Review: "Spirit Untamed"

 

“Spirit Untamed” is an adventurous movie about girls and horses -- though if you don’t tell boys that, they will probably enjoy it just fine.

This DreamWorks Animation movie is a sorta-spinoff of the 2002 movie “Spirit: Stallion of the Cimarron” and the Netflix series “Spirit Riding Free.” The protagonist here is Lucky Prescott, a 10-year-old Latina girl whose mother died in a tragic horse stunt riding accident when she was a baby. She’s a typical plucky youngster with a sense of adventure and a taste for stubbornness.

Voiced by Isabela Merced, she’s been raised in the city by her loving but strict aunt Cora (Julianne Moore) and is now going to spend the summer with the father she barely knows. This brings her to Miradero, a frontier town somewhere near the Mexican border filled with apple orchards, beatific canyons and galloping pastures.

Horse country, in other words.

It’s a little unclear to me if Spirit, the horse, is the same one from the other movie and TV show, though he appears similar as a honey-colored Mustang stallion with a dark brown mane and big, penetrating (and very anthropomorphized) eyes. Maybe, as the name implies, he’s more a representation of the freedom and independence that animates horses like Spirit and girls like Lucky.

Directed by Elaine Bogan (with Ennio Torresan Jr. as co-director) from a script from Aury Wallington, Katherine Nolfi and Kristin Hahn, “Spirit Untamed” employs deceptively simplistic-looking animation in which humans and horses aren’t drawn with a lot of detail, but the background vistas are lush and vibrant. It’s a style Japanese anime first pioneered.

In Meradero Lucky meets a variety of figures who will factor into her story. Her dad (Jake Gyllenhaal), broken after the loss of his wife and unsure how to connect with the daughter he sent away. Pru (Marsai Martin), a fearless 13-year-old trick rider and daughter of the local stable owner, Al (Andre Braugher). Abigail (Mckenna Grace), a guitar-pickin’ girl who’s supportive but can be annoying, and whose brother (Lucian Perez) is a little operator hunting pennies; and Walton Goggins gives voice to Hendricks, leader of a gang of horse wranglers.

You can probably guess where this is all going to go, and it does: Lucky rebels against her father and aunt, running off with Spirit every chance she gets; she’ll bond with Pru and Abigail, who share in her adventures; the wranglers will capture Spirit and his herd and try to break them; Lucky et al will rescue the horses and much daredevil hi jinks will ensue.

The best part is where Lucky works to win Spirit’s trust, rolling out apples until he’ll take one by hand, wanting to jump onto his back right away but willing herself to patience until he’s ready. It’s a simple yet effective metaphor for life, especially her relationship with her father.

It’s not a bad movie, but not terribly ambitious. The action scenes are well-staged and lively, the talkie parts drag on longer than they need to. There isn’t a lot of nuance or complexity to the characters, each representing a type whose duty is to perform the aspects that define them.

Animated features have been on a downturn the last few years in my opinion, and “Spirit Untamed” is a competent if uninspiring example that does nothing to change that view.

Video review: "Spider-Man: Far From Home"

When I first reviewed “Spider-Man: Far From Home,” I described it as “the fun ‘n’ games portion of the milieu,” which I think well describes this most lighthearted of the Marvel Comics Universe films.

(And also my penchant for fifty-cent words like “milieu”… and “penchant.”)

That was before the revelations of studio squabbling over the rights to Spidey, which appears to sound the death-knell for this iteration starring Tom Holland as the friendly neighborhood wall-crawler. That’s a shame, as I think Holland was the best fit for the role of Peter Parker/Spider-Man.

I really think being a teenager is inextricably linked to the dynamic of the Spider-Man story. What makes it compelling is the idea of a 15- or 16-year-old endowed with incredible powers at a time in life when most of us are struggling to forge an identity that will carry us through our adult lives.

Or just finding someone to kiss. Never underestimate the importance of that.

In this story, Peter’s science class is taking a field trip to Europe that seems to involve no actual scientific exploration. It’s basically a glorified holiday. Set in the events after the recent “Avengers” movies, Peter sees this as a chance to get back to regular-kid normalcy and try to turn his friendship with Mary Jane (Zendaya) into a boyfriend/girlfriend thing.

But then the trip keeps getting interrupted by world-threatening incursions from elemental creatures popping up and attacking cities. Peter is joined and mentored by Quentin Beck (Jake Gyllenhaal), a hero from an alternate universe to whom he quickly takes a paternal shine.

Nick Fury (Samuel L. Jackson) is there to ride Peter hard, while Happy Hogan (Jon Favreau) acts as a kindlier handler. He’s also making eyes at Peter’s Aunt May (Marisa Tomei, putting the character’s gray hair buns in the comic books to shame).

“Spider-Man: Far From Home” may not linger long in the memory, but perhaps it’s just what the superhero franchise needed in middle age: a little shot of fun for fun’s sake. This movie is dad’s red sports car.

Bonus features are quite expansive, and include an all-new short film, “Peter’s To-Do List,” showing the workaday preparations behind being a teen superhero.

I also count 11 making-of featurettes, a roundup of Easter Eggs, gag reel and other outtakes, previsualization of special effects vs. the final product and extended/alternate scenes. Pretty much the only piece missing is a filmmaker commentary track.

