Movie Review: DEADPOOL

Based upon Marvel Comics’ most iconic anti-hero, Deadpool is the origin story of former Special Forces operative turned mercenary Wade Wilson (Ryan Reynolds). After nearly being killed in an off-the-books experiment by rogue scientist Ajax (Ed Skrein), Wilson’s left disfigured but gifted with accelerated healing powers. Upon adopting the alter ego Deadpool, the wisecracking “Merc with a Mouth” hunts down the man who destroyed his life.

As all moviegoers know, January is the worst month when it comes to film releases. And sadly, February rarely looks much better. Given this month in history also housed the releases of disastrous superhero adaptations such as 2003’s Daredevil and 2007’s Ghost Rider, it hardly instills confidence in audience members. Compound that with the fact that Ryan Reynolds has become a battle-scarred veteran of failed comic book adaptations (X-Men Origins: Wolverine, Green Lantern, and Blade: Trinity) and that Deadpool is Tim Miller’s feature-length directorial debut, walking into the theater with high hopes seems inevitably futile. So, is the fourth time really the charm for Reynolds?

In the most rewarding surprise of the year, the Merc with a Mouth blows expectations out of the water with gratuitous violence, vulgar humor, and bloody satisfaction. Comic book origin stories tend to start slow due to character development, as seen in fellow Marvel movies like Captain America: The First Avenger. Breaking not only the fourth wall, but all the rules, Deadpool cleverly avoids this pitfall by way of nonlinear storytelling, jumping back and forth between past and present events.

Ryan Reynolds is no stranger to comedy, considering most of his successful early work was in this very genre, and his timing, crass, and delivery couldn’t be more on point than right here, made all the more riotous when coupled with the hilarious T.J. Miller. Not only is the acting superb, but the writing is gloriously raunchy. This isn’t a soft R-rating by any stretch of the imagination. It knows it’s pushing the boundaries, and plows through them unapologetically. Adding to the first-rate roster is director Tim Miller. Yes, this may be his first full-length feature, but this is no amateur at the helm. With previous visual effects experience on both X-Men and X2: X-Men United and stunning directorial work showcased in David Fincher’s The Girl with the Dragon Tattoo’s title sequence, it’s impossible to deny that the man has raw talent and an eye for stylized imagery.

Due to its gratuitous nature, Deadpool may not everyone’s cup of tea, particularly for younger audiences. The film’s numerous trailers give you an accurate idea of just what kind of experience you’re in for. So if you’re one of the many who reveled in the sneak peeks, you’re guaranteed to love this rip-roaring comic book adaptation. In fact, it just might leave you giddy upon exiting the theater.

At last, we can wash out the horrible taste from our mouths with FOX’s previous attempt.

Yeesh…

And we can now revel in the foul-mouthed glory that is this…

Deadpool is undeniably the best laugh and action-pleaser seen this year.

5 out of 5 Stars

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Movie Review: "13 Hours: The Secret Soldiers of Benghazi"

Michael Bay’s “13 Hours: The Secret Soldiers of Benghazi” tells the harrowing true story surrounding the Islamic militant attacks placed against the U.S. Consulate in Benghazi, Libya on September 11, 2012. At the time of the coordinated assault, the city has been deemed as one of the most dangerous places on Earth. As a result, all countries, with the exception of the United States, evacuate their embassies in the region owing to the threat of militant attacks. An off the books U.S. consulate, called the Annex, also remains, protected by a team of six former military members turned CIA security contractors.

U.S. Ambassador to Libya J. Christopher Stevens arrives in Benghazi with the hopes of reassuring peace in the city by holding a press conference. With an understaffed protection detail and local pro-American militia safeguarding the Ambassador, the Annex team, stationed only a mile from the Consulate, is brought in as Stevens’ drivers and backup security. On the morning of the September 11^th anniversary, suspicious behavior is spotted outside the compound. Come nightfall, a group of Islamic militants overrun the Consulate, forcing the guards to take Stevens and United States IT personnel Sean Smith into a safe room.

