Game of Thrones

It is difficult to review television without giving away something of the plot. Tread lightly if you haven't seen the series in its entirety.

Season 7 (2017)

As the threat from the White Walkers grows ever more imminent, Jon and Daenerys finally acquaint as they quarrel over patronage before coming to terms with an alliance and a potential love affair and Cersei and Jaime prepare for war at King’s Landing while the surviving stark siblings have a bitter reunion at Winterfell as Littlefinger’s presence ominously looms. As the end nears in this first half of the final season, the pace is quickened, the storylines converge, and the number of battle sequences increase, the series is still bogged down by unnecessary asides, woeful plotting and characters, absolutely insipid dialogue.

** 1/2 out of ****

Season 6 (2016)

Cersei plots revenge while sitting back helpless in humiliation as her son is taken in by the High Sparrow and the gods, Arya learns some harsh lessons in life and death, and Sansa, after being rescued by an unlikely source, reunites with an unsurprisingly resurrected and differently composed Jon as they gear up to retake Winterfell from the odious Ramsay Bolton. In this first season without George R.R. Martin as a writer and as the series eyes the finish line and moves all of its pawns into place, it is nice to see the pace finally pick up with so much finally happening in this multi-storied universe, with also some incredible set pieces to boot in the latter episodes. Still the quality of the dialogue seems the worst its ever been, some stories still seem stuck in limbo (i.e. Daenerys and Tyrion), while Arya's would be powerful tale comes off as insipid and disappointing.

*** out of ****

Season 4 (2014) and Season 5 (2015)

An act of treachery at the Royal Wedding sends Tyrion toward a new destiny and Sansa into greater peril. Daenerys learns how to rule over the recently liberated Meereen and Stannis provides relieve to the Night's Watch only to find more obstacles on his quest to the Iron Throne. The fourth season of Game of Thrones is a marked improvement over the previous one, with the intrigue at King's Landing exciting enough to cover for the dull wheel spinning that continues to go on elsewhere (i.e. The Wall, Meereen), only to return for a dreadful, monotonous fifth season that brings nothing closer to resolution except in killing off several major characters in the end, which surely will thrill many fans but seems a giant waste of their protracted storylines. Without having read the books, it almost seems as if George R.R. Martin crafted an excellent first entry, which was then adapted into a great first season, and then had absolutely no idea what he signed on for or where it was going after that. While watching the "previously on" segment for Sunday's finale I realized that I had never seen a show with so much going on where so little actually happens.

Season 4: *** out of ****

Season 5 ** out of ****

Season 3 (2013)

As the inhabitants of King’s Landing recover from the their costly victory at the Battle of Blackwater and Stannis and his few remaining followers lick their wounds on a remote island, war parties led by Rob Stark and Daenerys Targaryen continue their arduous march on the capital. I wanted to keep this short and sweet after feeling the ire from panning another highly popular show, but season three represents an even steeper decline for this beloved series and, even in the “Golden Age of Television” as many have dubbed it, provides further evidence of the difficulties of sustaining an extended serial, even one based on extensive source material. You can almost picture George R.R. Martin and the HBO execs sitting at their round table brainstorming their smoke and mirrors tactics saying, “You know, we could just go through with a long, boring, protracted season where things wind up basically where they started, so long as we kill off a few major players in the end, we’ll still have ‘em hooked.”

** out of ****

Season 2 (2012)

As three challengers to the throne march upon King's Landing, an unexpected foe lays siege on Winterfell, causing more turmoil and heartache to the already beset Stark family. Tyrion has his hands full as Hand of the King in dealing with his treacherous sister and malevolent nephew. Daenerys, her dragons, and dwindling tribesman remain stranded across the Narrow Sea and Jon Snow begins his tour beyond the Wall as the dreaded Winter finally arrives. Following the spectacular first season of Game of Thrones, the followup series, while still maintaining a high level of interest, meanders and goes in circles for many of its story lines, and ones which were the top draw in season one (ie Daenerys, Jon Snow and the Wall, Rob Stark and his army) now seem to have lost their way and are stuck in standstill for virtually this entire round. Also, following the exit of Sean Bean, the show does not have a lead actor to anchor itself around and while Peter Dinklage (who went from Best Supporting Actor Emmy Winner to first billed in the credits) is excellent, he is not a leading man. I was still engaged with this season. The court intrigue and Arya's storyline worked best for me but the show seemed only interested in its primary story, which was made evident in the climactic Battle of Blackwater episode. "Game of Thrones" is a vast drama, and about as in depth as anything you can expect from television that still nonetheless needs to iron out its storytelling kinks.