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Review: "Spider-Man: Far from Home"

I have received stern warnings not to hint at the “big reveal” in “Spider-Man: Far from Home,” so I won’t. All I’ll say is that if you can’t see it coming, then you must be new to the movies.

There are a couple more twists that are a bit harder to see, so stick around for the end credits for all the little Easter eggs.

This is the least consequential of all the Marvel Comics Universe (MCU) films. It’s lighthearted and feels like the cousin to that one Harry Potter movie that was more interested in teen snogging than the actual plot. It’s still plenty of fun, but is also fairly forgettable.

Peter Parker (Tom Holland) is on a European “science” trip with his class and only wants to get with MJ (Zendaya), his charmingly acerbic classmate. But then all that tedious superhero stuff keeps pulling him back in.

This takes place after the events from the last two Avengers movies, which if you haven’t seen, thar be spoilers ahead. As you’ll recall, five years passed after half of all life in the universe was disappeared by Thanos, but then was brought back by the heroes. Which means that everyone who “blipped,” as the Earth people now call it, stayed the same age while those who didn’t kept getting older.

The law of averages would indicate there would be some randomness to how many of the main characters blipped, but for the purposes of screenwriters Chris McKenna and Erik Sommers, who obviously wanted to KISS (Google it), everyone in Peter’s social circle blipped, including MJ and best friend/wingman/keeper of secrets Ned (Jacob Batalon).

With Tony Stark dead, Captain America old and Captain Marvel and Thor conveniently off-world again, Earth is looking for a new hero as its beacon. Peter, who’s still just 16 years old, would prefer to remain a modest Friendly Neighborhood Spider-Man. But former S.H.I.E.L.D. boss Nick Fury (Samuel L. Jackson) is intent on riding Peter until he relents.

Happy Hogan (Jon Favreau), Tony’s right-hander, acts as go-between while canoodling with Aunt May (Marisa Tomei), much to Peter’s dismay. Happy warns him not to ghost on Fury’s phone calls, without much luck.

(Seriously, try calling a Gen Zer. They consider it a personal affront.)

The job has the look and feel of a classic “we just made it up for this movie” scenario. Beings representing the four elements (fire, water, etc.) are popping up, and if left unchecked could destroy the entire planet. That’s what happened to Quentin Beck, a hero from an alternate universe, and he’s come to this version of Earth to stop the disaster from recurring.

Played by Jake Gyllenhall, Beck wears a cool green-and-gold outfit and has an obscuring mist-filled globe for a helmet, getting dubbed Mysterio by the cool kids. He immediately takes Peter under his wing, adopting the role of kindly uncle in stark contrast to Fury’s hardcase stepdad routine.

Holland is I think the best fit of all the Spider-Man actors, and at 23 is still fresh-faced and high-voiced enough to pass agreeably for a teen. His Peter still likes swinging between buildings and pummeling villains, but also wants his slice of normality. As MJ, Zendaya shines playing “the girlfriend” who’s usually a step ahead of everyone else.

Director Jon Watts returns from 2017’s “Spider-Man: Far from Home,” and I’m reminded that despite this only being the second standalone Spidey movie (of this, the third iteration), he’s been in a total of five MCU films, which practically makes the character middle-aged by recent standards.

This is definitely the “fun ‘n’ games” portion of the milieu, so my guess it’s set to get all dark and dreary next time around. Until then, enjoy this powder-puff stretch for what it is.

Review: "Wildlife"

“Wildlife” features some truly wonderful actors plying their craft at the highest of levels. And I didn’t believe a one of them for a cold minute.

This drama set in 1960 stars Carey Mulligan and Jake Gyllenhaal as a youngish couple whose marriage is fracturing. Ed Oxenbould plays their sensitive 14-year-old son, Joe, who is forced to sit a front row seat to the slow, raucous dissolution. The film is based on the novel by Richard Ford, unread by me.

In stories of this kind we’re used to a lot of repressed emotions and raised voices behind closed doors. In the Hollywood view of this period, America was a cloistered place where people didn’t like to publicly air their dirty laundry. Things like marital estrangement and infidelity were swept under rugs.

Here, the film takes things so far to the opposite end it strains credulity to the breaking point, and beyond.

Not only do Jeanette and Jerry Brinson (Mulligan and Gyllenhaal, respectively) make no effort to hide their growing war from Joe, they actually enlist him as a participant. He sits in on their arguments and is explicitly asked to offer an opinion or take sides.

Later, the grotesquerie will grow even more overt, and less believable.

The Brinsons move around a lot because Jerry is always chasing the next big thing. He was recruited to be a golf pro at the club in Great Falls, Montana, but soon loses the job because he’s too “familiar” with the guests. (Read: he gambles with them.) They quickly offer to take him back, but Jerry’s pride is hurt and he refuses. Soon he’s doing little more than lounging on the couch, listening to ball games on the radio and sipping an endless parade of beers.

Jeanette is outwardly supportive of her husband’s lackadaisical job search. She even takes work herself as a swim instructor, and Joe gives up football to work in a photo studio afternoons after school to help make ends meet. 

That changes when Jerry agrees to take a job fighting the fires that seem to rage every year in the vast Montana forests. It will take him away from the family for weeks on end, which Jeanette views as a betrayal of sorts. She imagines him dallying with women, and uses that as justification for stepping out on her own.

