(Cole's Take) Arrival 2016 * * * 1/2 Stars

Director:
Year: 2016
Rated PG-13
Rating: * * * 1/2 Stars (Click on the rating link to see Cole's on-site review)
Cast: Amy Adams, Jeremy Renner, Forest Whitaker

Written by Cole Pollyea

In the month of December, equally important to re-watching our favorite holiday films and sampling ones we’re unfamiliar with is getting to the theater to see new releases. And that is because of the glorious Oscar season (early November to late December), when studios release the most critically touted films of the year. I am here to discuss one particularly interesting and thought-provoking film that is considered a “frontrunner” for the Best Picture Academy Award in 2017. That movie is Denis Villeneuve’s Arrival; and it is spectacular.

Arrival follows Dr. Louise Banks (Amy Adams), who is teamed with Ian Donnelly (Jeremy Renner), and recruited by Colonel Weber (Forest Whitaker) to decode and interpret a foreign language used by aliens who have peacefully landed in 12 different locations across the globe. To tell more would be to spoil any of the fascinating twists and turns that the movie makes. That would be a grave mistake, for Arrival is a masterful sci-fi film that demands a totally uncorrupted viewing.

I must first note what entered my mind upon my viewing of Arrival: here is a movie that took a few ideas out of Steven Spielberg’s playbook. It undeniably resembles Close Encounters of the Third Kind with respect to plot, characters, and set design. And I couldn’t have enjoyed it any more. The great Martin Scorsese once said that directing is what one can “smuggle in” from other films. That is evidenced here by director Denis Villeneuve, who successfully pays homage to “Close Encounters” while at the same time creating an original work all his own.

Among Villeneuve’s other work includes 2013’s Prisoners. Like in that absorbing drama, in Arrival, Villeneuve creates a cerebral, chilling atmosphere and fills the screen with soft grey colors. The musical score is enigmatic and repetitive. All of the necessary components for the foundation of a disturbing, thoughtful sci-fi film are here. Fortunately, the movie takes advantage of them.

One of the ways in which Arrival excels is its performances. Amy Adams has the most screen time and gives one of her more memorable performances as the reputable professor and linguist. She articulates the complex emotions of her character through her aware facial expressions and her sensitive delivery of lines. Jeremy Renner is solid, as always, as her supportive and caring colleague. His character has more everyman values than his usual roles do; and I believed him for every second. What’s more, Forest Whitaker as the order-following colonel is extremely effective and his convincing performance here is yet another testament to his versatility as an actor.

It almost goes without saying that most first-rate sci-fi films of the 21st century offer knockout visuals. Arrival is no exception. Beyond the incredible CGI, the movie offers a certain mystique to what we see. We never quite get a full view of the aliens because of an eerie white mist and, in many close-up scenes, there is only focus on certain portions, or characters, on screen. This manipulation of background and camera focus is used to great effect by the director to produce an additional layer of intrigue.

My uncle and colleague wasn’t as enthusiastic about this film as I was. He complained that it was like a puzzle with a number of pieces missing. I obviously disagreed. But I did feel that the movie wasn’t long enough. Some of the most memorable sci-fi films of the recent past, like  Interstellar, run at well over two-and-a-half hours and Arrival is only 118 minutes long. This is not to say that a contemporary sci-fi film cannot be successful with a short running time. This is just to say that when Arrival’s credits rolled, I was settled back into my chair expecting at least twenty more minutes of elaboration.

Arrival is PG-13, family-appropriate for the most part, and certainly targets a more general audience than Interstellar (a more intricate and complex sci-fi film) did. Perhaps this shorter length that irked me will make viewing Arrival a more enjoyable experience for a family.

Written by Cole Pollyea

Billionaire Ransom 2016 * * 1/2 Stars

Director: John Gillespie
Year: 2016
Rated NR
Rating: * * 1/2 Stars
Cast: Jeremy Sumpter, Phoebe Tonkin, Sebastian Koch

Every trouper in Billionaire Ransom (my latest review), is virtually unknown to me. I mean I have never seen any of these people in any other movies. Oh well, at least the producers got some of them to look like actual celebrities. Lead actor Jeremy Sumptor, is pretty much a cross between Hugh Jackman and Ryan Phillippe. Curly locked Phoebe Tonkin, is a dead ringer for Rebecca Gayheart. Lastly, villain Billy Speck (played by Ed Westwick) sure does give off the whole Justin Timberlake vibe.

