For the past five years, the Hunger Games saga has been the preeminent young-adult fiction franchise on the big screen, with Jennifer Lawrence‘s Katniss Everdeen leading the charge not just for the people of Panem, but for a new wave of female-led action blockbusters. As the series has progressed, the American-Idol glamor and spectacle of the first entries has gradually fallen away, developing into a gloomy story about loss, misery, corruption and failure. The final film in the series, The Hunger Games: Mocking Jay – Part 2, directed by Francis Lawrence, is the grimmest and most depressing of all, with icky, gut-punch character deaths at every turn and a color palette so nocturnal and dreary you’ll be starving for sunlight—whether you find the movie entertaining or not is a question of taste, but I predict wide audiences will find Katniss’ final fight too irksome to enjoy.

On one hand, it’s heartening that a movie franchise aimed at teens has such a firm grasp on the devastation of war, both in the body count it leaves behind and the extent to which it ravages the mind. Half of the cast doesn’t make it out alive, and the film takes time to make sure we feel the weight of each death. It’s the nature of the story novelist Suzanne Collins and screenwriters Peter Craig and Danny Strong have been telling over the course of the series’ four movies—to put an end to the elder upper class’ corrupt regime, in which the olds keep peace by slaughtering children under the guise of a televised arena “game,” the younger generation must sacrifice everything in the name of a better future for their own children. In-your-face as the symbolism may be, these are compelling themes Collins and the filmmakers delve into.

The burden of Mockingjay – Part 2 is that it must, in all earnestness, embody that grand sacrifice in gory detail. In other words, the movie’s directive is to make you feel like shit, and for better or worse, it does just that. It’s a suffocatingly bleak story (especially given its target audience) that starts with Katniss rehabilitating severe throat wounds inflicted (at the end of the last movie) by her once-lover, the Capitol-brainwashed Peeta Malark (Josh Hutcherson). Romantic, right? Despite Peeta’s newfound obsession with killing Katniss, the two of them are smooshed together by the rebels’ leader (Julianne Moore, who plays a great weaselly, two-faced politician) to join a handful of other Hunger Games champions and military randoms in a strike team whose mission is to shoot propaganda footage as the rest of the rebels storm the Capitol and take fascist President Snow (Donald Sutherland) down for good. Katniss, of course, has other plans: she wants—needs—to take Snow’s life herself.

Snow and his cohorts are well prepared for the rebel attack, turning the Capitol into a giant Hunger Games arena, lining the streets with deadly booby traps (“pods,” they call them) designed to slaughter invaders in horrifically gruesome ways. One deathtrap sees our heroes nearly drowned in a city square quickly turned into a giant pool of black ooze; another finds them in the sewers, swarmed by a horde of fangy crackhead-zombies in close quarters. These two scenes are the only action-centric high points of the movie, and they’re well done, no doubt. The claustrophobic sewer skirmish is particularly excellent; Lawrence finds fear in the dark so well that the movie goes into full-on horror mode, which is awesome. That, unfortunately, is sort of where the movie’s awesomeness ends.

Pacing is a crippling issue for Mockingjay – Part 2. It starts slow, with the rebel troops mobilizing and Katniss wallowing in despair. Then, a surge of excitement in the city square and sewers as we watch our badass heroes finally kick some ass and, for some, go down in flames (literally). But the thrills are fleeting, giving way all too soon to the rest of the movie, which is even sadder and sappier than the first act. The action is abbreviated, sorrow is bulky, and the storytelling as a whole feels janky and numb. Lawrence’s Katniss is the most iconic heroine of the past couple of decades at least, and she’s able to, on occasion, give the movie a jolt with a piercing glare or a wail of anguish. She’s a savior in that way, though the movie’s dangerously close to being beyond saving.

It’s painful to see is our last glimpse of the late, great Philip Seymour Hoffman, again playing Moore’s right-hand advisor. In a movie this dark, this layer of meta-mourning doesn’t help the experience at all. The Hunger Games series has been, in large part, a winning endeavor. The movies are solid sci-fi adventures (Catching Fire was terrific) with more brains than your average tentpole and a measure of love-triangle indulgence that never feels trashy. Most notably, the series made a bold statement in the face of Hollywood gender inequity, proving female-led movies can rake in just as much dough as any testosterone-pumped dude-flick. The last chapter in this landmark saga is an ugly one, but not so ugly that the magnificent Lawrence won’t live to act another day. For that, we’re fortunate.

It’s here. In anticipation for the culmination of the Hunger Games franchise, Katniss and Krew are taking on the Capital in full force. Peeta seems like he’s mentally back…fortunately for the sanity of us all; that might have been the pinnacle of tension to see him flip out on Katniss in the movie prior.

Getting a glimpse of some of his final cinematic scenes, seeing Philip Seymour Hoffman won’t be easy for anyone and will add what can only be a sense of very real tragedy to what looks to be an already tragic final episode. For those that have read the books (we highly suggest you do) we know that there is going to be an overflow of impending bloodshed in store for many a beloved character.

With filming of the battle scenes in France and the Capitol in Berlin, Germany, we’re looking forward to more Natalie Dormer who, according to IMDB, has top billing in this film. However, it looks like Johanna Mason, played by Jena Malone, will officially have the most screen time with Jennifer Lawrence. And we are actually going to be introduced to some new characters in this final call including another familiar face from Game of Thrones, Gwendoline Christie, as Commander Lyme.

Look for the 2D and 3D versions (this is a first for the series) both set for November 19th.

This Sunday night everyone will know who the real 2015 Oscar winners are and that person who hasn’t watched a single nominated film this year will probably win your office pool. In our recent Oscar Winners Revisited columns, we’ve gone back to discuss who should have won back in 2011, and 2012. Now we revisit the 2013 Oscars and discuss why we think Best Picture should have gone to Silver Linings Playbook and not to Argo, as well as our picks in the other 5 major categories that year.

