"Tangerine" Reminds Us That Film Can Still Be Groundbreaking

There's a lot of talk about "Tangerine." From the moment it premiered at Sundance earlier this year, it instantly became known as 'the movie that was shot on entirely on an iPhone.' Director/Writer/Producer Sean S. Baker did indeed film the movie using an iPhone, three of them to be exact; The film was made for only $100,000 and Baker used a Mac Book's Final Cut Pro to edit the project.

Now, the film has been kicking up awards chatter. "Orange Is The New Black" star and everywoman Laverne Cox hosted a screening of the film this past week (one that I was invited to, but ultimately could not attend) for voters of the Academy Awards. The goal? To get the film's stars Mya Taylor and Kiki Rodriguez some awards buzz. The two just made history as the first trans actresses to be nominated for Independent Spirt Awards, while Taylor won the Gotham Award for Breakthrough Performance this past week.

So yes, there's a lot of talk, all of it is incredibly deserved. "Tangerine" is not only one of the best movies you'll see this year, but it's one of the best indie films to be released in some time. In a world filled with films like "Gravity" and a thousand super hero movies, this tiny film reminds us all that there's still actual magic left in the medium of film.

"Brooklyn" Is Old School Hollywood Magic

Author Colin Toibin wrote in his novel, "Brooklyn" that his protagonist Ellis Lacey and her family could, "do everything except say out loud what they were thinking." In the film adaptation of that same novel, Academy Award nominee Saoirse Ronan makes this aspect of her character incredibly clear through her incredibly textured performance. Over the course of the movie's near two hour running time, we see the evolution and growth of a young woman in an unfamiliar land play out beautifully across her expressive face.

"Carol" Is A Gorgeous, Quietly Intense Love Story

"Carol," is a lot of things. It's an adaptation of the brilliant Patricia Highsmith novel "The Price of Salt." It's masterpiece in the purest sense of the word; It's Todd Haynes most handsome, affecting work to date. It's a showcase for Cate Blanchett, and evidence that she is truly the best actress working today. How she manages to still surprise us all film after film is a thrilling mystery. More important than all of that, is that it is one of the greatest love stories ever committed to film.

Adele Is Back With "25"

It's been about four years since we last heard from Adele, when she began her domination of the record industry. "21" came at a time when album sales were at an all time low. Not even albums by Beyoncé or Lady Gaga could sell as well as earlier efforts; To say the record industry was slogging is an understatement. But then Adele came, and her cross generational appeal combined with being absolutely different from the Gagas and the Katy Perrys of the world that were flooding the radios sent "21" to the top of the charts. It is now one of the best selling albums of all time, and to date has sold 30 million copies worldwide. It still is sitting pretty within the Billboard Top 100.

"Art Angels": Grimes' Fantastic Follow-up To "Visions"

When Grimes (Claire Boucher) released her ambient masterpiece "Visions," back in 2012 she was hailed as the next big thing. Standout tracks 'Oblivion' and 'Genesis' launched her into an internet sensation, and prompted Jay Z himself to sign her to his label, Roc Nation. "Visions" won acclaim from nearly every music journalist out there, posing the aggravating question that every artist must face following a successful record: 'How are you going to outdo yourself the next time around?'

"Room" Review

Life for 5-year-old Jack (newcomer Jacob Tremblay) and his ‘Ma’ (Brie Larson from “United States of Tara” and “21 Jump Street”) doesn’t extend outside of the 11-by-11 foot interior of a sealed, sound proof shed. They’ve been held captive for several years by a man only named as ‘Old Nick’. To Jack, this shed (aptly named, Room) is the whole world— at least that’s what his Ma has raised him to think. The truth of the situation is too much for anyone to bear, let alone a young child. 