Anyway, "Billionaire" plays like two separate films altogether. The first hour is all about spoiled, rich kids being taken to a remote, reform school as opposed to going to jail. The last 40-50 minutes are about these same Richie Rich, twentysomethings trying to escape hardened criminals who want to hold them hostage at the same darn school.

Echoing 1993's Cliffhanger, Ransom, and The Maze Runner, Billionaire Ransom is by turns violent, bloody, and unabating. It has moments of suspense and relegated strain. However, this British thriller is only mildly compelling compared to Mel Gibson's 1996 hit and Sly Stallone's backyard brawl of an actioner.

Released in August, filmed in Wales which is made to look like Scotland, and originally titled Take Down, "Billionaire" hasn't found much of an audience. Based on its current box office state, it might not find much of one on DVD either. Sadly, the budget constraints, the nameless cast, and the action movie cliches might be to blame (I hate it when law enforcement conveniently arrives after everyone has been shooting at each other and bodies are already lying on the ground).

In regards to "Billionaire's" character development, well the actor/actress portrayals are unlikable, snide, and defensed. We're talking about young protagonists here and their wealthy parents. These are the people you're inclined to root for. The hostage takers don't count. They're supposed to be vexatious for Pete's sake.

As for "Billionaire's" look, undoubtedly it's ultramodern and lush, with the scenery of counterfeit Northern Isles really taking over. The film's musical score by trip hop band Hybrid, makes it feel all Bourne-like as things stir along at a breakneck pace.

All in all, Billionaire Ransom senses to be a bit uneven until the gun-filled, second act takes over. And it has a slight twist at the end that almost feels like filler (a rich kid's brother makes a few secret phone calls to the bad guys, hint hint). Bottom line: Based on everything I have just written, the whiff of a rental is exactly what you'll get with Billionaire Ransom. I give it a two and a half star "payoff". Ha!

Written by Jesse Burleson

(Jesse's Take) Arrival 2016 * * 1/2 Stars

Director: Denis Villeneuve
Year: 2016
Rated PG-13
Rating: * * 1/2 Stars
Cast: Amy Adams, Jeremy Renner, Forest Whitaker

Containing a numbing, techy soundtrack, made for the widescreen, and distributed by Paramount Pictures, Arrival (my latest review) chronicles the modern day event of mysterious spaceships touching down via twelve different places in the world. With the U.S. Military being baffled by said event, a team of scientists (played by Amy Adams and Jeremy Renner) are assembled to negotiate with the extraterrestrials to find out what they truly want. Question: When did Earth's denizens become so darn afraid of alien species? That's what I asked myself a half hour into this 116-minute flick.

Anyway, in relation to Arrival, I have never seen a science fiction vehicle take itself so seriously, so pensively. Semantic symbols, decodes, language translation, mathematics, etc. In truth, I thought I was watching a high school film strip or secretly conducting a science project for Mr. Wizard. Who knew large spacecraft looking like half-eaten pistachios, could so profusely churn the mind's eye.

Now Arrival with its jumpy narrative and ode to the workings of a Pink Floyd music video, is directed by Denis Villeneuve. And as with his moderately successful Prisoners, no one does dark and dim quite like Villeneuve. Discarding violence and death by penetrative lasers, he tries to reinvent the close encounter wheel here and comes up with the first sci-fi, art film since 2002's Solaris. He also creates a thinking person's Independence Day as well. In certain scenes, Villeneuve uses rack focusing to capture various shots. Occasionally, he goes panoramic with other shots. He likes to mess with you, to have you linger, to turn the tables on your understanding of what manageable storytelling is.

His Arrival at first, feels slow, educational, and even a little pretentious. In the second half, it digs deeper. Flashbacks upon flashbacks, manipulation with the audience's perception of time. Arrival in the end, doesn't really project itself like a film about alien invasions. It unwieldy turns into a character study for one Dr. Louise Banks (played with nerve ending efficiency by Adams).