The target of her amorous energy is an unlikely one: Warren Miller, a much older man played by Bill Camp. Balding, portly, bespectacled and walking with a pronounced limp, Warren isn’t much to look at. But he owns a car dealership, so Jeanette views him as a trade up from Jerry.

This is the directorial debut of Paul Dano, a very offbeat and good character actor, who also co-wrote the screenplay adaptation with actress Zoe Kazan (“The Big Sick”).

The biggest problem with “Wildlife” is never giving Joe any kind of distinct identity. His role is to just be there and witness the turmoil. Many stories use a character of this sort to be the audience’s lens to look at the real subjects, in this case Jerry and Jeanette.

But Joe isn’t even much of a real character. He doesn’t seem to have any interests, or motivations, or thoughts, or personality. There’s a girl who takes an obvious interest in him, but Joe sort of shrugs her off and the movie forgets about her.

There’s one scene in “Wildlife” that’s make-or-break. Jeanette puts on her “desperation dress” and takes Joe with her to have dinner at Warren’s house while Jerry is away. It’s an exquisitely awkward event. Mulligan skillfully shows us Jeanette’s obvious intention: to throw herself at Warren. For his part, Warren doesn’t appear disturbed about initiating the affair in her son’s presence, even offering fatherly advice.

I can’t for the life of me fathom people who would act like this. The problem isn’t that the film presents characters who are beyond comprehension; it’s that it doesn’t even attempt to explain these people to themselves.

Review: "The Sisters Brothers"

You might be tempted at first to think "The Sisters Brothers" is a Western comedy. It stars John C. Reilly and Joaquin Phoenix as a pair of gunslinger siblings operating out of the Pacific Northwest circa 1851. One's a drunk, the other's a wet rag, and the trailer makes it look like they get into all sorts of hijinks while frequently tussling verbally and occasionally physically.

But this is a serious-as-salt production from French director Jacques Audiard, who has made some excellent pictures including "Rust and Bone" and the little-seen but marvelous "Dheepan." He adapted the screenplay along with Thomas Bidegain from Patrick deWitt's novel of the same name.

It's part anti-Western, part existentialist rumination on manhood, along with a decent amount of shoot-em-up thrown in. The movie feels like a bunch of eclectic pieces that work well together, for awhile.

Charlie Sisters (Phoenix) is the hard-bitten one of the pair, a born killer who has no thoughts beyond earning his next bounty and spending it on drink and whores. Eli (Reilly) is the older, wiser one. He's not soft; he doesn't hesitate to put a bullet in a man's head when he's down. But he does these things because it is Charlie's way, and so it must be his as well.

He is his brother's keeper, which he regards as both duty and prison.

They work for a man called the Commodore (Rutger Hauer, only glimpsed) who sends them off on various assassination missions. They all involve revenge for stealing something from the Commodore. Eli ponders aloud why the Commodore is robbed so frequently. Charlie doesn't really care.

Their latest job involves Hermann Warm (Riz Ahmed), a chemist who has come up with a formula that he thinks will make it easier to pan gold from the water in California. Jake Gyllenhall plays John Morris, a detective assigned to locate Warm and track him until the Sisters Brothers can arrive.

Morris is a curious figure. He doesn't seem prone to violence, has the refined manners of a rich man's son and mostly watches his quarry from a distance while writing his thoughts into a journal he's keeping. Unlike the Sisters, we get the sense manhunting is simply a phase he's passing through on the way to other adventures.

I won't give the plot away, other than the first two-thirds of the story involves following these two men in their parallel journeys, one pair tracking the other on their way down the coast to San Francisco.

Phoenix has been giving one terrific, offbeat performance after another lately, but here he plays a more or less straight character, a prototypical Western anti-hero. He's very deliberate about not thinking too hard about anything. Eli, on the other hand, is a cauldron of swirling thoughts and regrets. He carries a red shawl from a lady friend like a totem, a reminder of their fading youth and foul choices.

It's probably one of Reilly's best performances. Unfortunately, the movie loses steam during its last half-hour or so. The story reaches a natural end point, and then it keeps wandering away on the prairie, like a cowpoke with nowhere to go and in no hurry to get there.

Video review: "Stronger"

“Stronger” is probably not the movie most people were expecting. They may know it’s the story of Jeff Bauman, perhaps the most visible victim of the Boston Marathon bombing. He became famous for a grisly photo of him being wheeled away from the carnage, both of his legs shattered by the blast into gruesome shards.

When he helped identify the killers, recovered from his wounds and eventually was able to walk again with the use of two prosthetic legs, Jeff became of the face of Boston’s defiance against the terrorists, a beacon of pride and bravery for millions.

Except, Jeff didn’t feel like a hero. He was a regular joe with challenges and problems, who folded under the pressure of having his body torn apart by strangers, while other strangers lauded him for the simple act of surviving.

Directed by David Gordon Green from a screenplay by John Pollono (based on Bauman’s book), “Stronger” could have been a very corny movie. I think most filmmakers would have gone a very standard route: inspirational dialogue, syrupy musical score, a big speech at the end where Jeff appears before a stadium full of Red Sox fans and is celebrated.

Instead, the incident at the baseball field happens midway in the movie, and rather than orgiastic joy, it’s a nightmare of stress for Jeff. He practically seems to want to shiver out of his own skin.

