious role goes to Naomi, Belfort's second wife. While Margot Robbie has no shortage of comedy herself, she's also the one who seems the most traumatized by Belfort's actions. Later in the film, more and more of the interaction between Robbie and DiCaprio are screaming matches. There is a scene late in the film at the absolute low point of their marriage that is almost shockingly out of place considering the comedic tone of the rest of the film, but both actors grab hold of it and don't let go. It's this scene that often makes a lot of the straight comedy sequences in the film feel almost inconsequential - as though the film's promise as a dramedy is showing through.

There are so many funny scenes jammed into "The Wolf of Wall Street" that it's difficult not to just list them all here. But that may be the film's ultimate failing - as funny as it is, that's kind of all it is. We're interested in these characters and their escapades because they're hilarious, but the film doesn't seem interested in indicting them for the awful things they do, either. Perhaps it's smarter that Scorsese and Winter don't really take a moral stance on it, or perhaps the stance is, "Hey, look at these buffoons." Perhaps we're meant to point and laugh at them... while they screw us out of our money with impunity.

Either way, the fact remains: "The Wolf of Wall Street" is hilarious and entertaining. But it is too long, and at the end, it might feel like it doesn't amount to much. If you only appreciate it for its comedy and performances, then by all means do so. If you're looking for deeper meaning or some kind of point to it all... you might be disappointed.

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"American Hustle" (2013)

Starring Christian Bale, Amy Adams and Bradley Cooper
Written by Eric Warren Singer and David O. Russell
Directed by David O. Russell
Rated R - Strong language, brief nudity, sexual situations
Running Time: 138 Minutes
Trailer

In the late 1970s, Irving Rosenfield (Christian Bale) has found a sort of happy balance in his life. Sure, he's not really happy, but he's moderately successful at his business that allows him to live a fairly comfortable life with his wife Rosalyn (Jennifer Lawrence) and adopted son Daniel. What is that business? Well, Irving owns a chain of dry cleaning businesses in New York and New Jersey, but his real business is conning people.

Irving makes a good living selling and trading fake or stolen art, in addition to sharking $5,000 at a time from desperate people looking for a loan. All this changes, however, when he meets Sydney Prosser (Amy Adams), a young woman, like him, looking to get a leg up in the world. Prosser is desperate to reinvent herself, and Irving gives her the perfect opportunity. Together, they expand Irving's loan-con business and things start to go pretty well.

Until they get ensnared in the grasp of ambitious FBI agent Richie DiMaso (Bradley Cooper). Richie threatens to toss Sydney (now going by the name 'Edith' and speaking regularly with an atrocious British accent as part of her new identity) in prison unless she and Irving help him snare some bigger fish.

That fish is Carmine Polito (Jeremy Renner), family man and beloved mayor of Camden, New Jersey. Carmine's big ambition is to revitalize Atlantic City, which, despite the recent passage of gambling laws that would allow for massive casino resorts, is a total dump. Soon enough, Irving, Richie and Syd have their hooks in Carmine and the sting is on.

But that's not enough for Richie. When Carmine hangs even bigger and bigger fish in front of him, Irving, Sydney and Rosalyn find themselves falling deeper and deeper into a more complicated, dangerous game they might not even get out of alive.

You'll note that I didn't say much about Jennifer Lawrence in the plot description. That's because, in terms of screen time and general plot importance, her role is somewhat minor. This film mostly focuses on the three leads played by Bale, Adams and Cooper. But make no mistake: Lawrence is special. She owns absolutely every scene she's in, and makes more of an impression overall than any of the other actors in this film - and they're no slouches, either. In a film made of solid-gold performances, hers is the crown jewel.

Rosalyn is a deeply twisted, manipulative bitch... and she may not even realize just how truly toxic she is. The way she's able to worm her way through the people around her to get what she wants is almost sadistic, if you didn't also feel so bad for her. In that way, Lawrence's performance is exactly like her character. She makes you feel for her, and then she snatches it away and uses it against you - just as she does to Bale's Irving. In particular, there's a scene in their bedroom after Irving has been attacked and threatened by mobsters in which Lawrence just steamrolls over Christian Bale and it's truly fantastic.

And, as I said, the rest of the cast is all great. Amy Adams' British accent is terrible, but it's also supposed to be. A running theme in the film is how gullible people are when they want to believe something, so it really doesn't matter that "Edith Greensly" seems so fake - in fact, it helps sell the comedy of the film. Cooper's reaction when he finds out her true identity is a riotous moment, made all the funnier because she's so obviously a fake and he can't even see it because he's so enraptured by her (and the promise of sex).

