-Posted by Alyssa
Rocky can’t retire even if he wanted to. The same holds true for this franchise, which is still going strong.
Rocky Balboa (Stallone) is living in the glory of being the top heavyweight fighter in the world. He’s got a nice place, his face is plastered on the cover of magazines, and he has the luxury of doing charity bouts in the ring, just for fun. However, his cloud 9 vacancy gets a heavy dose of rain when the brutal savage Clubber Lang (Mr. T) challenges him to a fight that will determine who is the true heavyweight champion of the world. Lang’s savagery knows no bounds and for the first time, Rocky finds himself unable to get back on his feet. Feeling remorseful and defeated, Rocky has given up until his former adversary Apollo Creed (Weathers) shows an interest in the Italian Stallion. With Creed, Paulie (Young), and his wife Adrian (Shire) at his side, Rocky trains harder and builds endurance for his rematch against the vicious contender.
This film doesn’t stretch further in storyline than the first two films, aside from the loss of an iconic character. Even the workout montage seems like it’s lacking some muscle tone. While the film isn’t completely soft, you could see it losing some definition. The most exciting moment in the film is when Adrian finally grows a backbone. I wish Apollo Creed would have served some higher purpose than just pushing Rocky along. However, this is one part of an iconic franchise. This film won’t knock you out, but as part of cinematic history it is worthy of a viewing.
-Posted by Alyssa
The Italian Stallion is back for another bout in the ring. The pride of the fight is hard to stifle and it’s inevitable that Rocky’s passion will bring him to fulfill his destiny.
Rocky Balboa (Stallone) is feeling a bit lost after the split decision match with Apollo Creed. At first everything seems exciting. So much so that he buys a house, dog, and car all in the same day. However, the giddiness that came with the money from the match ends when reality comes knocking at his door. Rocky needs to get a regular Joe-shmo job if he wants to provide for his new wife Adrian (Shire) and the baby that she’s carrying. He tries his hand at working in the meat packing plant where his good friend Paulie (Young) works, but each slab of meat is a taunting reminder of what used to be. It’s a good thing he gets let go from that job or meat would have eventually ended up in pieces all over the floor. The urge to get back into the ring is driven further by Creed’s constant gloating and prodding. He wants to take on the Southpaw again and prove that their initial match was just a fluke. Soon Rocky discovers that he can’t run from who he is meant to be. With the help of his wily, grizzly trainer Mickey (Meredith), Rocky gets back into fighting shape for his revenge match with Apollo Creed. Cue the workout montage.
I may be an anomaly here, but I find this film to be more enjoyable than the first. This is in large part due to the fact that Stallone seems to have found his footing. His acting is more believable, the stakes are higher, and I can actually understand every word that Rocky says. This isn’t to take away from the first for its originality and machismo. Still Rocky II offers a fully-realized character who feels pain, needs to find self-redemption, and has obvious flaws and insecurities. It’s for this reason that Rocky finds a place in his audience’s hearts.
– Posted by Alyssa
This classic sparked a franchise that has undeniably left a mark on film history. Rocky is the story of an underdog who has to work hard in order to achieve his dreams.
Set in Philadelphia 1975, Rocky Balboa (Stallone) is a club fighter that displays an animalistic fire in the ring. He even shows his primitive nature inside of a pet store when he does a Tarzanian wild call to a caged dog. It is in this very pet store that Rocky meets his love Adrian (Shire). Adrian inspires Rocky to leave his solitary life as a loan collector and truly find greatness. This opportunity presents itself when a high-octane heavyweight fighter named Apollo Creed (Weathers) offers Rocky the rare opportunity to take him on in the ring and prove himself as a contender. The fight seems like a sure win for Creed, but Rocky matches him blow for blow. It is difficult to decipher whether Rocky is driven by money or pride when he steps into the ring, but either way the scenes leading up to the fight are when the film starts gaining traction. The fire in Rocky’s eyes burn brightest.