It’s another amazing performance by Jake Gyllenhaal, who continues to astound with bold choices in his roles. Here’s a guy who possessed all the tools for a standard-issue movie star career -- blockbuster franchises, $20 million paydays, magazine covers -- and instead he searches for little projects like this that challenge him as an actor.

Tatiana Maslany plays Erin, Jeff’s erstwhile girlfriend. They had broken up at the time of his injury, and we observe them as shame and guilt serve to string the relationship along – which turns out to be doing the right thing for the wrong reasons. Miranda Richardson and Clancy Brown play Jeff’s estranged parents, who react to their son’s sudden fame with motives both nurturing, and not.

“Stronger” is uplifting, but not because it puts Jeff Bauman on a pedestal. Instead, it tells the real story behind the headlines, of a human being found the weight of the world too much to bear.

Perhaps owing in part to the fact the film was not a big box-office draw, bonus features for the video release are quite slim. The only extra is “Faith, Hope & Love: Becoming Stronger,” a short making-of documentary.”

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Review: "Life"

Just a mini-review today:

"Life" is an effective but derivative thriller in the mold of "Aliens" and "The Thing." A group of intrepid scientists stumbles across humanity's first contact with alien life. They are fascinated and overjoyed at the prospect of discovery, until the organism proves itself able to rapidly mutate into a larger, scarier form and starts eating faces. The crew is slowly picked off one by one, despite some ingenious attempts to fight the creature, with varying degrees of courageous sacrifices and boneheaded cowardice.

There's really nothing here we haven't seen before: snippets of the personal lives of each person, surprises as the tiny critter turns into a looming beast, chases down darkened passageways, gruesome deaths while another person watches, etc.

But director Daniel Espinosa and script men Rhett Reese and Paul Wernick find effective moments and genuine scares, a long with a large dollop of humanistic notes.

Jake Gyllenhaal plays the medical doctor and former military man who's set a new record with 479 days in space; Ryan Reynolds the cocky Ryan Reynolds-type pilot and needler-in-chief; Olga Dihovichnaya is the station's resolute Russian commander; Rebecca Ferguson is the scientist in charge of making the hard decisions about whether to contain the beast or protect themselves; Ariyon Bakare is the scientist who forms a weird bond with the monster, dubbed "Calvin"; and Hiroyuki Sanada is the engineer type whose baby is born while he's high in the sky.

Review: "Southpaw"

You go to see a movie like "Southpaw" for the gritty performances and slam-bang boxing scenes. From a story standpoint it's a pretty generic boxing plot, with our scrappy champion rising and falling, falling and rising, from the mat and metaphorically.

The screenplay by Kurt Sutter is original only on a technicality, liberally cribbing its plot from the "Rocky" movies and other boxing flicks. (He reputedly wrote the script with Eminem in mind, basing it loosely on the rapper/sometime actor's life story. Em doesn't appear, though he supplies a couple of punchy songs.)

Jake Gyllenhaal plays the protagonist with the not-at-all-subtle name of Billy Hope, who rose from the hard streets of New York City through dint of hard work and an unmatched ferocity in the ring, an unwanted orphan who became light heavyweight champion.

Then through a succession of senseless disaster and self-destructive behavior, Billy loses it all, including custody of his 10-year-old daughter, Leila (Oona Laurence). He's forced to reinvent himself as a fighter and as a man, starting from the bottom again and earning his way back to glory and redemption.

This is Boxing Movies 101 stuff. Check that; it's actually 201. Boxing 101 is "Rocky" and "Rocky II," where an unknown pug rises to the championship. "Southpaw" is "Rocky III" and "IV" -- they're virtually interchangeable, really -- where the reigning champ takes things for granted, gets knocked down a peg or seven, and has to scrap back to former heights.

There literally isn't a single surprise along the way, including the inevitable final match. You've got the familiar nemeses along the way, including a black-hearted young boxer (Miguel Gomez) who was responsible for Billy's fall, and the mercenary boxing promoter/manager (Curtis "50 Cent" Jackson), who tells Billy they're family but saves his deepest love for the hottest prospect.

It's an interesting role for Gyllenhaal, who jumped off the traditional Hollywood star train a few years back to pursue smaller, more personal projects like "Nightcrawler" and the excellent "End of Watch." He's fought against his blue-eyed prettiness during this time, and in "Southpaw" he really works the scarred, stumblebum angle, muttering his lines and cocking his one good eye.

After losing a bunch of weight for "Nightcrawler" he packs on the ripped muscles for this role, and director Antoine Fuqua obligingly sweeps his camera and lights across Gyllenhaal's torso to emphasize the craggy wall of his abdomen. (I'm not really sure when abs became a thing; you'd think a boxer would want a little padding there to better absorb blows.) The actor's body becomes this strange mix of revulsion and fetishized object; we linger over his spent blood and abused flesh like a latter-day Lazarus.

The fight scenes are well-choreographed and energetic, though in the commonplace failing of Hollywood boxing movies, the fighters absorb more solid blows in a single round than most pugilists encounter in a year. Billy's strategy, if you can call it that, is to let opponents wallop him until he gets furious enough to uncork his pent-up rage.

Forest Whitaker is terrific as Tick Wills, an old-school trainer who teaches kids at an inner-city gym. Billy comes to him at his bottom, after lost having his wife (Rachel McAdams) to tragedy, his daughter to social services and his fame and fortune to his own self-hating spiral. Tick is old and tough, has taken his own cuts, and retrains Billy as a defensive fighter. "Protect yourself" is his mantra, underlined by one cloudy eye.

