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Pixels Review

An adorable life-sized version of Q*bert is easily the most engaging character in “Pixels,” a dimwitted ’80s nostalgia trip best appreciated by those who have waited years for Adam Sandler’s fine-grained intelligence and Chris Columbus’ filmmaking mastery to finally converge. For the remaining 99% of the moviegoing population, this slapdash, casually sexist revenge-of-the-nerds fantasy offers some mild visual distraction with its massive CGI renderings of Pac-Man, Donkey Kong and other old-school videogame characters that have been co-opted here by malevolent space invaders, challenging Earth to the mother of all intergalactic arcade battles. Commercially, the somewhat novel combination of Sandler’s bro-comedy antics and an unexpected dose of geek appeal should help Sony’s July 24 Stateside release enjoy a few late-summer bonus rounds at the box office, aided by strong awareness and 3D ticket premiums.

Commercial returns should remain steady even if word-of-mouth reactions fail to rise much above the level of “Well, at least that was better than ‘Grown Ups 2.’” Which “Pixels” probably is, insofar as its highly marketable gaming elements and ostensibly kid-friendly appeal have diluted some of the more offensive aspects of Sandler’s comic signature. There is, alas, more than a little residual misogyny in the insulting development of the movie’s female characters (if that’s the word), and in this case the sexism feels not just reflexive but almost obligatory, given the male-dominated videogame culture being celebrated in the high-concept, low-ambition screenplay by Tim Herlihy (“Grown Ups 2,” “Big Daddy”) and Timothy Dowling (“Just Go With It”).

It begins with the formation at the time of an arcade game in 1982 World Championships, where 13 games enthusiast Sam Brenner (Anthony Ippolito) narrowly lost the first place in a mule wearing nerd named Eddie "Fire Blaster "Plant (Andrew Bambridge) after an unfortunate game" donkey Kong. "Nearly 30 years later, Sam (now played by Sandler) does a dead end job installing home entertainment systems in Washington, DC is doing a little better his best childhood friend, Will Cooper (Kevin James), which is currently President of the United States - a development which wisely left unexplained. Ideally, winds potus turning to Sam and another friend, Ludlow Lamonsoff (Josh Gad), after a series of mysterious attacks that appear to be characters from old video game patterns.

The explanation is obvious - silent, but it is clear. Evil aliens intercepted the 80-era time capsule NASA pictures of the old classical solo and took them to a declaration of war. Now they have returned the call by scheduling a series of brushes with the earth, each of which takes another video interface; if we lose, it's game over for the planet. Fortunately, Sam and Ludlow wind itself prove the beginning (and shame invaded military athletes played by Brian Cox and Sean Bean) in the brewing of foreigners in several series of "Centipede". In addition, they manage to keep track of their old enemy Eddy (now Peter Dinklage) to romp "Pac-Man", the car chase sequence in which the favorite yellow turkey-point has been reborn as the villain of the field giant chew its way through the streets of New York. (Denis Akiyama appears as the designer original "Pac-Man" Toru Iwatani, while in real life Iwatani made a brief appearance in a different location.)

It is here that the past experience of Columbus with F / Fantasy X-heavyweight (of the Harry Potter franchise and Percy Jackson) comes in. As a result, they create a mammoth, the destructive life, director and his team of visual effects of video games more were immediately renewed its crude, low-resolution look and skillfully integrate them into live action, the effect is reinforced by several 3D conversion film (as indicated in the notes Press more accurate name would be "voxels"). If the edges appear rougher than usual, this is fully consistent with the relatively primitive aesthetic of the game.

As for apocalyptic stakes of the film, they are considered no more consequences than the game Air Hockey, somewhat broke historic attractions, despite. His stupid and most sustainable, "Pixels" plays like a long ode of not only the Nintendo culture, but also "the culture as a whole 80; it is clear from the soundtrack, with a generous sampling Zapp, Tears For Fears and Loverboy, plus two different homes of "We Will Rock You VonLichten." and the funny habit of foreigners communicating with Earth through the old clips of Madonna, Hall and Oates music videos, and (to a point) , a giant replica of talking Max Headroom. Pop culture nostalgia, of course, it is practically its own genre of the item, and "pixel" is not the first characteristic of our Valentine's fondly remembered the mass entertainment touchstones .