Best Supporting Actress

Who Won – Anne Hathaway, Les Miserables
Who Should’ve Won – Amy Adams, The Master

Amy Adams’ understated performance as the reserved but grounded wife in The Master seemed to have been overshadowed by the thunderous performances from leads Philip Seymour Hoffman and Joaquin Phoenix. But she had an essential role in shaping The Master into the brilliant and well-acted film that it became. After Adams walked away empty-handed three previous times at the Oscars (nominated for Junebug, Doubt, and The Fighter), I thought she’d finally receive the shiny gold trophy she deserves. Yet somehow Anne Hathaway received more votes from the Academy with her imperfect singing in the classic musical remake of Les Miserables. One day you will win Ms. Adams, one day. [Dustin]

Best Supporting Actor

Who Won – Christoph Waltz, Django Unchained
Who Should’ve Won – Philip Seymour Hoffman, The Master

2013 felt like a real “anything goes” year for the Best Supporting Actor category. On one side, there was the trio of living legends Alan Arkin, Robert De Niro and Tommy Lee Jones all playing pivotal roles in films that won elsewhere in major categories. On the other were two men better known as character actors: Christoph Waltz and Philip Seymour Hoffman. Waltz picked up his second win in two nominations (both for Tarantino movies) despite some critics noting Leonardo DiCaprio’s superior performance in Django Unchained. All in all, the overlooked nominee in the bunch was Hoffman. Though we didn’t know it then, The Master would be Hoffman’s final Oscar nomination, his strongest collaboration with his friend, filmmaker Paul Thomas Anderson. Playing Lancaster Dodd, the cultish leader of The Cause, Hoffman illustrates the charisma necessary to recruit a legion of followers while also depicting Dodd as a man, “a hopelessly inquisitive man.” It’s a staggeringly complex character made knowable through an honest, vulnerable performance. Lancaster Dodd exhibited Hoffman at his best: charming, empathetic, and exceedingly truthful. He deserved a win. [Zach]

Best Actress

Who Won – Jennifer Lawrence, Silver Linings Playbook
Who Should’ve Won – Jessica Chastain, Zero Dark Thirty

Nobody was surprised to hear Jennifer Lawrence’s name called for Best Actress in 2013. She was terrific in Silver Linings Playbook, a film that had Oscar wins written all over it, which made this victory feel like an easy lay-up despite the talented group of nominees that year. Emmanuelle Riva nearly broke us down to tears with Amour, Quvenzhané Wallis won our hearts in Beasts of the Southern Wild, and Naomi Watts left us emotionally stirred in The Impossible. But it was Jessica Chastain who shocked us with her bravery in an unapologetic portrayal of CIA agent in charge of tracking Osama bin Laden in Zero Dark Thirty. Unlike other Hollywood roles for women, Chastain got the chance to play an intelligent, uncompromising heroine, and she did it extremely well. This might have been one of the better years for lead actresses in recent memory, but Chastain’s electrifying performance stood above the rest—perhaps just a touch above Wallis and Lawrence. [Dustin]

Best Actor

Who Won – Daniel Day-Lewis, Lincoln
Who Should’ve Won – Joaquin Phoenix, The Master

With all due respect to the World’s Greatest Actor Daniel Day-Lewis, Joaquin Phoenix’s portrayal of Freddie Quell creates a character far beyond imitation. The enigmatic Quell is noticeably disturbed, speaking out of the side of his mouth and prone to sudden, violent outbursts. Phoenix is said to have used a rubber band to tie his teeth together on a side of his mouth to contribute to Quell’s odd speech pattern. But beyond his vocal choices, Quell is likely Phoenix’s most physical performance. The actor contorts himself, throwing his body into walls and at others with an animalistic quality. This type of performance could feel over-the-top in a lesser production but guided by Paul Thomas Anderson, Freddie Quell is both frightening and sympathetic. More than that, he’s simply unforgettable. [Zach]

Best Director

Who Won – Ang Lee, Life of Pi
Who Should’ve Won – Benh Zeitlin, Beasts of the Southern Wild

Obviously nobody at the time knew that Ben Affleck‘s Argo would go on to win Best Picture, a strange thing since he wasn’t even nominated in this Best Director category. While people were scratching their heads trying to figure out why he and Kathryn Bigelow were snubbed, some were pleasantly surprised (myself included) to see Michael Haneke on the list for Amour (foreign films don’t often get recognized in this category), as well as first-time filmmaker Benh Zeitlin for Beasts of the Southern Wild. Though the race seemed to be between David O. Russell (Silver Linings Playbook) and Steven Spielberg (Lincoln), Ang Lee walked away with his second Best Director award. Remarkably, it was the new kid on the block, Zeitlin, who impressed me the most. He shot Beasts of the Southern Wild on location using mostly local actors, and created a poetic fairy tale most seasoned directors couldn’t produce. Even though he didn’t win, Zeitlin should have felt honored to be in such great company. [Dustin]

Best Picture

Who Won – Argo
Who Should’ve Won – Silver Linings Playbook

This is probably one of my least favorite years for Best Picture, a lot of brilliant films didn’t make the cut while a couple mediocre ones did (cough Les Miserables cough). But I’ll take Silver Linings Playbook over the wondrous Life of Pi, the heartbreaking Amour, and the endlessly moving Beasts of the Southern Wild. Silver Linings is one of the most charming movies of the decade and a delightful throwback to the zany screwball romantic comedies of the ‘30s and ‘40s, a better tribute than the previous years Best Picture winner The Artist. David O. Russell’s chaotic and jumpy style perfectly suits this story of a man suffering from bipolar disorder trying to correct his life amidst an unusual romance, a temperamental football-obsessed father, and any other type of everyday drama that can stand in the way of a positive and happy life. There’s a lightning-in-a-bottle feeling of success to Silver Linings Playbook which the uninspired mess of American Hustle only makes me appreciate more. [Ryan]

A grey cloud follows every film featuring Philip Seymour Hoffman ever since his untimely death earlier this year (read our Favorite Philip Seymour Hoffman moments). Posthumously released films are always tinged with darkness. So when a film like God’s Pocket comes out to disappointing reviews (read our own underwhelmed reaction) every Hoffman fan among us can’t help but feel slightly dejected. So here’s some much-needed good news; Anton Corbijn’s A Most Wanted Man, adapted from the John Le Carré novel of the same name, stars Philip Seymour Hoffman in the lead and it’s the kind of material that’s perfectly suited for the late, great actor’s talents. It may not get ahead of films like The Master, Capote, Magnolia, and Almost Famous in terms of substance; but it’s a sophisticated and shining addition to a boisterous filmography.

