Movie Review: Noah (2014)

by Tony Dayoub

If I were to review a film simply for its ambition, then Noah would get some of my most positive praise. Director Darren Aronofsky offers some truly enlightening perspective on the story. He also continues to explore themes present in all of his work. His Noah (Russell Crowe) is a true believer whose fervent passion not only flirts with madness but is consumed by it. Then there are the visual touches that serve not only to illustrate the vaguest portion of the Bible, the Book of Genesis, but also double as a means of marrying our contemporary knowledge of evolution to the more fantastic element of creationism in a way that asserts one need not necessarily exist independently of the other. There is a lot to chew on in this new, grimmer take on Noah and the ark he built to save his family and the animal kingdom from a flood meant to blot out the men. But if I were only to grade a film on ambition then I'd have to ignore the problematic mistakes of other bold films that try tackling complex narratives—movies like The Bonfire of the Vanities, Dune, and Heaven's Gate—spectacles which fail spectacularly.

Movie Review: Sabotage (2014)

by Tony Dayoub

Sabotage is a visceral (literally) new white-knuckler that often turns on some fairly surprising plot twists. Arnold Schwarzenegger plays John "Breacher" Wharton, a legendary DEA agent who leads a squad of unruly undercover agents that also happen to be about the best there are at what they do. The nervy prologue shows us the team in action. Lizzy (Mireille Enos) has infiltrated a party at a drug lord's mansion pretending to be a hooker. Breacher makes the requisite macho joke to her husband "Monster" (Sam Worthington) about how she may be the one with the bigger balls. The rest of the roughneck crew—Grinder (Joe Manganiello), Neck (Josh Holloway), Pyro (Max Martini), and Sugar (Terrence Howard)—all have a laugh before they get to work breaking in after her to confiscate the cash. They funnel $10 million of it down into the sewer by way of a toilet filthier than the one in Trainspotting, burn the rest, and manage to exit with the loss of only one life. Which is to say, drug enforcement is the dirtiest of jobs, and it takes this type-A boys club and the kind of woman that can keep up with them to get it done. But before they can retrieve the cash and tag it for evidence, it's already gone missing. Someone on their team can't be trusted.

Movie Review: Le Week-End (2013)

by Tony Dayoub

Shot digitally by Nathalie Durand, Le Week-End is a cut above the usual romances directed by Roger Michell (Notting Hill). The freedom offered by using a lighter, more mobile camera has also loosened Michell up creatively. It's no wonder Le Week-End reminded the director that there's a whole history of lighter, run-and-gun cinema that stretches at least as far back as the French New Wave.

Movie Review: Divergent (2014)

by Tony Dayoub

You want Divergent to be a better movie than it is, if only for its up-and-coming young star, Shailene Woodley. With its Twilight franchise gone and nearly forgotten, Summit Pictures has been grooming a couple of Young Adult novel adaptations as potential money-making successors. The first, Ender's Game, was a complex, male-oriented sci-fi war picture burdened by the troublesome politics of both it and its author. The second, Divergent, has the luxury of showcasing a new female star even more appealing than Jennifer Lawrence, the lead of its most successful rival, The Hunger Games. It's also helmed by possibly the most talented director a YA movie series has attracted yet, Neal Burger (The Illusionist). Even with all of these winning components in place, Divergent still feels half-baked.