‘captain Phillips’ And Other New Movies, Reviewed

Only post comments relevant to the article at hand. Do not copy and paste outside material into the comment box. Don’t repeat the same comment over and over. We heard you the first time. Do not use the commenting system for advertising. That’s spam and it isn’t allowed. Don’t use all capital letters. That’s akin to yelling and not appreciated by the audience. Don’t flag other users’ comments just because you don’t agree with their point of view. Please only flag comments that violate these guidelines. You should also know that The Sacramento Bee does not screen comments before they are posted. You are more likely to see inappropriate comments before our staff does, so we ask that you click the “Report Abuse” link to submit those comments for moderator review. You also may notify us via email at feedback@sacbee.com . Note the headline on which the comment is made and tell us the profile name of the user who made the comment. Remember, comment moderation is subjective.

Photo by Hopper Stone Captain Phillips (PG-13) ‘Captain Phillips,’ a taut, finely crafted, superbly acted maritime thriller, is just one of a wave of fabulous films heading our way. Its autumn, my friends, a time of falling leaves and soaring cinematic standards. Hallelujah, and pass the buttered popcorn. Ann Hornaday The Summit (R) Because The Summit jumps around in time and because the events on the mountain happened over two days and at locations often far apart, the already garbled chronology of deaths is made even more confusing. Michael OSullivan When Comedy Went to School (Unrated) At first, the movie sets out to prove that the mountain resort was the seminal location for mid-century Jewish comedians to get their start. But after so many detours into other terrain, the movie feels muddled and unwieldy. Stephanie Merry The Inevitable Defeat of Mister and Pete (R) Wright and Mackie have small parts, playing a homeless veteran and a pimp, respectively. Like all the other grown-up actors, their work is fine and tightly focused. But its Brooks and Dizon that youre not likely to forget. They may be tiny little kids, but they deliver outsize performances. Michael OSullivan Escape from Tomorrow (Unrated) As a social critique, ‘Escape From Tomorrow’ is weak. At times, the filmmaker seems to suggest that Disneys mechanistic manipulation of the imagination after all, its park designers are called imagineers is stifling original thought. Michael OSullivan Machete Kills (R) Bad acting, narrative illogic, inattention to character development and storytelling so choppy that the film seems to have been edited with a, well, machete are what you expect from a movie like this, which originated as a fake trailer incorporated into the 2007 film Grindhouse. Michael OSullivan Romeo and Juliet (PG-13) ‘Wherefore art thou Romeo?’ remains, as do the plays other most famous lines, but screenwriter Julian Fellowes, the creator of ‘Downton Abbey,’ has dumbed down much of the remaining dialogue. Does that mean it will appeal to a broader audience? Its possible cursing ‘zounds’ is so 1597, after all but replacing existing text with old adages about the road to hell being paved with good intentions or striking while the iron is hot comes across as lazy. Stephanie Merry A.C.O.D. (R) The cast is uniformly strong, with standout performances from Lynch, OHara, Jenkins, Poehler and Howard.

This movie season, it’s all about survival

You won’t find too many lightweight comedies or superhero spectacles opening at a theater near you. And for the people who put movies in theaters, the idea of artful, sophisticated narratives usually goes hand in hand with brooding dramas, big ideas and show-stopping performances. The marketplace grows more competitive each year, so it’s no surprise that each survival movie released this month comes from a different company: 12 Years a Slave is a Fox Searchlight release, Captain Phillips hails from Sony, All Is Lost is being jointly distributed by Roadside Attractions and Lionsgate, while Gravity comes from Warner Bros. But it’s not just a commercial scheme. These movies provide ideal acting showcases. In 12 Years a Slave, much of Northup’s horror over being suddenly thrust into a dangerous, hate-filled environment in which he must keep his literacy a secret comes through in Ejiofor’s frantic expressions. Redford takes that challenge one step further: His nameless character in All Is Lost has no specific backstory, which means that the actor must summon the full weight of his decades-spanning experience to convey the chaos and fear he experiences as the wind and waves continually rip apart his measly boat. In Captain Phillips, Hanks’ portrayal of the title character requires that he put a bold face forward while hinting at the dread he experiences while staring down his gun-toting assailants. Even the effects-heavy Gravity derives much of its power from extreme close-ups of Bullock as she battles against a supremely inhospitable environment; at times, the camera ventures into helmet and assumes her claustrophobic perspective. No matter how many twists these screenplays offer, the actors must embody the emotional intensity of the narrative in ways that venture beyond the limitations of the written word. In a post-9/11, post-recession world rife with partisanship, global terrorism and the constant threat of more overseas incursions, American society has grown increasingly paranoid. These movies probe those fears with metaphors rooted in the human condition.

© 2016 pulpedfiction.com.