End of Watch

End of Watch, may be the best movie to be released before we get into the more Oscar-minded releases of this fall season. In my opinion, not just the best cop movie in recent years, as one critic asserted, but probably the best police movie since Training Day. It fuses key elements of differing genres, in such a way that by the end of it, you're so enraptured by the protagonists, that the final scenes of the movie evoke a flood of emotion from moviegoers of both sexes.

David Ayer, produced this film, with a reported budget of $8 million. He's the auteur director/writer who penned, Training Day, the Fast and the Furious, Harsh Times, S.W.A.T, U-571, amongst other well reviewed films. Ayer is a master of depicting the lives of those who protect and serve. He's one of the best in Hollywood at portraying these men and women's lives with such realism, grit, and honesty. In this film, he created characters that his two stars, Jake Gyllenhaal and Michael Peña, that audiences could easily relate to. I grew to like them both so much over the movies 109 minute running time, that the film's conclusion was very difficult for me stomach.

The supporting performances in this movie are fantastic, with my nod for best one going to, Anna Kendrick. America Ferrara gets a close second, while Natalie Martinez, rounds out a stellar cast.

End of Watch is more than worthy of the price of admission. See it before, the fall box office gets overloaded with other quality pictures.

The Bourne Legacy

The Bourne Legacy is the latest installment in the Bourne series, but it's sort of a reboot, as franchise mainstay, Matt Damon, decided he was done portraying Jason Bourne in 2011. A more than capable, Jeremy Renner, steps in for Damon, assuming the role of Aaron Cross, a highly trained "Black briar" operative. Tony Gilroy, director or 2007 Academy Award winning, Michael Clayton, helmed this movie as well as shared the writing duties with his brother, Tony.

Given the very high visibility that Matt Damon had as Jason Bourne, paired with the box office power of the previous films, this was a franchise that was going to be carefully handled through its transition phase by the studio, in this case, Universal. They chose a familiar, action/suspense movie-tested leading man, in Renner, and even added some notable actors like Edward Norton and Rachel Weisz. Both really brought exceptional performances that added considerable value to the production.

Unfortunately, there isn't too much that stuck out too me from this one, which must be a big bummer for execs at Universal, while breaking down its $125 million budget. But, following on the heels on, "The Bourne Ultimatum" was never going to be easy, although I think this movie served as a solid vehicle to transport the franchise from the Damon-era, into the Renner one. Overall, there's still a couple blockbusters in theaters that are a little bit more worthy of seeing than this one, but that's not to say it's not entertaining and worthy of the price of admission.

The Watch

The Watch isn't going to win any cinematic awards in recognition of its original screenplay, astute writing, or cinematic achievement, any time soon (Well, ever actually). Browsing a few reviews from "the elite" of the movie critics of the nation, I can see that my sentiment is shared, but I differ with how harshly a lot of them perceived this movie's shortcomings. Obviously, it's going to seem like it was haphazardly directed/written, when you have a collective of actors like you do in this one, you have to let them improvise a bit. So, my assumption is the script supervisor on this one was a bit lenient at times, while screenplay scribe team Seth Rogen and Evan Goldberg were innovative in allowing the actors room to have their character's voices tailored to their specific acting styles. Akiva Schaffer, a writer of several Saturday Night Live segments and director of many shorts, helmed this movie, lending to what I think was a very loose, relaxed set.

The best way I have to describe what seeing this movie is like, would be to compare it to some of the other efforts from writing tandem Rogen/Goldberg. I'd say it's not quite as good as Pineapple Express, besides that movie had more of a cult following due to its distinct references to drug culture. The Green Hornet was based on a graphic comic book series, and such had a following of geeks and fanboys alike, but still was entertaining. The Watch does what both those movies do, it pairs funny actors together, into a scenario that at it's roots is conceptually believable. The Watch morphed well beyond the realms of "potentially believable science-fiction" around the time where a scene made famous by the trailer, involving a questionably dead alien and some final gunshots to confirm the deed. It's a very crass film and if you don't mind that, then there's a lot to enjoy about this movie.