The plot follows Günter Bachmann (Hoffman) a government operative in command of a small anti-terrorist unit operating out of Hamburg, Germany. Title cards give us the reason behind the susceptible conditions in Hamburg; this is the port where the 9/11 attacks were planned and executed from. It’s been over a decade, and the city is still under major surveillance for any signs of terrorist activity. When a Chechen prisoner of war is picked up on a surveillance camera roaming the streets, he’s found to be Issa Karpov (Grigory Dobrygin) who will become Bachmann’s key to infiltrating a highly complicated network of Islamic terrorist cells. Other prominent players on the chessboard include Karpov’s pro bono lawyer Annabel Richter (Rachel McAdams) the head of Hamburg intelligence Dieter Mohr (Rainer Bock) Tommy Brue (Willem Dafoe) the head of a bank with old ties to Karpov’s father, and Martha (Robin Wright) a CIA agent who represents the concerns and support of the United States. As the game clock ticks louder and louder, the elaborate narrative separates the rooks from the pawns.

Thanks to his formidable cast, and an airtight screenplay by Andrew Bovell (in redemption mode from forgettable yarn Edge Of Darkness) Corbijn manages to build tension and suspense without needing to fire a single gunshot. While it doesn’t fail to hit all the familiar notes of the genre, A Most Wanted Man is engaging from start to finish, ultimately revealing the purpose of espionage in today’s highly paranoid world and the people who suffer at the hands of faceless bureaucrats operating inside air-conditioned offices. Much like the brilliant Tinker, Tailor, Soldier, Spy, another successful John Le Carré adaptation, A Most Wanted Man is a highly plot-driven film, brimming with shady characters and between-the-lines dialogue, but it’s got something extra as well. With the character of Issa Karpov, a completely disillusioned young man who ‘has no idea what he wants’ as Bachmann rightly puts it, the picture carries heavy emotional baggage not usually associated with espionage thrillers. Tinker, Tailor carried some as well but in a much more delicate and subtle fashion, which ultimately adds to the superiority it has over Corbijn’s film, but it works just as effectively here because of the story’s build-up and highly involved climax, done with expert precision.

The performances are solid across the board, but Hoffman (and I write this without an ounce of projected exaggeration) truly carries the film on the weary and grounded shoulders of Günter, a withered-down version of his Gust Avrakatos from Charlie Wilson’s War. This is a film that doesn’t pretend to shake any ground, or develop any new artistic cinematic perspectives in a genre that’s become all too familiar thanks to TV shows like Homeland and mainstream attempts at conquering the box-office with action-figure spies like Jack Ryan and Ethan Hunt. A Most Wanted Man is not a story of heroes and villains, but a tightly wound game of chess knee-deep in the murky swamps of morality’s grey areas. As such, it does an excellent job of balancing entertainment, suspense, reality, and just enough emotional investment to stop it from being corny. It solidifies Corbijn’s status as a highly efficient director (the man already has the awesome slow-burning The American under his belt) but above all else and to the delight of Hoffman fans, it’s a film worthy of the actor’s incredible career.

A Most Wanted Man trailer

Following the recent loss of one of the best (if not the best) performers of our generation, it feels like a gift to be able to watch Philip Seymour Hoffman grace a movie screen in any capacity. It’s something to be savored, but in God’s Pocket, one of his last ever roles, his talents, along with the talents of the rest of the uniformly brilliant cast, are done little justice. Everyone struggles here, including first time director John Slattery (Mad Men), who grasps and grasps but can’t manage to find a singular vision for the jumbled, lifeless tiny-town crime flick.

Hoffman plays Mickey Scarpato, an exhausted-looking fellow who lives in the titular South Philly neighborhood with his bored wife Jeanie (Christina Hendricks) and rotten stepson Leon (Caleb Landry Jones, who maximizes the few minutes he’s given). Leon is a terror of a shit-talker, infuriating his co-workers at his factory job to no end. Or rather, to his end: After pushing one of the boys to the brink with awful racist insults, he’s clobbered on the head and…well…so begins Mickey’s landslide of problems. He must bury the boy to appease the unappeasable Jeanie, which leads to him racking up major debt and getting mixed up with dirty mafia types.

The tone, writing, and performances in God’s Pocket are all incredibly awkward, which is a surprise considering the artists at work. Hoffman just can’t get his hands on the character of Mickey, with a fluctuating accent and emotionally ambiguous reactions to just about every situation. He clicks best with John Turturro, who plays his Sopranos-esque best friend and confidant Arthur, but even their chemistry doesn’t feel completely natural.

The characters are written too loosely, oscillating between working class clichés and unreadable moralism. Jeanie begins to take a liking to Philly celebrity journalist Richard Shellburn (Richard Jenkins), an old scumbag who makes a pass at her while sitting on Leon’s twin bed. The infidelity seems to be born out of her resentment toward Mickey, but her inner struggle is conveyed with the depth and subtlety of a pea-brained bimbo by Hendricks, who is capable of so much more.

There’s something off about the script (written by Slattery and Alex Metcalf), which tries very hard to mix quirky small-town humor with flashes of shocking violence. Both the comedic and dramatic elements are woefully uncalibrated and unbalanced, canceling each other out at every turn. When Arthur’s elderly mother shoots a goon in the chest at the family store, the man bleeding out on the floor, it’s hard to figure out the scene’s intended effect. The tired “old lady turns out to be a badass” gag is clearly comedic, but as Turturro kicks the dying man in the stomach screaming “This is my family!”, it all just feels very, very uncomfortable.

The neighborhood of God’s Pocket is well-crafted by Slattery and his crew, and well shot by cinematographer Lance Acord. The costumes and sets are rightly gritty, conveying the perpetual hard-drinking slump of similar salt-of-the-earth communities. The visual presentation is convincing–it’s just too bad that it’s the only thing convincing about this mediocre production. The stakes are unclear, the story is aimless, the performances are half-hearted, and those thirsting for another shining showcase of Hoffman’s gift will be sorely disappointed.

God’s Pocket trailer

The first promotional poster for A Most Wanted Man is here for all to see below. The film marks the final lead performance in the career of Philip Seymour Hoffman. The spy thriller is adapted from John le Carré’s novel of the same name, which tells the story of a mysterious refugee who turns up in Germany, who may have terrorist ties. Hoffman plays the chief of a covert German spy group who is tasked with putting the pieces together. The intelligent but secretive character is certainly a role that can fit Hoffman’s best abilities.