In hindsight, my speculated cognizance of Banks, is that not only is she a linguist but she can also see into the future (spoiler). When you start to ask questions about her, the movie ends rather frustratingly and on a sad note. Therefore, I didn't come out of Arrival thinking it was a flat out masterpiece. However, I know that it's the type of cinematic peppery that I just have to see again. Rating: 2 and a half stars.

Written by Jesse Burleson

Hacksaw Ridge 2016 * * * Stars

Director: Mel Gibson
Year: 2016
Rated R
Rating: * * * Stars
Cast: Andrew Garfield, Vince Vaughn, Sam Worthington

Having read feedback from other critics and having seen bits and pieces of The Passion of the Christ, I knew Mel Gibson was going to make a bloodily violent war film with 2016's Hacksaw Ridge (my latest review). I was right. Mel puts the "hack" in "Hacksaw" with men-at-arms having their limbs severed, their heads dismembered, and their fragile bodies being pierced by razor sharp bayonets. When Gibson perpetrates violence, it's to glorify, to sensationalize, to make you turn away in disgust. Oh and did I mention he includes several sequences of rats nibbling on decomposed body parts. Eek!

Anyway, his Hacksaw Ridge at two hours and 18 minutes, is kinda like his own starring vehicle, We Were Soldiers. Its got that earned R rating but without all the harsh language and disrespect between Battalion members. This film is split up into two halves. The first half is part Lifetime movie and part boot camp symposium. The second half is more akin to Windtalkers or Rambo. Mel Gibson with a standard canvas and minimal technical efficiency, gives us an unsettled action film that at times, tries to desensitize "Hacksaw's" true story of real-life WWII medic, Desmond Doss (played by a likable lead in Andrew Garfield). In the end, the whole thing seems to work anyway. That's thanks to closing credit interviews involving the actual Doss and his actual Captain known as Glover (played by Sam Worthington). Other thanks goes to screenwriter Andrew Knight for including the invigorating line, "lord, help me get one more". "Help me get one more!"

Now Gibson fresh from starring in this year's Blood Father, becomes a more improved Peter Berg here (remember Deepwater Horizon?). No stilted camera work, less military numbness, and a little more genuine emotion. Hear, hear! And despite a miscast Vince Vaughn (he plays a soldier fighting in the Battle of Okinawa) and war cliches like the mean drill Sergeant, the picture of some GI's girlfriend/wife tucked away, and the notion of boot camp enemies becoming best buds later on, "Hacksaw" is still worth a recommendation.

Hacksaw Ridge's story, which spans a decade between Desmond's childhood till his being drafted by the U.S. Army in 1942, is about pacifism, the notion of going into battle without carrying so much as a single weapon. Desmond Doss possesses this trait and his Army brethren try to get him kicked out before all are shipped to the islands of Japan (via World War II). Doss eventually saves over 75 infantrymen in battle and is awarded the first Medal of Honor as a conscientious objector (someone who refuses the aspect of performing military service).

All in all, the scenes of Desmond's rescue methods are Gibson's high point as a filmmaker. He depicts them as tunnel lights in the face of morbid brutality. As an audience member, you feel elated and exultant despite being turned off by his slight grandstanding of blood and guts. Therefore, I feel you should definitely see Hacksaw Ridge. It's a popcorn, combat relic that might be too commercial to sway the Academy. No matter. It manages to get a three star rating from me.

Written by Jesse Burleson

The Duel 2016 * 1/2 Stars

Director: Kieran Darcy-Smith
Year: 2016
Rated R
Rating: * 1/2 Stars
Cast: Woody Harrelson, Liam Hemsworth, Alice Braga

I'm not sure what director Kieran Darcy-Smith was going for when he made 2016's The Duel (my latest review). Muddled yet scenic, draggy yet periodically violent, "Duel" is one unclear Western.