Just as the two men begin to trust one another, the filmmakers shortcut the journey and we're back to the ring again for Billy's deliverance. A smarter, better movie would've had Billy turn down the offers of quick money and a shot at the title, realizing that when you've gone down the path of destruction you can't just back up to solve your problems.

But who wants to see a boxing movie about a boxer who doesn't want to box anymore? Me, but apparently few others.

Video review: "Prisoners"

I often harp on the fact that I think most movies today are too long. And “Prisoners” is not a short flick: just a hair over 2½ hours. But it’s one of the rare films I think is exactly as long as it needed to be. It’s also one of my favorite cinematic experiences of 2013.

This psychological drama/thriller is wound tighter than an alarm clock ready to go off. Hugh Jackman and Terrence Howard play fathers and best friends whose daughters mysteriously disappear on Thanksgiving Day. Dover (Jackman) goes on a one-man crusade to follow any leads, frequently stepping on the toes of Loki (Jake Gyllenhaal), the meticulous detective assigned to the case.

Suspicion quickly centers on Alex (Paul Dano), a mentally challenged man who drives an RV and barely talks. But the police have no evidence to link him to the kidnapping, so they let him go. When Dover takes matters into his own hands, it sets off a chain reaction of events with all sorts of tricky moral implications.

The characterizations are really deep and vivid, with even the supporting parts standing out. When you have performers the caliber of Viola Davis, Maria Bello and Melissa Leo in the cast, you know things are going to get interesting.

Director Denis Villeneuve (“Incendies”) and screenwriter Aaron Guzikowski give us one of the most ambitious films of the year, one that raises all sorts of head-scratching conundrums while resisting the urge to provide any easy answers. This is the sort of movie were parsing out the good guys from the bad is a difficult and ultimately pointless exercise.

Splendidly acted and well-told, “Prisoners” is one of the year’s best.

Video extras, which are the same for the DVD and Blu-ray editions, are sorely lacking. They both contain a pair of featurettes focusing on the story and performances, and that’s it.

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Review: "Prisoners"

The most persistent criticism I have of movies today is length. Even most films I admire could be shortened a bit, and be the better for it. "Prisoners" is the rare exception of a long movie that earns its time; I didn't begrudge it any one of its 153 minutes.

This intricately-plotted psychological thriller is like a puzzle box that seems mystifying at first, but the deeper you go the clearer things come into focus. In the end all the little pieces mesh together perfectly.

The story of two kidnapped little girls and the two men trying desperately to find them -- one an angry, grieving father, the other an obsessive police detective -- "Prisoners" defies easy categorization. On the surface it wears the clothes of a crime procedural. But also it's about the conflict between these two characters.

Keller Dover (Hugh Jackman), the dad, is all gut instincts and faith. His emotions frequently get the better of him as time goes on and the chances of finding the girls alive plummet. Loki, the detective played by Jake Gyllenhaal, operates on logic and dogged determination. Early on we learn that he has never failed to solve a case, mainly because his life consists of little else but the hunt.

On an even deeper level, the film is a morality play, questioning whether extreme actions in the service of good can ever justify themselves. Keller becomes convinced that a simple-minded, nearly mute man named Alex (Paul Dano) has something to do with the disappearance of his daughter and another family's girl on Thanksgiving Day.

Alex's busted-up RV was spotted near where the girls went missing, and he initially ran from police. But they find no evidence to hold him, and Keller takes matters into his own hands. He enlists the aid of the other aggrieved father (Terrence Howard) in holding Alex hostage, which sets off a conflict between the two. There's a subtle rivalry between them: the well-off yuppie versus the blue-collar survivalist, the voice of civil reason against the "man's gotta do what a man's gotta do" individualist credo.

"He's not a person anymore," Keller insists. "He stopped being a person when he took our daughters."

Their wives react in equally different ways. Keller's spouse Grace (Maria Bello) essentially checks herself out, wallowing in pity and prescription sedatives. Nancy (Viola Davis) is front and center in the search, and then gets even more involved in a way that surprises.

Director Denis Villeneuve ("Incendies") and screenwriter Aaron Guzikowski explore their characters in subtle, probing ways. For instance, Loki's tattoos on his fingers and neck hint at a hard past, and a throwaway line of dialogue suggests he's an orphan. He's an idealist grown suspicious of traditional bastions of solidity, like the church or even the scales of justice for which he labors.

Keller's collection of religious crosses, weapons and emergency rations depict a man of outward confidence who inwardly lives in fear, leading us to believe at one point he may have had something to do with the kidnapping himself.

Other characters and story threads float around the fringes. There's the priest Loki investigates with a terrible secret that may or may not have something to do with this case. And Alex's protective aunt (Melissa Leo), who wants to protect her nephew but seems to intuitively understand Keller's rage at his impotence. Or the strange, sallow-faced man who shows up at a candlelight vigil.

Slowly, methodically, the cast and crew build this crime story into something much more, a dark and disturbing tale about the choices we make in duress. We're all prisoners of those decisions, for good or ill.

Video review: "End of Watch"

File “End of Watch” under the list of best movies of 2012 that you probably haven’t seen … or maybe even heard of.