If only the movie in front of us actually fit that description, or truly conveyed the addictive pleasures of gaming, rather than serving up another barrage of witless one-liners, strained reaction shots and aggressively inane celebrity cameos. (Serena Williams, turning up randomly at a soiree: “They promised me an island if I did this.”) Really, the viewer would be better off spending 98 minutes browsing old “Bomberman” walk-throughs on YouTube than trying to care what happens to Lt. Col. Violet Van Patten (Michelle Monaghan), a tough-talking weapons expert who supplies our heroes with pixel-blasting light cannons. Her real purpose, alas, is to carry on a cringe-inducing, chemistry-free flirtation with Sam when she’s not watching him fight from the sidelines.

Violet also has a serious young Muppet (Matt person) and ex-husband whose infidelity sends her crying in the closet of his room with a bottle of vodka - all in all, a kind of "character development", which gives you authors urge eebezmozgly Bimbo was done with him. However, Monaghan can also play Medea near Ashley Benson, who gives a feast for the eyes of performance without words Lady Lisa, scantily clad, sword-wielding heroine dreams imaginary Ludlow. Even more severely wasted Jane Krakowski as first lady, whose most important scene requires her laugh and decorate a cake. It is not exactly "gamergate: Cinema" but intentionally or not, it is boorish breathtaking of this movement with depressing accuracy.

James Beer POTUS absorb at least a good alternative to Paul Blart Dinklage and has its usual fun playing a little guy with a good attitude. Gad, who scored a medium success earlier this year, "The Ringer marriage," is incredibly over-the-top that crazy eccentric botanist group standing opposite Sandler, who rarely seemed person on screen. Over the years, the joy of the actor playing the man-child outrageously ridiculous sloth slowly calcified residents of fatigue; where Sandler again raised our disturbance (and often our laughs), it now seems barely able to gather enough effort to complete the scene, not to mention the promotion at 255 "Galaga." There is no joy left in his chip.   

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SXSW Film Review: ‘Trainwreck’

“Monogamy isn’t realistic,” says a soon-to-be-divorced dad to his two preteen daughters in an early scene from Judd Apatow’s “Trainwreck.” Two decades later, those words have taken their toll on one of those erstwhile little girls — a tart-tongued, booze-swilling serial dater (writer-star Amy Schumer) whose love life is barreling downhill with ever-increasing velocity. She’s the screwed-up, screwball heroine at the center of a somewhat shaggy, frequently hilarious romantic comedy that, like much of Apatow’s best work, delicately balances irreverent raunch with candid insights into the give-and-take of grown-up relationships. The change in scenery (New York from Los Angeles) and gender emphases serves Apatow well, as does Schumer’s excitingly original comic voice, which should spell a critical and commercial rebound for the comedy impresario, following the mixed fortunes of his more sober, semi-autobiographical “Funny People” and “This Is 40.” The Universal release opens wide July 17 following its “work-in-progress” premiere at SXSW.

Trainwreck

Head Apatow its persistent enough water Female characters never really happened, because the intelligent, sophisticated women played Catherine Keener in "40-year-old Virgin" and Leslie Mann (in real life Mrs. Apatow ) in "Funny People" and "This Is 40." Nevertheless, "Trainwreck" is the first of five as director Apatow focus on the female lead - and one with a rather unbridled vitality for dozens of ordinary characters. Schumer, a newcomer, whose career to date has mostly been on television, wrote himself the role of pearls here - one that allows him to show the full range of his comic gifts, making a lot of stiffness undermine codes that dictate how women in Hollywood romantic comedies you must behave. 

While even the supposedly liberated hero Nancy Meyers and the late Nora Ephron is still largely define the presence (or absence) of Mr. Right in their life, Amy Schumer Townsend vow long ago such aspirations (if ever he had them), looks at his happily married sister (Brie Larson) the way a child looks Brussels sprouts, and uses people as disposable as a playboy, playboy Heartbreakers in films tend to use women. Amy takes the first step, and in the past, rarely spend the night and almost never come back on the second day - keep semi-stationary FWB, muscle bound moron (very game John Cena) that approaches sex as if it had been an exhausting day of CrossFit.

Amy, in many ways, a chip off the old block: the daughter of an alcoholic father grumpy (Colin Quinn), who was never there for her daughters (or their mothers), who now suffers from the late stages of care cost-MS live Pope care becomes a bone of contention for nurses who work, and a way Apatow (who has always been attentive to the class issues and money) and Schumer base support the real problems, as the plot begins to tilt in the direction of Tracy and Hepburn.

