Movie Reviews

Based on a true story, George Clooney directs this tale about a crew of art enthusiasts who are tasked with the military duty of finding and reclaiming art stolen by Germans under the orders of Adolf Hitler during World War II. Clooney utilizes his Hollywood rolodex to bring a top-notch ensemble cast including Matt Damon, Bill Murray, John Goodman, Bob Balaban, Hugh Bonneville, Jean Dujardin and Cate Blanchett, which is why it is so upsetting to see these great talents neglecting to show off their true capabilities. The problems arise in the first five minutes when the character introductions are overshadowed with an opening credits montage. By the time we reach the battlefield, we don’t know who these characters are nor do we care about their motives. As the story steps further down the dirt road, our strong band of brothers are separated and we are then given five side stories to follow. The biggest error with the film is its unbalanced tone. It appears as though Clooney doesn’t know if he’s making a slapstick comedy or a war drama. One minute, we’re cringing at a sniper taking pop shots at our boys, and then we’re expected to laugh at the revelation that it’s only a child shooter. However, if you don’t know how to feel at any given moment during the 118-minute running time, Alexandre Desplat’s music will certainly give you a clue. It’s as overbearing as a Looney Tunes bit. Call it an homage to the war films of the good ol’ days all you want—I call it a shoddy delivery from a group of artists who know better. –Jimmy Martin

Jeff Broadway, producer of the acclaimed music documentary Cure for Pain: The Mark Sandman Story, has put together a film that goes behind the scenes on monumental hip-hop albums that have come from Stones Throw Records, such as J Dilla’s Donuts. Our Vinyl Weighs A Ton chronicles the rise of Stones Throw, its quiet decline after the death of J Dilla, and its enigmatic current state. Through a range of interviews with diverse artists ranging from Ariel Pink to Flying Lotus, the viewer is given a look into Stones Throw founder Peanut Butter Wolf’s unique ability to identify and nurture overlooked talent. What remains the primary mystery of the film is its key figure, Peanut Butter Wolf. We never learn about his producing skills or how he generated the label out of practically nothing following the death of his best friend, rapper Charizma. The film starts off in a celebratory way, recognizing the label’s contributions, but turns its focus on the deaths of J Dilla and Charizma, which definitely leaves a heavy vibe. Nonetheless, I loved watching this tribute to some of hip-hop’s lesser-known greats coming from a truly counter-cultural and legendary label. –Justin Gallegos

For the fourth feature in the sci-fi franchise, director José Padilha has hit the reset button on the tale of the ill-fated police officer, Alex Murphy (Joel Kinnaman). As Officer Murphy closes in on taking down a local mobster, a car bomb nearly ends his life, but when the conglomerate OmniCorp, led by Raymond Sellars (Michael Keaton), offers Murphy the ability to continue living inside a robotic suit, the metallic icon known as “Robocop” hits the streets. Where Paul Verhoeven’s 1987 classic focused on Murphy rediscovering his own humanity, Padilha sets his sights on Murphy’s desire to follow the clues to solve his own murder with full consciousness. Since technology and special effects are more advanced than 27 years ago, our hero has the ability to run faster and jump higher, so the action is more intense. There were rumors from the set that studio meddling was interfering with Padilha’s vision, and the evidence can clearly be seen in the third act. Wherein the first hour is full of action and excitement, the finale is severely rushed and loses its focus. I love Samuel L. Jackson, who portrays a Bill O’Reilly caricature on steroids, as much as the next guy, but a film entitled “Robocop” should probably end with the hero rather than a rambling monologue of a side character. –Jimmy Martin