Nevermind the awkward interactions between Rocky and Adrian, also forgive the mumblings of the Italian Stallion, this is a film worth watching. You can feel the energy in the air that Rocky is destined for greatness and that this is only the beginning of his journey. As a stand alone film, I don’t think it would have held up without the franchise that surrounds it. That being said, it’s where you should start to get a sense of who you are rooting for. Stallone has created a character that is passionate and talks a mile a minute, but is easily likeable and someone you want to see be successful. Rocky offers the one-two punch of determination and skill that proves any underdog can be a contender.
– Posted by Alyssa
You are hard-pressed to find more charismatic, intelligent leads than Olivia Wilde and Anna Kendrick. Too bad their characters have as much freedom to explore as a Jack-in-the-box.
Kate (Wilde) is the sole female in a testosterone infused brewery. To fit in with the bros, she makes crude jokes, swears excessively, and smells under her armpits. Any trace of conventional “femininity” is long gone. But she’s still quite the catch. Ultimately she nabs the attention of her best friend Luke (Johnson). Luke and Kate tiptoe around full-on flirtation and act jealous over each other’s dating lives. Kate’s in a completely mismatched relationship with the ultra droll Chris (Livingston). Luke is engaged to Jill (Kendrick), a bubbly free spirit. Despite the fact that both Kate and Luke are in their late 20s/early 30s, neither is brave enough to admit their feelings. It could be because they still find humor in putting deli meat onto each other’s faces. Neither has quite grown up yet.
Drinking Buddies is refreshingly unHollywood with its depiction of the often coy relationship that exists between best friends who have been best friends for so long that the chemistry lines begin to blur. The only characters who don’t seem completely bored by life are Kate and Luke. Their lack of maturity or sense of responsibility could have been explored a bit further. Are they content with their lives? It is hard to get to know these characters underneath their goofiness. It is a film that goes down easy, but it’s like a tasteless beer that comes free with a burger.
— Posted by Alyssa
As the face of the Academy Awards, Chris Rock was taxed with navigating a ship that was in murky water. Good thing he had Girl Scout cookies to feed to the insatiable sharks. As the charismatic spokesperson of the 88th Academy Awards, Rock delivers with mostly good jokes that address the race controversy without demeaning those who were nominated. Here are some moments worthy of reflection:
That Moment Where We Were All Like “Whaaaat?!?”
Mark Rylance wins the Oscar for Best Supporting Actor—Not to take anything away from Rylance’s quiet, but affecting performance as a Soviet spy, but Tom Hardy was just incredible as Fitzgerald in The Revenant. And then there was Rocky himself who puts his days of sparring behind him to turn in a performance that was equal parts nostalgic and dignified. It seems difficult to award just one, but I suppose that’s the nature of the beast we know as the gold statuette.
I Guess We Can’t Accept Everybody?
The one low moment of the show that can’t be swept under the rug was a joke involving three Asian kids who represented the “accountants” from PricewaterhouseCoopers. For all the moments where Hollywood heavyweights were preaching the values of respecting each other and the world, this joke seemed counterproductive and pointless.
The Oscars Became a Death Race
Mad Max: Fury Road steamrolled over the competition with a total of six Oscars. The high-octane film is like a shot of adrenaline to the heart. It is seriously on overdrive for the entire two hours. George Miller’s apocalyptic vision swept almost all of the technical categories
Good for You Moment
The underseen, but well-received Ex Machina starring Best Supporting Actress winner Alicia Vikander received justified acknowledgment when it won for Achievement in Visual Effects. It was nice to see an under-the-radar film go home with a prize.
— Posted by Alyssa
Director: Alejandro González Iñárritu
Cast: Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter
Beautiful cinematography and excellent direction juxtaposed with a harrowing tale of the resilience of the human spirit makes for one of the most immersive and impressive experiences a viewer can have at a place with hard chairs and sticky floors. You’ll feel transported to the cutthroat time of fur-trapping and civil cultural unrest in Alejandro Iñárritu’s The Revenant.