A Most Wanted Man should also appeal as a film directed by Anton Corbijn, whose previous film, The American, was a slow-build, intense and smart thriller in the same vein. The film debuted at Sundance to positive reviews and is set to open in limited release on July 25, 2014.

A Most Wanted Man poster

The film industry suffered a tragic loss Sunday morning when Philip Seymour Hoffman was found dead in his Manhattan apartment. At the young age of 46, Hoffman certainly had more incredible performances in him to contribute to the 63 acting credits already under his belt. Not only was the Academy Award winning actor my personal favorite, Hoffman was also a favorite of the well-known director Paul Thomas Anderson, whom he worked with on a total of five films. The Way Too Indie staff compiled a list of our favorite Philip Seymour Hoffman moments as a tribute to the actor’s profound talent. He will be sorely missed as a great contributor to the film and theatre world.

“This Is That Scene Of A Movie” – Magnolia

In Paul Thomas Anderson’s Magnolia, Philip Seymour Hoffman plays the part of a sympathetic caretaker who watches over a wealthy man who is on his deathbed. His character is undeniably easy to like, as he goes well-beyond his duties as a nurse by helping the dying man reconnect with his long-lost son before it is too late. After finding out that his son is a now a famous motivational speaker who teaches men how to seduce women, Hoffman’s character finds a number to reach him from the back of a porno magazine (another scene that made our list) and spends a great deal of time on the phone trying to convince a call center employee to connect him to the son. After pouring his heart out over the phone, describing the situation as “that scene of a movie” where someone is desperately asking for a miracle, Hoffman eventually succeeds—a victory that will make you want to stand up and applaud as a viewer. [Dustin]

“It’s Not Fair” – Before the Devil Knows You’re Dead

Hoffman was a master of knowing when to be subtle, and when to go big. In Sidney Lumet’s Before the Devil Knows You’re Dead, he played a cold and calculated businessman whose life seems to constantly be on the cusp of total collapse. In this memorable scene from later on in the film, his façade finally cracks. I love this scene because it perfectly combines two of the emotions that Hoffman was so good at conveying: total vulnerability and rage. The way he turns it all back around at the end of it and composes himself instantaneously is pretty brilliant, too. [Colleen]

“Let it Rain” – Along Came Polly

I found myself laughing uncontrollably the first time I watched Philip Seymour Hoffman do his “rain dance” on the basketball court in Along Came Polly. He is “that guy,” the one who’s cocky attitude cause him to think his skills are much better than they are. Storming around the court, Hoffman screams “white chocolate” while attempting a layup and “rain drop” while shooting from the top of the key, never once does he actually make a shot. With such an exaggerated amount of confidence, seeing him fail is absolutely sidesplitting. [Dustin]

“Caden Sees Olive Die” – Synecdoche, New York

It’s not often that we come across something that is so utterly alienating that it seems impossible, and yet so encompassing of us all that we can’t help but relate. The character of Caden Cotard in Synecdoche, New York is one such phenomenon – one that no one but Philip Seymour Hoffman could have portrayed more honestly. While his entire performance in this film is heartbreaking, one of the most memorable moments has to be when he sees his daughter on her deathbed, and she forces him to admit to abandoning her for a homosexual relationship, though we know as well as Caden does that this was not true. Have we been in this situation? And yet who of us didn’t entirely suffer with him in these moments? For as much as the film is an odd, aggressively depressing fantasy, it is also a reality, full of each of our imaginations. Caden is in many ways a projection of our own existence; Hoffman instills his character with such a sympathetic affectation that no matter how pathetic his life becomes, we cannot tear our eyes away – as though we need to see how our own lives unfold in this synecdochic reality. [Pavi]

“Shut Up” – Punch Drunk Love

Mr. Hoffman did not spend a lot of time on screen in Paul Thomas Anderson’s Punch Drunk Love, but he made the most of his screen time in a scene playing a mattress storeowner who swindles people out of money. Screaming into the phone to Adam Sandler on the other line, Hoffman manages to get an impressive 11 “Shut”-ups in a very short amount of time. The scene is one of the most memorable moments of the entire film and a testament to Hoffman’s ability to always leave an impression. [Dustin]

“Charming the Deweys” – Capote

Philip Seymour Hoffman first rolled on to my radar in the role of Dusty, the storm-chasing comedic relief of the film Twister. Even in such a small and simple role he balanced goofy and sincere well enough to stand out. His ear to ear grin, infectious laugh, and commanding voice made even the silliest of scenes engaging; especially one in which he explains the “suck zone” of a tornado to an uptight city girl. But it was in the film Capote that Hoffman was really able to show off his knack for nuance. Playing the titular character, he portrayed the historical writer with absolute dedication and humanity, turning an opportunistic narcissist into an intriguing persona. It’s in this dinner scene that Hoffman shows his acting chops as he navigates Truman Capote’s ability to manipulate his way into the confidences of others in order to get at the story he wants. Hoffman plays Capote down to the details, imitating the man’s gratingly nasal voice and delicate mannerisms and he shines in this scene as he wins over the sheriff and his wife with his ability to story-tell. The entire film shows off Hoffman’s absolute mastery of his craft and his Oscar for the role was well-deserved. [Ananda]

“Pornographic Magazine order” – Magnolia

I think everyone in life has experienced the scenario of attempting to buy something that is perhaps a little embarrassing so to counteract it you get a couple of “normal” everyday items to make it seem less awkward. Philip Seymour Hoffman’s character in Magnolia goes through that very awkward situation while ordering pornographic magazines over the phone. And then he gets called out on it. Another example of his ability to appeal to everyman. [Dustin]

“Introducing Gust Avrakotos” – Charlie Wilson’s War

In one of the greatest character introductions in recent memory, CIA agent Gust Avrakatos is having an argument with his superior over not getting assigned to a position he’s spent years vying for. A lot of credit for this scene’s brilliance can go to Aaron Sorkin’s writing, but it’s Hoffman’s performance that makes the scene work like gangbusters. Hoffman is at his manic best here, shouting and chewing up every bit of scenery he can find. It’s a scene that reverberates throughout the film (which sadly never reaches that level of pure entertainment again), so it came as no surprise that Hoffman wound up with a Best Supporting Actor nomination for his work. Hoffman was masterful at playing quiet, subdued roles, but scenes like this one in Charlie Wilson’s War showed that he could easily go into gleeful overacting madness if he wanted to. [CJ]

