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The Tomatometer is 59% or lower.
The Tomatometer is 75% or higher, with 40 reviews (movies) or 20 reviews (TV). At least 5 reviews from Top Critics.
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Kill the Messenger is an interesting tale in two parts. The first half recounts Webb's discovering the evidence. The second half depicts the aftermath of that story. What makes this so watchable is Jeremy Renner's portrayal of newspaper reporter Gary Webb. He is really good at getting the audience to like him. We feel the unbearable tension that our hero endures as he is threatened directly and indirectly. The impending sense of doom never seems very far way. We share in his growing fear for his own safety amidst his desire to expose the truth. The best scenes concern him and his family. In particular Rosemarie DeWitt as his wife and Lucas Hedges as his son, provide another facet that gives Gary Webb more depth. They imbue his character with flaws that are somewhat unexpected. After all, we have seen this before. All the President's Men is an example of the crusading journalist railing against the system. The difference however is where Carl Bernstein and Bob Woodward were celebrated as heroes at the time, Gary Webb was given a much different reception.
Whiplash is a movie that concerns a teacher and his pupil. Our tale is a relationship focused on music but the subject could've been about anything really: ballet, gymnastics, law, nuclear physics - any pursuit that demands a lot of time, hard work and practice. Whiplash unquestionably takes those ideas to the extreme. It makes something outwardly fun and enjoyable, namely jazz music, seem punishing and unpleasant. Miles practices so hard that his hands drip blood. I wonder whether a jazz musician would even warm up to the portrait of their career here. I think it raises a lot of interesting questions though. For example, What amount of torture is legitimately required in order to be legendary? And do "tough-love" methods justify the results? Come to think of it, there was no love - just tough. I doubt many schools could harbor a teacher given to the physical and mental abuse of a Terence Fletcher- even if he did regularly develop gifted students into virtuosos. I still responded to the film though. Miles Teller and J.K. Simmons form a spellbinding duo that compels you to watch. It certainly gives me a whole new appreciation for those musicians that truly excel in their craft.
One Chance is pleasant, but it isn't innovative enough to make this different from a dozen other rags to riches stories you've already seen fifty times before. The story really botches the ending too. The fact that Paul succeeded is already a foregone conclusion so the inevitable climax simply becomes a waiting game for Paul's TV triumph. Actor James Corden plays the lead character with a lot of humanity. The comic is set to take over Craig Ferguson's place on The Late Late Show in 2015. Corden ably lip- syncs while the real Paul Potts supplies the vocals. That all works. But then actual judging panel footage from the Britain's Got Talent TV show is used, Simon Cowell, Amanda Holden and Piers Morgan's historic responses are intercut with footage of actor Corden reacting to their evaluations. The assembled editing is not organic. The pastiche drains the moment of the drama of Paul intenerating with real people. If this were the only problem, I might've forgiven the misstep. The problem is this is merely the icing of an issue on a very uninspired cake.
David Cronenberg satirizes those washed-up starlets that want to remain relevant at any cost. It's easy to see Julianne Moore as sort of a amalgamation of former stars like Lindsay Lohan or Kim Richards. The authenticity of her performance is never a question. She portrays this fading actress like a woman who has already lived the experience. Moore is brave, but at times the determination to shock the audience reeks of desperation. Too often the atmosphere devolves into crudeness without purpose. The offenses are many. Julianne Moore's big moment occurs while sitting on the toilet. Her demand to her PA for laxatives augmented by sound effects. Incest is a recurring theme. At one point, Havana's dead mother takes the place of the other woman in her ménage à trois. When Dr. Stafford started punching Agatha on the floor of his meticulously decorated living room, I could've sworn I saw that same scene in Mommie Dearest. I get it. In Hollywood, everyone is a mess. Unfortunately so is this production.
Alexander and the Terrible, Horrible, No Good, Very Bad Day is a pleasant comedy that earns its laughs from slapdash shenanigans. This is comedy at its most basic form. I'm surprised no one actually slipped on a banana peel or threw a pie in someone's face. Bad things happening to people has been the basis for many comedies: The Out of Towners, Home Alone, etc. The cast gamely registers discomfort in awkward situations with amusing results. Steve Carell and Jennifer Garner embellish this production with star power as the parents. Even Dick Van Dyke shows up in a funny bit playing himself. Let's be realistic. The repetitive screenplay would be more at home as a made for TV movie on the Disney channel than as a cinematic event. There's certainly nothing wrong with that. I mean High School Musical captivated millions. I had pretty low expectations given the source book and they were exceeded. This is a decent picture that entertains just enough to make it passable time filler. It's fast paced and breezes by in a scant 80 minutes. If you've got little ones to entertain, this should fit the bill.