Album Review: Selena Gomez, "Revival"

Best known for her hit Disney Channel show, "Wizards of Waverley Place", a pop music career seemed inevitable for Selena Gomez. She was primed to follow fellow Disney Channel stars Miley Cyrus and Demi Lovato, both of whom established themselves in the world of pop music after toiling away pandering to children. Cyrus, the most successful (for lack of a better word), has all but thrown out that wig from her Hannah Montanna days, and established herself as a controversial figure, the bad girl of pop, something she clearly relishes. Lovato hasn't seen the career highs Cyrus has seen, but has an undeniable voice and a savvy for working her own struggles and setbacks in life into her music.

But Gomez is a much more questionable figure in the world of pop. She's done empowerment ('Who Says'), and hinted at incorporating her sexuality into her music ('Come & Get It') but ultimately has never established just who she is; As an artist, Gomez has always been molded by her songs, rather than molding the songs to her. Her last album, "Stars Dance", did little to advance her as an artist. Rather, it was a collection of songs that sounded like a pale imitation of Rihanna (which is funny considering many of the songs were offered to Rihanna before they landed in Gomez's catalog).

Since then, Gomez has changed labels. "Revival", the first release since she left Hollywood Records, is a career high for the singer, and finally gives listeners a glimpse of the singers behind the songs.

"Sicario" Is A Total Knockout

"Sicario" begins with one of the most quietly mesmerizing opening sequences in recent history. Kate Macer (Emily Blunt), an FBI agent leads a house raid in Arizona connected to the drug cartel responsible for kidnapping a group of hostages. What ensues, however, is anything but what Kate or her team expected; an all 'too easy' shoot out, rows and rows of dead bodies hidden behind the walls and a deafening explosion. The film's booming (but never overbearing) score by the always reliable Jóhann Jóhannsson lingers over the scene. It's clear to us that the team further from finding there target than before they started.

The Weeknd "Beauty Behind The Madness": A Triumph

There's that rare moment in every singer's career where the stars align to give way to mind boggling superstardom. We've seen it many times, most recently with Iggy Azalea. Her monster hit 'Fancy' follow up 'Black Widow', guest verse on Ariana Grande's 'Problem' and several Grammy nominations saw her in high demand. This ultimately led to her demise when the general public realized that Azalea was purely label constructed, and possessed zero talent whatsoever.

Sometimes it's not so fleeting, as Taylor Swift is currently discovering. Sure, Swift has always been a reliable seller (her opening week sales just keep growing), but she struck a sweet spot with her latest album '1989', an album that almost a year after its release is still in the top 10 on Billboard. Each single has been a hit (three #1's and one top 10 hit, with next single 'Wildest Dreams' perched for similar success). Her world tour is on its way to becoming one of the highest selling tours in history, and though she's attracted some criticism lately, it seems Swift is gearing up for an Adele like awards season sweep.

So that brings us to the crazy talented Abel Tesfaye, or The Weeknd, who finally broke through to the mainstream last year after wallowing around in the land of the indie darlings. After landing a guest spot on Ariana Grande's successful 'Love Me Harder' and 'Earned It', one of the hit singles from the "Fifty Shades of Grey" soundtrack, Tesfaye didn't waste any time at seizing his moment; He followed up with the one two punch of 'The Hills' and 'Can't Feel My Face'. Both songs are sitting pretty in the top 5 of Billboard's Hot 100, and with his album dropping in a few days, I can tell you that this is the moment where Tesfaye becomes a household name.

"E•MO•TION" is Carly Rae Jepson's Masterpiece

When Carly Rae Jepson released 'All That' a few months ago, it was clear that she had grown as an artist since her 'Call Me Maybe' days. The Dev Hynes produced track sounded like something straight out of the 80's; a previously unearthed pop gem buried deep in a time capsule, ready to be discovered by today's listeners. Where Jepson's songs previously relied on inescapable hooks, this song was rooted deeply in its sound, with Jepson's voice twinkling throughout, slowly building to the song's masterful thrilling climax. It suggested that with the release of this album, Jepson was dropping something special.