“Epic Throat Clearing” – Along Came Polly

Equally as hilarious as the aforementioned basketball scene in Along Came Polly is the one where Hoffman spends about 30 seconds clearing his throat in an important board meeting. Because his character is merely filling in for Ben Stiller’s, he has no clue what he is supposed to talk about in this meeting. So being the aspiring actor that his character is, Hoffman decides to improvise and epically clear his throat in order to buy some time. The results are absolutely hysterical and show just how Hoffman was never afraid to take a joke as far as necessary to get maximum hilarity. [Dustin]

“Easy Eight Craps Roll” – Hard Eight

Running his mouth and sporting a wicked mullet, Hoffman appears in Hard Eight as a self-assured asshole at the craps table that the main character Sydney (Philip Baker Hall) approaches. Hoffman coaxes Sydney into putting down a bet chanting, “I don’t wait for old people,” and damn near daring him to participate. Sydney lets him ramble on for a bit before calmly throwing down a $2,000 bet on a hard eight, making everyone at the table, including Mr. Motormouth himself, temporarily speechless. Hoffman always had a particular handle on those small unlikeable roles. All part of his multi-dimensional talent. [Dustin]

Spike Jonzes’s film Her is without a doubt incredibly endearing, thought-provoking, and technologically probable as a socially awkward man (Joaquin Phoenix) in the not so distant future falls in love with his advanced Operating System (voiced by Scarlett Johannson). Though admittedly, the premise sets itself up for people to easily make fun of it. After all, Her is about developing a relationship with a computer. There has already been several spoofs about the film, but we bring you two of the best ones that we have seen so far.

Scarlett Johansson gets replaced by Philip Seymour Hoffman

Jonah Hill plays Joaquin Phoenix and falls for himself, a skit from Saturday Night Live

One of the most intriguing films of 2012 was without a doubt Paul Thomas Anderson’s The Master. The film contains some of the best acting performances of the year, which led Philip Seymour Hoffman, Joaquin Phoenix, and Amy Adams to all receive Oscar nominations for their respective roles. Recently, some of the official details of the DVD and Blu-ray release were disclosed.

The Master will be released on Blu-ray and DVD on February 26th, 2013.

Special Features:

• “Back Beyond” Outtakes – Additional Scenes Music by Jonny Greenwood (20 min)
• “Unguided Message” – 8 Minute Short
• Behind the Scenes Featurette
• Trailers
• Teasers
• “Let There Be Light” (1946) – John Huston’s landmark documentary about WWII veterans (58 Minutes)
• Digital Copy

The Master Official trailer:

Read Our Review of The Master

You will be hard pressed to find a film this year that is better acted or better crafted than Paul Thomas Anderson’s The Master. In Anderson’s sixth directorial film comes an epic tale of made up religion that has earmarks of a cult and it’s radical followers. Even though the film never comes out and says it directly, the film at the very least resembles that of Scientology. You end up walking away with more questions than answers as The Master was perplexing as well as absorbing, but above all, it was hypnotic.

From the very beginning we see that Freddie Quell (Joaquin Phoenix) has a drinking problem as well as a troubled sexual past that may explain his erratic behavior. To say that Freddie has a problem with drinking is putting it lightly. He is literally poisoning himself with what he drinks as often times he makes his concoctions with whatever is within reach; sometimes that means paint thinner. As his service in the Navy ends with the end of World War II, he stumbles from job to job until one night he walks aboard a large yacht.

Unbeknownst to him, the yacht belongs to a man named Lancaster Dodd (Philip Seymour Hoffman). Soon enough Freddie meets Dodd, who people call the master, and finds out that he is a self-proclaimed jack of all trades; “a writer, a doctor, a nuclear physicist and a theoretical philosopher, but above all, I am a man.” Dodd is eager to take Freddie under his wing. Freddie, a troubled soul looking for anything to cling on to, has no problems with that.

I found it especially interesting when Dodd introduces his family someone new that he first introduces Freddie before the rest of his family. In fact, the last person he acknowledges is his son, who does not believe what his father his preaching and at one point says, “Can’t you see what he is doing? He is making things up as he goes along.” The connection between the two only grows the more Freddie gets involved.

Freddie is not afraid to beat people up who question what Dodd is preaching. I think that speaks to how much he wanted to attach and be part of something. However, by the end you start to wonder if Freddie is being people up because he is afraid that the questioners are correct. Slowly, it is slightly implied that he may be casting his own doubts on Dodd, like when he is listening to him speak about how laughter is the secret on two separate occasions.

There is a scene early on when Lancaster Dodd interviews Freddie with intrusive questions about his past that is quite possibly the best scene in any film of this year. Emotions fill the screen as you see tears roll down Freddie’s eyes and the vein in his forehead as he screams in anger. It is the kind of scene that takes the air out of the room and makes your knuckles hurt from tension.

The Master had a couple of standout scenes where you get a glimpse of how Freddie sees the world. The obvious scene is when a roomful of people are cheering on Dodd dancing, Freddie sees every woman in the room naked. Another eerie but more subtle moment is when Dodd’s wife asks Freddie to look into her eyes and then change the color of them. You can notice that her eyes do in fact change.

Joaquin Phoenix puts on a performance that I do not think will be matched in his career again. From the very first teaser trailer it was pretty evident that his character is insane. My instant reaction from the little bit that I saw then was this could easily be an Oscar worthy performance by him. Now after seeing the film and his full performance, it only reaffirms my initial reaction.

Nearly matching the phenomenal performance of Phoenix was Philip Seymour Hoffman as the charismatic religious leader. He comes off as a confident speaker that can win over most doubters with his charm but you can tell that he is masking his own problems. In private there are some moments when he relies on his wife Peggy (Amy Adams) to guide him and tell him everything is going to be okay.

The Master felt almost like it was a companion piece to There Will Be Blood (which is currently one of only two perfectly rated films on Way Too Indie). The overall tone felt very much the same courtesy of Jonny Greenwood’s score in both films. But also the subject matter is similar; two powerful leaders who look to take advantage of the weak and powerless. Even though Paul Thomas Anderson replaced his go-to cinematographer Robert Elswit with Mihai Malaimare Jr. for this film, there were many epic shots including some outside tracking shots similar to ones that worked so well in There Will Be Blood.

