joey-ziemniak's reviews

Sisters is outrageously funny, so it passes with flying colors as a raunchy comedy. But it's deeper than you might expect on a character level. Everyone's favorite duo Tina Fey and Amy Poehler are instantly believable as sisters Kate and Maura, and in addition to their witty banter and excellent chemistry, they're also well-developed female characters. This deep characterization elevates Sisters above traditional comedic fare, and the result is a funny and touching year-ender in a great year for comedy.

When Kate and Maura reunite as a result of their parents' desire to put their childhood home on the market, it sets the stage for zany hijinks to come. The premise of the film can be written in less than one line, but the party material here is very funny. It all works thematically as well, as the retirement of a family home works at bringing everyone together. Kate and Maura clean out their rooms in a brilliant scene that gets at the bond between sisters, and it also highlights the differences between the two girls.

Kate, stuck in a rut and no more mature than her daughter, had the reputation as the party animal back in the day. Maura, on the other hand, was party mom and now wants to "let her freak flag fly." It works because not only is it the opposite of what we might expect of Fey and Poehler, it allows the pair to bring out the best in each other. I'm reminded of another buddy comedy, 21 Jump Street, in which the conventional archetypes are nothing new, but the shades of the characters bring the real depth. Consistent characterization through and through allows the pair to step out of their comfort zone to great results.

When Sisters is funny, it soars. Not every joke lands, but there's a consistent stretch in the middle sixty minutes that you'll never want to end. The film gets at adulthood in hard-hitting but also hilarious ways, such as the beginning of the party when the guests sit around and discuss colonoscopies and their children. When the film goes full Project X, it also works, as the supporting characters bring the party that surrounds Kate and Maura. Bobby Moynihan is a highlight as the class clown Alex, whose groan worthy puns become something more when he snorts cocaine and hooks up with Kate's pedicurist (yes, that was a real sentence I just wrote). Maura's new crush James (Ike Barinholtz), also brings the laughs. Barinholtz hasn't had a proper role like this since The Mindy Project, and he brings out Maura's dirty side to hilarious results.

Poehler and Fey are as reliable as ever, and their commitment to these characters reminds us why we fell in love with them in their days on SNL and their respective NBC comedies. The role reversals are well done and no one sister dominates the limelight. The two are a pair through and through, and are believable as sisters but also as best friends. While no one here is going to win an acting award anytime soon for Sisters, they sell the familial bond and subsequently nail the emotional scenes. I could see this one being an underrated favorite in years to come (akin to Baby Mama). Director Jason Moore and screenwriter Paula Pell have made another great addition to the party genre, but also a female-driven comedy that never forgets to flesh out its characters.

Suffragette packs a punch. It's a soldiering tribute to the women who fought for the right to vote and paved the way for the feminist movement in the UK. While the script might be a little too biopic friendly, it's still a rousing film full of outstanding performances. Director Sarah Gavron wisely frames the conflict through the eyes of Maud (Carey Mulligan), and she keeps the drama at an intimate level, all while hinting at the larger scope of the movement nationwide.

Instead of going big, Suffragette puts us in the shoes of Maud Watts, an outsider to the movement, who works as a launderer. What I really liked about the film is that you hear murmurs about this group led by the charismatic Emmeline Pankhurst (Meryl Streep) and their activities throughout the first half of the film. They are sort of portrayed as a small-scale movement that won't cause much damage, but when Maud decides to get involved and get active, we see firsthand how powerful the group is. Obviously with a film like this many know the story already, yet Gavron and writer Abi Morgan literally put you in Maud's shoes as she gets deeper into the action, with protests and bombings aplenty.