At a running time of 110 minutes, "Duel" sure does feel like three long hours. It takes place oh about 100-plus years ago with vague, plot elements from Gang of New York and bearings straight from 1978's Days of Heaven. Star Woody Harrelson plays a creepy preacher and talks with a Southern drawl for the millionth time. Co-star Liam Hemsworth plays a pretty Texas Ranger and has a bland disposition in the acting department. Finally, Alice Braga plays Hemsworth's character's wife, a non-outlaw who becomes mysteriously ill and feels downtrodden. Oh yeah, there's another Days of Heaven reference I forgot to mention. Braga looks a little like Brooke Adams. Adams was Terrence Malick's cutesy muse from back in the day.

Anyway, the story is as follows: David Kingston (Liam Hemsworth) has been tapped to investigate some murders and disappearances in a small, Old West frontier town. He also has been sent to keep an eye on the town's chief officer, Abraham Brant (Woody Harrelson). Brant looking kinda similar to Harrelson's own Mickey Knox, killed Kingston's father over twenty years ago. Is Kingston bent on revenge towards Brant? Is Kingston just doing his job as a responsible Ranger? Is Brant gonna have another sermon with snakes being passed around in his congregation? Is this movie ever gonna lead somewhere? Oops, I'm going off on a tangent. Sorry.

In conclusion, The Duel is slow-burning and almost devoid of conflict. And whenever said conflict does exist, well it is artificially forced upon us, the audience. There's the occasional stabbing, a final gunfight amidst rock formations, a couple of killings by way of game-like shooting, and a dark, saloon standoff between good and evil. If you don't fall asleep during "Duel", you'll occasionally catch these moments (only briefly though). If you do fall asleep during The Duel, well you aren't breaking any laws. Do yourself a favor, rent something from Clint Eastwood or George Stevens instead. Rating: 1 and a half stars.

Written by Jesse Burleson

Nerve 2016 * * * Stars

Directors: Henry Joost, Ariel Schulman
Year: 2016
Rated PG-13
Rating: * * * Stars
Cast: Dave Franco, Emma Roberts

The brother of famed actor James Franco. The niece of Oscar winner Julia Roberts. Together they make an adorable screen duo in 2016's Nerve (my latest review).

Nerve has cinematography in the form of bright colors. It has extras in it with helmets and bandanas to hide their faces. It has a catchy techno soundtrack, and finally, it has a high-flown concept of social media. Truthfully, this movie feels like it's ahead of its time. And based on its lukewarm box office reception, it also feels like a movie that we as an audience, aren't ready for yet. At just over an hour and a half, Nerve is feverishly directed by two people (Henry Joost, Ariel Schulman). Watching it, I would've thought it was made to order by members of electric mongered, Daft Punk.

Now for reasons unknown, Nerve is dystopian without being set in the near future. Fast-paced, entertaining, and full of life, it still leaves you a bit frustrated. As I viewed it, I wanted to call for an all-out banning of smartphone, Skype, and Facebook applications. Yeah this film may be bona fide and happily neon. However, it gives off the whiff of America being in a sad state of affairs (primarily with twentysomethings). Young people these days have some sort of technological device with them at all times. Lets hope it's never used in the way it's remorselessly portrayed here.

Anyway, Nerve's opening scene projects itself like the beginning of 2014's Unfriended. Not that Unfriended is a bad movie but you feel relieved when Nerve veers away from just being a mouse clicking, email-minded endeavor.

The story is as follows: High school senior Venus "Vee" Delmonico (played Emma Roberts), leads a ho-hum life with her protective mother in Staten Island, NY. She's reluctant to attend college in California in fear that she'll be away from said mom and some close friends. Not much of a risk taker and on a whim, "Vee" decides to partake in a truth or dare video game called Nerve. She can participate either as a "watcher" or a "player". She chooses "player" and gets thrown into a world where other "watchers" give her challenges to accept for feasible amounts of money. Everything has to be captured on video for her to receive anonymous payments to her bank account. Examples would be trying on a $3500 dress, kissing a stranger for five seconds, hanging from a skyscraper scaffold with one arm, and walking across two high-rise buildings by way of a ladder. Venus eventually teams up with another "player" in Ian (played by Dave Franco). The two of them form a whimsical bond. I won't give anything away only to let you know that Nerve the game, sooner or later gets out of hand. Look out for a mild twist that occurs in Nerve's ending (ha-ha). Also, look for a pivotal motorcycle riding sequence (with a blindfolded protagonist at the wheel) and a quasi-romantic subplot courtesy of Roberts and Franco. In jest, out of the fifty or so movies I've seen this year, I would definitely rank Nerve in the top fifteen.

