BOSTON SCREENING TO TAKE PLACE – DECEMBER 6, 2015 AT 2:30PM AT THE MUSEUM OF FINE ARTS BOSTON

OUT OF MY HAND – TRAILER

TIX TO THE FILM: http://www.mfa.org/programs/film/out-of-my-hand

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Steve Pink’s “About Last Night” is an effectively engaging and irrefutably humorous reimagining of the 1986 drama of the same name and is, at this moment, Kevin Hart’s best film to date. Following the release of Hart’s “Let Me Explain Tour” and most recent on screen comedy collaboration with rapper/actor Ice Cube in “Ride Along” many, including myself, may have begun to ponder the question “how can the rising comedic sensation be funnier?” After seeing the film “About Last Night,” Hart’s answer seems pretty evident-cast him as an alcohol enthusiast that enjoys the intimate company of feisty, hard headed women, who are accepting of the idea of wearing a chicken mask during sex (in this case, Regina Hall is this woman.) Those who are familiar with the comedians previous work would be intrigued to see just how Hart could tackle the role of Bernie (his character in the film) who will assuredly not be disappointed.

I’ve said it before and I will say it again: it doesn’t matter what height, color, race/ethnicity, age or personality you are, Hart delivers an onscreen presence that everyone can enjoy. Though some may be uncomfortable with the films intensive sexual humor the existing chemistry between the films characters (specifically Hart and Hall) is a rarity that everyone will be swift to appreciate.

As forewarning, the film, at certain moments, is a bit over the top but does flesh out romantically dramatic situations that may have been present in the original in a minimal way-so even those who intend on viewing the film for comparative purposes (though the two films are very different) will find some solace in the directors choice to respect “About Last Nights” dramatic origins.

The film follows two couples and their rocky attempt to transition from the nightlife bar scene where they met and feel most comfortable to the real world in real world relationships. What begins as a series of steps in the right direction for Bernie and Danny (Michael Ealy), two restaurant supply entrepreneur’s, and their partners Joan (Regina Hall) and Debbie (Joy Bryant) quickly turns into a seemingly irreparable ladder of bad impulsive decisions shady choices. As one couples lives begin to spiral out of control, the other is building a future for themselves, and vice versa. Audiences will be able to witness first hand the highs and low’s of each pair and chuckle at their inability to get it right.

“About Last Night” is ultimately enjoyable and consistently funny. Its plot is unique to the romantic comedy genre in which two couples of polar opposites are trying to make something of their lives, and is perfectly matched with the cast’s natural personalities. On one end of the spectrum, Debbie and Danny are a very simple and elegant pairing that tries to distance themselves from the black out (drunk) crowd. Both actors have a history of taking on similarly shy and serious roles and match these characters well. On the other end of the spectrum, Bernie and Joan are a very sporadic pairing whose actions seem to always be fueled by some name brand liquor and the ambition to speak their minds. Hall (known for her roles as Brenda in the Scary Movie series) and Hart (known for his “out of the box approach to comedy) fit their unpredictable on screen characters well.

The film is a high point in the career of its cast members and will be for some time. The dynamic between its characters is unique to this group of talent and will be enjoyed by everyone.

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Being that we live in an era where on screen entertainment has been plagued by a seemingly incurable outbreak of detective genred programs, “Robocop’s” theatrical release could not have come at a more unappealing time. However, even if the crime fighting fad were to still be in its prime, the film would turn few heads due to its almost intentional exclusion of basic film making principals (thorough character and plot development) and nonexistent wow factor. In short, “Robocop” may be the worst film to hit theaters in the past year. The film flows about as well as a creek during drought season-not very much at all.

The year is 2028. Omnicorp, a company specializing in “robot soldier drone” technology has been pushing congress to permit the replacement of human law enforcement officers with their computerized super soldiers, a transition that would bring the company more money than they could imagine and “save countless American lives.” When criticized for their willingness to deploy terminator-esche soldiers with no conscience unto civilized streets, Omnicorp decides to create a product that the public can accept-one that expresses human thought and demonstrates the strength of bio-mechanics engineering. For this, they will need a candidate.

(Skipping past the films weak back-story)

Officer Alex J. Murphy (Joel Kinnaman) was critically injured when his car exploded (an attempt to assassinate the detective by a suspect in an ongoing investigation) feet from where he was standing. Having been convinced by Omnicorp that her husbands only chances of living would be to undergo their experimental procedure, his wife Clara Murphy (Abbie Cornish) signs the connect forms and patiently awaits her husbands return.