This terrific, gritty, and surprisingly funny portrait of a pair of LAPD officers patrolling South-Central Los Angeles is one of the best cop dramas in recent memory. Michael Peña and Jake Gyllenhaal play Mike and Brian, a pair of young cowboys who, as one boasts “get into more capers in a single deployment shift than most cops do in their entire career.”

Writer/director David Ayer fills his movie with lots of harrowing scenes of fistfights, gunplay and other brutality. Yet it’s the humanity of the relationship between these two guys that breathes life into the film. They crack jokes on each other, make fun of their ethnic heritage, and exchange advice about the women in their lives.

But when the gangbangers bring the heat, they instantly shift into soldier mode, becoming one mind with two guns. Ayer often films from a first-person perspective down the barrel of a pistol, putting the audience right in the thick of it.

America Ferrera, Anna Kendrick, Natalie Martinez, David Harbour and Frank Grillo make up an outstanding supporting cast as the fellow cops and family members who have to deal with the carnage left behind in the destructive duo’s wake.

The humor may strike some viewers as out of place, but the cast and crew show how it’s just part of their defense mechanism the cops use to keep from going crazy. Some of the scenes they encounter are just horrendous and traumatizing. Cutting up is how they get by.

But don’t mistake all the laughing for a lack of sobriety. “End of Watch” is a serious examination of life on the thin blue line in one of the toughest beats in America. Especially revealing is a scene after the pair have been given awards for pulling kids out of a fire, and Brian asks Mike, “Do you feel like a hero?” The answer may surprise you.

Don’t miss this one.

Extra features, which are identical for Blu-ray and DVD editions, are a bit underwhelming. Director Ayer provides a feature-length commentary. Plus there are several deleted scenes, and a handful of rather short making-of featurettes.

Movie: 3.5 stars out of four
Extras: 2.5 stars

Video review: "Source Code"

"Source Code" has one of those plots that you shouldn't spend too much time thinking about. It's a high-tech house of cards, with a science fiction backdrop that hasn't quite crossed all it's t's or dotted its i's.

There's time travel, sorta, and "Matrix"-like control of the human mind by nefarious forces. At the center, though, is a touching human story about a man trying to make sense of extraordinary circumstances.

Jake Gyllenhaal plays Colter Stevens, a helicopter pilot deployed in Afghanistan. He wakes aboard a speeding train, with a smiling woman (Michelle Monaghan) sitting across from him and talking to him like she knows him. He soon discovers that his consciousness has been projected into that of a man who's already dead -- because terrorists have blown up this train, killing everyone aboard.

Colter must repeat this scenario over and over until he discovers the identity of the bomber. In between his "missions," he finds himself in a strange metal pod, where a female commander (Vera Farmiga) whispers urgent instructions.

Even though the metaphysics of the story don't stand up to scrutiny, director Duncan Jones and screenwriter Ben Ripley still manage to engage us with a sympathetic protagonist and the mystery of his plight.

Information on video extras was still a little sketchy at press time. According to preliminary reports, it will include a feature-length commentary by Jones and Gyllenhaal, interviews, trivia and experts talking about the science of time travel. I didn't get a review copy in time, so I can't say if these features are on both the DVD and Blu-ray versions, or just one.

Movie: 3 stars (out of four)
Extras: I (Incomplete)

Review: "Source Code"

Most science fiction thrillers get the "hardware" part of the movie right -- the technology, the fantastical shifting realities -- and skimp on the human stuff.

"Source Code" is the exact opposite: A flick that engages us with its protagonist and his plight, but the technical part of the story never really seems to add up. After the lights came on, I was left scratching my head trying to figure out the metaphysics and quantum mechanics of it all.

Still, I was caught up in the tale of Jake Gyllenhaal as a soldier on a mission to stop a speeding train loaded with a bomb. In the end, the whys and wherefores became less important to the cinematic experience than the urgency of this time-traveler's duty.

Now, see, I already misspoke. Technically, Colter Stevens is not traveling through time. You'll have to bear with me here, since I can't reveal too much about this movie without compromising its secrets.

Colter wakes up on a commuter train, a sleek modern double-decker hurtling toward Chicago. There's a pretty, friendly girl named Christina (Michelle Monaghan) sitting across from him who acts like she knows him. He goes into the lavatory and sees another man's face staring at him. He's just starting to make sense of it all when a fiery explosion engulfs everything.

Colter wakes up in a dark, dank metal prison, like a Mercury astronaut capsule sunk to the bottom of the ocean. A woman's voice, reassuring but commanding, appears on a speaker asking him to recount what just happened.

Next thing he knows, Colter is back on the train, waking up back where he started. The scenario seems to be playing out exactly the same way it did before ... or is it?

Colter, a helicopter pilot on tour in Afghanistan, soon learns what's going on: He's a recruit in a top-secret new military experiment in "time reassignment." It seems the human brain has a sort of short-term memory track, about eight minutes long, that scientists can access even after death. They also have the ability to project one's consciousness into a similar person's mind and control their actions.

To wit: Colter is sent into the head of a mild-mannered school teacher who must find the bomber from among the hundreds of people aboard the train. Strangely, Goodwin, the officer guiding him in his missions (the capable Vera Farmiga) instructs him not to worry about defusing the bomb, but locating who set it.
Is this an alternate reality? A time loop? A "Matrix"-like facsimile meant to dissemble?