 This change occurs when Amy profile, a writer for the magazine deep, Maxim-esque men, was awarded Aaron Conners (Bill Hader), a rising star among sports doctors of medicine whose patients include LeBron James and Amare Stoudemire . The device, which is as old as 1934 "It Happened One Night" (one of the few classic comedies, including "Manhattan" with which advice "Trainwreck" his hat) and as recent as last year "five "journalist and is subject to soon find yourself throwing ethics wind and the body in the arms of another. Which in the case of "Trainwreck," not the end of history, but rather a point where things start to get complicated.

Schumer and Hader (excluding fresh round of his dramatic escape in the last year "skeleton" of the twins) are terribly attractive, together, in part because they are not cut tissue novel standard film because Schumer does not give them a movie standard -romance overcome obstacles. There is no competing lovers should be abandoned on the way to the altar, but in reality, the most sensitive issues in hand, as the life of Amy meet men who could not stir deep feelings her, and the progressive realization of Aaron, who really has the means to share your life with someone, for better or for worse. Without question, these feelings will win several charges Apatow family values locked up a scientist, but as a director, he said several times: Yes, as a child, divorce, he believes in marriage, or at least, the monogamy, but that may be unrealistic.

As Apatow, Schumer wrote in a deeply personal experiences and promotes kind of narrative detours and digressions that do not necessarily further the plot (and have pushed beyond two hours of travel time stamp), but to increase our sense of the characters and the world they inhabit. In "Trainwreck", which means a significant amount of time spent specifying staff Snuff magazine where Amy competing against colleagues (Randall Park, Vanessa Bayer) for the benefit of castration, the boss Anna Wintour-ish (Tilda Swinton gay almost unrecognizable under bronze basic books and turquoise eye shadow). Workplace Aaron much less fierce, despite the bones and tendons literal, but it time to play one-on-one with the King James (good sight gag), and reflect the impact of a hurricane on the life of Amy permits

Blow to blow, it is one of the funniest movies Apatow and charming constantly, until one of these extravagant displays of affection character that seem awfully corny if there were not so sincere. It is also the most Apatow film work, with subdued lighting film widescreen (35 mm film format) of the DP Jody Lee Lipes ("Tiny Furniture", "Martha Marcy May Marlene") and a reliable sense of framing , camera placement and editing director has shown free of residues of comedy television, and his insistence on "punching" for a joke.

En plus de James et Stoudemire, Apatow et Schumer ont attiré de nombreux autres personnalités sportives du monde (y compris les Dallas Cowboys QB Tony Romo et l'ancien champion de tennis Chris Evert) pendant camées modestes, mais la plus grande surprise dans le fait, James, qui se joue - ou plutôt, l'auto-agrandissant, la version de lui-même signifie - une perfection impassible. Aussi voler habilement quelques scènes avec aplomb bien un jeune homme de 100 ans, le théâtre, le cinéma et la télévision légende Norman Lloyd jeta un collègue résident retraite personnes âgées Quinn.   

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Film Review: ‘Southpaw’

You can practically smell the blood, the sweat and the fierce actorly commitment rising from Jake Gyllenhaal’s bruised and tattooed body in “Southpaw,” a bluntly conventional melodrama about a champion boxer forced to undergo a grim crucible of physical, emotional and spiritual suffering. Yet the undeniable intensity of Gyllenhaal’s bulked-up, Method-mumbling performance may leave you feeling more pummeled than convinced in this heavy-handed tale of redemption, in which director Antoine Fuqua once more demonstrates his fascination with codes of masculine aggression, extreme violence and not much else. Creakily plotted over the course of its rise-and-fall-and-rise-again trajectory, this partly Chinese-funded production may land enough visceral blows to catch on with audiences on its July 24 release through the Weinstein Co., but seems less likely to attain the prestige-hit status of superior efforts like “Million Dollar Baby” and “The Fighter.”