*** out of ****

Season 1 (2011)

A long and brutal winter is approaching the kingdom of Westeros and treachery is afoul as the Hand of the King has been murdered. Surrounded by the cunning and powerful family of his duplicitous wife, King Robert Baratheon sends for his old friend and battle mate Eddard Stark to take up the position of the deceased and be unwillingly hurled into the deadly title scheme. The HBO adaptation of the George R.R. Martin novels is an excellent entry in the fantasy genre, simultaneously telling an involving, intelligent, violent, but grounded other worldly tale. Filmed throughout Northern Ireland and Scotland, as well as in parts of Morocco, the series features the most stunning visuals to be found in any television series. Its epic cast of mostly British players is uniformly excellent and if forced to select a handful as my favorite I would chose Iain Glen as a courageous exiled knight, Emilia Clarke as his queen and charge, samely exiled, Peter Dinklage as a witty and underestimated dwarf, and Sean Bean as the noble, sullen Eddard Stark. "Game of Thrones" is wonderfully engaging entertainment that isn't afraid to break the "rules" of television and has characterization and intelligence to match its harsh tone and violence.

*** 1/2 out of ****

No No: A Dockumentary

After dropping acid on a California road trip in June 1970 and forgetting he had to pitch the next day, Pittsburgh Pirates hurler Dock Ellis threw a no hitter against the San Diego Padres while under the influence of LSD. While this sports story that has achieved mythic proportions, what is even more interesting is Ellis' ubringing, his wild and erratic personality, the horrifying lows his post baseball career would take due to drug and alcohol addiction, and the redemption he would seek before his death in 2008. No No is an unexpectedly powerful story, made with great footage and guests, that at first treats its subject like a lark and absolutely blindsides you with its trajectory. My only complaint is that the documentary could have been more structured with its dating.

*** 1/2 out of ****

Sherlock

Season 4 (2017)

John faces a tragedy following a shocking revelation while Sherlock deals with a psychotic breakdown due to drug use coupled with the arrival of an undisclosed criminally insane relative who has somehow aligned with the detective's deceased nemesis. The overcooked fourth season of Sherlock is so cheeky and contemporary with obnoxious side characters and Cumberbatch and Freeman barely keeping the tremulous series afloat and these extravagant frenetic tales seeming antithetical to its source material.

** out of ****

The Abominable Bride (2016)

This cheeky, self-referential holiday special wastes an opportunity to tell a classic Holmes tale set in Victorian London by proceeding in the same cheap, frenetic manner as usual and has one of the dumbest, timeworn reveals imaginable. The performances of and interplay between Cumberbatch and Freeman remain the main selling point.

** 1/2 out of ****


Series 3 (2014)
Following his supposed demise Sherlock reemerges in deep cover in the Middle East, an elaborate plot hatched with his brother Mycroft to foil a terrorist plot, and returns to Baker Street to resume his detective duties with John, cases which include a lethal blackmailer, a murder conspiracy at Watson's wedding, and another terrorist threat. Benedict Cumberbatch and Martin Freeman remain the sole reasons for Steven Moffat and Mark Gatiss's Sir Arthur Conan Doyle reimagining, which feature too cutesy and insipid storylines that border on stupid.
** 1/2 out of ****