Overwhelmed as the radicals set the building ablaze, the security detail radios the Annex team in desperation for them to come to the rescue. Locked and loaded, the contractors (James Badge Dale, John Krasinski, Dominic Fumusa, Max Martini, David Denman, and Pablo Schreiber) await the order, but ultimately hit a wall when their chief rejects the petition out of fear of redirecting the militants to attack the CIA Annex. Defying the demand to stand down, the outnumbered contractors bravely dispatch to the Consulate in hopes of rescuing their fellow countrymen.

After the melodramatic disaster that was Pearl Harbor, having Michael Bay at the helm of another real life war film should only inspire eye rolls and aggravated moans. His movies are notorious for their overindulgence of unnecessary detonations, pyrotechnic explosions, shaky-cam, and style-over-substance storytelling. Film buffs have even scathingly deemed these gratuitous trademarks as “Michael Bay-isms”. With powerful, modern-day war films like American Sniper, Lone Survivor, and Zero Dark Thirty placed in the hands of critically acclaimed directors, Bay’s undertaking only seems all the more problematic. In truth, it’s cringe-worthy, and you haven’t even taken a seat in the theater.

On the surface, “13 Hours” seems to play into all the archetypes seen in virtually every other American war film, right up to the pregnant wife at home. Given that this is based on the book of the same title by Mitchell Zuckoff and the actual Annex Security Team, it throws into sharp relief that these instances are in fact reality for our servicemen. What the film notably strays from, for better or for worse (depending on the viewer), is outright endorsing any political affiliations. It focuses solely on the intrepid ex-military men who combated wave after wave of militia fire. The runtime leading up to the attack does lag in some scenes, but once the going gets tough, the pacing is positively breathless. The acting is superb, the fights are well choreographed, and even Bay manages to impress, proving he’s far more capable guiding actors than CGI robots. Some might not appreciate certain filming choices, particularly his use of shaky-cam. Thankfully, the techniques are still tolerable, and in some ways, they add to the grit of the narrative. It’s easily Bay’s best movie since 1996’s The Rock, and it’s elevated by a soaring score by renowned composer Hans Zimmer.

The film does comes out at a time when its subject matter is at the height of political controversy, but its likeliness to sway the public’s opinion one way or the other isn’t too great. What “13 Hours” does achieve is stirring our appreciation for the servicemen and women who brave these battles against impossible odds.

4.5 out of 5 Stars

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Under-the-Radar Film Gems: Thrillers

Best conserve your oxygen, because here we’re revealing some under-the-radar thrillers that will leave you breathless. These three movies play within the boundaries of the genre, but each distinctively cuts out its own little corner to give viewers a unique and rousing experience.

First up…

Snowpiercer (2014)

When global warming reaches critical mass, climate engineers try to counteract the deadly results, but the effects backfire and send the planet into an ice age that kills most of its inhabitants. The few remaining survivors take refuge on the Snowpiercer, a titanic train powered by a perpetual motion engine. Forced into submission by the commanders of the train, the famished residents residing in the tail carts continue to suffer in their putrid living conditions nearly eighteen years later. When cryptic messages incite the enslaved survivors to revolt, Curtis (Chris Evans) and a band of rebels hatch a plan to overthrow the class system by taking control of the train. Only horror awaits them though as the ragtag team battles their way through the many different compartments on their way to the engine room.

The idea is seemingly high-concept, but as this story progresses, the complexity of this dystopian world reveals a far more extraordinary plot. Directed and co-written by Korean filmmaker Bong Joon-ho, this poignant science fiction thriller masquerades as a high-octane action movie, but the originality and execution of the story make Snowpiercer one of the best films in recent memory. The brutal fight sequences have a rather glossy comic-book ambiance, but the applied grit and realism reinforce the severity of each blow. Symbolism and allegory play a prominent role as well, further adding to the film’s brilliance from a genre otherwise plagued in clichés. With an unpredictable story, stunning visuals, an eclectic cast, and relentless gumption, Snowpiercer can easily be deemed as the most exceptional and vastly overlooked film of the 21^st century.  