Southpaw

You can almost feel the blood, sweat and fierce actorly commitment from injuries and body tattooed Jake Gyllenhaal in "Lefty", right on the weight of a conventional melodrama boxer forced to endure physical suffering, emotional and dark spiritual crucible. Nevertheless, it is undeniable intensity Gyllenhaal bulk method, mumbling performance can let you feel more confident of beating in this heavy hand the story of redemption, in which the director Antoine Fuqua once again demonstrates his fascination with codes of male aggression, extreme violence and De Plus. Creaks suffered during his rise and fall, and the monolithic-back path is partially funded by the Chinese production can land punches intuitive enough to catch with the public at July 24 released by Weinstein Co., but it seems unlikely to reach the prestige of the most effortlessly hit status of "Million Dollar Baby" and "The Fighter". 

Rough around the edges, the type that arose in the life of the kitchen with host cells and prison Ada family to achieve significant success in the ring, light heavyweight champion of boxing Billy "The Great" Hope (Gyllenhaal) seems to have everything, live a life of luxury with his wife, he loves, Maureen (Rachel McAdams strong) and premature, Leila their girl (Oona Laurence). But fame comes with the usual pitfalls and Maureen wants her husband to rest, not only because he can spend more time with his family, but also because it is not afraid that his fierce, no holds -barred style boxing get him seriously injured or worse. Naturally, this is Maureen, who will pay a high price for his insight, giving a shot randomly wound after a violent confrontation with Billy trash-talking rival, Miguel Escobar (Miguel Gomez).

Under the impact of this senseless tragedy, Billy quickly descends into a spiral of anger, despair, drug abuse, poverty and violence, and the winds lose his house, his longtime manager (Curtis "50 Cent" Jackson) and, worst of all, Layla, who is responsible for family services. Determined to regain custody of her daughter and gradually revive his boxing career, he takes a menial job cleaning toilets in a dilapidated boxing gym owned Tick Willis (Forest Whitaker), who reluctantly agrees to supervise the preparation of Billy, despite his aversion to the world of love lasts boks.Vrode professional Mentor, which prohibits drinking and swear in his gym (not insured or default), teak occupies more personalized sport, giving Billy kind of education sports, with priority technique, discipline and confidence to anger, revenge and brute force.

In particular, during the first half of the film, Fuqua deploys heavy hand of director that everything he makes, but severe restrictions on the material; It does not seem to be looking down as much as Billy actively try to break his spirit, as if having the character discouraged many times boost our sympathy, and not leave us a sense of crudely manipulated. Fortunately, despite the third act of the final, which is too conveniently allows Billy to settle accounts with the fate of "left-handed" largely avoids the kind of responsibilities that the pugilistic "Death Wish" (which comes as a relief, given sur- Grand Guignol Stoves back to the previous output in Helmer in "The Equalizer"). Boxing Scene dynamically and cut lenses (DP Mauro Fiore, and editor John Refoua, respectively), and the Fuqua (himself a boxer) promotes a wide range of angles - sometimes taking a closer view of the enemy, Billy, sometimes taking the front row, but always looking to the position the public amid a tasteless, tasteless pulse pounding show.

At the same time, the filmmakers seem to be well aware that they do not really show us the spectacle itself can compete Gyllenhaal, who throws in the role of Billy hopes sort of go-to-surrender which is made even his creepy Gollum -How included in "Diablo" the look of last year as an exercise in drama class in. After shedding 15 pounds (and apparently a few IQ points) for the part, Gyllenhaal has never looked at the screen more difficult; flush with his hair, his face swollen, his left eye is constantly bloodied, his skin held tight in his muscles, he is almost unrecognizable here as some will be more than enough to meet the expectations of a great performance. The strangest thing of all is the voice of the actor, which sounds as if it has fallen at least an octave and his decision to perform in a growl, half-inarticulate supply with almost every other curse word. It is a hard solid piece of the action if it never lets us forget every ounce of effort that went into its production.

Gyllenhaal few moments with Whitaker, who makes the perfect movie as coach old rough, but the star has more difficulty creating authority father-daughter relationship with Lawrence. As she recently demonstrated in the independent drama Ross Partridge in "the Lamb," Laurent is one of the most wonderful children open years, but it has little chance to show that he is capable of here mainly because the forces in the movie Leila throw his deadbeat dad in ways that feel more strongly than psychologically convincing advised. Perhaps the main flaw of this first feature script by Kurt Sutter ("The Shield," "Sons of Anarchy") is that it never goes beyond the simplistic world of his hero, the treatment of Leila more or less as a support for introduction and stir until the periodic conflict, and also reduce the figure of Miguel in the one-dimensional villain. Callous history of the Group's risk teens in the gym mite affects particularly sour note.