Series 2 (2011)
With Moriarty hatching an even more diabolical plot, Sherlock and Watson find themselves entwined in three more mysteries, this time versions of Conan Doyle's revered classics A Scandal in Bohemia, The Hound of the Baskervilles, and Reichenbach Falls. In Steven Moffat and Mark Gatiss's sophomore run of their retelling of the stories of the world's most famous detective, Benedict Cumberbatch and Martin Freeman still remain the chief asset of the series, delivering compelling and intensely likable performances (I can't wait to see them both in "The Hobbit" later this year). However, as was my chief complaint last season, and one which has regressed even further here, these wonderful stories are given shabby and paper thin treatment. I also found Andrew Scott to be a poor choice for Moriarty. I feel odd complaining about a crime show with such rich character development, but here in a mystery series as such, storytelling must come first, and given the wealth of material given to the developers, we should be given something much more compelling.
** 1/2 out of ****

Series 1 (2010)
The most popular character in literature is supplanted to present day London where he acts as a freelance detective, only offering his unsurpassed brilliant assistance in the cases that interest him the most. Taking on a flatmate who has just been psychologically wounded in the Iraq War, he also proves to be quite resourceful in the detective's inquest, all of which seem to be the masterwork of an equally brilliant and secretive criminal mastermind. "Sherlock" is a BBC reworking of the Sir Arthur Conan Doyle stories by Steven Moffat and Mark Gatiss in a three part series, each entitled A Study in Pink, The Blind Banker, and The Great Game. The series does an excellent job capturing the spirit of the Conan Doyle novels, and compared to the blasphemous Guy Ritchie movies, it is a most welcomed excursion. As Holmes and Watson, Benedict Cumberbatch and Martin Freeman are excellent at capturing the essence of their roles and Cumberbatch is a particular joy to watch as the ingenious and sociopathic detective. I did feel the episodes were marred by overlength and "The Blind Banker" segment seemed to be an unworthy entry. "Sherlock" does succeed in being escapist entertainment, an acting showcase for the stars, and a return to form for the character following the recent film mistreatments.
*** out of ****

A Murder in the Park

In summer 1982, stick up artist and gang member Anthony Porter murdered two teens at a Southside Chicago pool and, after being apprehended and tried with the corroboration of witnesses, was sentenced to death. Years later, his cries of blamelessness were heard by the Innocents Project of Northwestern University who took on his case and were successfully able to have the guilty party's conviction overturned and in his place, with the aid of agents from the program, have an innocent man put away behind bars. Murder in the Park is a rigorous dissection of a case that is likely to stoke ire and shows the sickening lengths some will go to in order to push their agendas.

*** 1/2 out of ****

The Address

A year in the life of severely learning disabled students at the specialized Greenwood School in Putney, Vermont who are required to recite The Gettysburg Address verbatim at the end of the term. I feel like a heel digging into this documentary, and yes the students and staff seem genuine, but this resembles the kind of amateurish pap meant to "inspire" first year college students in a teaching program. As for Ken Burns, while sneaking in Civil War photos and giving a haphazard summation of that campaign, this kind of project seems beneath him. To be fair, the final speeches and a field trip to the battleground were impressive.

** 1/2 out of ****

The Babadook

A widowed mother (Essie Davis) is coping with her unreasonable and impracticable son (Noah Wiseman) whose latest spooky bedtime book has begun to take on a life of its own. The Babadook is minimalist horror fare with virtually no scares that works as a family drama until it descends into the usual stupid genre cliches Davis is effective but the young Wiseman is so insufferable, which is intended but still doesn't make the movie any easier to take.

** out of ****

Flying Circus and the Python Films

It is difficult to describe the appeal of Monty Python, the irreverent and game changing British comedic troupe, when their irreverent material is as often inane and borderline unwatchable as it is uproarious. Nevertheless the appeal of the group, which consists of members John Cleese, Graham Chapman, Michael Palin, Terry Jones, Eric Idle, and Terry Gilliam and began on the stage and continued on through television and film, is undeniable and their influence on comedy is immeasurable. Here is a brief rundown of their work:

Flying Circus ran on the BBC between 1969 and 1974 with a feature film titled with the group's favorite segue And Now for Something Completely Different sandwiched midway in its run which took the odd approach of refilming some of their greatest hits without of the presence of a studio audience, the result of which is strangely compelling. The series has many regrettable sketches and running gags, and I feel I should keep my opinion on Gilliam's animations to myself in fear of being shunned, but it is absolutely worth suffering the dreck to get to their best and most outrageous routines (or you could just watch them on YouTube---my favorite bit is Palin's bumbling Spanish Inquisitor).