While The Master did not quite have the instant masterpiece feeling after watching it as There Will Be Blood did, it certainly adds to the already impressive arsenal of films done by Paul Thomas Anderson. He is a modern day master (no pun intended) filmmaker that will years for now be studied and compared to. What makes this film work is that it is as ambiguous to itself just as the characters are portrayed in the film. The Master demands the viewer to read between the lines the whole time with implications but never answers questions for you. The last scene is a perfect example of this as it opens up a different theory that was mentioned earlier in the film depending how you interpret it. It is a challenging but rewarding film if you are willing to connect the dots yourself.

It seems like the word of the day was “delay.” After arriving at Toronto the line-up for picking up tickets took nearly an hour. That’s not a complaint though, anyone who has been to TIFF is fully aware that waiting in line is just part of the festival. Either way, gone were my hopes of rushing Imogene or Paradise: Love so off I went to Spring Breakers.

Unfortunately Spring Breakers ended up getting delayed by over a half hour, meaning that in order to catch my next screening I had to bail out on the film towards the end (I’m guessing there were 15-20 minutes left). I can’t give a proper review, but from what I did see it seemed like Harmony Korine hasn’t really changed for me. With his previous films like Mister Lonely and Trash Humpers, Korine was able to pull out some beautiful, amazing moments but couldn’t sustain that feeling throughout. Spring Breakers starts out strong with a montage of college kids partying which is the first of many montages peppered throughout. These were the best parts of the film, but as a collective whole the film became exhausting. I’d rather not get into too much detail since I haven’t seen the entire thing, but I do know one thing for sure. James Franco kills it in this. Believe the hype.

RATING: N/A

Spring Breakers

But of course, after Spring Breakers was the main event. I got in line for The Master and…ended up waiting some more due to an hour long delay. To add even more insult to injury, aside from a quick intro by Paul Thomas Anderson there was no sign of the cast and no Q&A. Considering the screening was charged at a premium because of a Q&A with the cast/director I’m guessing a lot of people weren’t too happy.

But on to the movie, which is sure to confuse many once it gets a wide(r) release. The film, which is simply about a mentally disturbed seaman (Joaquin Phoenix) becoming friends with the leader of a cult (Philip Seymour Hoffman) in 1950, has plenty of powerful moments. The use of 65mm film and feel of There Will Be Blood from the trailers might suggest a similarly epic story, but this is much more intimate than the insane bombast of Daniel Plainview. Phoenix wipes away his entire misstep with I’m Still Here in this, becoming so involved with his character that he’s unrecognizable at certain points. Hoffman is terrific as well, and the two of them getting Oscar nods is probably set in stone. My issue is that none of the great moments (and a shout out to the use of 65mm which was gorgeous) came together as a whole, which led to a very slow pace. I would need a rewatch to really settle in on how I feel about The Master, but my initial reaction is that it’s good. It’s just not the masterpiece that his last film was.

RATING: 7 (tentative)

The Master

COMING UP: I start to head into the Wavelengths direction with the half-silent Tabu, followed by Haneke’s Cannes winner Amour and the return of Ryuhei Kitamura with No One Lives.

Recap of some of my Tweets from today:

Follow @WayTooIndie for full coverage of the 2012 Toronto International Film Festival!

Went to pick up tickets, and now in my first of many lines for the fest. Can’t wait for SPRING BREAKERS and THE MASTER #TIFF12

— Way Too Indie (@WayTooIndie) September 7, 2012

Front of the spring breakers line is almost entirely young girls who are here for the cast. Poor souls have no clue what they’re in for.

— Way Too Indie (@WayTooIndie) September 7, 2012

From what I saw SPRING BREAKERS was a typical Korine movie for me. Hit and miss, with incredible highs and dull lows. #TIFF12

— Way Too Indie (@WayTooIndie) September 8, 2012

THE MASTER: going to take another watch before I get a better idea of what to think. Plenty of amazing stuff but it doesn’t come together

— Way Too Indie (@WayTooIndie) September 8, 2012

Today is the day Paul Thomas Anderson fans can rejoice. In the same day that we received the movie poster for Anderson’s upcoming film, The Master, we now have the full length trailer. Up until this point The Weinstein Company only toyed with us by giving us two teaser clips but they now released a full 2 minute and 37 second trailer for The Master.

From watching the trailer it appears that Joaquin Phoenix might have given his best performance to date which could earn him an Oscar nod come award season. From the trailer The Master certainly looks like Anderson could match the level of notoriety as his previous film, There Will Be Blood, did.

The Master will be released in theaters on October 12th.

Watch the official trailer for The Master:

We still do not know a whole lot about Paul Thomas Anderson’s highly anticipated film The Master. So far there has been two teaser trailers and news that Tom Cruise was unhappy about it’s portrayal of Scientology. But today one more small piece of information has been surfaced, a movie poster for The Master.

The Master Synopsis:

A 1950s-set drama centered on the relationship between a charismatic intellectual known as “the Master” whose faith-based organization begins to catch on in America, and a young drifter who becomes his right-hand man.

Movie poster for The Master:

It has been less than a month since the movie lords graced us with a first glimpse of P.T. Anderson’s newest film, The Master. But it was literally just a glimpse as it served more as a teaser clip than a full blown trailer. Today we have been blessed with the second teaser clip for The Master, which comes in at about the same runtime of a minute and a half.

Absent in the teaser was title character Philip Seymour Hoffman, who finally makes an appearance here as the charismatic leader known as “The Master” whose religion is about to take off in America. Joaquin Phoenix, a troubled ex-Navy man, becomes his right-hand man.

We will still have to wait for the full trailer to be released but this certainly wets our appetite for what will hopefully be P.T. Anderson’s next masterpiece. The Master will be released in theaters on October 12th.