Set designer Derek R. Hill of the population convincing film makes effective use of places of Pennsylvania to capture the generous life and extreme poor (rounds boxing match at Madison Square Garden and Caesars Palace in Las Vegas) Billy. James Horner evaluation adds brooding synthesizer tenor of the film, while the soundtrack was produced by Eminem, who was once floated as the ability to play the hope of Billy, and may well do more with the role - to be sure, less.     

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‘Vacation’ Review

Midway through “Vacation,” the intrepid Griswold clan unwittingly takes a dip in a lake filled with human excrement, which is roughly how most viewers will feel after enduring 90-odd minutes of this miserably unfunny, mean-spirited and just plain wrong reboot of the much-loved 1980s and ’90s National Lampoon comedy series. Corralling a new generation of family members for another ill-fated trek toward that theme-park mecca known as Walley World, this new “Vacation” leans heavily on franchise nostalgia — with multiple cover versions of Lindsay Buckingham’s “Holiday Road” theme song and token cameos for original stars Chevy Chase and Beverly D’Angelo — but trades the earlier films’ endearing buffoonery for a cheap nastiness reminiscent of writers (and first-time directors) Jonathan Goldstein and John Francis Daley’s “Horrible Bosses.” A trip to the corner store with this cast of characters would be an endurance test — which, with any luck, is as far as the movie’s box office returns will carry it.

VACATION

When he wrote the script for the first "holiday" (in his article in National Lampoon "Vacation '58"), at the end of John Hughes was riffing on their memories of family trips in smoky turbulent wagons and class average suburban America that asked families shiny perfection on Sunday in store flyers. It consists of quarrels, but love siblings teenage mother Rusty and Audrey incredibly patient, Ellen, and quixotic Dad Clark (whose best-laid plan inevitably sour), the Griswolds were like live-action Flintstones Simpsons (or pioneering Letter), and many will the first film moved in three simple but pleasant suites (the best of which, in 1989, "Christmas vacation" became for many years in December). But griswolds new "Holiday" is actually a Sunday circular family: They seem to have met each other on the cast few minutes before the cameras rolled and the film does not seem to like much,

A good indicator that goes from Goldstein and Daley approach goes right in the first scene, now an adult when Rusty (Ed Helms), a pilot project for airlines to suburban prices, take a bathroom break in flight , leaving the aircraft in hand senile driver - a gag that would feel worthy of the gag, even if it does not come with Germanwings disaster still making headlines. Another indicator comes later, when Goldstein and Daley to the growth of its own version of the first meeting of "Holiday in" between Clark and Ferrari driving Baby (Christie Brinkley is Hannah Davis for now) - a scene in new film , whose climax is cruel frontal collision.

As another summer movie tentpole, located in the fictional theme park, "vacation" shows that he understands the burden of expectations that come with the rebirth of the iconic franchise. "We do not change anything. It will be completely different," says Rusty annoyance of his son, Kevin pint hooligan (Stebbins steel) and sensitive guitar strumming James (Skyler Gisondo), explaining why he decided to follow his road itself own parents once took Wally world., Jealous, the children said they had "never heard of the original party." (. More direct allusion to the "Jurassic World" comes in the form of Wally world's newest and most popular roller coasters: velociraptor) From there, the "rest" continues as a tribute dusting mixture (known as van tartan temperament name Prancer - "Honda Albania" - instead the Wagon Queen Family Truckster immortal) and a kind of self-satisfied platitudes that seem vomited (junior high) locker room, not in the room writers.

The Griswolds known many decades, although this "holiday" is the first in which they have been road-rage pedophile truck driver and almost repeated falls, rafting, suicidal Guide (Charlie Day). What generally depressing air exacerbates watching many talented artists have trouble maintaining a soft material (including no shortage of jokes dick jokes, gay jokes gender identity ). Always game Christina Applegate, for example in the mobile picture comedy "Anchorman of" completely lost here suffers Ms. Rusty, arms, projectile vomiting mainly his way through the round games drunken sorority during a visit to his alma mater Memphis. However, she escapes with a little more dignity than Chris Hemsworth in the hands mainly jump underwear as the vain Texas TV meteorologist who married Audrey (similar underused Leslie Mann). Less likely are Chase ( terrible air inflated) and D'Angelo (radiant in 63), the speech of 11 hours seems nailed to the post-production automatically.