The gang followed up the series with Monty Python and the Holy Grail, perhaps the most widely seen of their features and what I'd personally consider the best of the lot. This silly take on the Arthurian legend has many indelibly hysterical moments and only starts to come apart at the seams towards the very end.

The controversy generated by Life of Brian, which tells the tale of the child born a manger over from Christ, catapulted the Pythons to international superstardom, but the film offers easy and obvious satire, with belabored gags, and laughs that are few and far between (though those few present are hearty). Gilliam's direction does achieve great period look (though his influence beyond that is distracting) and Palin's Pontius Pilate is unforgettable. Casting Chapman in the lead serves as a great disappointment considering what is lost in the supporting roles.

Time Bandits is not officially a Python movie but it was directed by Gilliam who cowrote the script with Palin and features cameos from both Palin and Cleese. The fantastical and occasionally creepy children's story deals with a band of dwarves in possession of a time travel map who take a neglected youth on their marauding journey through history. The film again falls apart towards the end but the actors are likable and the proceedings are worthwhile for the hilarious cameos, which also include Ralph Richardson and Sean Connery. 

Next up was Live at the Hollywood Bowl, a live show converted to film and released theatrically which consists of old sketches and new that comes off quite well leaving you pondering if their material isn't best suited for the stage. 

Meaning of Life, which takes a surreal look into each of life's stages, is a sporadically funny feature which is hurt by dark and atypically heavy dosages of cynicism and vulgarity. The short film that opens the movie is a highlight and the "Every Sperm is Sacred" number is priceless.

In 2014, the Pythons returned for a live farewell show of sorts, Monty Python Live (Mostly), which featured an array of live performances, clips old and new, and a musical revue, all with the participation of the remaining and surprisingly capable troupe members, save Graham Chapman who is roundly toasted during the performance.

Tangerines

Following the collapse of the Soviet Union, the civil unrest reaches the front steps of an elderly Georgian tangerine farmer (Lembit Ulfsak) who finds himself caring for two soldiers on opposite sides of the conflict. Zara Urushadze's film is obvious and oversimplifies the issue but, even when film starts to resemble an I Love Lucy episode, there is still something appealing in the nobility of the approach and the stoic performance of Ulfsak.

*** out of ****

The 50 Year Argument

A documentary from Martin Scorsese and David Tedeschi looking into the half century run of The New York Review of Books, a contentious radical publication with a misleading name whose actual stated agenda is to print op-ed pieces tackling hot button issues to affect public opinion. With focus on its founding and long serving editor Robert Silvers, the film covers various articles over the years with appearances from many of their contributors, with topics ranging from the questioning of U.S. involvement in the war in Vietnam, to the Arab Spring, to a volatile feud between Gore Vidal and Norman Mailer ignited by a Vidal piece first issued in the journal. Meandering, as is to be expected with such a cinematically tenuous subject, The 50 Year Argument is interesting in sections, sections you wish would have been elaborated upon.

*** out of ****

Leviathan

An ill-tempered, vodka infused mechanic lives with his new wife and child in a house on the sea that proves desirable for a local mob connected political boss. Andrey Zvyagintsev's Leviathan, partially funded by the Federation and subsequently censured, is a critical and concerned look at small town Russian life and local corruption. It is methodical, brooding and long though decently paced, even if this sort of Job like tale seems to be overused as of late. Good acting and great scenery both contribute.

*** 1/2 out of ****

Whitey: United States of America v. James J. Bulger

After 16 years on the run James "Whitey" Bulger, notorious Boston gang leader, FBI informant, and inspiration to Jack Nicholson's character in The Departed, was finally brought to justice, having been charged with 19 counts of murder and forced to stand trial in federal court. This portrait reveals the revolting depths of law enforcement corruption as told through court documents and shows the grief caused to Bulger's victim's families, one a witness who is found dead during the proceedings. Joe Berlinger's documentary on the trial of the popularized longtime head of the Winter Hill Gang and fugitive contains the kind of solid first person accounting the director is known for (Paradise Lost) in addition to good background details, although the film does tend to go in circles.