Carey Mulligan is a revelation as Maud. Her best performance since An Education, Mulligan is pitch perfect for the role. She's such a natural actor that practically everything she feels, you feel alongside her. Gavron favors close-ups of the women in these harsh work conditions, and it works at getting underneath their skin and bringing the raw emotion to life. Other suffragettes Edith Ellyn (Helena Bonham Carter), Violet (Anne-Marie Duff), and Emily (Natalie Press) make quite an impact too. It isn't exactly an ensemble cast - Mulligan carries most of the film's weight - but it's nice having supporting characters that make a lot of background noise and are actually memorable characters rather than props. Unfortunately Meryl Streep doesn't have that same luxury. Her character is portrayed as a god-like being, and while this might have been true for the suffragettes, she is only present in the film for less than five minutes and doesn't make a lasting impression on the audience.

The script is marvelous at bringing to life early 20th century London, and the production design is gorgeous. The murky city breathes deep, as the dark alleys where these women plot their attacks is paralleled with the brighter scenes of the lawmakers in Parliament. The film on the whole has a feeling of a pot on a burner, ready to boil over any minute. It's a testament to the writing and direction that can convey a sense of natural urgency driven by history. Additionally a beautiful score from Alexandre Desplat (my favorite composer) accompanies the action and keeps the lows low and the highs high.

The brilliant script works at showing how Maud and the activists practiced civil disobedience and "unladylike" tactics while facing oppression from both home and the government. It does grow a bit tiresome towards the end, however, and the finale doesn't quite have the impact that it might have expected. There are many moments that could be considered climactic, and the one chosen is brilliant, but the falling action leads to a poor final few minutes. Of course it ends with typical true story text and a list of countries when women gained the right to vote (which is genius), but the ending could've been a little more out-of-the-box than what we got. Another coat of polish could've elevated Suffragette from a striking biopic to something in a league of its own. Regardless, Suffragette falls under the category of "essential viewing," and it manages to be both entertaining and important. Nailing that balance for films like this is key, and Suffragette brings a wallop.

Child actors are a dime a dozen, yet Abraham Attah is something else. He transcends the category and remains such a demanding presence throughout the entire film, matching even Idris Elba's poise. His character's transformation is just one of the remarkable feats of storytelling that Beasts of No Nation graces us. A gripping account of modern day war seen through a child's eyes, Beasts of No Nation is easily one of the best of the year.

The first thing you'll notice is how beautiful the film is. The stark landscapes of West Africa draw you in, and the color palette for the film is quite something. Director and cinematographer Cary Fukunaga makes sure you remember the reality of this not-so-fictional story, paralleling Agu's family life and how his world was flipped upside down when he joined a group of mercenary fighters. Initially, Agu has no choice and uses them as an escape and a way to reunite with his mother, but the ruthless commandant (Elba) changes him.

The writing is fantastic as you see the war through Agu's eyes, and it's not pretty. This kind of situation is almost completely unfamiliar for most audiences, and Fukunaga manages to supplement fear for grace. He never lets us forget the harsh realities of war, touching on familiar themes like family but going a step further by making it personal for Agu. As the film is his story through and through, the adult details of war are kept to a minimum. The audience is just like Agu, unaware of exactly why there is fighting but rolling with it because it's his only choice. There's no strategic battle scenes, no planning on a map or signing peace treaties, as we are thrust into moments just like Agu is.

When the violence does break out, it's brutal and harrowing. Young actor Attah is ferocious yet sympathetic, and he brings these battle sequences down to earth. The creative risks that Fukunaga takes with these sequences might come across as pandering, yet they make sense cinematically and come across as action poetry. There's a certain lyricism to the war torn villages and jungles of the continent, and it's beautiful and unforgettable.

There isn't much dialogue in the film, but when there is it's brilliant. The unnamed commandant's ideology becomes clearer as the film goes on, and it reaches a disturbing peak. Fukunaga contrasts him with the initially innocent Agu and the two are at odds yet retain respect for one another. There are times when Agu could simply point a gun at the commandant and be done with it, but there's a humanity to the film that respects all lives. War isn't pretty, and Beasts of No Nation knows that. Yet this risky piece of entertainment remembers to be a film first and everything else second. The result is a rhythmic work of art with one of the best young performances I've seen.