Perfect for fans of: 2006’s The Host (also directed by Bong Joon-ho) and Danny Boyle’s Sunshine.

Stoker (2013)

On her 18^th birthday, India Stoker (Mia Wasikowska) receives the tragic news that her father (Dermot Mulroney) has been killed in a car accident. Left only with her bitter and distant mother Evelyn (Nicole Kidman), her world takes an unexpected turn when her charmingly enigmatic uncle Charlie (Matthew Goode) arrives to lend his support to the family. Despite having never met him, as Charlie’s spent his whole life traveling the world, Evelyn takes an immediate liking to her dead husband’s brother, inviting him to live with her and her daughter. India, however, isn’t so easily swayed by the charismatic stranger and gives him the cold shoulder. Suspicions only grow after the family’s caretaker (Phyllis Somerville) goes missing after India witnesses the woman arguing with her uncle. Her mother becomes closer to Charlie, but India rejects his efforts to befriend her. She finally begins to unearth the troubling secrets behind her uncle’s ulterior motives, and in a strange turn of events, the girl unexpectedly becomes infatuated with the man.  

There’s a reason why Ben Affleck, Matt Damon, Peter Berg and Sylvester Stallone redefined their careers writing screenplays. If the talent is truly there, something very beautiful happens when an actor sits behind a typewriter. Some do this from a place of frustration because they wish to showcase their talents by creating a character they themselves will portray, but others do it simply out of the love of storytelling. Stoker is definitely the byproduct of the latter, as actor Wentworth Miller (Prison Break) wrote this hauntingly off-kilter screenplay under the penname Ted Foulke to allow his writing to speak for itself. And what beautifully twisted things it has to say. Miller’s acting credentials definitely helped shape this script, as he masterfully substitutes clunky exposition for subtle actions to convey his characters’ back stories. As the old saying goes, “Showing is often more effective than telling.” This articulate touch is only further complimented by the lavish visuals of director Park Chan-wook. Stoker’s gothic elements tease with the boundaries of works like Rebecca, paying subtle homage to the likes of Hitchcock, and each actor radiates an unsettling sophistication. Matthew Goode, in particular, exhibits an old-school Gatsby-esque quality rarely put to film anymore, and that allure makes the sinister and aggressive aspects all the more disquieting. As Chan-wook’s English debut, he showcases his talents in glorious fashion by way of unbearable tension and stylish scenery.    

Perfect for fans of: The Gift and Hard Candy

Ravenous (1999)

After cowardice inadvertently allows a United States Army Lieutenant to capture the enemy command at the height of the Mexican-American War, yellow-bellied John Boyd (Guy Pearce) receives a promotion to Captain but is relocated to the desolation of the Sierra Nevadas. He settles into his new position as second in command of a motley skeleton crew of eccentric soldiers, but the tedium of the remote outpost gets shaken to its core when a famished Scottish traveler (Robert Carlyle) wanders into the station nearly frozen to death. Relaying the grisly tale of horrors his wagon train faced after getting lost in the Rockies, the stranger convinces the lone crew to help him recover the remaining members of his party from a cannibalistic colonel plucking them off one by one. 

Blending Native American mythology with the terrors of the infamous Donner Party, director Antonia Bird and screenwriter Ted Griffin deliver one of the most unique, eloquently layered films to emerge from the genre. This delightfully wicked 19^th century tale is anything but categorical and has thus gained a cult following. Ravenous continuously shifts genres by initially playing as a western before descending into horror, dark comedy, and suspense, before eventually coming a chamber piece, all the while remaining true to its ultimate message concerning Manifest Destiny. Though the story is compelling on its own, the mastery of Ravenous cannot be achieved without its stellar, colorful cast of character actors. 