Furthermore, how can Colter keep repeating those eight minutes over and over again, doing something different every time, a la "Groundhog Day," without ever being able to stop the bomb from going off?

(One hint is the code name of the operation, Beleaguered Castle, a form of solitaire in which the player tries to build the cards into foundations, but most games end in failure after just a few moves.)

Director Duncan Jones (who made the wonderful and little-seen "Moon" a couple years back) and rookie screenwriter Ben Ripley ably keep the audience misdirected, making the mechanics of what's happening seem less important than the exigency of it.

So beyond the obvious concern of finding the terrorist, we're constantly asking questions: What exactly is the teacher's relationship with Christina? Why does Goodwin seem a little sad behind the sternness? What are Colter's handlers not telling him?

With "Source Code," the audience may not always understand what's going on, but we care about the outcome.

3 stars out of four

Review: "Love and Other Drugs"

Here's a fairly conventional romantic drama that does a fantastic job of showing off the charms of two very attractive performers, Anne Hathaway and Jake Gyllenhaal. It's almost a throwback to an old-fashioned type of movie-making in which stars were stars, and it was the job of the director, screenwriter and crew to make them look as good as possible.

"Love and Other Drugs" is set in the late 1990s when Viagra first hit the market, and Gyllenhaal plays Jamie Randall, the salesman who was born to hock it. Good-looking and with a rogue-ish charm that he uses to great effect, Jamie has a twinkly smile that melts the heart of the orneriest receptionist guarding access to the doctors he needs to pitch.

Jamie comes from a family of physicians (George Segal and the late Jill Clayburgh play the parents) but was a med school washout. Even his slovenly younger brother Josh (Josh Gad) is a dot-com millionaire.

He's eager to please -- "I'm very trainable" is his pet phrase -- and hides his self-loathing behind a charismatic veneer built on can-do ambition.

Jamie's not above playing dirty. A Pfizer man, he dumps the drug samples from his chief competitor from Lily (Gabriel Macht) into the dumpster, and bribes an influential doc (Hank Azaria) to let him tag along on patient rounds, posing as an intern.

There he meets Maggie Murdock (Hathaway), a waitress with Parkinson's and an attitude. After baring her breast during the exam, she clocks Jamie in the head upon learning he's a pharmaceutical rep.

In classic meet-cute form, in moments he transforms her anger into admiration for his magnetism. Soon they're in bed, but Maggie lays out the rules: Just empty sex, no relationship. I don't think I have to tell you this rule gets shattered.

Director Edward Zwick, who co-wrote the script with Charles Randolph and Marshall Herskovitz, is better known for testosterone-laden flicks with a martial bent ("Courage Under Fire," "Glory"). His touch is light and sure, and he knows how to give Hathaway and Gyllenhaal that extra bit of star sparkle.

Maggie's disease, which is merely a reason for them to meet initially, takes on more weight as the narrative adopts an increasingly somber tone. The similarity to "Love Story" -- about a young cad who grows up when his lady has a life-changing illness -- is more than passing.

They're a solid pair of performances, as the actors show us layers to their characters we might not have initially guessed at.

They're also revealing in another way -- as in both actors show off an astonishing amount of skin. I can't remember the last time I saw two mainstream stars partaking in this much nudity.

The supporting performances are tidy and worthwhile. Oliver Platt plays Jamie's senior partner, who's hoping to ride his coattails to a spot in the Chicago office. Judy Greer is a slightly awkward receptionist who falls prey to Jamie's charms.

Azaria gets one nice scene where the doctor laments dealing with HMOs, drug companies and litigious lawyers instead of just making people's lives a little better.

Gad is the go-to man for comic relief, moving in with Jamie after his own marriage fails. Although, as Jamie himself finally thinks to ask, why does a multi-millionaire need to shack up with his brother?

"Love and Other Drugs" is sweet, funny, sad and occasionally even moves us a little. Despite the title, it doesn't really have anything insightful to say about drug companies making a profit by having doctors pump us full of medicine that may not even help us very much.

Call this movie a pleasant little placebo -- it may not make the world a better place, but it tastes good going down.

3 stars out of four

Video review: "Prince of Persia: The Sands of Time"

This summer's crop of movies featured a lot of disappointments. But one I think just about everyone saw coming was "Prince of Persia: The Sands of Time."

An action/adventure from king of schlock Jerry Bruckheimer? Based on a video game? Set in the ancient deserts of Persia? With no actual Persians among the principal cast?

When one considers the progeny of this sun-baked disaster, the question becomes not where did everything go wrong, but how did anyone ever think it would go right.

Jake Gyllenhaal plays Dastan, a street urchin-turned-adopted prince of the realm. While sacking an enemy city he finds a magical dagger that can transport the bearer back in time one minute, so they can change the course of events to their favor. Soon Dastan and the dagger's guardian, Tamina (Gemma Arterton), are on the run with everyone pursuing them.
Alfred Molina is worth a few yucks as a criminally-minded sheik who despises how the government is taxing his ostrich racetrack.

Mostly, though, it's a stupefying sequence of action scenes where Dastan -- or at least Gyllenhaal's obvious stunt double -- acrobatically leaps about the screen, clashing swords and getting his derring-do on.

I like video games. And I love movies. But the two just weren't meant to be together.
Bonus features are rather skimpy in the DVD version, but perk up somewhat in Blu-ray.