Prior to seeing this film, I had limited knowledge of David Foster Wallace and his works. After seeing the film, I wanted to learn more. The End of the Tour (dir. James Ponsoldt) is a very reflective film, highlighting author Wallace on the last stretch of his book tour for his novel Infinite Jest. Our entry point into this intriguing man is David Lipsky, a Rolling Stone reporter hired to do a piece on him in the late 1990s.

What little there is of plot is made up for in excellent characterization. The film is really all about existentialism, and thankfully it never leans towards pretentiousness. Rather there is an air of optimism about making your time on earth worthwhile. Wallace and Lipsky in a way represent two extremes of existentialism. Wallace is very relaxed, and takes his newfound celebrity with a grain of salt, while Lipsky is very Type-A, yet never brash or irritating. Lipsky has been trying to get his foot in the door as an author for a while now, while Wallace almost became famous overnight, and the film plays with the concept of "fame" in fun and unique ways. Through the film, Ponsoldt is able to explore these two extremes and find common ground between them, all while touching on the idea of fame and what it means to different people.

The script is outstanding, and hits all the right notes I touched on above. The dialogue between Lipsky and Wallace feels natural, nothing is forced. I wonder how much improvisation was done for the film, because the two seem like good friends from the moment they meet. There is a natural chemistry that draws these two characters together, and it's outstanding to watch on-screen. It's difficult to adapt a book like Lipsky's, which is mostly interviews and recording, as the book was published after Wallace's death in 2008. But screenwriter Donald Marguiles makes it work, and the result is an insightful, often hilarious film.

All this talk about chemistry would be a waste if it weren't for Jason Segel and Jesse Eisenberg as Wallace and Lipsky, respectively. Segel is a marvel as Wallace; it's a performance that doesn't demand much, yet Segel taps into all of Wallace's nuances and quirks. His delivery, cadence, and warmth almost makes it feel like you're talking to an old friend. It's a subtle performance that I hope is remembered come awards season. Eisenberg, too, is great. His reporter-type isn't very developed until the middle-end of the film, and he might come across as annoying for some. But he makes Lipsky tick as the curious interviewer wanting to learn more. He's driven by his desire to success, his want to make a successful piece for Rolling Stone, yet he ends up with a lot more.

The End of the Tour is a huge success. It isn't a very showy film, without much in the way of technical prowess, yet it's a talker. The realistic dialogue and blasé tone make the film feel like a 140 minute hang out with two good friends. Ponsoldt keeps a tight grip on the film's themes, never letting one overpower the film's true intentions. It's a wonderful ode to Wallace, and a funny one at that.

Noah Baumbach has always been a great social theorist. His films delve into modern life in satirical and not-so-subtle ways that many of them begin to blend together to create one narrative for the way we live now. His latest, While We're Young, might be his most "on the nose" yet.

While We're Young's examination of middle age and cross-generational conflict offers witty commentary on a variety of subcultures. It begins with Josh and Cornelia, 40-somethings without much meaning in their life. Josh has been hard at work on a documentary film for eight years, while Cornelia is constantly being asked when she's going to have kids. Their life gets thrown for a loop when they meet Jamie and Darby, millennial hipsters who collect vinyl records and do yoga and visit street beaches.

This premise might seem a bit sitcom-y, and at times it is. There are a few montages too many of the differences between the couples. Baumbach isn't giving us anything new here (we all know how cell phones are changing the way we communicate, do we really need to hear it again?), but this doesn't succinctly get at the core of the film. The core is in Josh himself, played with renewed vigor by Ben Stiller, and how his ego gets the best of him in his documentary project with Jamie. The script allows us to get to know Josh before he battles his inner demons, as a bad drug trip flips things upside down halfway through the film. It's a great character study, sometimes tragic, oftentimes hilarious, but very complex and engaging.