The key to success "Holiday" movie was their main sweetness - a feeling that, despite all their weaknesses, were far Griswolds surprisingly functional. The family looked at the screen and saw a version of himself reflected. Look for a new "holiday" and everything looks great comic empty return.  

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Film Review: ‘The Lazarus Effect’

‘The Lazarus Effect’

Appropriately enough for a horror-thriller about raising the dead, “The Lazarus Effect” has spent the past few years sitting on a shelf, developing quite a stench in the process. Completed back in 2013 and originally set for release via Lionsgate, the low-budget pic subsequently landed at Relativity, which just last year teamed with producing shingle Blumhouse to distribute the imaginative and unsettling “Oculus.” No such luck this time around, as “Lazarus” shamelessly steals from superior genre efforts and lacks any distinguishing traits beyond a wildly overqualified cast. Still, even a modest opening weekend will ensure a profit before toxic word of mouth kills this stinker for good.

After the announced gourmet documentary "Jiro Dreams of Sushi" It is definitely the odd choice director David Gelb; at least this strange Doc in horror left turn Joe Berlinger "Book of Shadows: Blair Witch 2" But, as with the notorious unusual choice disappointment Helmer is not reflected in the final product anonymous (but leader "Lazarus" Lady Olivia Wilde made snack on sushi at an early stage).

For reasons never romantic scientists entangled entirely clear Frank (Mark Duplass) and Zoe (Wilde), spent several years at the University of California, closer and closer to their ultimate goal: to raise the dead. At least, that's what Frank hopes to achieve by connecting various dead animals, including pigs and dogs, a complex machine, and injecting them with a fancy reanimation serum. When the current test actually succeed in the resuscitation of the deceased canine, Frank delighted. Zoe just over conflict through a strong dose of Catholic guilt and recurring nightmares mysterious childhood. It does not allow when she sees the undead puppy certainly not acting normal.

Meanwhile, joint support staff - Computer Engineering from Nico (Donald Glover), who put pressure on Zoe nurses, pothead man idea Clay (Evan Peters) and videographer rehired Ava (Sarah Bolger) - does not seem particularly fazed by the fact that they have made previously living creature from the dead, but Clay has his reservations when he is alone with a dog at the end of the night. Bids are developing rapidly past the point of no return, when the hidden attempt to recreate the results Sunday at Zoey lose his life, and Frank takes extreme measures to recover.

That's where the "Lazarus effect" is transformed from a kind of pseudo-intellectual thriller sciences making it unnecessary to read throwing technical jargon in an attempt to look smart in a full part in horror movie characters to do the same act as silent as humanly possible as a zombie Zoe develops crazy powers (telekinesis, telepathy, the ability to fully dilate the pupils will), everyone, including Frank just sitting around waiting to see what happens ryadom. Otvet is a whole bunch of horror tropes (half expected -era "Flatliners" Kiefer Sutherland to show bluster, "Our sins have returned to fitness!"), but no real fears, and, of course, nothing visceral threaten without shedding of blood PG-13 rating.

Credited scribes Luke Dawson (“Shutter”) and Jeremy Slater (the upcoming “Fantastic Four” reboot) clearly aim to reimagine Frankenstein (down to the name of Duplass’ sorta-mad scientist), but the script is quite literally made up of recycled parts. A dash of “The Thing” here, a dollop of “The Fury” there — topped with cardboard characters and superficial treatment of Big Questions involving life and death, science and religion. It’s all deeply unsatisfying.

At least the actors working courageously to breathe life into the soft of history. Even playing vaguely sinister botanist Duplass remains free and natural, riffs by his absurd way of making fun of the exhibition and the Wilde play. It has by far the most intriguing roles, taking Zoe demonic voice of reason in hell beast. Glover and Peters restrict too their natural charm and Bolger got stuck playing the damsel in distress.

Tech credits range from adequate to above average, most notably the special effects makeup employed on Wilde, but it’s a safe bet this won’t be a career highlight for anyone on either side of the camera.