(Fast forwarding through more unnecessary plot)

The surgery was successful, in most aspects and officer Murphy has been reinstated to the police force, this time, as a cyborg. Will the young officer find tranquility in his new lifestyle or be overcome by the new life he has been given? In this economy it would be unwise to spend your money on a film like this, so Google the answer if you’re curios.

When broken down and sectioned off, “Robocop’s” story line reads like an exciting revitalization of a classic series. In reality, it is difficult to bear. Amidst the directionless character developments and bouncy plot development the film has very little to offer audiences. Its title actor, Kinnaman, gives off an uncomfortably similar vibe to Hayden Christensen in Star Wars and doesn’t quite nail the state of emotion that someone who’s lung and heart are their only remaining body parts would be experiencing. Abbie Cornish’s performance is tolerable, but below her pay grade none the less and Samuel Jackson is, well, Samuel Jackson-not much more can be said.

Ultimately, “Robocop” is the flop film of the year that even the sci-fi channel may be hesitant to add to its weekend disaster film roster. It feels unfinished, and is painful to watch. It is the type of film that one may see and question why no crew member saw the final cut and thought, “we can’t show this.”

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Jason Reitman’s “Labor Day,” based on Joyce Maynard’s novel of the same name, is an effective coalition of scriptural cheesiness and cinematic brilliance. The films corky dialogue and incessant attempt at achieving an on screen intimacy between characters is overshadowed by its stunning cinematography and aesthetic appeal-making for a mediocre romance that anyone would be able to sit through without cringing at its flaws.

The film is set in a suburban Massachusetts town where everyone knows everyone and the next door neighbor is the  State Farm guy. It taps into the daily life and struggle of a recently divorced (and severe depressed) woman, Adele (Kate Winslet,) her caretaker son, Henry (Gattlin Griffith) and their un-vocalized desire for a better/happier life. While shopping one evening, a scarce occasion for the duo, Adele and Henry are approached by a wounded man asking to seek refuge in their home. It later turns out that this man, Frank( Josh Brolin,) is an escape convict who was imprisoned for the “accidental” murder of his adulterous wife.

As is the fashion of most films in the romantic genre, the two unrealistically find comfort in the estranged mans presence as he takes shelter in their home over Labor Day weekend (hence the title.) One staircase patch, front door repair, and intimate pie making tutorial later-Frank  is now considered a part of the family; a boyfriend to Adele and father to her son.

“Labor Day” is a film of two faces: it serves a large portion of awkward social encounters, predictable plot twists, and patchy character development to audience members, that is hard to overlook in some instances. However, its Oscar caliber camera work does aid the film to a passable extent.

Kate Winslet, in addition to the rest of the films cast, performed much better than expected. Their “average” physical appearance and easily emotionally swayed nature mimics that of real individuals. Instead of casting superficial looking models with chiseled jaw lines and perturbing muscles, the effective choice was made to cast individuals that look like the average joe. This gave viewers the chance to associate with the films characters on a more familiar level and did help the film in the long run.

At its core, Reitmans “Labor Day” is a mediocre film that will definitely resonate with the women in the audience and a great Valentines day flick

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Tim Story’s “Ride Along” is an almost hood-like rendition of Chris Tucker and Jackie Chan’s “Rush Hour,” and just about every other cop comedy in existence with one influential difference-this film stars Kevin Hart. Immediately following the release of his stand up film “Let Me Explain” Hart is giving fans another opportunity to laugh at one of the most talented comics today (himself), in a new light.

Ben (Kevin Hart) a high school security officer of many years is eager to marry to love of his life, Angela (Tika Sumpter)-but first he must receive the blessing of her over protective brother and dark horse detective, James (Ice Cube). When Ben is accepted into the police academy James suggests that Ben accompany him on a ride along to prove that he is worthy of marrying his sister (mostly to scare him out of becoming a cop.) Many obnoxious dispatch calls later, the duo finds themselves in a firefight with a collection of criminals so large that it is difficult to keep track of who is who on screen.

“Ride Along” is exactly the type of film that one would expect it to be-cheap, raunchy, structurally shaky, mediocrely done, but contagiously funny. It contains enough humorous dialogue to keep one entertained for the entirety of the film and successfully excludes the “dramatic” scenes that films of this genre tend to include in order to add a sense of realism to their comedy. The film was intentionally sculpted as a goofy slapstick film, and was successful in that aspect.