Guy Pearce takes the helm as the straight-laced member of this crew, leaving everyone else the liberty to experiment with their roles. The typically quirky Jeremy Davies delivers another charming performance as the childlike and mildly squirrelly preacher Toffler, Neil McDonough shines as the steely eyed psychotic Private Reich, and David Arquette really hams it up as the endearing, peyote-smoking Private Cleaves. The real scene-stealer of Ravenous though is inarguably Robert Carlyle’s all-inclusive turn as F.W. Colqhoun. For those brave enough to watch this fun and bloody gem, prepare for some dark laughs and cringe-inducing kills. As the tagline says, “You are who you eat.”

Honestly, there isn’t another film quite like it to compare, but if you enjoyed Cabin Fever and 2010’s The Burrowers, chances are you’ll happily devour Ravenous.

Stay tuned for more…

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Under the Radar Films: Crime Dramas

We all know crime doesn’t pay, but it sure is entertaining to watch. Today on my Under the Radar series, I’ll be putting the spotlight on some great hidden gems of the criminal kind.

First up…

In Bruges (2008)

After an assignment goes horribly wrong, Irish hitmen Ray (Colin Farrell) and Ken (Brendan Gleason) find themselves stuck in the title’s little-known Belgium town as they wait to hear back from their boss (Ralph Fiennes) for further instruction. The pair kills time quietly sightseeing in order to fend off boredom, but Ray proves to be the worst tourist to hit the medieval province.

“I grew up in Dublin. I love Dublin. If I grew up on a farm, and was retarded, Bruges might impress me but I didn't, so it doesn't.”

Naturally, the duo’s conspicuous antics quickly send them into a comedic tailspin of events as they upset locals, fellow visitors, and especially their foulmouthed boss.

Playwright turned screenwriter/director Martin McDonagh’s debut full-length feature proves quite a number of things. For starters, Guy Richie has some stiff competition for being Tarantino’s British counterpart. With an abundance of seemingly inconsequential, yet quick-witted dialogue, In Bruges’s equal combination of dark humor and tragedy makes this arguably one of the best crime films to hit the silver screen. Every last actor cast in this production is fit to perfection, but no performance surpasses Colin Farrell. We’ve seen the potential of his range in glimpses throughout Farrell’s career, best displayed in 2002’s Phone Booth, but nothing rivals the depths showcased here. Farrell’s Ray can switch from being offensively comedic to mournfully suicidal to compassionate and heartfelt over the course of a singular scene. 

In Bruges’s expertly woven tale urges viewers to pay strictest attention as the film constantly steers clear from the conventions of Hollywood’s standards by adding depth with philosophical undertones rarely seen in modern cinema. Its focus on character only makes the tension raised in its thrilling chase scenes all the more impactful, and the film’s ending strikes on a most powerful note. In Bruges is the pinnacle of criminal misfortune, as it is a true masterpiece of filmmaking that is sadly underviewed by the masses.

Perfect for fans of: Seven Psychopaths and Snatch.

Suicide Kings (1997)

When Avery (Henry Thomas) discovers that his sister has been abducted for a $2 million ransom, he turns to his yuppie-wannabe group of friends (Sean Patrick Flannery, Jay Mohr, Johnny Galecki, and Jeremy Sisto) to recover her. In an act of desperation, they resort to kidnapping a semi-retired mob boss (Christopher Walken) to exploit his connections and financial backing. The plan quickly goes awry as the mobster’s driver (Dennis Leary) enters into a hot pursuit to take down the youngsters.

After Quentin Tarantino’s success in the 90s, the market flooded with low-grade knockoffs, resulting in critics’ immediate condemnation of all inspired flicks. This undue treatment ultimately led to Suicide Kings’ failure at the box office, but viewers fortunate enough to catch the film recognized its value, earning it a 75% approval rating amongst fans. Sharp dialogue, great cast chemistry, and its blend of drama and dark humor gives audiences an unpretentiously fun 106 minute thriller.