Watch the second teaser clip for The Master:

David Lynch fans rejoice, soon there will be nearly an hour of deleted scenes from Blue Velvet. Deleted scenes from the cult classic 1986 noir Blue Velvet were found on the blu-ray edition of the film but have recently made their way to YouTube. [Dangerous Minds]

Penelope Cruz has been confirmed for upcoming Ridley Scott and Pedro Almodovar films. Her extensive previous work with director Pedro Almodovar makes the news less surprising but still welcoming. The name of the film will be called Standby Lovers. She will join the cast of Ridley Scott’s The Counselor which is comprised of huge names including Michael Fassbender, Brad Pitt, Cameron Diaz, and Javier Bardem. [The Playlist]

Images from Michel Gondry’s upcoming French production Mood Indigo surfaced this week. Audrey Tatou (Amelie) will be the lead in the adaptation of Boris Vian’s 1947 novel Froth On The Daydream. The stills definitely appear to have Gondry’s creative touch to them. [Twitch]

Philip Seymour Hoffman goes agentless after leaving Paradigm after 18 years with the agency. Aside from appearing Paul Thomas Anderson’s The Master he just finished a role which director Mike Nichols has said may be the most taxing stage role on an actor. [Deadline]

Rumors have been circling that Emma Watson and Ray Winstone could star in Darren Aronofsky’s Biblical epic Noah. According to Deadline Ray Winstone may get a villain role in the film to go opposite of Russell Crowe. Emma Watson is apparently in talks to play Ila, a young woman who befriends Noah’s son, Shem. [Deadline]

The special animated companion to Moonrise Kingdom is now available to watch online for free. This Wes Anderson animated short does not contain any spoilers to Moonrise Kingdom therefore do not be hesitant to watch it if you have not seen the film yet. [EW]

The female cast from Your Sisters Sister sat down for an interview with Coming Soon to talk about the process of developing characters and how much of the film was improvised. One of the most amazing facts is that the entire crew for the film was only 16 people (and the film was shot in just 12 days). The whole interview is worth reading and if you haven’t read our review of Your Sisters Sister check it out now. [Coming Soon]

To be honest, there is no other director out there today that gets me more excited to see their films than P.T. Anderson. It has been 5 very long years since his last film There Will Be Blood, which many including ourselves considered an instant masterpiece. Today the first teaser clip of his latest work entitled The Master has been released.

In this clip we see Joaquin Phoenix in the 1950’s who is a drunken sailor before he meets a charismatic religious leader played by the magnificent Philip Seymour Hoffman. It has long been rumored that Hoffman’s character would be a Scientology leader based on Scientology founder L. Ron Hubbard. Amy Adams will also star in the film and Jonny Greenwood returns again to do the original score.

The Master is one of this year’s most anticipated films but we will not have to wait much longer. The film will open on October 12th, 2012. Check out the teaser clip below.

Moneyball is a film based on the book of the same name that was directed by Bennett Miller about a small market baseball team that found an innovative way of evaluating players. Co-written by the talented Aaron Sorkin (The Social Network), the film is a true story about how Billy Beane used unconventional thinking to focus on buying wins instead players.

Billy Beane (Brad Pitt) was a whole package as a baseball player. He could hit, field, throw and run; a rare package to find. The New York Mets gave him an offer right out of high school. Billy already had a full ride to Stanford but a tough decision that the Beane Family would have to make is go to college or go to the pros.

There are some players that just do not pan out in baseball. They have the ability on paper but for one reason or another just do not perform in the major league. Billy Beane was one of those players. After 6 years he comes to grips that he is not a baseball player but he would like to stay in baseball as a scout. He eventually became the General Manger for the Oakland Athletics.

Set in the 2002, the team with the lowest budget aims to get back to the postseason again but will have to do so without 3 major players. They lost first baseman Jason Giambi, outfielder Johnny Damon and closer Jason Isringhausen to teams that could offer a higher salary. “There are rich teams and there are poor teams. Then there is 50 feet of crap. And then there is us, says Billy.” Their budget limitations make it an unfair game but it is his problem to fix. Billy realizes that they need to think differently with their existing recruitment process.

On a trip to the Cleveland Indians management office, Billy is talking to their GM about possible trade acquisitions. As they throw some possible trade ideas around he notices a man in the corner who whispers advice into the ears of the other guys in the room. The negotiations are going nowhere but the man in the corner intrigues him.

After the failed negotiation meeting is over Billy walks right out of the office to the desk of the man in the corner to find out more about him. His name is Peter Brand (Jonah Hill), a shy young player analyst who has never had a job in baseball before this. Not only that, but this is his first job in any profession. This baffles Billy but he is more concerned on what exactly he told the guy in the meeting.

The two step out of the building to talk more privately about what Peter Brand is all about. Peter explains that baseball teams are misjudging their players and more importantly mismanage their teams. He explains that instead thinking in terms of buying players they should think in terms of buying wins.

Soon after the two first met, Billy hires Peter to his team as the assistant GM. Peter uses Bill James’s formulas to come up with the true values in each player. He believes that there are 25 undervalued players out there that the team can buy on the cheap. Billy refers to their new strategy as counting cards at the blackjack table, trying to beat the odds. He calls this new strategy Moneyball.

The team’s scouts were very skeptical about this new strategy. They believe that there is more to baseball than just numbers and stats, it is about people and chemistry. There are fundamental elements where stats do not apply. Billy knows that the only way he can prove that the system works is by winning games.

The team starts the season off cold (losing 14 of the last 17 games). The seriousness of their poor record is starting to be brought to Billy’s attention. Even by his daughter. She asks him if he will be losing his job. He tells her not to worry about the fact his team is in last place and the things on the internet about him potentially losing his job. He tells her not to worry for her comfort but you can tell he is worried. Still, deep down he believes in his strategy.

The film portrays the hero to be Billy Beane but when you really think about it, it was only his acceptance of Peter Brand’s (in real life his name was Paul DePodesta) strategy and philosophy really changed the game. Every decision that he makes is because Peter said to do it. At least that is what I got out of the film, though props to Billy for looking for progressive ways to win and giving Peter a chance.

It is a movie about sports but it is not a sports movie. In fact, you do not even need to be a baseball fan to enjoy Moneyball, but it does not hurt either. The point of the film is not about an underdog sports team winning games but rather the way they went against the traditional way of evaluating players.

Brad Pitt does a fine job playing Billy Beane but I think the top performance goes to Jonah Hill. He played the number-crunching nerdy Yale graduate wonderfully. Philip Seymour Hoffman comes in with the small role of the team manager named Art Howe but takes a backseat to the main roles of Pitt and Hill.