*** out of ****

Wild Tales

Six shorts involving people cast into extreme situations: passengers on a plane realize they all have one thing in common; a waitress serves the gangster who killed her family and is tempted to murder; a case of road rage between two bullheaded motorists on a desolate stretch of highway continues to escalate; a demolitions expert goes to war with the parking bureau; an entrepreneur tries to pay off his housekeeper to take the wrap for his son's deadly hit skip; a bride learns she has been betrayed on her wedding night. From Argentina, Damian Szifron's Wild Tales is  darkly funny, undemanding, and competently made but is little more in terms of continuity than a well assembled shorts program, and one that is fashioned in a manner catering to twist frenzied audiences. The best entries appear early on in the picture.

*** out ****

The Salt of the Earth

Famed German New Wave filmmaker Wim Wenders' The Salt of the Earth is a beautiful documentary assemblage of the life's work of Sebastiao Salgado, a globetrotting, Brazillian photographer who immersed himself with the overlooked poor to capture his spectacular imagery. Cowritten with the director by his son Juliano, the film gains added poignancy from the artist's haunting narration.

*** 1/2 out of ****

Glen Campbell: I'll Be Me

In Glen Campbell: I'll Be Me, I found something shameless and exploitative with bringing a camera into a man's home who has just received an Alzheimer's diagnosis and then placing him on stage against his better judgement, coercing him to go on an international tour,  and watching him deteriorate on stage and off, even if the filmmakers and the family argue differently that it aids his stability. James Keach's documentary could have been infinitely more interesting if he focused on Campbell's career or the disease itself rather than interviewing a bunch of celebs and family members just to have them say how brave he is. The ending, featuring a new single, is superb however.

** out of ****

The Humbling

An aging stage actor (Al Pacino) suffering a nervous breakdown hurls himself off the stage during his latest performance and is sent to a convalescence home to recuperate and is soon romantically involved with a grown lesbian daughter of close friends (Greta Gerwig). Drawn from a Philip Roth novel and a screenplay co-authored by Buck Henry, Barry Levinson’s The Humbling takes murky subject matter that was probably better suited to book form and presents them in a tepid digital production, but is given value thanks to a tremendously nuanced Pacino performance, his best in a good long while. Gerwig is a disappointing foil, Grodin is amusing in support, and the film has its moments, especially in a particularly funny stalker subplot.

** 1/2 out of ****

Magician: The Astonishing Life and Work of Orson Welles

Magician: The Astonishing Life and Work of Orson Welles  packs in about as much as possible into 90 minutes on the larger than life, multi-talented, vain, mysterious, ingenious virtuoso, but feels rushed and even confused as a result, while glossing over the bullet points of his life. A little fleshing out would have been helpful, although the documentary does put great footage and guests to use, and it is always a privilege to be in the company of the Boy Wonder.

*** out of ****

Nightingale

A disturbed veteran (David Oyelowo) living alone with his mother slowly reveals the level of his psychosis as he prepares for the arrival of a beloved friend. Nightingale seeks to be disturbing and visceral, but Oyelowo, in a one man show sporting an American accent that goes in and out, doesn't really have the chops needed for this kind of performance and, with that being said, he really isn't given any help from the screenwriters who contribute poorly written dialogue and a scant plot that seems stretched out even at 82 minutes.