Christian Bale once again disappears into a role, gaining a whole bunch of weight and make-up magic to create a truly epic combover. Irving is a man torn in a number of directions, a con artist who isn't entirely bad. He does genuinely care about people, particularly Syd and Carmine and Daniel. He even wants Rosalyn to be happy, even though he recognizes how fucked up she is. He spends most of the movie hiding his eyes behind a pair of tinted glasses, but when he takes them off and pleads, there's a subtle power to it - like Syd dropping her accent, it's Irving pulling off his own disguise.

Bradley Cooper is also excellent as the overly-ambitious Richie DiMaso. As his con gets bigger and bigger, Richie grows more and more out of control, even assaulting and threatening his own boss. He feels close to success, and the more it's dangled in front of him, the more desperate he grows. But his confidence is at odds with his inexperience, and Cooper gets right to the heart of a man who wants more than he has but fears losing so much that he'll overreach.

There are some surprises in the cast that I won't ruin, but suffice it to say that the supporting characters are all excellent. Jeremy Renner's accent slips a few times, but overall he does a fine job underneath a truly godawful haircut.

Set in the 1970s, the film employs period clothing and vehicles and it's all spectacular, despite some truly regrettable hair styling choices. Amy Adams spends much of the film in dresses and skirts with plunging necklines and not much covering her legs, and Lawrence gets to put on some fancy clothes and hairdos. The men wear layered suits with lots of texture and color that the photography by Linus Sandgren captures beautifully - this is an exquisite looking film, with a rather 70s-looking, orange-skewing color palette.

The script occasionally spoon-feeds the audience its meaning, sometimes even scene to scene. But for the most part, it's full of sharp, hilarious dialogue that is delivered spot-on by the excellent cast. There's far more comedy here than I expected; I'm not sure the film's advertising campaign sells just how fantastically funny this film is or how dramatic in can get, even within the same scene. But the varying tone isn't a problem under the sure hand of director Russell, who makes sure that things never veer too far too fast in either direction as to rob the film of any of its impact.

It's a calculating film full of calculating people all trying to get ahead of everyone else. The characters themselves aren't necessarily good people, though they're not necessarily bad, either. But you root for them, even knowing that what they do is bad. The ones who are supposed to be good are the ones you want to fail, and that's the mark of a successful film.

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"The Hunger Games: Catching Fire" (2013)

Starring Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth
Written by Simon Beaufoy and Michael deBruyn
Directed by Francis Lawrence
Rated PG-13 - Violence, language, frightening images
Running Time: 146 Minutes
Trailer

After surviving the 74th Hunger Games, the tributes from District 12, Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson), return to a world in turmoil. Both suffer from nightmares after their traumatic experiences, but they're forced to relive it when they must go on a Victory Tour of the 12 districts. Worse, the two are forced to continue their sham romance for the cameras, something Katniss knows causes deep pain for Peeta. He loves her, but her affections are for Gale (Liam Hemsworth).

But what Katniss and Peeta find on the tour shocks them even more: the people appear to be resisting the forces of President Snow (Donald Sutherland). They see Katniss as a symbol of hope and rebellion, a symbol Snow is eager to wipe away. Together with the new master of the Hunger Games, Plutarch Heavensbee (Philip Seymour Hoffman), Snow plots Katniss' downfall. To turn the people against Katniss, Heavensbee suggests, they must make them hate her.

But with each attempt to discredit her, the people rally more and more for the cause of freedom. And so now the game is on: Katniss is called back into the Hunger Games for a special all-stars edition, where she and Peeta will face off against the ruthless winners of previous years.

Ah, sequels. We've trod this territory often before on this blog. Here we are again for the sequel to "The Hunger Games," an impressive action piece starring the ever-more-impressive Jennifer Lawrence. "Catching Fire" is in every sense the sequel, as the events of the film call heavily upon the events of the first one. But while "Catching Fire" is, like its predecessor, a by and large entertaining film, it also has flaws - some of which I suspect are more the fault of the source material than the film itself.

My biggest complaint is that "Catching Fire" seems so intent on aping the structure of the first film that it doesn't really stop to consider whether it should. Perhaps the filmmakers thought a film called "The Hunger Games" that didn't actually feature any Hunger Games wouldn't really sell? The problem is that the film practically grinds to a halt once we finally get to the Hunger Games portion of it.

Now, this third act is gripping and well made, but the entire plot disappears in favor of a variety of CGI-laden obstacles for Katniss and her friends to overcome. To its credit, it avoids aping the first film in that the danger feels less like it comes from the tributes' opponents and more from their environment, which is now constructed to be as hostile as possible with poisonous fog, tidal waves, lightning strikes and killer monkeys.