While We're Young is bursting with great personalities though, not just Josh. The four main characters are all distinct and well-fleshed out, especially Cornelia, Josh's wife. Naomi Watts brings some comedy to the table as she is reluctant of Josh's new friends. The film paints a dichotomy between young and old, making clear the harsh realities of adulthood and "saying goodbye to your youngness." Nowhere is this more apparent than in the relationship with their other friends, Marina (Maria Dizzia) and Fletcher (Adam Horovitz), the typical sitcom adult couple with children who want the young kids to get off their lawn.

The film kind of takes an unexpected turn towards the end, however, as Josh's documentary project consumes him. It dives into a critique on filmmaking ethics in documentaries and how to work with integrity, being a strange detour in a film that was about finding renewed youngness at middle age. But the core elements are all still here. Josh's war within himself escalates quickly after learning Jamie's motives, and the film ends with a Listen Up Phillip Woody Allen-esque dramatic scene between Josh and Jamie. Baumbach's direction is on point here, going back and forth and all around the room in a dizzying sequence, a very memorable one.

While We're Young isn't Baumbach's best film by any means, but it offers up something new in the ever-expanding indie mumble core New York genre. The key here is the central couples, actors with great energy and game, and these unique caricatures of cross- generational relationships. There might be a few too many broad strokes here, but the witty writing and excellent direction will keep you hooked for the breezy 90 minute run time.

If there's one criticism I have about 22 Jump Street, it's that the movie feels too similar to 21 Jump Street. But is that really a complaint? With 22 Jump Street, directors Phil Lord and Chris Miller (The LEGO Movie) have created a massively entertaining ride, with more antics from the characters we love, and better performances all around.

This time around, they're going to college. Yeah, yeah, we've heard it before. As Ice Cube says at the end of the first film, in which the two went undercover at a high school, the tables have been turned and they're going to college now. Schmidt (Jonah Hill) and Jenko (Channing Tatum) must once again go undercover at MC State to bust another drug operation, this time called WHYPHY (work hard? yes. play hard? yes.)

What worked with 21 Jump Street works again in 22 Jump Street. The excellent characters of Schmidt and Jenko are once again paired to make a hilarious and charismatic duo. Their personalities clash once more, but in a different way than the first film, and they get into even more crazy shenanigans than before. This includes having a shootout in the university library and busting a Spring Break beach party. 22 Jump Street always keeps you on edge, wondering what will happen next. While the plot is pretty standard and similar to the first film, you'll want to stick around because you love these characters so much. New characters such as Zook (Wyatt Russell) and Mercedes (Jillian Bell) feel right at home within the crazy cast. Captain Dickson (Ice Cube) is also in rare form, delivering some of the film's best moments.

This is a testament to Hill and Tatum, who put so much work into creating these characters. Jenko settles into the football team, and makes friends at a fraternity, while Schmidt performs slam poetry and does many walks of shame. Hill and Tatum are in top form. Their chemistry is better than ever, making 22 Jump Street a hilarious buddy comedy. Try not to laugh when Schmidt does slam poetry to impress a girl, I dare you.

What makes 22 Jump Street feel special is its self-referential attitude and countless meta jokes. Police chief Hardy (Nick Offerman) essentially explains why this movie was made within the first 10 minutes, saying "no one cared about the Jump Street reboot, but you guys got lucky." It's a funny way to be self-deprecating and hilarious at the same time. It plays to the audience's intelligence, rather than making them feel stupid. Other references are more subtle, like when Schmidt keeps asking about the film's budget. It all plays into a very interesting and unique humor style. While there are plenty of raunchy jokes (right in the crack), the film's best come from its self-referencing.

So, now for the all-important question: is 22 Jump Street better than the original? With its meta jokes and its excellent characterization, 22 Jump Street is a rousing success, and matches the original in sheer humor. But the plot feels too similar to the original. While this may be a fault in the film's format, a few more twists would have been appreciated. Still, 22 Jump Street is a hilarious ride, one definitely worth taking.

Non-Stop brings nothing new to the action-thriller genre. It is about as standard as they come, but Liam Neeson commands the film with intensity and urgency that keeps it from ever getting boring.