All in all, Nerve nearly has that trait of being a new classic. As its running time flies by, you almost sense that it lives in a sort of fantasy world as opposed to being rooted in forgone reality. Nerve's only hiccups for me, are its sometimes choppy editing, its tendency to portray its characters as annoying tech-heads, and its thankless use of Juliette Lewis as the dorky mother to Emma's "Vee". Bottom line: I liked Nerve to the point where I'm gonna have to recommend it. It's unlike anything I've ever seen movie-wise and that gets points from me. With its look similar to 1995's Strange Days and its representation of New York City as an icy, unsupervised underworld, Nerve does have verve. Rating: 3 stars.

Written by Jesse Burleson

Jack Reacher: Never Go Back 2016 * * Stars

Director: Edward Zwick
Year: 2016
Rated PG-13
Rating: * * Stars
Cast: Tom Cruise, Cobie Smulders, Aldis Hodge

If you factor in adjustment for ticket price inflation, 2012's Jack Reacher is one of Tom Cruise's worst box office outings. I still gave it a favorable rating. Am I surprised however, that Paramount Pictures actually green-lit a sequel for an October release? Oh you betcha. Out is director Christopher McQuarrie (The Way of the Gun, Mission Impossible: Rogue Nation). In is director Edward Zwick (The Last Samurai, Blood Diamond). Cruise is the producer so hey, he must be playing favorites again.

Anyway, the first "Reacher" film had its moments despite a tolerable reception. It stuck in my mind as a slick thriller, a flick notable for its nasty hand-to-hand combat sequences. McQuarrie knew how to frame Cruise in said sequences. With Jack Reacher: Never Go Back (my latest review), Zwick has it pan out more sloppily, kind of like Christopher Nolan in most of his films (pick any one of them). Edward Zwick is good with gunfire and historical epics. Unfortunately, he's the wrong guy to showcase Tom Cruise in bone-cracking, kick butt mode. Oh and Zwick tries to recreate New Orleans in "Never Go Back's" climatic moments. The whole thing was shot in Pennsylvania making The Big Easy look more like a theme park instead of an actual location.

At well over two hours, the first Jack Reacher is twelve minutes longer than "Never Go Back". But heck, it moves more swiftly, has more threatening one-liners from Cruise, and doesn't include the sappy, sentimentality factor (Jack now might have a daughter that he never knew of). I mean it's just a better movie. For instance, I liked it more in 2012 when Tommy boy quipped, "I mean to beat you to death and drink blood from a boot." In 2016, his Jack occasionally just says, "I don't like being followed". Bummer.

Bottom line: As I viewed Jack Reacher: Never Go Back, I thought to myself, Jack Reacher "never go" forward. With this ho-hum sequel, Reacher's franchise can't possibly continue in years to come can it? I mean we're not talking James Bond here are we?

Unnecessary sequels and pulpiness aside, Tom Cruise for what it's worth, is still decent in the lead role. Its been said that he's miscast because of his height (the Jack Reacher from the books is six feet, five inches). Whatever. In my mind he fits the part like a comfortable shoe. He's admirable. Around him though, "Never Go Back" isn't as much. There's no Robert Duvall from the first outing to keep him company. There's a lack of good villains like Werner Herzog and Jai Courtney (both from the original "Reacher") to get his blood pumping. No the bad guys from Jack Reacher: Never Go Back are unknown actors, pawns who think they can hang with good old "Maverick".

In retrospect, "Never Go Back" has some excitement in the form of chases by car or by foot. And Cobie Smolders as Cruise's female co-star, has some bite in her performance. Nevertheless, Jack Reacher: Never Go Back still lacks the mystery, the suspense, the intrigue, and the effectively hardcore fist fights from the first Jack Reacher (the producers should've stopped right there). It instead thrives on a convoluted plot, a saccharine ending, an annoying, teenage sidekick (Samantha played by Danika Yarosh), and an incorrigibly faux wink wink to the follow-up gods. "Never" a recommendation from me. Rating: 2 stars.