Hugh Glass (DiCaprio, at his absolute finest) is an expert hunter who is part of a company of fur-trappers on a dangerous expedition. They must navigate the unforgiving terrain and violent natives in order to gather the fur. These pelts are more than just lavish garb worn by the haughty upper-class and whose existence is responsible for outraging PETA. Rather, the stakes are high in that these pelts are a way of life that ensures survival. After a brutal raid by a native tribe leaves many of Glass’s company dead, the survivors are forced to move their pelts and take shelter. This leads to a new, uncharted location that only Glass knows well. However, his familiarity with the land does not save him from its unpredictability. While out hunting, Glass gets viciously mutilated by a giant bear. His near-death experience causes him to become a liability to his company’s goals of moving their pelts and finding shelter. The Captain (Gleeson) is forced to make a tough decision and leaves Glass in the care of a wily and blunt man named Fitzgerald (Hardy, amazing in this role) who is just as unpredictable and threatening as any other predator. Meanwhile, Glass’s half-native son Hawk is also left behind with Fitzgerald alongside another youngster from the company named Bridger (Poulter). Tensions get high leading to disaster and ultimately leaving Glass for dead. He is forced into a position that tests his spirit, resourcefulness, and perseverance.
The 1820s was a brutal time where America was still polishing its ideals, and the country laid claim to endless expanses of land. This is the world of a united nation following the Louisiana Purchase. Bearing (no pun intended) this in mind, the hardships Glass must endure are justifiable. Life as a frontiersman is nowhere near luxurious. The screenplay’s sharp writing favors no particular side of the battle throughout Glass’s distressful journey as he seeks revenge. The natives, the English, the French, the predatory animals that inhabit the land, there is no clear antagonist. It is a cutthroat world where revenge is a constant presence. Iñárritu brilliantly allows the land to open up to Glass and to us in an authentic, surreal manner. It is rare that a film feels so transformative, relatable, and thrilling.
— Posted by Alyssa
Sometimes we figuratively create barriers around ourselves. However, it’s another thing entirely to see literal walls forcing imprisonment. It’s extraordinary to see how human adaptability and strength can make a small world seem huge. That is precisely how it feels inside Room, an infectious, beautifully-crafted marvel that shows the resilience of human nature and the value of being able to journey outside of the box.
Joy (an astounding Larson) has been trapped inside a suburban garden shed since the age of 17 when she was abducted by a predatory, seemingly normal man who goes by Old Nick. Joy shares this backstory with her son Jack (Tremblay, a force to be reckoned with) when he is five years old. Joy gave birth to Jack after being in captivity for two years. Her son is a ray of light in Joy’s otherwise soul-crushing existence. He personifies Room and makes it a place that he shares with his mother. It is the only world he knows. Even though Jacob is happy inside of Room, Joy shares with him all that exists outside of their walls. She tells him that part of the world he sees on TV is actually real. Jack, knowing only the walls that surround him, is naturally skeptical of this “imaginary” world. However, Joy is able to convince him of its existence. The outside world offers a reality where he no longer only has to have gifts on Sunday, and he can have a room that isn’t inside of a wardrobe. In order to escape, Joy has to devise a risky scheme that temporarily separates her from her son. This scheme proves worth it when Joy and Jack are able to receive the help they need. Joy believes that she will find happiness in her escape. However, the psychological damage caused by Room proves to take a toll on Joy’s joy. The walls also exist inside of her head. Now she’s caught in a crossroads. She needs to learn how to be a mother outside of the shed and allow her son to have a life away from her. He needs separation from his mother in order to grow into the bigger space that he is now afforded.
As much as this is a suspenseful, gripping film, it also has interesting commentary on motherhood, childhood, adulthood, and the nature of growing within the walls of all three. We are confined to our roles in all three states of being once we cross certain thresholds. How are Joy and Jack supposed to function when their growth was literally confined? In the hands of lesser performers and writers, this could have easily been an exploitative film for those who are hypnotized by the evening news. But thanks to the transformative performances and convincing chemistry of Larson and Tremblay, as well as the sharp writing by Room’s novelist Emma Donoghue, Room is a profound, gripping character study that will resonate with its viewers.