Stiller, Vaughn, and Hill are all exceptional in their respective roles in this one, I just think that 20th Century Fox gambled a bit too big on this one, with an estimated 65+ million budget. But, the timing of the release of the movie probably also doomed it because it bowed in the Dark Knight Rises second weekend. Nevertheless, I see this movie having very long legs on television, becoming a staple for prime time and post-prime time slots, in maybe 8 months to a year or so.

The Dark Knight Rises

Typically movies mimic situations and events heavily influenced by our lives, our societal value's, and our popular culture. But, once in awhile it's the other way around, and a film makes a connection with an individual or a group who usually misconstrues its message and attempts to "bring to life" what someone had created with the sole intent of only entertaining people. Unfortunately, a major popular theme of American society includes a fascination with violence. Over my life, I've seen how sick, unstable individuals have manipulated our society's fascination into motives that have spurned them to atrocious acts like the Columbine High School and Virginia Tech University massacres. Most recently, another lunatic turned a movie theater in Aurora, Colorado, into something reminiscent of a scene from the movie, the Godfather, leaving an entire community, and the rest of a nation shaking their heads again, wondering what it is that compels a human being to bring such pain to so many innocent people.

This tragedy marred the opening of this very grandiose movie but couldn't keep it from achieving what only a couple of major Hollywood blockbusters have been able to, which speaks volumes about the breadth of what essentially is a piece of moving art. A major piece of moving art, complete with its $250 million + budget, social undertones, and larger than life director, that at the end of the day shouldn't be too heavily criticized because it is one hell of an accomplishment.

I'd rather keep this more short and sweet than typical, but expectations can sometimes be unrealistic, especially when trying to fill the shoes of a movie villain, who won an Academy Award for his performance, or if a movie you released has been the subject of curiosity/discussion for almost 2 years, meanwhile grossing like a billion dollars. But, Christopher Nolan, has assembled a more than solid cast, while pacing an arduously long epic three-quel with twists and turns to its plot, that preys on the weaknesses of its characters, drawing several parallel's between the society which reveres it's masked superhero on the screen and in real life. All the while, not confusing its audience too much...

Savages

Savages is an incredibly well shot drama that centers around two marijuana dealers, Ben and Chon. They reside in gorgeous Southern California, very close to the Mexican border and the drug cartels that have been seen so often in newspaper clippings across thar region of the country. It's an Oliver Stone production, which means it's relatively heavy with social commentary.

The greatest takeaway I had after seeing, Savages, comes from it's title. A savage is defined by Merriam-Webster's dictionary, as a brutal, rude, and/or unmannerly person, typically belonging to a primitive society. It's simple to take this definition and apply it to the members of the intricate drug cartel in the movie, most notably Lado, Benicio Del Toro's character or Elena, who's played by Salma Hayek. But, the message that I think Oliver Stone, the movies director, is trying to send is that relativity, is vital to consider when observing someone who you might deem to be a "savage". Things are very different with Mexican law enforcement, underworld organizations, and there are obviously many cultural differences between societal norms and customs, than there are in United States. So, you must be framing your viewpoint/opinion around the other factors that come into play in the total equation. Of course decapitating individuals for any reason, is an extremely act, but there are a lot of gray areas, which the movie does a solid job of sort of exposing.

Unfortunately, this is not one of Mr. Stone's best efforts, which is not to say that it's not a good movie. It was probably shaved down about 15-25 minutes for running time, which cut out some scene that better established the relationship between Ben and Chon. But, I personally wanted to see more reasons behind why their business and relationship with was able to work so well.

Savages, is a cast well and does include some very noteworthy performances. One in particular that stands out, is Del Toro. He could have just been put onscreen with those dark glasses and the look, that he so often donned in the film, and he would've given people nightmares. Hayek is inspired in her role as the kingpin of the Mexican drug empire. Taylor Kitsch, who plays Chon, redeems himself or the dismal box office takes of his previous two 2012 movie efforts in this one as well. Blake Lively turns in a better performance than she did in, The Town, and John Travolta seemed very authentic as, DEA agent Dennis. Demián Bichir and Emile Hirsch have minor roles, but both do a fantastic job of making those few minutes count towards making this an even more watchable movie.

