“The Spectacular Now,” which premiered at the 2013 Sundance Festival and hit theaters everywhere Aug. 2, is an honest and unapologetic depiction of love on the cusp of adulthood. Based on the book “The Spectacular Now” by Tim Tharp and directed by James Ponsoldt, the film stars Shailene Woodley of Golden Globe-winning “The Descendants” and Miles Teller of “Project X” as teens in their senior year of high school in Atlanta, Georgia.
The summer. When not forced to brave the heat and midday traffic to fetch coffee for your seasonal employer or trying too hard to avoid listening to your coworkers’ embarrassing and way-too-personal stories, students can hopefully make enough time in their schedule to see many of the year’s most anticipated blockbuster films. Designed to provide mass-entertainment (although not at cheap prices these days) and provide further respite from the heat, summer blockbusters are a staple of any young person’s summer away from school.
At first, “Side Effects” looks like another jab at the pharmaceutical industry. Coping with her husband’s release from jail, Emily (Rooney Mara) finds herself sliding deep into depression. Following a public meltdown and a suicide attempt, she begins to receive treatment from Dr. Banks (Jude Law), who prescribes some medications, but to no avail. Dr. Banks contacts Emily’s former psychiatrist Dr. Siebert (Catherine Zeta-Jones), who suggests that she try a new antidepressant: Ablixa. The drug seems to work for Emily: she is happier and regains her sex drive, though she begins to sleepwalk.
It’s that time again: Time for me to have an excuse to talk about the Oscars without complaining about how meaningless they are! But seriously, the Oscar nominations proved me wrong this year by taking some interesting chances and meting out some snubs which, whether I agree with them or not, at least show the Academy is perfectly willing to upset the public if it wants to. There are surprisingly few locks this year, especially in comparison to recent years, and I can honestly say I’m not 100 percent on most of these picks.
In the past few months, much has been written about “Zero Dark Thirty,” Kathryn Bigelow’s dramatization of the hunt for Osama bin Laden through the eyes of fictional CIA officer Maya (Jessica Chastain). By a wide margin, it’s the best-reviewed film in what was generally a pretty good year for films. It’s been praised as a more than worthy follow-up to director Bigelow’s and screenwriter Mark Boal’s Oscar-winning previous release, “The Hurt Locker,” and was at one point all but assured to win throughout the year’s round of awards.
In what is probably not a good start to 2013, I am breaking two of my own rules for film reviews in writing about “Amour.” First, I read other film critics’ reviews halfway through drafting. Still baffled and frustrated, I then decided to frankly tell you that I don’t know what to think of it.
Going in, I was fairly skeptical about “Lincoln.” Naturally, the desire to see Daniel Day-Lewis in one of his patented live-as-the-character method roles excited me, but the potential for a movie about one of our greatest presidents to be little more than a waxworks show was undeniable, and the presence of Steven Spielberg at the helm left me even more ambivalent. Don’t get me wrong: Spielberg has made several of the greatest films of the modern era, and his ability to craft equally compelling films aimed at both pure escapism and hard-hitting drama is unparalleled.