The DVD comes only with a making-of documentary that touches on various aspects of production. The single-disc Blu-ray also comes with a single deleted scene: A banquet involving the serving of heads that sounds suspiciously similar to the "monkey brains" scene in "Indiana Jones and the Temple of Doom."

The Blu-ray/DVD combo pack has both these features, plus "The Sands of Time," an interactive feature that links to about 40 featurettes about the making of the film.

Movie: 1.5 stars
Extras: 2 stars

Review: "Prince of Persia: The Sands of Time"

"Prince of Persia: The Sands of Time" is a big-budget action movie about a magic dagger that can transport its bearer backward in time. I can certainly think of 116 minutes I'd love to have back.

This bewilderingly bad offering from the house of Jerry Bruckheimer is based on a video game. The lineage of movies spawned thusly is not a noble one, and "Prince of Persia" competes for the top spot at the bottom of a deep trough.

How awful do things get? Well, let's start with the fact that star Jake Gyllenhaal does that annoying thing American actors do when they don't want to attempt a foreign accent: A generic English lilt that summons painful aural memories involving Kevin Costner and archery.

I guess Gyllenhaal can't be blamed, since he's the only Yank in an entirely British cast of principles. I'm hardly a disciple of political correctness, but methinks if you're going to have a movie called "Prince of Persia," you might want to have at least one actual Persian.

The video game (actually, a series) involved lots of sword-fighting and acrobatic jumping and tumbling, and director Mike Newell stages his action scenes (clumsily) to look like Gyllenhaal is in the middle of a really challenging level of the game, and we're directing him with our controller.

The intercutting between Gyllenhaal and his stuntmen is pretty obvious, as the professional busts some of those gravity-defying parkour moves, transplanted from an urban setting to pre-Christendom Arabia. Then we cut back to the star touching down.

The plot, courtesy of three screenwriters, is a whirling dervish of pseudo-history and made-up mythology.

Tus (Richard Coyle), the crown prince of Persia, orders his troops to invade the city of Alamut after discovering some trumped-up evidence they're secretly forging weapons. Dastan (Gyllenhaal), the youngest brother whom the king adopted as a street urchin, is the hero of the battle, even though he opposed the attack.

Dastan finds a magic dagger that contains the Sands of Time. When you press a button on the hilt, you travel backward in time one minute, and can prevent bad things from happening. The sands are consumed, but Tamina (Gemma Arterton), the Alamutian princess, is the dagger's guardian and knows how to get more.

The king is fatally poisoned, and Dastan catches the blame, forcing he and Tamina to flee for their lives, ratcheting up a standard-issue love/hate relationship. I won't reveal who the real villain is, other than to point out Ben Kingsley is hanging around, playing the uncle and wearing a lot of eyeliner. Just sayin'.

Alfred Molina turns up as a shady sheikh who runs an ostrich-racing operation, has a deadly African knife guy as his best friend, and delivers a lot of angry tirades about the government taking all his money through taxes to spend on stuff he doesn't like. I think the Tea Party just found its Adam.

Anyway, things devolve into a seemingly endless series of battles and acrobatics, with everybody trying to get their hands on the dagger -- and the fate of the entire world hanging in the balance, of course.

And speaking of that dagger: If the wielder goes back in time a minute, wouldn't the dagger also travel backward, and thus still have its sand? So theoretically you could just keep pushing the button over and over. Maybe even ... 116 times?

1.5 stars out of four

Video review: "Brothers"

"Brothers" likely got caught up in audiences' serial aversion to movies about our military involvement in Iraq and Afghanistan. Good ("The Hurt Locker") or bad ("Green Zone"), movie goers have consistently avoided these movies in droves.

"Brothers" falls somewhere in the middle in terms of quality, and is less about the question of the rightness or wrongness of American intervention than the dire effects on the flesh-and-blood soldiers sent there -- think "The Best Years of Our Lives."

Tobey Maguire, in a strong performance, plays Capt. Sam Cahill, a Marine shot down in Afghanistan. Everyone, including his wife Grace (Natalie Portman) and two young daughters, think he's dead.

Grace tries to move on with some emotional assistance from Sam's ex-con brother Tommy (Jake Gyllenhaal), which crosses into a gray zone of affection. When Sam, who suffered unspeakable treatment at the hands of the jihadists, is rescued and brought home, he has difficulty fitting in -- and resents his brother acting as surrogate to his wife and kids.

Based on a Danish film, "Brothers" was directed by Jim Sheridan from a screenplay by David Benioff. Sheridan has a great touch with actors, but too often the story telegraphs its punches.
As affecting as Maguire is as the good son brought low by tragedy, "Brothers" can't break free of a tendency to wade into melodrama.

Extras are identical for DVD and Blu-ray formats. It's a fairly lean list of features, but they're pretty meaty.

There's a fairly standard making-of doc that runs 13 minutes. Sheridan and Benioff talk openly about remaking the Danish film, concentrating less on the question of an affair than the relationship between the siblings.

A 16-minute featurette looks at Sheridan's history of films that concentrate on familial relationships, which is quite illuminating about his unstructured creative process. "In a certain regard, performance is a lie," he says.

The commentary is a rather straightforward description of shots and what the director was thinking about for each scene. It's not revelatory, but it is engaging.

"Movies now have become eye candy, trips of escapism," Sheridan opines.

Movie: 2.5 stars
Extras: 3 stars