Written by Jesse Burleson

The Darkness 2016 * 1/2 Stars

Director: Greg McLean
Year: 2016
Rated PG-13
Rating: * 1/2 Stars
Cast: Kevin Bacon, Radha Mitchell, Jennifer Morrison

"I see dead people". In regards to The Darkness (my latest review), I "see" a real shoddy ghost flick with virtually nothing that will leave your knees knocking.

"Darkness" stars the interconnected Kevin Bacon. I remember when he referred to his bicycle movie Quicksilver, as the absolute lowest point of his career. Kevin might wanna retract that statement here and now.

The Darkness with a budget of $4 million, is a Poltergeist I and II wannabe, a feeble account of the supernatural. Its director is Wolf Creek's Greg McLean. In between moments of not being able to hold his camera steady, McLean also sets up sequences in which things go bump in the night. It's all for show and not even for effect. He actually tries to frighten his audience by having stuff about demons explained on YouTube (coupled with some standard, background music). Talk about a desperate attempt.

There's also the over familiar conclusion of "Darkness". Kevin Bacon's character (Peter Taylor) says, "hey you know we can beat this together". Me, well I wanted to "beat" the DVD for The Darkness with a hammer before returning it to Redbox. Thankfully, I retrained myself.

Anyway, along with feeling sorry for Bacon in the lead, you also have to contend with his character's son. He's the obligatory youngster with special powers (of the clairvoyant kind) and he's played by J.J. Abrams mini-me, David Mazouz. Little Cole Sear from The Sixth Sense. Little Danny Torrance from The Shining. Little Carol Anne from Poltergeist. Little Emily Callaway from Hide and Seek. Most of these fright fest tykes are for the most part, memorable. Mazouz's Michael from "Darkness", is not. He's more akin to a younger version of Justin Bartha's Brian from Gigli. Whoops.

Featuring no jump scares of any kind, distributed by Universal Pictures, and filmed almost two years before its release, The Darkness chronicles a young autistic boy named Michael Taylor (Mazouz). The movie begins with Michael getting lost in the Grand Canyon and stumbling upon some rocks that he brings home. These rocks belong to demonic entities who take the form of snakes, coyotes, and wolves. Chaos ensues at the Taylor home with the family slowly coming apart at the seams. Look out for mediocre acting, dreadful dialogue, and stock special effects. Cast members like Radha Mitchell, Paul Reiser, and Ming-Na Wen obviously don't realize that they're featured in one of this year's most banal endeavors. I wanted to throw popcorn at them through the screen. Then I wanted to hurl Raisinets at these clowns later on.

In conclusion, "Darkness" is a lifeless, de facto horror concoction. The best scene in it is the opening one and it's more comedic than anything else (that can't be good). If you wanna experience an effective nightmare starring Kevin Bacon, well you better check out 1999's Stir of Echoes instead. Heck, even the way six degrees Kevin dies in Friday the 13th (with an arrow to the thyroid), is ten times more terrifying than anything in The Darkness. Rating: 1 and a half stars.

Written by Jesse Burleson

The Accountant 2016 * * 1/2 Stars

Director: Gavin O'Connor
Year: 2016
Rated R
Rating: * * 1/2 Stars
Cast: Ben Affleck, Anna Kendrick, Jon Bernthal

In The Accountant (my latest review), Ben Affleck's Christian Wolfe is being pursued by Treasury agent Raymond King (played by J. K. Simmons). As the film concludes, there's an FBI news conference in which it appears that Wolfe's autistic money handler has been captured. Cut to the next scene and Wolfe is driving away in his truck with his trailer full of guns, money, passports, and artwork attached to it. Huh? Also, there's the side character of Wolfe's brother (Jon Bernthal as "Bax"). He's quiet as a church mouse in his younger years only to emerge as an adult hitman who spouts soliloquies and won't shut up. Yup, "Accountant" will leave you scratching your head as you walk out of the theater. A couple of critics have said that this film doesn't "add" up. Knee slapper. I'm gonna go the more original route and say that The Accountant is a "taxing" affair (taxing is the informal definition for murderous).