Non-Stop has a simple premise, yet it keeps the audience guessing throughout. One look at the poster and you'll know what to expect. From the beginning, you're wondering who is sending air marshall Bill (Liam Neeson) these text messages threatening to kill someone every 20 minutes. This interesting premise gives the film the liberty to do what it wants with the plot. You won't guess what happens, because there are so many twists and turns. While at times very unbelievable, Non-Stop is still really enjoyable.

This is due in part to Liam Neeson, the recent king of action movies. Dubbed "Taken on a Plane," Non-Stop is better than his recent films, and he takes command of the role and keeps audiences invested. Supporting roles from Downton Abbey's Michelle Dockery, Argo's Scoot McNairy, House of Cards's Corey Stoll, and 12 Years a Slave's Lupita Nyong'o only makes you miss them in their most well-known roles. None of them are really standouts, not even Lupita. But since Neeson is the star of the show, you won't mind.

Like I said, Non-Stop is nothing new. A decent thriller with some twists and turns that keeps it from getting boring. Some laughable emotional background gives at least some dimension to Neeson's character, but by the end it just feels like a cop-out, typical of recent thrillers. But the action and suspense is first-rate. The final act in particular is especially thrilling, with plane parts flying everywhere and suspense building until the end. A smart thriller that keeps you guessing, Non-Stop shouldn't be passed over, but just don't expect anything special.

The Grand Budapest Hotel isn't just for Wes Anderson fans. As a big fan, I feel that sometimes it can be difficult to jump into Anderson's films without premeditation. Yet Anderson's eighth film could very well be his most accessible to date. He has once again created a whimsical world in his latest, and the film is loaded with visual gags and employs Anderson's signature flair to great effect. With his latest, Anderson doesn't enhance his style, he simply masters it, creating another charming film to add to his wall, one that both fans and non-fans can eat up.

In The Grand Budapest Hotel, we are introduced to the legendary Gustave H (Ralph Fiennes), a hotel concierge at the famous Grand Budapest Hotel. The film tells the story of his adventures with his lobby boy Zero (Tony Revolori). After the death of one of his guests and lovers, Madame D (Tilda Swinton), Gustave is suspected of murder after he is left a mysterious painting in her will.

From this point, the film springs into action, giving us the crazy set pieces and wild scenarios that only Anderson can create. This wouldn't be possible without Fiennes, who gives one of the best performances of his career as the suave yet crass Gustave H. He is one of Anderson's most memorable characters to date, and along with Zero, the two make quite a pair. Saoirse Ronan also shines as Agatha, a bakery girl who also serves as Zero's love interest.

The Grand Budapest Hotel tells a dark story, and Anderson isn't afraid to give some shocking moments, hence the film's R rating. Coming off of Moonrise Kingdom, this is surprising, but it's also a refreshing change of pace from Anderson's latest outings, including Fantastic Mr. Fox.

Supporting roles from Harvey Keitel, Willem Dafoe, Jeff Goldblum, Jude Law, Bill Murray, and Edward Norton help round out the delightful cast of characters, yet sometimes the hotel feels a bit too crowded. This may not matter much given that Fiennes and Revolori are the stars of the show, but it can be a bit jarring considering their limited screen time. Blink-and-you'll-miss-it appearances from the likes of Owen Wilson can break up the film's quick and zippy pace, and one wonders if his character is entirely necessary or if Wilson appeared for simply fan service given Anderson's legendary cast.

Anderson has constructed brilliant set pieces, once again employing his signature cinematography. The film is beautiful, using its visuals to its advantage to create some laugh- out-loud moments amidst the beautiful hotel. But you won't spend the entire time at the Grand Budapest. Excellent scenes within a prison are instantly memorable, as is the wonderful and exciting ski chase that will leave you in pieces.

The Grand Budapest Hotel is a mastering of Anderson's craft. Some parts hilarious, other parts thrilling, you won't want to check out of the Hotel Grand Budapest. With a cast of unforgettable characters, including the legendary Gustave H, this is one of Anderson's best films to date, and it's definitely a must-see.