Magic Mike is Pure, Carnal Enjoyment

As I sat down in my seat last night waiting for my showing of "Magic Mike XXL" to start, I looked around me to see who else was occupying the theater. Unsurprisingly, every person in attendance (besides myself and my best friend Corey) was either an older, or middle aged woman. Not that this bothered me, but clearly Warner Bros. had nailed it's target audience with the marketing: gay men and women of all ages.

What ensued was perhaps the most fun I have ever had sitting in a movie theater. Laughter, gasps, and the occasional "YAAASSS!" filled the theater for the film's two hour running time. Though far from a necessary installment, "Magic Mike XXL" proves that sequels don't always have to be the joyless, sigh-inducing affairs they've become in the modern marketplace. On the contrary, Channing Tatum and his band of shirtless "male entertainers" glide successfully on their raw charisma and make a film that by all accounts shouldn't work, glisten brighter than their sweaty, beautiful half naked bodies.

"Inside Out" Is Pixar's Best Film in Years

Pixar established themselves as the pinnacle of animated filmmaking with films like "Toy Story", "The Incredibles" "Finding Nemo" and "Up!". There's even gems to find in their lesser films, such as "Cars" or "Brave" that set the studio apart from other animators such Dreamworks. However, despite their output remaining better than the competition, it has been awhile since we've seen the creativity of the studio in full swing; not since the final installment in the Toy Story series has a Pixar film truly been 'great'.

I'm pleased to announce that's changed with their latest outing, "Inside Out". Pixar doesn't just meet the bar that they set for themselves with their classics, but they exceed it. "Inside Out" is far and away the studios greatest film.

"Spy" is Melissa McCarthy's Best Work To Date

When Melissa McCarthy first took Hollywood by storm in 2011, it was as the loveably raunchy Megan in "Bridesmaids". The film was a surprising critical and box office behemoth, landing two Academy Award nominations (including one for McCarthy) and more than $250 million at the box office. Since then, McCarthy has proved to be a continued box office draw; her films ("Identity Thief", "The Heat" and even "Tammy") have all grossed at least $100 million.

McCarthy the actress, however, has not had a role since Megan that has challenged her. Outside of her very nuanced and solid performance in last year's "St. Vincent", she's continued to rely on the loud mouthed, not 'conventionally' attractive woman while putting a comedic spin on her weight. And while there's nothing wrong with that, it would be nice to see McCarthy flex those acting muscles we know she has.

Her third outing with "Bridesmaids" and "The Heat" director Paul Feig, is the very vehicle McCarthy needed not only to establish herself as more than a one trick pony, but a true movie star. We knew she could carry films before, but never like this. "Spy" is McCarthy's magnum opus.

"Mad Max" is the Movie the Summer Needed

Movies that come out during the summer get a lot of undeserved flack. Despite being some of the most anticipated films being released in the year, they've gotten a reputation for being brainless, loud, big budget affairs that are meant to entertain the masses and nothing else (as if that's such a bad thing). Then again, when the marketplace is flooded with seemingly endless Marvel sequels, it's sort of hard not to get bored with what feels like the same thing over and over again.

Enter "Mad Max: Fury Road", a film that's buzz has been deafening since it premiered out of competition at Cannes at the start of the festival. Though technically it is the fourth installment in the "Mad Max" series, there hasn't been a film in 30 years, so it wouldn't be incorrect to say that this is a reboot of sorts. Though it checks every 'summer film' box (huge budget, action/explosions, etc) this is not your average summer film. Though "Mad Max" provides nonstop thrills throughout its brisk two hour running time, there are underlying themes of female empowerment that challenge what we've come to expect from a standard blockbuster, and the medium of film in general.

"Ex-Machina": Quietly Engaging, Nothing You Expect

Oscar Isaac is an actor that hasn't quite had his 'breakout' moment, despite being game enough. His performances (each one different from the last) in 2013's "Inside Llewyn Davis" and last year's "A Most Violent Year" were more than strong enough to warrant a leap into the A-List, however, he has stayed frustratingly under the radar.