Perfect for fans of: Reservoir Dogs and Boondock Saints.

Cop Land (1997)

In celebration of Sylvester Stallone’s bravura performance in this year’s Creed, it only seems fitting to call attention to some of his previous work that has since been forgotten. Stallone is recognized as one of the greatest action stars of all-time, and it’s a true rarity to see him step outside of that comfort zone. That very observation is precisely what makes his starring role in this crime thriller so fascinating. Ditching his athletic build with a 40-pound weight gain to sport a pudgier physique, “Sly” stars as Freddy Heflin, a belittled, half-deaf sheriff of Garrison, New Jersey. Due to a loophole in the legal system, the fictitious town is made up almost entirely of NYPD’s finest, letting them run their own streets without objection. The eyes of the world turn to them though as controversy overtakes the media after young NYPD cop Babitch (Michael Rapaport) misguidedly kills two unarmed black men. 

As fellow officers investigate the crime scene, Babitch supposedly commits suicide by jumping off the bridge they’re on to escape the impending wrath. When his body can’t be recovered from the water, suspicion sends Internal Affairs Lieutenant Tilden (Robert De Niro) to Garrison. Tilden, who tries to recruit Heflin to his team, believes Babitch received help from his brothers in blue to fake his death and return to town. The task to provide evidence in such a case proves deadly though as fellow policemen Ray (Harvey Keitel), Frank (Arthur J. Nascarella), and Jack (Robert Patrick) become the prime suspects in the conspiracy.

With additional players Ray Liotta, Janeane Garofalo, Cathy Moriarty, Noah Emmerich, and Peter Berg, the star power of Cop Land deserves praise in itself. The complexity of this crime drama sets it apart from others in the genre. The heart of the film centers on its characters versus the crime, focusing particularly on Freddy’s uphill struggle to prove his worth in a town that refuses to take him seriously. Stallone’s return to form that hasn’t be seen since his Rocky days makes for the most captivating aspects of Cop Land, and his dedication to the role cannot go without recognition. Acting alongside so many Hollywood heavyweights would prove disastrous for a standard action star, but Stallone rises to the challenge and delivers one of his most poignant roles to date. What seemed to make Cop Land fall into relative obscurity after initial release is most likely the abundance of serviceable crime capers that flooded the whole of the ’90s. The fact remains that Cop Land is one of the strongest of its genre for its character-driven drama that takes precedence over high-octane action.

Perfect for fans of: Heat and The Departed.

Stay tuned for more recommendations. 

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Best Movies of 2015

As we kick off the New Year and struggle to keep our resolutions, it only seems fair that we give 2015 a proper sendoff. And what better way to do it than highlighting the best films of the year? But what makes a ‘Best’ list anyway? Are they the Oscar bait films that make critics drool? The highest grossing movies of the year? The highest rated? Composing said lists are very subjective and wholly in the eyes of the beholder. One man’s poison is another man’s treasure. Genres, fandom, filmmakers, and more influence the composer’s choices.

Sure, I can talk about how Leonardo DiCaprio might finally get an Academy Award, or that Tarantino released yet another cult classic, or rave endlessly about just how amazing Star Wars: The Force Awakens is. But here I’m going to shake things up a bit by recognizing some otherwise overlooked films in a “Best” list.

Best Original Concept:

Robert David Mitchell's "It Follows"

The passionate kiss in the rain, the good guys defeat the baddies,  the underdogs save the world at the last minute, blah, blah, blah, blah. We know the drill, because we’ve seen it all….

Or have we?

When a truly original concept hits the silver screen, it earns the respect of humble moviegoers. We revel at the thought, because it's only once in a blue moon that such a pleasure comes our way. For this treat to arrive in the form of the horror genre simply blows our minds, as the category is plagued by even more cliches than chick flicks.  