Savages, might not be a movie you'll want to catch at the theaters, especially with so many other great films vying for moviegoer attentions, but it's a cinematographer's dream, with a very well written script that'll probably have your head spinning a few times, and if you don't mind too much blood, it's a fun way to spend 2 hours.

Ted

Ted is a new movie from Family Guy creator, Seth MacFarlane. Starring Mark Wahlberg and Mila Kunis and set in Wahlberg's native Boston, MA. It's MacFarlane's first live action effort, although it does include a major animated aspect, that being one of the major characters, Ted. Ted is a magical teddy bear, who through a childhood wish comes to life to have a very tumultuous, Lindsay Lohan-esque tabloid laden upbringing, which plays out during the first scenes of the movie. MacFarlane, Wellesley Wild, and Alec Sulkin the auteur's of this screenplay, do a mighty fine job of establishing a frame of reference for the completely impossible notion that stuffed animals can come to life. Throughout the movie, they embrace this by depicting reaction's from other characters in the movie to Ted's presence and demeanor, in a very raw, truthful manner.

Living in Boston, I'm a bit biased by alot of scenes having everyday connections to places I visit and am around quite often, but the movie certainly plays well in this city and the city also serves as another character of the movie, with one specific reference to a nearby town drawing many laughs in the theater I viewed it in.

A common theme of MacFarlane's work is that he always pushes the limits of what is politically correct and just generally what is acceptable for off color jokes. In Ted, he's continued to push the envelope with that, drawing disdain from a non-profit benefiting ALS for a joke from the movie. Although, I think they have strong footing to supplant their comments, Ted is overall such a funny movie that without that joke, it's a must see.

Snow White and the Hunstman

It's definitely worth mentioning that it was an arduous journey to see this movie on a dreary, rainy Saturday in Boston, MA. Firstly, the Chestnut Hill theater where my friend and I originally set out to watch this movie looked like it was in full summer blockbuster mode with a line out the door, with undoubtedly the majority of patrons their to see Snow White & the Huntsman. A line for a movie opening in the suburbs is pretty rare in my opinion, unless Harry Potter or Bella Swan are involved. But, that's just the thing, Ms. Swan was involved, Kristen Stewart was of course playing the venerable Snow White. So, my underestimation of the breadth of interest in this movie was costly, as this overcrowding spurred us to push our viewing showtime back an hour and head into the city, to watch it at the Boston Common theater.

Well, things didn't get any better for us, as the 5:45 showtime was sold out here (Yes, I'm familiar with Fandango and purchasing tickets beforehand, just didn't think it was necessary). So, after some discussion we decided to push through, find something to kill some time, and see it at 6:45PM, this time buying tickets with an hour and some time to spare.

The consensus of reviews for SWATH were generally lukewarm, most said that it earns a lot of points for its visual achievements, but that it lacks in the areas of storytelling, plot/character development, and rhythm/pacing. I have to agree with the critics on this movie, and I look to the choice of the films director for the reason behind some of its pitfalls. Rupert Sanders', an essentially unknown, making his major motion picture directorial debut didn't seem to put much of a memorable touch on the film. The movie seems to want you to feel a connection to a specific character, such as Snow White or her father the King, but there aren't enough developmental scenes that set those emotions up. So, about halfway through the movie you're kind of like, "Where's Charlize and when are we getting to her showdown with KStew".

Some people who deserve some credit for this film's success, are cinematographer Greig Fraser, supervising art director, David Warren, and Lucy Bevan, who was responsible for the movies casting. Obviously, very solid performances from Stewart, Theron, and Hemsworth, who doesn't go very far from his acting comfort zone in this one, but will absolutely bolster his movie star status coming off the heels of, the Avengers.

A few takeaways for SWATH, are that Kristen Stewart has proven that outside of the Twilight series she has the cache to draw in a huge audience. Charlize Theron is still a great actress and the future looks very bright for her. A lot of people will be scratching their heads about why a bigger, more mainstream director wasn't tapped to helm this movie and Snow White's dwarfs definitely provide some much needed comic relief, but I would've liked a bit more.