Ultimately the issue is that this foray into the film's biggest action setpieces doesn't integrate well into the plot - at all. Indeed, the film's final moments are an info-dump of exposition about what's been happening while Katniss was busy running around in the woods fighting monkeys and fleeing flesh-eating fog. Sure, we know that Snow has maneuvered Katniss into the Games in order to kill her, but Katniss is left entirely in the dark about a lot of things going on outside the games and even within them.

This is another problem that might be blamed on the structure of the film - Katniss really has little idea what's actually going on until the last seconds of the movie, and that's the cliffhanger that leads into the third film. So ultimately "Catching Fire" amounts to nearly two and a half hours of setup, which, even as entertaining as it is, feels somewhat inconsequential when taken on its own. "Catching Fire," then, really needn't be nearly as long as it is.

Still, there's a lot to love here. Jennifer Lawrence does another fine job as Katniss, often doing a better job selling small moments for her conflicted character. Occasionally, her dialogue can come off as flat, but that's more a problem with the fact that the script sometimes saddles her with some groan-worthy exposition, but I'd say 95% of the time she's great. Of particular note is a scene in which Katniss undergoes a "test" in which she must display a skill to some of the higher-ups, including Heavensbee, and the project she picks is a grin-inducing "Fuck you" that shows off the kind of power the character can have (and Lawrence) in getting you to root for her.

Also of note are Elizabeth Banks and Lenny Kravitz, returning to their roles as Effie and Cinna, part of Katniss and Peeta's PR team. Though their roles are small, both actors actually do a great job bringing them to life. Banks strikes a critical balance between her over-the-top pageantry and also being able to show genuine emotion through it. Her last scene in the film is fantastic, and the same can be said for Kravitz, who gets even less screentime but uses it all very well.

Director Francis Lawrence takes over for Gary Ross, who made the first film, and doesn't do much to change the visual style from "The Hunger Games." There's not much color in this film, which exists in a dreary gray-blue world of the poor, downtrodden Districts. In the Capital, the film takes on a strange mixture of Las Vegas and Vaudeville by way of Coruscant, with lots of high technology and splashes of bold color.

The script keeps the dreary tone from overwhelming the film with bleakness by peppering in a good amount of droll humor and yet more biting satire of celebrity-focused society. If only the third act didn't seem so out of place, or the film itself so incomplete, "Catching Fire" would surely stand tall over its predecessor. It takes its characters to interesting places emotionally, and has a lot of interesting concepts at play that ultimately just disappear two-thirds of the way through, and that's a shame.

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"Red Dawn" (2012)

Starring Chris Hemsworth, Adrianne Palicki and Josh Peck
Written by Carl Ellsworth and Jeremy Passmore
Directed by Dan Bradley
Rated PG-13 - Violence, language
Running Time: 93 Minutes
Trailer

Jed Eckert (Chris Hemsworth) is a US Marine on leave, going home to Spokane, Washington, to visit his father, police sergeant Tom Eckert (Brett Cullen) and younger brother Matt (Josh Peck). He finds that Matt, now quarterback of the high school football team the Wolverines, is a cocky, selfish young man who thinks little of others.

That night, the power in town goes out, forcing Tom to go back on duty and leave Jed and Matt alone. When they awake, they find the world has changed around them: North Korean soldiers are parachuting from the skies, rounding up the townspeople. Jed and Matt escape to their father's cabin along with several of Matt's friends, including Robert (Josh Hutcherson), Daryl (Connor Cruise) the son of the mayor, and Toni Walsh (Adrianne Palicki) a friend of Matt's girlfriend, and a few strangers.

But after a fight with Jed, one of the youngsters betrays their location to Captain Cho (Will Yun Lee) who leads the North Korean contingent in Spokane. Cho brings Tom Eckert and Mayor Jenkins (Michael Beach) to the cabin to force the kids' surrender. But Jed and the others hold strong. Their father asks them to go to war, just before Cho shoots him in the head.

Now, the Eckert boys see themselves forming a resistance. Using Jed's military training and calling themselves the Wolverines, the group of youngsters fights back against the invaders, rallying the people of Spokane to the cause of freedom.

While the original "Red Dawn" is more a cult classic than a great film, I was nonetheless surprised by the announcement of a remake. Then, the film spent several years languishing in development hell before going before cameras, and then it spent yet more time sitting on the shelf before last-minute reshoots and changes were made for its release.