When said concept is about a sexually transmitted demon stalking its prey being played in all seriousness though…

You may have just lost us.

Admittedly, the pitch to this John-Carpenter-esque film sounds like a Syfy channel movie that could rival the ridiculousness of Sharknado, but in the hands of Robert David Mitchell, It Follows surprised audiences worldwide in the best way possible.

After having sex with her new boyfriend for the first time, Jay (Maika Monroe) discovers that she’s the latest victim of a fatal curse transmitted only through intercourse. Death will follow her wherever she goes, taking the guise of either a loved one or a stranger, until it catches up to her and murders her in brutal fashion. It may not seem like much of a threat given that it only ever moves at a walking pace, but this demon is unrelenting. It can’t be killed and will haunt you the rest of your life.

Like that drunken wedding video of you…

Only worse.

Accompanied by Rich Vreeland’s ’80s inspired electro score, It Follows pays homage to classic horror films with a genuinely unnerving premise that leaves its viewers in deep discussion concerning its overall message. Any fan of the original Halloween will eat this up like a kid at Wilky Wonka's Chocolate Factory.

Best Surprise:

Joel Edgerton's "The Gift"

Married couple Simon (Jason Bateman) and Robyn (Rebecca Hall) run into Gordo (Joel Edgerton), an acquaintance from Simon's past, after relocating back to Los Angeles. Their perfect lives soon enter a tailspin as mysterious gifts and uninvited encounters plague the pair at their home. Sensing an unspoken tension between her husband and his old classmate, Robyn delves into their past, only for her to begin questioning the very man she married.

Trailers can be a powerful thing. A brilliant one can make even a bad movie look amazing, à la Zack Snyder’s Sucker Punch. In unfortunate cases, it can have the reverse effect. Dramatic moments of silence, background ticking effects, jump scares, screen static, sinister music, and the Insidious producer namedrop put together, and Joel Edgerton’s full-length feature debut couldn’t look anymore generic. Cue the eye rolls and head banging.

Among last year’s slew of underwhelming thrillers like Return to Sender, The Boy Next Door, and Knock, Knock, this character-driven chamber piece about past ghosts turned out to be a resounding breath of fresh air. Despite its underwhelming and cheesy trailers, the film actually subverts the clichés and conventions of the genre with masterfully crafted storytelling and its superb cast. For any moviegoer wishing for an escape from the by-the-books formulaic thriller, The Gift is most certainly for you. Let the creepy stares ensue.

Best Underviewed Feature:

James Ponsoldt’s "The End of the Tour"

The End of the Tour focuses on late author David Foster Wallace (Jason Segel), recounted by journalist David Lipsky (Jesse Eisenberg) who interviewed the novelist during a Midwest book tour twelve years prior to Wallace’s suicide. This film doesn’t require any flash to tell its story, focusing solely on the provoking conversations exchanged between the two lead stars. 

Reflecting on the brilliant perception of the late writer, The End of the Tour shows just how thought provoking a film can be purely on the merit of its sophisticated, yet natural dialogue. Its execution allows viewers inside the mind of a tortured writer without ever resorting to the pretentions typically found in these biopics. The End of the Tour is a heartbreaking, thought provoking, and insightful rollercoaster ride of emotions. The fact that it only brought in a measly $3 million at the box office makes it criminal.

Best Soundtrack:

Sam Taylor-Johnson's "Fifty Shades of Grey"

Forced to fill in for her sick roommate, shy college senior Anastasia Steele interviews the mysterious billionaire Christian Grey for the newspaper. After literally stumbling through the meeting, she discovers she’s left an impression on the man. Given Ana’s sexual inexperience, Christian sees her as the perfect submissive partner, and he inserts himself into every aspect of Steele’s life. The pair enters into an affair, and Ana soon discovers her new man’s dark secret playing on the boundaries of pain and pleasure.  

