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The Tomatometer is 59% or lower.
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Beyond the lights is a tale that inhabits the contemporary R&B realm of artists like Rihanna. Noni feels pushed by her domineering mother into fronting a hyper-sexual image with which she doesn't feel comfortable. Her musical style sports vocals that are technologically enhanced by Auto-Tune and deep percussive bass. She wishes to retreat to a more simple style of her artistic idol Nina Simone. These portraits of the music industry often lambaste the pre-fabricated, highly choreographed pop star, but one look at the Top 40 will show that is what people want. As her momager's behavior widens the divide between them, Noni escapes to a island resort. Here the narrative takes on a poignancy I didn't expect. Lamenting the way people are marketed for a mass audience is old hat, but Gugu renders her sorrow with distinction. As she literally strips away the long colored strands of straight hair woven into her own, she symbolically reveals her true self. Her subsequent triumph of Nina Simone's "Blackbird" in a karaoke bar becomes a declaration. It's an affecting transformation and Gugu makes the metamorphosis seem fresh and new.
Mockingjay is inferior to Catching Fire, but that doesn't mean it doesn't have value. It's just that the excitement quotient of the story is a bit anemic. There are a lot of segments where the narrative simply drags. That has never been the case with this series before. This is a running commentary on the fabrication of propaganda in order to promote a cause. The groundwork has been laid for all out war. Gone are the reality based competitions to the death. In its place is a war of words, essentially between Katniss Everdeen and President Snow who uses Peeta against her. I must warn the uninitiated. Anyone unfamiliar with the previous installments will be lost. More than Twilight, more than Harry Potter, this entry does require that you have seen Parts 1 and 2. These are the details concerning the ongoing evolution in the nation of Panem. For those in the know, the production can provide some satisfaction.
If one is to judge a movie by the way it makes us feel, by the emotion that it elicits, then The Theory of Everything has got to be considered an unqualified success. After the disease takes hold, Stephen Hawking embarks on a transformation whereby the deliberate degradation of his body manifests itself. Slowly, painfully, we watch as this brilliant man succumbs to the affects of this disorder. Actor Eddie Redmayne bends his frame in ways that look as if he truly is suffering from the actual condition. At no time does the performance every feel exploitative,. Nor does his achievement ever read like he is showing off. Redmayne simply is, progressively contorting his body while battling the increasing difficulty with which he is able to speak. Gradually that ability disappears as well. The effect is heartbreaking and yet it is a testament to the strength of will that Hawking had to summon in order to overcome his disability. It is a flawless triumph that celebrates the man's success with respect and dignity.
Foxcatcher is about insecurities, validation and obsession. As such, the dark drama relies heavily on mood. The narrative is quiet, insidious even. As it sneakily unfolds you never quite know where the focus lies. Certainly this is an attack on how wealth can buy standing in arenas to which you don't belong. John du Pont and Mark Schultz are two dejected souls that initially needed each other. The screenplay logically makes connections between the various characters and ties them together. As du Pont seeks support from his mother, so too does Mark seeks the same from du Pont. Their interdependence is a portrait of unease. Additionally the genuine fraternal love amongst brothers is contrasted with the oppressive demands that du Pont puts upon Mark. Du Pont is needy to the point of being unstable. His complicated rapport with Mark is rooted in unrealized hopes. Undoubtedly he lives vicariously through the success of these developing athletes. But the full extent of those desires are cryptic and belie a tortured personality. The script subtly hints at things that are implied but never explicitly stared. Foxcatcher brilliantly handles all of these emotionally complex relationships in a skillful way. Capote, Moneyball and now Foxcatcher - Director Bennett Miller has established a knack for these fables based on fact. It is a deeply troubling film and I mean that in the most profound way.
Big Hero 6 isn't particularly innovative in the narrative department. The Incredibles kept popping up in my mind. The story is pretty standard: get the bad guy out for revenge. Yet the beginning grabs the viewer's attention with an enticing set-up. Unfortunately the ending does not live up to all the excitement that precedes it. Nevertheless the production is bright, colorful fun and the animation is a joy to watch. Big Hero 6 actually bests its influences in this area. Hiro Hamada (Ryan Potter) is a 14 year old engineering wonder. His affinity for Baymax is palpable and his upgrades to his brother's creation inform the chronicle. Baymax is a great physical comedian. He conveys so much with so little. I mean his face is two dots connected by a line. He's expressionless, but his sweet innocence comes through in every scene. His character is such a refreshing change of pace from the in-your-face, amped up, hyperactive personalities that often plague kiddie cartoons. His pacifist stance explores the futility of vengeance and power of forgiveness. Child Hiro emotionally matures as a human being as a result of knowing Baymax. I found their kinship genuinely touching.