The end result is a thoroughly "meh" action picture, one that lacks the greatest draw of the original - that dark, foreboding tone and focus on character that made the original feel more like a nightmare than an action picture. Instead, this remake is just a straightforward action piece, loaded with gunfights and perfunctory attempts at character development. It's a film that feels impersonal and haphazard, standard instead of clever.

I don't usually try to compare remakes to the original so harshly; I try to let them stand on their own, but even if it wasn't based on a better picture, this version of "Red Dawn" wouldn't fare too well.

The highlight of the whole thing is the casting of Chris Hemsworth, who once again proves that he has charisma and action chops to spare. He gets what is easily the meatiest role in the film, learning to be an older brother and a leader to a group of children he must mold into resistance fighters. But although I call it "meaty" there's really not much here. Hemsworth does the best he can, but all the characters in this film are underwritten. It just helps that Hemsworth is just kind of awesome in general.

The rest of the cast range from decent to forgettable. No one else really does anything of note. Even Josh Peck as younger brother Matt mostly just has to act like a petulant sibling, caring more about rescuing his girlfriend (who ultimately gets all of about five lines of dialogue) instead of the mission. Even when that gets one of his friends killed, it seems like it takes little emotional toll on the other characters.

And that's really the failing of "Red Dawn." It's not that it has poor action sequences (they're not bad, but they're nothing special either) it's that none of it ever makes you feel anything. In the original, as the characters are slowly stripped of their humanity with each death or loss, you feel it. Here, the film just moves briskly from one shootout to another and it rarely feels like these kids are suffering at all. Worse, they become highly effective fighters unbelievably quickly.

Oh, and the villains? They aren't characters at all. They're just fodder, and not particularly frightening in any respect. The film doesn't even bother to try and make them interesting.

As a way to waste 90 minutes, "Red Dawn" isn't the worst film you could pick. But it's mostly inert.

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"Thor: The Dark World" (2013)

Starring Chris Hemsworth, Natalie Portman and Tom Hiddleston
Written by Christopher Yost, Christopher Marcus and Stephen McFeely
Directed by Alan Taylor
Rated PG-13 - Fantasy/sci-fi violence and action, language
Running Time: 112 Minutes
Trailer

Ages ago, an army of Dark Elves led by the vicious Malekith (Christopher Eccleston) waged war to control a powerful weapon called the Aether, capable of sapping the life out of the very universe itself. He was stopped by the forces of Asgard, led by Bor, father of Odin (Anthony Hopkins). The Dark Elves were defeated, Malekith and his lieutenant Algrim (Adewale Akinnuoye-Agbaje) sacrified most of their warriors to buy their escape and wait until the time was right to strike again.

That time is now, thousands of years later as the Nine Realms once again move into alignment, weakening the dimensional borders in a way that would allow the Aether to spread across the entire universe more quickly. Thor (Chris Hemsworth) has spent the last couple years bringing peace and order back to the Nine Realms after the events of the first film and beating back the Chitauri invasion of Earth. He pines for Jane Foster (Natalie Portman) the human woman he fell for during his exile there, and his friends and father all notice the difference in him.

Foster, meanwhile, similarly wishes for Thor's return to Earth as she investigates a series of strange electromagnetic disturbances in London with her trusty intern Darcy (Kat Dennings) and her mentor Dr. Erik Selvig (Stellan Skarsgaard), who has somewhat lost his mind after the trauma of being brainwashed by Loki (Tom Hiddleston). Back on Asgard, Loki is imprisoned for his crimes against Asgard and for leading the invasion of Earth.

All these storylines will come crashing together when Foster accidentally discovers the location of the Aether and becomes infected by it, drawing Thor to her side to protect her and Malekith to seek her out in order to use her to destroy the known universe.

The second solo entry for Thor is pretty jam-packed with stuff, some of which doesn't entirely fit together seamlessly. The film feels like a lot of stuff got left on the cutting room floor, some of it probably pretty important, and most of it likely involving the villain.

Malekith is, without a doubt, one of the film's weaker aspects. It's never clearly explained why this man hates the entire universe so much. A couple of times, he mentions that this universe was never meant to exist, and therefore must be cleansed. But, well, so what? It does exist. Deal with it, bro. The film hints at a deeper emotional motivation for Malekith, and at a deep bond between himself and Algrim, but hints are all we get, as though we're just supposed to accept that this is how it is and move on. The only problem with that is, well, it means that Malekith simply isn't all that interesting without that information.