Officially written as Twilight fan fiction, E.L. James set the literary world on fire with this dark contemporary romance that was only destined to hit the silver screen.

Okay, if you’d have told me a year ago that 50 Shades would be on any Top List, especially written by me, I would have undoubtedly been like…

Yet, here we are.

The story centers on a rich, yuppie businessman with peculiar extracurricular activities.

No, we’re not talking about Patrick Bateman here…but this concept is as equally disturbing.

With Mr. Grey’s behavior drawing comparisons to that of manipulative cult leaders, it’s really, really hard for us to think of him as a plausible love interest. Anastasia even refers to him as a serial killer at the sight of his hardware shopping list! Run away, girl! Just run away!

Yet, Christian still manages to brainwash the impressionable young woman and gets her to do his bidding.

Not weird at all…

Say what you want about the movie, but it’s not so easy to knockdown the soundtrack however. With Beyoncé’s “Haunted” and the 2014 remix of “Crazy in Love” taking place on this playlist, it’s pretty hard to go wrong from there. Then add Annie Lennox’s rendition of “I Put a Spell On You,” The Rolling Stones’ “Beast of Burden,” Skylar Grey’s “I Know You,” and Ellie Goulding’s critically acclaimed “Love Me Like You Do,” and you have record gold. Just try not to picture Christian Grey stalking you, as he's quite notable for…

Any-who...

Best of luck to Leo come Oscar season.

And on that note....

Under the Radar Films: Movies For the Heart

The holidays are upon us, and just like the youth of America, our favorite TV shows are on Winter Break. So what’s a person to do for some fresh viewing pleasure? We have Redbox, Netflix, and movie channels to keep us occupied, but what’s really new to watch? HBO and Starz continue playing the same hit movies over and over again. Redbox is chockfull of all the summer blockbusters that we already enjoyed on the silver screen. And Netflix keeps giving us the same recommendations, even if we’ve already watched them. We’ve all seen the classics and all the new releases, and it makes us question if there’s anything left to watch that’s worthwhile. With the convolution of the film industry, it’s a matter of mathematical certainty that good movies fall through the cracks, never getting the proper recognition they rightfully deserve. That’s why this month I’ll be unveiling some great under-the-radar films from every genre, to give you cinephiles some sweet gems to enjoy during your holidays. To kick things off, I’ll start with a few heart-warmers.

First up:

What If  (a.k.a The F-Word) (2013)

Having discovered that his girlfriend cheated on him with his Anatomy teacher, Wallace (Daniel Radcliffe) decides to drop out of medical school and inevitably moves into the attic of his single-mom sister’s house. Down on his luck and having lived the past year in social seclusion, he finally resurfaces after his best friend Allan (Adam Driver) forces him into attending a party where Wallace meets the utterly adorable Chantry (Zoe Kazan). He quickly becomes smitten by the animator as the pair shares a wisecracking evening, only then to learn at the end of the night that she already has a boyfriend. Wallace genuinely likes Chantry as a person, and he soon finds himself in the most miserable place known to mankind: the friend-zone.

With a delightfully witty script by Elan Mastai and a perfectly casted set of actors, What If is essentially the modern-day When Harry Met Sally, begging the age-old question: Can a man and woman REALLY be just friends? Radcliffe and Kazan share wonderful chemistry and the forever scene-stealing Adam Driver delivers the perfect balance of dry humor and slapstick as cleverly crafted dialogue flows effortlessly from start to finish. Director Michael Dowse gives us a sophisticated take on the romantic comedy, riffing perfectly between the lighthearted conventions of the genre as well as the deeper examination of real relationships. What If is an irresistible charmer for sure.

Perfect for fans of: When Harry Met Sally and Definitely Maybe.

