To Be Takei (2014)

In this day and age, George Takei has transcended generations, mediums, and cultures to truly become an icon.  He has successfully remastered his career and pro-actively shaped his legacy.  In his 2014 documentary, Takei examines the events of his life that have shaped the man he has become.

Oddly enough, this view didn't learn anything new about the cultural icon.  I continue to be impressed by his overwhelmingly positive view on everything and how he comes across so authentic instead of a cloyingly one-dimension.

Kudos to Takei for being to frank with himself and his fans.  He exposes himself--warts and all--to his fans and celebrates all the things that make him George.  And at the same time, he challenges you to embrace all the things that make you... you.

As I see it, fans of George Takei may not learn anything new here; however, this documentary is the closest we will ever come to having over for tea.

22 Jump Street (2014)

Let's be clear.  22 Jump Street is a sequel.  With that in mind, the second pairing of Channing Tatum and Jonah Hill will entertain.  Returning as cops Jenko (Tatum) and Schmidt (Hill), the duo join the 22 Jump Street squad and head undercover, this time, as college students.  Add the returning foul-mouthed Ice Cube as Captain Dickson and a cameo by every one's favorite man's man, Nick Offerman and you have a comedy this is too smart for it's own good.

The movie runs a little long milking the audience for laughs, but it's funny enough that you won't mind a bit.  Peter Stormaire is under-utilized; but with the proven duo of Tatum-Hill, it's just fun to watch them play off of each other.  As expected, the two have grown up and go their separate ways as married couples do.  When the movie separates them, the viewer is sad and their world darkens much like Jenko and Schmidt's.  The movie is at it's finest when they are onscreen.

As I see it, you won't find anything remotely Oscar worthy here.  Who cares?!  Directors Phil Lord and Christopher Miller don't take their movie too seriously and neither should you.  Grab a beer and enjoy!  Then stick around to see Seth Rogan.

bonus feature: CD

If the title isn't clear enough, our soulful British song-smith is lonely.  Depressingly lonely.  It was a thoughtful interview with All Things Considered on NPR that had me make a special trip when the album dropped.

Ten days later the album is still depressing me.  Best known here in the States for the soulful  falsetto on 'Stay with Me', Sam sings with the essence of Lionel Ritchie and The Commodores and John Legend  It's a beautiful tone; but I am exhausted by the distance and sadness in his voice.

'Leave Your Lover' has a painful pleading that breaks your soul.  Hints of Stevie Wonder pop up in 'I'm Not the Only One' and this listener could easily hear Timberlake inspired stylings in 'Life Support'.

As I hear it, In the Lonely Hour is a beautifully rendered pop album and it'll be interesting to see what this kid will do.  There is not a bad song on the album.  Each arrangement highlights Smith's falsetto and rightly so.  However, as a solo play, fourteen tracks later, I'm so f^cking depressed.  By 'Lay Me Down', I was desperate for him to find a woman so he'd shut the hell up.  This listener, prefers the sound of Sam Smith mixed in a playlist.

Godzilla (2014)

To be clear, I wanted Walter White to save us from Godzilla.  To be fair, I am less than a casual fan of Godzilla so perhaps I'm not qualified enough to review this new re-imagining.  Then again, I am a lover of film.

The trailer for Godzilla was brilliantly executed and thus I found myself anxious for opening weekend.  However, the PG-13 rating started the doubts.  The insipid Fiat commercials really got to me.  Sure, go ahead and show the entire monster in a 60 second commercial, dumb-ass mad men!

So as I found myself anticipating the viewing of this movie, it was difficult to discard all the hate that had welled up.  Godzilla is fine popcorn flick; but sadly it fails to be memorable primarily because of the casting.  It's hard to see this otherwise stellar cast including Juliette Binchette, Bryan Cranston, and Ken Watanabe relegated to bit-parts.  And sadly, the shoulders of our leading man, played by newcomer Aaron Taylor-Johnson, aren't quite square enough to carry this film.

But let's be honest... this movie isn't 'The Beast who Ate San Francisco'.  It's Godzilla and the beast does not disappoint--or at least the parts that you can see.  Herein lies my biggest issue... the move is dark--in an overcast, let's not worry about the details kinda way.  Unlike 2008's Cloverfield, Godzilla in all his glory is disappointing.  This viewer expected to see the Power Rangers coming to the rescue.  Director Gareth Edwards depends too much on shadows to give the film it's atmosphere when a more controlled camera would do.

As I see it, 2014's Godzilla is a mediocre summer film.  Sadly, it won't reboot the monster-movie genre.  If you're desperate to justify wanting to see the film, it does pose some interesting environmental and moral questions.  But I would encourage you to elevate your summer movie experience by seeing The Winter Soldier or X-Men: Days of Future Past.

The Grand Budapest Hotel (2014)

Former lobby-boy (Tony Revolo) and now owner, Zero Mustafa (F. Murray Abraham) Tony recounts the events that led him to become the owner of the Grand Budapest Hotel to a young writes (Jude Law).  Under the tutelage of M. Gustave (Ralph Fiennes), Zero embarks on a great adventure which includes a stolen painting and a the death of hotel patron to become a trusted friend of M. Gustave.

The Grand Budapest Hotel is a poetic masterpiece of story-telling, direction, costuming and scoring.  Anderson brings his trademark miniatures and framing to envelope what is a keenly written script.  Fiennes steals the show from a stacked ensemble cast.  He cuts quite a silhouette in uniform.  Anderson hands him some of the best dialogue since 'The Life Aquatic'.

Joining Fiennes on this adventure are all the names Anderson fans have come to love.  Jeff Goldblum, Jason Schwartmann, Owen Wilson, Bill Murray, Adrien Brody, and Wilem Dafoe all return as does Edward Norton, Waris Ahluwalia, and Bob Balaban.  Welcome aboard to Law, Saoirse Ronan, Tom Wilkinson, and Tilda Swinton.

Anderson continues his mixed media with the use of miniatures and animation.  It feels familiar but fresh.  And true to form, Anderson throws some dark unexpected moments amid the pastel-colored absurdity that are guaranteed to make you gasp.  His mastery of restraint remains and his keen eye for frame composition is just a delight.

As I see it, The Grand Budapest Hotel is a masterful addition to Anderson's canon.  Only time will tell if The Grand Budapest Hotel will surpass The Life Aquatic with Steve Zissou for my favorite Anderson film, but clearly will give it a run for the money as the most quotable.