A weak villain really can drag down these superhero films, because a hero really needs an interesting threat to face. "The Dark World" tries desperately to make up for the fact that Malekith barely registers in comparison to Loki, and mostly succeeds... by throwing Loki into the mix. While Thor's struggle against Malekith ultimately comes up empty, there are several wonderful scenes between Thor and Loki that end up being the best emotional meat to the movie. A lengthy sequence in which the two team up to escape Asgard against Odin's orders provides more heart and drama than most of the rest of the film combined, and you realize that even the romantic subplot for Thor and Foster pales in comparison to this story of two brothers and their complicated love/hate relationship.

Similarly, many of the secondary characters remain under-developed. Thor's friends, including Volstagg (Ray Stevenson), Fandral (Zachary Levi), Hogun (Tadanobu Asano) and most especially Sif (Jaime Alexander) are criminally underutilized. Each of them get brief moments, but if I weren't aware of who they were before going into the movie, I'm not sure I'd even know their names. Of the bunch, Sif is the one that more desperately needs a larger role. Anthony Hopkins is saddled with a lot of expository dialog, and that's unfortunate because in scenes where he gets to have emotional drama with his sons are wonderful.

Even with its messy script and limp villain, "Thor: The Dark World" is pretty entertaining. It has a lot of big laughs and a number of thrilling action sequences, as we've come to expect from these Marvel movies. We get to see more of Asgard, and we get to watch a lot of it get smashed. It's somewhat refreshing to start opening this series up away from Earth and while the movie's London climax is somewhat destructive, it's Asgard that bears the brunt of most of the film's action.

And that climax is pretty fun, too. Like "Iron Man 3" before it, it feels like the filmmakers are trying to think more critically about their action sequences in this second round of Marvel flicks. In this case, Thor faces off against villains who can't be defeated simply by swinging his hammer harder at them, forcing him to actually team up with Foster and use Earth technology. It's not elevating any of these movies to high art, but it's a welcome evolution in the blockbuster series.

With all the laughs and action you expect from Marvel, "Thor: The Dark World" is a good time at the movies. Unfortunately, it doesn't soar as high as it feels like it should, with a script crammed full of subplots that don't feel fully developed.

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See Also:
Iron Man 2
Thor
Captain America: The First Avenger
The Avengers
Iron Man 3

"Gravity" (2013)

Starring Sandra Bullock and George Clooney
Written by Alfonso Cuaron and Jonas Cuaron
Directed by Alfonso Cuaron
Rated PG-13 - Peril, frightening images, language
Running Time: 89 Minutes
Trailer

Dr. Ryan Stone (Sandra Bullock), an astronaut with little training, is on a mission to install a prototype scanning device she designed on board the Hubble telescope. She's joined by her mission commander, Matt Kowalski (George Clooney), a veteran of the program on his last mission. While on a spacewalk to install the device, their space shuttle is hit with debris from a destroyed Russian satellite. The debris is circling the world at high speed, destroying other satellites and creating more debris.

With their crew dead and shuttle destroyed, Stone and Kowalski find themselves alone in Earth orbit, out of contact with mission control in Houston. Stone's lack of training is causing her to panic, and her dwindling oxygen supply isn't helping. With limited options, and time running out before the debris circles round the planet for another devastating event, Stone and Kowalski make a desperate run for survival and salvation.

The setup of "Gravity" is simple. I probably said more about it than I needed to, and it was only two paragraphs. The bulk of the film is occupied by only the two characters played by Bullock and Clooney, and the focus is more on Bullock. Make no mistake, this is her show.

And she owns it. Her sense of panic, tempered by Clooney's calm voice of experience, is palpable. She's easy to identify and sympathize with. Sure, you'll always be aware that this is Sandra Bullock and George Clooney, two of the most recognizable movie stars on the planet. But Bullock throws herself into this role, and shines because of it. Clooney has a lesser role, and it's one he's well-suited for - suave, funny, you know the type. But here it acts as a calming force in a film full of outright panic and fear. Clooney is here in a comfortable role so that he can comfort us.

If you think a movie where there's mostly only one character can't work, you're wrong. While the script obviously takes some shortcuts to keep things moving, that motion is so awesome you'll barely notice. With its brisk running time, "Gravity" moves at a blistering pace, throwing all kinds of gorgeous imagery and thrilling spectacle at the audience.

Let's talk about what an astonishing technical achievement this film is. Everyone who worked on it, from digital artists and model makers all the way up to the actors and director should be intensely proud of the work they've done here. "Gravity" is an impeccable piece of filmmaking on a technical standpoint, with glorious effects, sound design, and direction. Each of the "attacks" in the film by the dreaded debris field are white-knuckle experiences.

