Irrelevant But Awesome

Alexa:  The film adaptation of “The Last Five Years” was my first exposure to this musical, having never seen the show or listened to the soundtrack. And while it’s not a perfect film, I was hooked right away. Apparently in the stage version, the two leads rarely interact with each other, each taking the spotlight on their own as they tell their side of the story. But here, Jamie and Cathy are in nearly every scene together, and I think the film is better for it. The movie gives us an intimate, almost voyeuristic look at the intricacies of their relationship, so while keeping the actors apart on stage might be effective in that environment, on screen I think watching them interact is essential to our understanding of their bond. The inventive non-linear structure adds some storytelling interest to the tale without being overwhelming or confusing (Jamie’s perspective tells the story of their romance chronologically; Cathy’s is in reverse). The music is engaging and memorable. T...

Alexa:  The first two “Godfather” films are classics, but I’ve always heard Part III doesn’t live up to the legacy of the others. Having now seen the movie for myself, I can attest that’s absolutely true. It’s not a bad movie, but it feels distinctly disjointed compared to the rest of the series. The first two films are deliberate pieces of a complete saga while Part III feels like an afterthought, an extended epilogue rather than a true final chapter. Given the epic nature of the “Godfather” series, it’s particularly frustrating that it ends with a whimper. The elements of the film that do work are mostly retreads of things the previous movies have already done (i.e. the opera scene is basically the baptism scene from the first movie but twice as long and half as effective).  The whole Michael Corleone redemption tour doesn’t feel true to his character. Perhaps the significant time jump between Part II and Part III is to blame, but Michael undergoes a clear progression i...

Alexa:  Sometimes truth is stranger than fiction, and those stories are often the most fascinating. “Twinsters” is no exception. In a nutshell, Anais Bordier, a French fashion student studying in London, sees a YouTube video of actress Samantha Futerman and she’s struck by their uncanny resemblance. When Anais finds out they share the same birthday, she contacts Samantha on Facebook and learns they were also born in the same city in South Korea and adopted as infants. Being in the film industry, Samantha naturally decides to document the experience shortly after she and Anais first connect - and it’s a strange and beautiful journey. “Twinsters” is a low budget, unpolished documentary, but that’s a huge part of its charm. It only enhances the deeply personal nature of the story. You can’t help but feel like you’re literally right there next to them as they discover their roots. The split-screen Skype conversations and text message bubbles are a nice touch for a tale so driven b...

Alexa: merican Fable” simultaneously fascinated and frustrated me. First, the positives. This movie is gorgeously shot. It’s the debut film from writer-director Anne Hamilton, and particularly for her first feature-length piece, she has an incredible sense of place. She creates a distinct gothic atmosphere that’s also uniquely American, and it immediately pulls you into this contained world she’s created. The two lead performances are also exceptional. Peyton Kennedy, who plays 11-year-old Gitty, is a little powerhouse. The movie rests on her shoulders and she carries it impeccably. And Richard Schiff (aka Toby from “The West Wing”) is outstanding as always. The scenes between the two of them are by far the most compelling, and they act circles around everyone else in the cast. Unfortunately, the story is a bit of a mess. I get the core premise that this is a lion-and-mouse story for corporate and rural America, and the ambiguity of Jonathan’s return at the end doesn’t bother me. ...

Joel:  Now that five hours has become the new standard for a WrestleMania, it becomes something of a trial of endurance to rewatch one of these things. There’s just so much to this WrestleMania. It feels like I didn’t remember half of these matches existed until the video packages for them started. That may be, at least in part, because of how inconsequential this show ended up being in terms of long term storytelling for the company. If you think about it, of the seven men to walk into WrestleMania as champion are all not even on the card this year. Neville -Cruiserweight, Dean Ambrose - IC Champion, Chris Jericho - United States Champion, Bray Wyatt - WWE Champion, Goldberg - Universal Champion, Gallows and Anderson - Tag Team Champions (It’s worth noting that both female champions from last year’s WrestleMania are on the card this year, though Bayley has been sent to the battle royal). In fact the only match that feels like it was designed to incorporate a long term vision ...

Alexa:  Though I think “The Godfather” is the superior film, “The Godfather Part II” is still a pretty stellar continuation of the Corleone family saga. The acting is once again superb. This may be Al Pacino’s best performance in his entire career, and Robert De Niro expertly captures the Vito Corleone that Marlon Brando crafted and builds upon him even further. Francis Ford Coppola is a master of character development, scene setting and mood building. His depiction of 1920s New York and revolution-era Cuba are particularly captivating. He masterfully executes slow-burning tension, perhaps even more effectively here than in the first film. But I think combining a prequel and sequel into one movie is what keeps “The Godfather Part II” from being perfect. There are two outstanding movies contained in this one film, and I don’t think the back-and-forth narrative structure serves either story in the best way. It’s not that it doesn’t serve a purpose at all. Intertwining the contem...