John Hillcoat (The Road) directs this true story co-written and scored by Nick Cave. Shia LaBeouf (Transformers) and Tom Hardy (The Dark Knight Rises) star as entrepreneurial brothers who make and sell moonshine in prohibitionist Virginia. The brothers already have an ‘understanding’ with the local law enforcement, but when a gangster (Gary Oldman) and a dirty district attorney (Guy Pearce) vie for a piece of the boys’ profits, things get out of hand… quickly and violently.
Charlie Hunnam (Sons of Anarchy, Pacific Rim) stars as Frankie, a hapless fellow who is constantly humiliated on camera by his older brother, Bruce (Chris O’Dowd). After one of Bruce’s videos became an internet sensation, Frankie went into isolation. But now that Bruce is getting out of rehab, their mother (Nora Dunn) convinces Frankie to give his brother a second chance. Unfortunately, Bruce is still up to his old tricks and a new, even more volatile video has hit the web. Can the brothers work together to stop the video from going viral before multiple lives are ruined?
Logan Lerman (from the Percy Jackson movies) stars as Charlie in this coming-of-age drama/romance about a socially awkward high school boy who finds solace among the ‘freaks’ while overcoming a past trauma that left him hospitalized. Emma Watson (Hermione from Harry Potter) and Ezra Miller co-star as Sam and Patrick, Charlie’s newfound friends. Together, the trio bond over music and star in a production of The Rocky Horror Picture Show — very much the counter-culture sort of kids. Things go swimmingly until Charlie starts to fall for Sam, and Patrick’s secret relationship with a member of the football team is exposed to the whole school. As these and other dramatic entanglements threaten to destroy his new friendships, Charlie also begins having painful flashbacks surrounding the death of an aunt.
There’s precious little to keep you interested in this hideous-looking and busily boring shit-fest of a film that is both a nadir for director Tim Burton’s creative trajectory and emblematic of everything wrong with Hollywood in the early 21st century. Much muchness? Indeed. Alice in Wonderland is the cinematic equivalent of a priapism.
Disney’s Frozen borrows ideas from Hans Christian Andersen’s The Snow Queen and follows closely in the footsteps of Tangled before it, but it’s also a bit more. For one thing, there’s an interesting sister dynamic at play here. One royal daughter, Anna (voiced by Kristen Bell), is the care-free sort, while the older daughter Elsa (Wicked‘s Idina Menzel) is born with a curse – the power to turn things into ice. After a childhood display of her magical powers nearly kills Anna, Elsa hides herself away for fear of hurting anyone. That’s all prelude. The story proper takes off when Anna inadvertently upsets Elsa on her coronation day. When the citizens of Arendelle discover their queen is a sorceress, they freak, she freaks, and a hard snow comes to fall. Elsa flees the kingdom and builds an ice castle for herself on the side of a mountain, leaving it up to little sister to later beg her for a return to warmer times.
Katharine Isabelle (Ginger Snaps) puts in a solid performance as a student surgeon whose life takes a serendipitous turn into the underground world of extreme body modification in Jen and Sylvia Soska’s American Mary. After one odd surgery procures her some much-needed cash, her name is quickly bandied about the message boards of people who are into things like… horns, tails, split tongues, appendage swaps… you name it, really. One character in the film is trying to look as close to a living Barbie doll as possible, and asks Isabelle’s character to surgically remove her nipples and genitalia (as much as possible). Another is trying to look and sound like Betty Boop. What’s most interesting about American Mary is that it sheds light on a real-life subculture that most people would find interesting and perhaps a little frightening. But the Soska Sisters (who wrote and directed the feature together) paint their subjects in a flattering, sympathetic light. That’s not to say the Soskas don’t take advantage of the sensational potential here — they just do it with respect.