Cuaron has taken the long-take concept that made his "Children of Men" so fascinating visually to the next level. There are many sequences in this film made without cuts (obviously, this is the result of yet more genius effects wizardry, but still) and it is mightily impressive to behold. Take note of the first, lengthy scene as the camera slowly finds the Explorer space shuttle, then swoops around it over and over again as the characters move about on their spacewalk. It's incredible.

If this film doesn't land Alfonso Cuaron an Oscar nomination for Best Director, there's probably no justice in this world.

Some complaints have been made about the scientific accuracy of the film, but honestly, it's a movie. Concessions are made for the sake of drama, in pretty much every movie ever made. At some point, you've just got to get over it.

Cuaron has constructed a series of set-pieces that are just the definition of thrilling, with a ton of "holy shit" moments. Space is gorgeous, and awe-inspiring, but it is also treacherous. When the shit hits the fan in this film, the slightest mistake could mean doom in cold oblivion, and "Gravity" never lets you forget that. Each time Stone nearly misses grabbing hold of a rope or tool or ladder rung that she needs to survive, you'll be holding your breath.

But this sense of barely holding on to live isn't just in those action sequences, it permeates the entire film. In this sense, "Gravity" could just as easily be called "Fragility." Stone's situation is so tenuous, as she hangs alone in space staring at the big blue marble we call home... And then you start to think that, well, so is ours.

I'm not one to always think about "What It All Means" when it comes to films, but walking out of "Gravity" had me thinking about life in general, thanks to Stone's character arc of a person trying to find some direction in her life, regardless of where it takes her. It's a nugget of an idea that snowballed on my way home, and I thought of that fragility for us all, and for this world, as we struggle and claw our way through life. Maybe I'm overthinking it.

But whether I am or not doesn't matter; "Gravity" is an amazing piece of filmmaking, one that deserves to be seen big and bold in a theater. I chickened out of seeing it at the IMAX, but even without having seen that, I can recommend that you do. The cinematography is built for 3D, not just in a "throw shit at the audience" kind of way, but in a sense that there was real thought that went into each sequence about depth and movement in a three-dimensional space.

Often, we find ourselves in a first-person perspective, and here the 3D aspect of it all would thoroughly shine... or cause nauseous vomiting. Your mileage may vary.

I'm gushing a lot about this film, so I'll just end on this note: See this movie.

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'Continuum' Season Two (2013)

Starring Rachel Nichols, Victor Webster and Erik Knudsen
Created by Simon Barry

Following the terrorist bombing in downtown Vancouver in Season One, time traveller Kiera Cameron (Rachel Nichols) decides to end her official association with the Vancouver PD. She feels it's safer for her and her allies there to work on the fringes. Meanwhile, her friend Alec Sadler (Erik Knudsen) suffers a personal crisis: His stepfather has been killed and his stepbrother Julian (Richard Harmon) was arrested in connection with the bombing.

Elsewhere, the terrorist group Liber8, now led by Sonya Valentine (Lexa Doig) continue their campaign to alter the future by taking the bold move of assassinating Vancouver's mayor. Kiera teams up with VPD detective Carlos Fonnegra (Victor Webster) once again to investigate the crime, and eventually pulls Alec back into the fold as well. But schisms within Liber8 set up an even deadlier set of circumstances as rival factions set off a gang war in the streets.

All the while, the influence of the mysterious and powerful owner of Piron Corp, the man known as "Escher" (Hugh Dillon) becomes known. Who is Escher? What interest does he hold in Kiera and Alec Sadler? And why is he using his money and power to turn the Vancouver Police into a private army with little regard for the rule of law?

I felt that the first season of "Continuum" was a good, but not great, sci-fi series from our neighbor to the north. The premise was intriguing, the cast decent, and the episodes themselves solid, if not rarely brilliant. Season Two continues that trend, though it ultimately throws in a few too many head-shakingly out-there twists and the finale kind of drops the ball (...literally).

On a technical level, the show is slick and has a lot to offer in terms of cool sci-fi gadgetry, settings and special effects. The futuristic version of Vancouver is seen in nearly every episode, and the show's makers do a great job layering it with new buildings and interesting technologies. Action sequences are usually run-and-gun, hand-to-hand combat affairs that are competently made and entertaining to watch, though a few times too often characters take cover behind objects that should provide no protection whatsoever yet end ups topping bullets from all kinds of machine guns.

Rachel Nichols grows a little bit in her role this year. She feels a little looser and a bit more comfortable with the Kiera character. This is not to say that the performance will win her any awards, and she rarely feels commanding when shouting orders to others, but it works better than it did in season one. An episode in which she very nearly has a full mental breakdown and is given a pysch-evaluation by an AI imbedded in her brain is a highlight.