That's not to say he has stopped trying. Though he is certainly being primed for a huge shift into superstardom with his role in the new "Star Wars" film later this year, Isaac is back with another fiery performance in a small indie.

“It Follows”: A Nightmare That Struggles with Coming to Life

All everyone has been talking about for the past few week is director/writer David Robert Mitchell’s film “It Follows”. The reviews have been unanimously positive, and anyone I’ve asked has been wild about it. The film’s promotional campaign has given little away in terms of the plot, making the urge to actually go and see the movie nearly undeniable.

Disney Makes True Magic with "Cinderella"

For the last several years, Disney has tried to re-capture the original magic of our favorite fairy tales with updated, live-action adaptations. It started with 2010’s “Alice in Wonderland” directed by Tim Burton. Though the film was filled with stunning visuals and an all star cast, the story left little to be desired. Nevertheless, it made a killing (thanks largely in part to the insane prices for 3-D showings). Disney believed they captured lightning in a bottle because soon after, they released “OZ: The Great and Powerful” and “Maleficent” which followed Burton’s project’s focus on beautiful visuals, but a weak script with updated plot points. They both made huge strides at the box office. There are several future adaptations of animated classics slated for later releases, including “Beauty and the Beast” which will star Emma Watson as Princess Belle. 

So you can understand my exhaustion when the trailer for “Cinderella” appeared online a few months ago, following Disney’s heavy promotion for their Academy Award nominated “Into the Woods”, which featured Anna Kendrick as the titular runaway princess (though closer to The Brothers Grimm’s version than Walt Disney’s). All of the familiar story beats were there: the blue gown, the helpful mice, big names (particularly Academy Award nominee Helena Bonham-Carter and two time Academy Award winner Cate Blanchett) and stunning visuals. I’ll admit, I was intrigued, but still rather annoyed; did Cinderella really need a live-action adaptation? 

Reese Witherspoon Finds Herself on the PCT in "Wild"

It's been somewhat of a rocky road for Reese Witherspoon ever since she won her Oscar for 2005's "Walk the Line". Though she's found box office success with films like "Four Christmases", she hasn't done anything that's lived up to the immense promise she showed in films like "Election" and "Legally Blonde". Not to mention that whole D.U.I. fiasco.

But if there's anything fallen actors/actresses have taught us in recent years, it's that comebacks are possible. Witherspoon smartly moved away from center stage and took supporting roles in the critically adored "Mud" and this year's much discussed "Inherent Vice", and worked behind the scenes as a producer to get "Gone Girl" made. All of this, led to the inception of Witherspoon's own personal project: the big screen adaptation of Cheryl Strayed's memoir "Wild", the story of Strayed's 1,100-mile journey on the Pacific Coast Trail.

Rob Marshall Brings 'Into the Woods' to the Big Screen

I've finally caught up with Rob Marshall's adaptation of "Into the Woods" after months of dying to see it. The hype from that DGA screening made the last month a little unbearable, but I'm here to report that it was well worth the wait.

Theory of Everything is too Conventional for its Own Good

Both Felicity Jones and Eddie Redmayne have been on the brink of career breakthroughs for several years now. Jones won acclaim for her naturalistic performance in 2011's "Like Crazy", which failed to nab her substantial awards attention, and any success with meaty roles. Redmayne has been apart of several high profile projects, namely 2012's "Les Miserables" which, I believe almost nabbed him an Oscar nomination for Best Supporting Actor.

So, it makes no sense then that 2 actors on the verge of mainstream success team up in a buzzy, high-profile biopic detailing the relationship between the brilliant Stephen Hawking and his incredibly strong (now ex) wife Jane. Directed by James Marsh, the film has enjoyed much acclaim, especially for Redmayne's performance. which requires a vast amount of physical commitment from the young actor.

But despite the Oscar buzz, "Theory of Everything" is far from relevatory, and in fact, is just an ordinary biopic.