** out of ****

Boardwalk Empire

Season 4 (2013) and 5 (2014)

As Nucky makes peace arrangements with Rothstein and Masseria, he pursues new business interests in Florida while being strong armed by a Harlem gangster, pursued by a crooked agent of the Justice Department, an targeted by an increasingly ambitious and ruthless Luciano. In a detached story, as his reign comes to an end, we learn Thompson's rags to riches tale of how he became Treasurer of Atlantic City. The 4th season of Boardwalk Empire is still watchable yet a far cry from where it stood in its first few runs. Wright is a disappointing and ineffectual villain, new cast additions either fall flat (Brian Geraghty, Eric Laden) or are poorly utilized (Patricia Arquette, Ron Livingston). Shea Whigham is a standout among the principal cast. The 5th and final, abbreviated outing marks a great disappointment with the showrunners appearing to take up a task (an admittedly difficult one) that was beyond them with no idea where to go. A leap forward in time meshed with a horrid backstory topped off with a pathetic, barely thought out finale was sadly where signs had been pointing for the drama and should serve as a lesson for anyone attempting to do serialized historical fiction.
Season 4 : *** out of ****
Season 5 : ** out of ****

Season 3 (2012)

As New Year's Eve 1922 is celebrated in Atlantic City, Nucky's (Steve Buscemi) decision to constrict his bootlegging practices offends a highly volatile (and easily offendable) gangster (Bobby Cannavale) who commandeers a nearby suburb and sets his sights on A.C. On other fronts, Margaret (Kelly Macdonald) enjoys her newly acquired duties at the local hospital, though her seeds of dissatisfaction will germinate through the course of an affair with her husband's subordinate (Charlie Cox). Gillian  (Gretchen Mol) continues to scheme and grieve following her loss, Van Alden (Michael Shannon) attempts to establish himself in an unfriendly Windy City, and Richard (Jack Huston) may have found a solace he could have never imagined since attaining his war injury. "Boardwalk Empire's" third go round features some of the most dazzling visuals and fancy camerawork the series has had to offer, but is the most slight in terms of plot. The aforementioned subplots, in addition to others, hold interest in their own right, but often feel like filler and as not contributing to the thrust of the plot. Newcomer Cannavale is excellent though, and his explosive presence offers many alternately humorous and terrifying moments to the series. Also a body ridden season finale is not nearly as satisfying as the pulse pounding episode that preceded it.
*** 1/2

Season 2 (2011)

With a coup underway to oust Nucky, both Jimmy and the targeted treaurer's brother Eli walk a treacherous path, dealing not only with devious gangsters but also a crippling strike by the African-American community at the heart of the summer season. On top of his legal problems, Nucky faces personal problems as a discontented Margaret, now grief ridden after her daughter has been stricken with polio, finds solace with the local parish priest and in overly generous offerings to the Lord. The second season of "Boardwalk Empire" is an almost unfathomable continuation of excellence, somehow maintaining the same cinematic level of greatness achieved in season one. Steve Buscemi turns in a wonderful, nuanced performance which is unlike any other gangster portrayal, at least that I've ever seen. Michael Pitt contributes affecting award worthy work as the cheerless and deceitful Jimmy and Kelly Macdonald is still incredible in the complex role of Margaret. In an impeccable supporting cast, Michael Shannon stands out as the dogged federal agent whose story takes more than a few unexpected turns and Shea Whigham as Buscemi's frustrated, overlooked brother. With its alternately beautiful, brutal, and affecting methods, "Boardwalk Empire" achieves an excellence in television that no other series, with the exception of "Mad Men", even remotely approaches.

****

Season 1 (2010)

Usually I keep television shows out of the blog, but I feel Boardwalk Empire is a series that approaches great film and, while watching, it feels like a solid 12 hour movie. This should come as no surprise since the show is brought to us by legendary filmmaker Martin Scorsese. He directed the first episode, offering the blueprint for the subsequent episodes. He also produces and consults on other aspects of the show. Boardwalk was created by Sopranos veteran Terrence Winter and he brings along other members of that great show. Again, we have a show set in New Jersey, this time in Atlantic City and again we follow professional criminals who drink, screw, curse, lie, cheat, steal, swindle, and murder. We follow several story threads and the main character is AC treasurer Nucky Thompson played by a finely tuned Steve Buscemi. This is not another Tony Soprano, as Thompson has more of a soft spot. This doesn't mean that he isn't capable of carrying out heinous acts. We meet a young Irish widow (Kelly McDonald) who comes into his life and also Jimmy (Michael Pitt) and young enforcer he sees as his own son. The story mixes real characters with fictional ones and all are played by fine actors: Michael Stuhlbarg plays Arnold Rothstein, the New York gangster who becomes at odds with Nucky and his crew. His segments are a highlight of the show and wonderfully acted by Stuhlbarg. Michael Shannon plays an agent and religious zealot on the hunt for bootleggers. We also meet characters such as a hot headed Al Capone, Lucky Luciano, and Warren G. Harding. Boardwalk Empire is also a visual success and a screenwriting success. In an era when ignorance passes for good television, this show is like a breath of fresh air. I urge you seek it out on DVD or on reruns on HBO.