But ultimately, it's the plotting that drags this season down. The show seems like it's trying too hard to have complex machinations and betrayals and dealings. In particular, the feud between Liber8 factions led by Sonya and Travis (Roger Cross) comes to a disappointing and nearly absurd end. Much talk is made of Kellog's (Stephen Lobo) attempts to maneuver between Alec and Escher, but this too falls prey to some "WTFery" in the choices the character makes later on in the season.

Biggest of all is the season's cliffhanger ending, which involves the Alec character making a series of inexplicable choices. Maybe I missed something, but it all just felt like nonsense to me for the sake of shocking twists.

Still, like the first season, there's enough here to find enjoyment in the series. While the episodes are a bit less standalone, there are some solid mysteries afoot for the characters to solve, and more hints dropped about the nature of Kiera's arrival in 2012 from the future, and what exactly it is the older version of Alec (William B. Davis) is planning to do.

In fact, those aspects of the season are what I found most fascinating. The relationship between Alec and Julian, and the juxtaposition of them in the future, is fertile ground for some excellent storytelling. One of the "twists" that does work in this season is finding out what it is that the older version of Julian does to get him labeled a "mass murderer" decades in the future. Additionally, the series begins to explore the idea that Kiera, despite being a good person and genuinely wanting to fight crime and the like, actually does fight for the wrong side.

So season two stumbles a bit, but still has some great concepts and solid entertainment to keep things going. The show was renewed for a third season, so hopefully some of the problems can still be fixed. It might not have made sense to me, but I like the show enough to be interested in how the cliffhanger gets resolved, and to see more of the intriguing interplay between present and future being established by the writers.

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"Metallica: Through The Never" (2013)

Starring Dane DeHaan and Metallica
Written by Nimrod Antal and Metallica
Directed by Nimrod Antal
Rated R - Violence, strong language, frightening images
Running Time: 93 Minutes
Trailer

There's never a lack of crazy when you're a roadie for Metallica. Trip (Dane DeHaan) is just such a roadie, hired by a manager to be a gofer for the band. On the night of a massive, one-night-only show, Trip is sent on a mission to retrieve something of vital importance to the band. It seems a truck carrying their parcel broke down on its way to the venue, and Trip has to take his van and a tank of gas and get the thing running again.

At first, Trip seems disappointed that he's missing the show and rushes to get through his task in time to catch the rest. But when he's T-boned at an intersection, he discovers that he's got bigger problems to deal with: Trip finds himself stranded in the midst of a massive battle between rioters and police.

Worse, a mysterious rider on horseback wearing a gas mask seems to have set his sights on Trip, stalking him through an increasingly dangerous and apocalyptic setting.

Legendary heavy metal band Metallica has been heavily promoting this release of their latest concert film, an IMAX 3-D extravaganza that also happens to have a fictional story component to it. While I applaud the experiment, this component turns out to be one of the weaker aspects of the film.

The true stars here are definitely Metallica and the music thereof. Appearing as themselves, frontman James Hetfield, drummer Lars Ulrich, lead guitar Kirk Hammett and bassist Robert Trujillo do what they do best: pound out their brutal, energetic music. And they do it so, so very well. One might think that a band that's existed for so long, gone through line-up changes and near-breakups might just sleep their way through this kind of project, but they don't. They attack it with gusto, and their enthusiasm shows.

The concert portions of the film are straightforward, with Metallica on stage, surrounded by their increasingly elaborate props and effects. The set list is a Metallica's greatest hits, focusing mostly on songs from the band's early years. Only three songs from the band's later efforts are offered up here - "Fuel" and "The Memory Remains" from the mid-90s, and a single song, "Cyanide" from 2008's 'Death Magnetic' album. Frankly, while I enjoy "Cyanide" and the sequence it plays over is one of the more intense action sequences of the film, I can't help but think that "All Nightmare Long" from that same album would have been a far better inclusion, if more obvious.

Still, the band roars through many classics like "Master of Puppets," "Ride the Lightning," "One" and "Enter Sandman" that are sure to leave fans salivating for even more. Metallica puts on a great show here, with no sign that their age has slowed them down or softened them up in the slightest. They work the crowd with expert flair, with fireballs and lasers and electrical discharges shooting around behind them.

Occasionally, the increasingly surreal fictional aspects of Trip's storyline intrude on the concert sequences, but for the most part these two things seem almost like you're watching two entirely separate things. In fact, the movie seems to forget that it has a storyline for long sections. Then when it remembers and cuts back to DeHaan, it feels almost disorienting.

DeHaan himself does the best he can. His character has no dialogue, other than yelling "Hey!" at the guy who hit his van with his car. But mostly he just runs around looking more and more like a young Leonardo DiCaprio and being afraid and ever-more beaten up.