Ruby Sparks (2012)

With a world-renown debut novel looming overhead, young author Calvin (Paul Dano) suffers from a severe case of writer’s block as he struggles to recreate his earlier success. Crippled by this fear, he turns to his therapist (Elliot Gould) who gives Calvin a one-page assignment to write in an attempt to get him out of his funk. To his complete and utter surprise, the project works, inspiring Calvin’s fictitious muse, Ruby Sparks. Situated at an old typewriter, Calvin begins writing his new story and subsequently falls in love with his character. He then wakes one morning to find Ruby (Zoe Kazan) actually in his apartment. Initially believing he’s hallucinating, he soon discovers that the feisty redhead is in fact REAL, and that his imagination somehow invented her. Everything that Calvin writes about Ruby comes true. And with great power comes great responsibility…

The idea of Ruby Sparks can easily turn into a by-the-books raunchy comedy, but screenwriter Zoe Kazan (who also plays the title character) elevates the premise into being something quite fantastical and heartfelt. On the surface, it’s a comedy-drama, but the exploration of real life relationships in the guise of fantasy makes Ruby Sparks a very unique viewing experience. And the film’s whimsy finds itself in perfect hands with co-directors Valerie Faris and Jonathan Dayton (Little Miss Sunshine). Ruby Sparks is quirky, funny, insightful, and deeply satisfying, made all the more absolute by real life and on-screen couple Paul Dano and Zoe Kazan.

Perfect for fans of: Stranger Than Fiction and Midnight in Paris.

Kinky Boots (2006)

After the death of his father, reluctant young marketer Charlie (Joel Edgerton) desperately searches for a niche market to save his family’s failing shoe factory. A chance encounter crosses his paths with a sassy drag queen named Lola (Chiwetel Ejiofor), and the two strangers form an unlikely partnership. Despite the profound skepticism from the employees, Charlie and Lola reinvent the straitlaced company by custom designing sexy fetish heels for drag queens.

The concept of a business resorting to outside-of-the-box strategies to save itself isn’t exactly new, and it’s hardly a stranger to comedy either. Dodgeball: A True Underdog Story is a prime example. What makes Kinky Boots so watchable isn’t its groundbreaking formula. It rests solely in its touching message and superb cast. There’s a standard nowadays when drag queens are put to film. They’re either pre-surgery transgender or flamboyantly gay to the point of being an offensive parody, but almost never as actual human beings. They’re usually caricatures. Chiwetel Ejiofor’s portrayal of Lola though dives into this unobserved world by peeking behind the curtain and seeing the real person.

Lola isn’t just a sassy singer with a fierce strut and perfectly manicured nails. She’s a fighter. Being a drag queen is a great way to expression yourself, but it also opens the door for ridicule and harassment from the close-minded. The way Lola handles herself shows just how much heart she really has, while also presenting the vulnerability underneath. As Lola says in the film: “Put me in heels and I can sing ‘Stand By Your Man’ to a crowd of strangers. Put me in jeans and I can't even bloody well say hello.” Seeing the layers peel away is quite heartwarming, and so fantastically unique that you can’t help but fall for Lola. Major kudos goes out to Chiwetel Ejiofor for his performance. This role showcases just how versatile this incredible actor truly is, and that’s why it’s so disappointing that this film flew under the radar from the general public despite him snatching a Golden Globe nomination for the role. His Oscar-nominated performance as the lead in 12 Years a Slave thankfully gave him the recognition he so longly deserved, letting him finally become a household name. Kinky Boots follows in the step of plenty of other delightful British comedy-dramas, but Ejiofor’s take on this fish-out-of-water tale makes it a cut above the rest.  

Perfect for fans of: The Full Monty and Calendar Gils.

Stay tuned for some more great underrated films… 

"The F Word theatrical poster" by Source (WP:NFCC#4). Licensed under Fair use via Wikipedia.

"Ruby Sparks poster" by Source. Licensed under Fair use via Wikipedia.

"Kinky Boots (movie poster)". Via Wikipedia.