****

The Hobbit Trilogy

Well into his later years, living in simple comfort on the Shire, Bilbo Baggins begins writing the tale of his epic journey when an old wizard recruited him to aid a gang of motley dwarves in reclaiming their once prestigious homestead, now completely obliterated by a treacherous and seemingly insurmountable dragon. Peter Jackson's "The Hobbit" shares many of the positive attributes of the Lord of the Rings series including great scenery, musical score, elements of comradery, the presence of Ian McKellen and Andy Serkis in their now iconic roles, and even adds to the mix a more quickly paced plot line and an ideally cast Martin Freeman as the young Bilbo Baggins. It does though contain the same propensity for overblown all-inclusiveness, with Jackson never knowing when to quit, and promises to be just as protracted as the initial series (we barely even get a glimpse of Smaug here). Furthermore, although we thankfully see very little of the intolerable title creatures, the dwarves are more than happy to take up their headache inducing mantle. But these quibbles could be chalked up to a matter of my own personal taste and will surely be embraced by fans of J.R.R. Tolkein's book and the prior film installments. What certainly (and sadly) damages the film is Jackson's decision to shoot at 48 frames per second which adds very little, if anything to the 3D process (which was sighted as the reason for filming at that rate) and gives the film an ugly gloss and moves with the fluidity of a video game. This is all the more disappointing when reflecting on the first movies and that seamless blend of live-action and CGI,  and how we've only made a few strides on another bombastic excursion.
An Unexpected Journey (2012): ** 1/2 out of ****

The second and third installment of The Hobbit trilogy checks in once again with Bilbo, Gandalf, an increasingly ego inflated Thorin Oakenshield, and the rest of the barely defined dwarfs as they gear up for a showdown with the destructive Smaug and the more dastardly prospect of all out war. The Desolation of Smaug drops the unnatural, video game feel of the first movie and thankfully returns to the faithful form of the LOTR movies, yet is still meandering, never getting to the point, and moreover, again leaves you questioning why the book deigned this mammoth treatment. The Battle of the Five Armies is very watchable but still feels very unnecessary with (spoiler) Smaug oddly meeting his demise before the opening credits role and the rest of the film revolving around the anticlimactic eponymous battle. Also, Martin Freeman is regrettably absent from most of film. To sum it up, what count have been a tidy little Tolkein victory lap for Peter Jackson was instead both a bizarre, bilious experimentation (at first) and a bloated, unending, and overblown journey.
The Desolation of Smaug (2013): ** 1/2 out of ****

The Battle of the Five Armies (2014) ** 1/2 out of ****

The Gambler (1974 and 2014)

A college professor exploits his mother, girlfriend, and a star student athlete in order to fuel his debilitating gambling addiction. The Gambler was first conceived by James Toback in 1974 (with nods to Dostoevsky), directed by Karl Weisz. This original is a fairly obvious degenerate gambler tale with strong performances from James Caan and Lauren Hutton (not to mention a really poor one from Paul Sorvino). The film starts strong but loses steam before taking a left turn and ending with a strange, complex and ultimately satisfying finale. It should be added that much of this film feels like its capitalizing on The Godfather's success. In 2014, the film was remade generally well by director Rupert Wyatt and with a smart, tough, and fast paced William Monahan screenplay. However the lead character is so unlikable and Mark Wahlberg is so implausible a the nihilistic, intellectual professor. Also, a subplot involving his romantic relationship with Brie Larson seems underdeveloped and confusing.

1974 version: ** 1/2 out of ****

2014 version: ** 1/2 out of ****