It's these sections of the film that feel like a letdown because there's so much potential. The music is rife for dark, violent imagery, yet the film rarely feels like it capitalizes on it. The concept of a truly wild, dark fantasy/action film set to Metallica's music is one I would love to see explored further and better.

Still, the music is really what drives the entire experience. The use of 3D is immersive without resorting to gimmicks with stuff flying out of the screen. Occasionally, a crackle of electricity during "Ride the Lightning" or some other effect will seem a bit more in-your-face, but these things are rare.

If you're looking to watch Metallica really kill it on stage, "Through the Never" won't steer you wrong. It's a helluva show. If you're hoping that the experimental merging of concert film and fictional narrative will lend itself to anything truly substantial, you'll likely come out disappointed. Metallica fans will find a lot to love here, with some really great live footage.

If you can see "Through the Never" at an IMAX theatre, with its booming surround system, do so. It's likely the closest you'll ever feel to being at a Metallica concert without actually going to one.

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'Fringe' Season Five (2013)

Starring Anna Torv, Joshua Jackson and John Noble
Created by JJ Abrams, Alex Kurtzman and Roberto Orci
Trailer

After saving the universe from power-mad William Bell in Season 4, the Fringe team has settled into something of normalcy. New parents Olivia Dunham (Anna Torv) and Peter Bishop (Joshua Jackson) take their young daughter Etta to the park. In a flash of light and a crack of thunder, the invaders come: the strange men from the future known to the team as the Observers quickly conquer the world. Etta is lost in the fray. The Fringe team joins the resistance, and then they disappear.

21 years later, an adult Etta finds her parents, and her grandfather Walter Bishop (John Noble) and his assistant Astrid Farnsworth (Jasika Nicole) frozen in amber. She frees them, and brings the team up to speed: the Observers control the world, and are slowly converting the atmosphere to something more suitable for their kind. Humanity lives under their thumb, and the oppressive forces of the human Loyalists. Travel is restricted. Freedom is a myth.

The Fringe team quickly gets to work with the resistance. Before they were frozen, Walter had concocted a plan to defeat the Observers. But the information has been stolen from him by an Observer named Windmark (Michael Kopsa), who sucked it telepathically from his very mind. Fortunately, Walter detailed the plan on a series of video tapes frozen in amber under his old lab in Harvard.

Now the Fringe team is desperately working to unlock the mystery of Walter's plan. With the Observers closing in, time running out, they'll put everything on the line for the sake of the future.

The fifth season of "Fringe" is much in line with the rest of the series: great concept, mediocre execution. The problem is that the show just never follows through on any of its great ideas, always scraping by with the bare minimum to be just cool enough to keep me watching.

Here, we find our heroes living in a dystopian future. But you'd barely ever know it since they still have their nice apartment, 2013-model cars and cell phones (only sometimes referred to as "comms" for some reason) and still somehow manage to travel back and forth between Boston and New York in the blink of an eye.

We're told that Harvard University has become some kind of high-security Observer base. So of course, our characters decide to move into it and spend months there completely unnoticed... save for the occasional moment where everyone freezes when a truck pulls up outside. It's patently absurd. Multiple conversations take place in which characters talk about how they need to remain hidden while in their basement lab, but the lab draws large amounts of power from Harvard's electrical grid, the lights are on all the time and Walter even listens to music on his old turntable.

Ultimately, the final season of "Fringe" boils down to a scavenger hunt as the team struggles to piece together bits of Walter's plan and all the necessary ingredients for it to work. Unfortunately, the plan itself involves some wonky time travel rules in order to work, and the whole thing just left me frowning.

And yet, the show is still capable of putting together some compelling arcs for its characters and the production is often rather impeccable. So although it tends to be frustrating, it's still fairly entertaining. The actors own their roles and really commit to everything asked of them, which is good. The dialogue between them tends to be snappy and heartfelt.

The real gem of the show is, as always, the performance of John Noble as Walter Bishop. In this season, Walter struggles once again with recognizing his growing ambition and fearing that the man he will become will be one devoid of love or compassion. This leads to some wonderful moments between Walter and the other characters, specifically Joshua Jackson as his son Peter. The relationship between these two has always been one of the best aspects of this show, and that's no different here.

Decently entertaining, with moments of brilliance mixed in with frustrating idiocy, the final season of "Fringe" wraps things up in typical form. Fans will find a lot to enjoy here, though newcomers shouldn't bother to jump on board at this point.

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See Also
Season One
Season Two
Season Three
Season Four

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