I am sure that this film will resonate with anyone that enjoys a cheap laugh or Kevin Hart’s unique comedic aura. Although this film is not one that people will remember for ages to come due to its brilliant nature, “Ride Along” is most certainly a film that people should see and would be a good film to spend a friday night with when it is available for rental.

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For years, filmmakers, distributors and film enthusiasts wondered why Boston, one of the largest metropolitan areas on the east coast, lacked a vehicle for supporting independent films by filmmakers of color or that showcased their experiences. This was the primary motivation behind the creation of the Roxbury International Film Festival (then, the Dudley Film Festival) in 1999. The other reason was our love of films. We were hungry for films by and about people of color, and we believed that there was an audience in Boston that was searching for these types of films. We were right.

Now as we prepare for our 18th year, the Roxbury International Film Festival continues to showcase and honor the work of emerging and established filmmakers of color and has become the largest festival in New England dedicated to this genre. Since its inception, the festival has welcomed over 30,000 attendees, and we have screened more than 450 films by or about people of color.

“Our mission is to support diverse filmmakers and provide an opportunity for audiences to view the works of these filmmakers, and experience stories often overlooked in mainstream media.”

The Roxbury International Film Festival takes place over 7 days, with workshops and film screenings taking place at the Museum of Fine Arts Boston and Haley House Bakery Cafe.

If you are interested in submitting a film for the 2016 festival click HERE.

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Early deserters of the Hobbit series will find themselves entranced by director Peter Jackson’s “The Desolation of Smaug”-the second installment of the Middle Earthean adventure series and a more than impressive renovation of the series maiden film “The Hobbit: An Unexpected Journey.” Though deemed the ultimate action adventure film, “The Desolation of Smaug” infuses elements of nearly every genre of film, making it a true cinematic spectacle. It’s intense, yet funny, cool but romantically cheesy, and thankfully eight minutes shorter than its predecessor.

It becomes evident, only minutes into the film, that Jackson has put together a masterpiece for his viewers and revisited elements of his first Hobbit film that had received some negative criticism. The film opens with Gandalf pushing himself onto a paranoid looking Thorin at a tavern somewhere in Middle Earth. After revealing that men have been sent to kill the soon to be Dwarvan King and that the fate of the Dwarvan people rest somewhere in an excessively large pile of gold guarded by a philosophically minded dragon that enjoys the taste of dwarf, Thorin concurs that some form of action must be taken and a company of men must be assembled to complete the task.  From this moment the three part series is born and audience members are finally given some closure as to how and why this cinematic adventure is taking place.

Following the productions satisfying introduction, the film takes a Narnia-esche turn for the better. Bilbo and company find themselves facing foes and friends of races and origins that one would never have imagined existed in the realm of the Hobbit. Colossal spiders, unnerving necromancers, and man-bears (yes…man-bears) are just some of the interesting creatures that will astound audiences, particularly those viewing the film through a 3D lens.

Amidst the films breathtaking display of modern CGI capabilities exists a complex story that even Hobbit haters will learn to love. Romances flare between Dwarfs and Elves, insight and references are given towards old Lord of the Rings characters, battles are fought whilst riding barrels down white river rapids and characters face off against the being that inspired this 3 part series to begin with-there is truly something for everyone to love in this epic, even the acting.

The choice to cast Evangeline Lilly as an Elven character with more than impressive combat skills and a weak spot for injured Dwarves (apparently) seemed initially debatable but has proven to be a brilliant one. There is a certain kind of finesse to her character that matches the film perfectly and encompasses two things that the majority of men like to see in a film-violence and beautiful women. The same could also be said for woman and the return of Middle Earths very own sniper, Legolas.

Though some seem to believe that Benedict Cumberbatch and Smaug go together as well as orange juice and cereal, one can only voiceover a fire breathing dragon so well. If the dragon sported a Cumberbatch looking face Smaug would have been a big let down, and an odd one at that-but given that this was not the case Smaug more than held his own against the other characters in the film and I believe everyone who sees this film will be excited to see what he does next.

“The Desolation of Smaug” is a movie going experience that will stand the test of time. Jackson has provided audience members with a virtual adventure through Middle Earth that no one will soon forget and everyone will want to immediately continue. From the films extensive story line to the sound of its title rolling off of your tongue “The Desolation of Smaug” is just plain cool. Even those who sit at their computers most of the day thinking of witty ways to bash every film in existence will find little to complain about in this epic.

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Brian Percival’s “The Book Thief,” based on the novel of the same name, is a refreshing cinematic take on World War II Germany and one girl’s indirect battle with the countries intellectual principals-fought through the pages of different novels.