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The Gift review – sophisticated, chilling surprises in Joel Edgerton’s debut feature

One of the men at the time to see the Australian actor Joel Edgerton. After writing last year Ozpocalypse Rover thriller he wrote and stars in this first function staging. This specialist in refrigeration Blumhouse (Insidious), and advertisements with the slogan "Dare to open?", Offer something terrible ever. (What might be the gift box package? Dead kittens? Save a branch of the human centipede?)

THE GIFT
The Gift is much more complicated. Rebecca Hall and Jason Bateman play a couple who move in a sleek modernist home in Los Angeles. They work in Gordo (Edgerton), a former classmate Beitman, which seems to be more ready to welcome in the city. We believe we are in a typical home invasion thriller, but Edgerton takes the story in unexpected directions. Bateman gets to do anything but play delighted steel mold friendly lobby playing detective and proudly Edgerton plane quietly strange effect, while the widescreen camerawork of Eduard Grau's cold usage, couples intense polished spaces Dream House. Of all the industries Blumhouse This is one that really deserves to be called Wicked.

To some extent, the "present" functions like a riff on what could be an animal theme in Edgerton - a normal person destroyed the little lie that the fungus grows in the fraud. In the scenario to absorb Edgerton 2013 Aussie crime drama "serious crime", that the common man was basically good cop who made the wise decision to conceal their involvement in a hit-and-run drunk. In "The Gift", our hero is obviously secular Simon (Jason Bateman), the sales Exec to a computer security firm, who had just returned to his hometown of Los Angeles with his wife, interior designer Robin (Rebecca Hall ). They have good luck in the beauty of the mid-century modern Hollywood Hills; it seems to be intended to promote. All that (obviously) lacking is the beating of little feet, but not (as we soon find ourselves) following a lack of trying. 

Instead, they take a different kind of houseguest as Gordon (Edgerton), an unwanted explosion of past Simon, who crashes into the happy couple (apparently) random and, little by little, fits deeply into their lives . First, Gordon just wants to help, but as the title character in the darkly comic thriller French director Dominik Moll 2000 "with a friend, Harry" (American remake that retard the hell over the last two decades). Undoubtedly the country (Edgerton plays the role of a reddish brown paste hair, a beard and an unflattering 80th in the style of earrings in his left ear) and socially awkward - back to school, they l called him "pervert Gordo" - Gordon utters a series of increasingly extravagant gifts hanging rack, efficient offering himself lunch and otherwise keeps popping up on time darnedest And it's before things really get too close. Be assured for comfort. No rabbits do not cook until crisp, but things do not end well at all for the people of the patio koi pond.

Some people will change dramatically after school, Simon reasons (obviously referring to himself), while others remain the same. But as a "gift" short of steam, it is increasingly clear that both Simon and Gordon still very same people they were 20 years ago - an intransigent bully, another of his unwitting victim seeking recovery shameful episode for their common past. This is the basic setting gives Edgerton license to play with some kind venerable attributes - mysteriously valve is open, animal missing, the dark presence of encroaching on a foggy shower door - which for their familiarity, deployed with a solid understanding of how to make the audience move nervously in their place.

Where is the "gifts" toys with our expectations in its refusal to join any single character or for the production of heroes and villains obvious. In a typical film such efforts to make life living hell Gordo Simon in the end, to reach the point where the last century-old sins - no matter how devastating - not pale in comparison to the tactics of the old Avengers. But instead of Edgerton holds our sympathies and inclination of the knife blade, forcing us to constantly review what these two men deadliest sociopath.

If “The Gift” isn’t ultimately as intricate or surprising a movie as “Felony” (which was directed by Matthew Saville), it remains the work of a sure-handed craftsman who knows how to keep a story moving and when to tighten the screws. Even at its most routine, the movie offers the pleasure of Edgerton’s own superbly creepy performance, which could easily have devolved into ghoulish revenge-of-the-nerd caricature, but instead turns Gordo into a simultaneously pitiable and unsettling figure — a dejected adolescent frozen in time. Bateman, who played some of these same themes for comic effect in his own 2013 directorial debut, “Bad Words,” seems completely at ease as a compassionless alpha who views the world in clearly demarcated terms of winners and losers. And Hall casts a sympathetic presence as the woman trying to sort out which, if either, of these men she wants in her life.

“A Single Man” d.p. Eduard Grau’s moody, low-key cinematography and editor Luke Doolan’s crisp cutting front a generally strong tech package.    

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