Anyway, if you haven't already heard, "Accountant's" trailer is a tad misleading. This vehicle doesn't entirely delve into the art of managing economic entities. It's more a progressive actioner, a slightly violent shoot-'em-up. Ben Affleck in the lead, mumbles his lines, puffs on his fingers, and separates his food when he's not supplying his penchant for shooting people in the head. His Wolfe becomes the butt kicking antihero, the dude who cooks the books for some sinister, criminal organizations and then inversely shoots to kill. In jest, you kinda wonder if Affleck asked his best bud Matt Damon on how to channel his own, inner Jason Bourne. I sure did.

In terms of direction, well Gavin O'Connor (Warrior) creates a sleek look for The Accountant. What can I say, Atlanta, GA substitutes well for Plainfield, Illinois. This flick is also edited nicely despite a plot that contains a few dangling loose ends. O'Connor's strong points are the flashbacks he provides. They involve Christian Wolfe's childhood (Wolfe nervously works on puzzles, has conniption fits, and learns advanced martial arts) and one flashback in particular pertaining to the J. K. Simmons trouper (talk about an intense life or death moment). Finally, "Accountant" has a twist at the end that I didn't see coming. However, it doesn't really give the viewer much closure on everything that had previously happened. To quote a song from The Hollies, "he ain't heavy, he's my brother". That'll give you a hint.

All in all, The Accountant is sophisticated yet bemused filmmaking from a director who at one time, made a juicy, more straightforward crime drama with 2008's Pride and Glory. With "Accountant", I've seen a lot worse movies in October and I've seen a lot better ones too. As a spy thriller for the socially inexpert, it will pass the time. As a serious Oscar contender come January, it's more debit than credit. Rating: A mixed 2 and a half stars.

Written by Jesse Burleson

Cell 2016 * * * Stars

Director: Tod Williams
Year: 2016
Rated R
Rating: * * * Stars
Cast: John Cusack, Samuel L. Jackson, Isabelle Fuhrman

Imagine this: You talk on your cellphone and as a result, you become a programmed killer. You're full of rage, you bang your head against the wall, you moan with your mouth gaped wide open (in a comatose state), and you pummel any JQ citizen into submission. That's the gist of Cell (my latest review). John Cusack stars and because his Clay Riddell was on a payphone instead, he turns out to be the protagonistic hero. Lloyd Dobler, we hardly knew ya!

Anyway, it's always interesting seeing Cusack in a film not related to being a romantic comedy or drama. Such is the case with Cell. In this sort of wireless server version of World War Z, he teams up with his 1408 co-star in Samuel L. Jackson. Their two characters tote guns, befriend each other, and wander a bleak landscape with other non-possessed humans. Safe to say, Sammy and John make a decent on-screen pairing.

Now Cell with its shaky cam direction by Tod Williams, reminded me of a grainy creature feature. It also felt like all things apocalyptic and coldly ominous. So yeah, its ending may be a little abrupt and confusing. And yeah, Cell's opening credits are cheap, cheesy, and sort of hackneyed. Oh well. There are some terrifying moments here coupled with some added philosophical assessments to boot. Hey let's be real, studios and producers seem to be running out of ideas for movies about zombies with zombie-like premises. Cell despite all this, still answers the call (ha-ha). Yup, I guess I'm gonna recommend it.

Based on a novel by Stephen King and helped by six production companies (you'll know what I mean when you pop the DVD in and it takes forever to get to the film's beginning), Cell is B movie glory, a flick only slightly bogged down by a non-zippy second half. Director Tod Williams (Paranormal Activity 2) does more than what's required for your typical rental. He provides Cell with plenty of old school zoom ins and zoom outs making things atmospheric, ambient, and full-on kooky. There are times when Cell feels like it's almost parodying most undead movies. Other times it's terrifying enough to have you never wanna pick up your BlackBerry again. Critics have loathed Cell ever since it came out calling it amateurish, clunky, and inept. I digress. Don't knock this film until you've seen it. Rating: 3 stars.

Written by Jesse Burleson