Take Note: Comparing a novel to its cinematic counterpart is like comparing…well apples to oranges. They are two completely different things that cater to completely different audiences and should not be done. If this is the type of analytical comparison you seek do not read any further.

Liesel Meminger (Sophie Nelisse) and her brother (Julian Lehmann) are sent to stay with a foster family in Germany during World War II. On the train her brother dies leaving Liesel alone and searching for an anchor in a time of war. With the help and encouragement of her foster parents and Max, a Jewish refugee living under their staircase, Liesel learns to read and discovers beauty in words during an otherwise turbulent period of time.

One would speculate that a film narrated by death (voice of Roger Allam in the film) would prove to be a horrific feature length rendition of Spike TV’s “1000 Ways to Die”-thankfully, this is not the case. “The Book Thief” is a film of wonder, inspiration and joy.

Audiences will embrace Liesel’s passion when she pulls books from a pile of burning pages out of curiosity for what story exists between the covers, or when she breaks into the estate of a government official to “borrow” readings from their library filled with endless knowledge. It will be hard to resist the urge to smile as Liesel reads the words from a grave-diggers instruction manual (her first book,) and attempts to take a copy of “Mein Kampf” from their Jewish guest simply because it is a book. The film overflows with moments that will make you laugh, cringe, potentially cry and wish that the productions run time was just a little longer.

There is little to say regarding the mechanics of the film itself because it is so spectacularly done. The dynamic between Liesel and her best friend/neighbor Rudy is so well crafted there isn’t a moment of superficiality or untruth.  The film’s plot is simple yet addictively engaging and the dialogue exchanged between characters is, for the most part, witty and comforting, yet somber and relate-able.

“The Book Thief,” in its essence, can only be described in one word- absolutely amazing (adjectives do not count.) It is a motion picture that everyone can enjoy and could be used as an intelligent method of introducing World War II and the general themes that are associated with it to younger audiences.  However, viewers should be warned that after seeing “The Book Thief” one may be encourage to steal the book. Not with the motive of comparing the two, but because you will not be able to get enough of it.

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Malcom D. Lee’s “Best Man Holiday” is a festive collision of heart warming comedy and mood altering plot twists that will leave even the most internally solid viewers debating the proper emotional response to the productions interesting ladder of events. In this 2013 sequel Lee resurrects the cast from his 1999 film “The Best Man” to invite audience members back into the lives of its characters 15 years later. Tempers rise and old rivalries are reborn as the group of college friends reunite for the Christmas holiday. Thought by all to be an opportunity to catch up it is not long before the group realizes the true motive of this gathering.

“Best Man Holiday” goes down like a cup of “just add water” hot chocolate on a cold winter night. At first it resembles the essence of perfection; warm, tasteful, smooth and comfortable until the mug empties and all that remains are the cold clumps of powder that didn’t fully mix with the rest of the beverage, causing you to long for the perfection of those first few sips. It almost identically resembles the thematic plot build of Tyle Perrys “Why Did I Get Married”, comedy, a little more comedy, a dramatic plot twist, good versus evil, characters finding some sort of closure, redemption and the end.

The film could have worked, but derails itself by abruptly transforming from a delightful comedy that welcomes you into the script to a drama focusing on redemption, sin, tragedy and a resolute ending saving everyone’s soul. Though the films characters achieve closure in the end, the same can not be said for its audience members.

There is a reason few films ride the line between genres of polar opposites-because the two don’t really mix. Aside from its bipolar feel, “Best Man Holiday” sports a welcoming and realistic vibe that makes it hard to compare with all other films of its genre.  The films relatable character dynamic and realistic dialogue set it apart from the herd by working to give viewers a cinematic experience that everyone can relate to. Though the film itself is technically sound, its cast helped push the film over the line of average to above far beyond average.

In my decision to opt out of giving a detailed description of each actors performance it can be simply said that no one individual shined above another and all performed well-with one exception; Terrance Howard’s character. Howard’s character, a pot smoking, laid back, confirmed bachelor whose wit and humor leads the the film’s comic relief is entertaining for the whole family (though I do not recommend the entire family see this film as it is relatively inappropriate for young children.) Howard’s character will constantly make you smile, even when the film makes a complete 180.  Characters such as this make the film ultimately amusing and one that no one should skip this holiday season.

In conclusion, Lee’s “Best Man Holiday” is a sturdy film. It welcomes you with open arms and includes you in the moment to moment drama that unfolds on screen. You become sentimentally invested in its characters and will feel, by the films end, that you are apart of their family.

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