Moneyball is an entertaining and soulful crowd pleaser with great acting and terrific writing. The only thing preventing this home-run film from being a grand-slam is the lack of risk taking. In the film’s defense, it is hard to take too many risks when it is based on true life events because staying true to the story is best. I do not know much about Billy Beane but perhaps they could have developed more from his ex-wife, the high billed Robin Wright, who only is seen in one scene. Still, you will likely not walk out of this film disappointed.

George Clooney directs and stars in his latest film, The Ides of March, which focuses on people involved in American politics and the scandals that often come with them. The film also shows how people evolve in politics from a passionate driven nobody who legitimately believes in what they are doing to a position climber who only cares about gaining power. These are all things most already know so you are not likely to walk away with anything new but thanks to the excellent cast giving strong performances it is not a deal breaker.

It is one week from the Ohio Democratic primary, which is one of the most important primaries because normally it puts the winner in a position to win the party and thus in the running for president in the general election. Mike Morris (George Clooney) is a Democrat governor who is looking to win this primary. Along his sides are his senior campaign manager Paul Zara (Philip Seymour Hoffman) and his press secretary Stephen Meyers (Ryan Gosling).

An example of how brilliant Stephen is, he comes up with a plan that would mandate 18 year olds to do 2 years of service of some kind whether that be in the army or the Peace Corps and in return their college will be paid for. They know that is a bold plan to announce but they also know the voting demographic will be for it since it does not affect them and the age group it does affect is too young to even vote.

Stephen makes the mistake of agreeing to meet with Tom Duffy (Paul Giamatti), who is the running mates campaign manager. Tom tries to lure Stephen into jump ship from his current position and work for his guy Senator Pullman. Stephen declines and that is when Tom lets him know that the race is much closer than he thinks. Tom informs him that they are in position to capture North Carolina’s delegates from a deal with the governor.

Stephen lets his team know of the situation and Paul comes up with a plan. Walk away from Ohio immediately and take a loss and head over to North Carolina to offer the governor a higher position if Morris is elected for his endorsement vote. Morris does not go for it and decides to stick it out in Ohio.

Meanwhile, a young intern named Molly Stearns (Evan Rachel Wood) takes interest in Stephen. They meet up outside of work where it is admitted that she has wanted him for some time now. He knows that they must keep this a secret but what he does not know is that he will soon discover a secret that could end the campaign in a heartbeat.

The ensemble cast is comprised of a collection of well-seasoned actors and actresses. A group that you would expect great performances from and they fulfill those expectations. With a cast of; George Clooney, Ryan Gosling, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood and Marisa Tomei, you just cannot go wrong in terms of performance.

Although the entire cast was great, the obvious stand out was Gosling. Watching his character development was my favorite quality of the film. You see Stephen changed from a guy who just wanted to win the polls to a guy that just wanted to get ahead in power.

If there is one thing you take away from The Ides of March it is that all politicians are dirty, even the ones you think are the good guys. Scandals are just the nature of being in politics, being under the microscope on everything you say and do does not help. It is nothing that most people did not already know which is why the storyline is fairly compelling but ultimately one that is not hard to predict how the scene would end once it had started.

The Toronto International Film Festival has started announcing titles of films that will be playing at it’s 36th annual festival held from September 8th – 18th 2011. Last year the TIFF had 246 films that were part of the festival, which included many world and international premieres. This year’s lineup looks to be very promising as it includes the works from; George Clooney, Francis Ford Coppola, Lars von Trier, Morgan Spurlock, Cameron Crowe and Jay & Mark Duplass. This year Way Too Indie’s very own Blake Ginithan will be attending TIFF and will be reporting back his thoughts on it so stay tuned.

There are too many films to list for one article so instead I will list some of the most exciting and big-named films coming to TIFF in 2011.

Why excited: It stars one of my favorite actors Philip Seymour Hoffman. Speaking of stars it is loaded with them; George Clooney (who also wrote and directed it), Ryan Gosling, Paul Giamatti, Marisa Tomei and Evan Rachel Wood.
Synopsis: An idealistic staffer for a newbie presidential candidate gets a crash course on dirty politics during his stint on the campaign trail. Based on the play by Beau Willimon.

Why excited: Again, Philip Seymour Hoffman. Brad Pitt and Jonah Hill certainly do not hurt either.
Synopsis: The story of Oakland A’s general manager Billy Beane’s successful attempt to put together a baseball club on a budget by employing computer-generated analysis to draft his players.

Why excited: Not only is it black and white but it is a silent film.
Synopsis: Hollywood, 1927: As silent movie star George Valentin wonders if the arrival of talking pictures will cause him to fade into oblivion, he sparks with Peppy Miller, a young dancer set for a big break.

Why excited: The film is going to be a big mind-fuck. Plus got to love John Hawkes.
Synopsis: Haunted by painful memories and increasing paranoia, a damaged woman struggles to re-assimilate with her family after fleeing an abusive cult.

Why excited: 50/50 shot of being funny or lame but I enjoy Seth Rogen.
Synopsis: A comedic account of a 27-year-old guy’s cancer diagnosis, and his subsequent struggle to beat the disease.

Why excited: Any director that gets banned from Cannes is pretty badass. Plus Kirsten Dunst won Prix d’interpretation feminine at Cannes from her role in this film.
Synopsis: Two sisters find their relationship challenged as a nearby planet threatens to collide into the Earth.

Why excited: Looks like it might be a decent action movie.
Synopsis: A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.

Why excited: Nominated for the Palme d’Or at Cannes this year, this foreign film looks incredible in an artsy kind of way.
Synopsis: A brilliant plastic surgeon, haunted by past tragedies, creates a type of synthetic skin that withstands any kind of damage. His guinea pig: a mysterious and volatile woman who holds the key to his obsession.

Why excited: Sounds messed up, in a good way.
Synopsis: Plagued by a series of apocalyptic visions, a young husband and father questions whether to shelter his family from a coming storm, or from himself.

Why excited: Jay and Mark Duplass are amazingly talented indie directors with their own style.
Synopsis: When he leaves his house on a banal errand for his mother, Jeff discovers that the universe might be sending him messages about his destiny.
There is no trailer for this film yet

Why excited: The synopsis sounds very intriguing. Seeing parts of the film upside down sounds brilliant.
Synopsis: Tul, a hitman, is shot in the head during an assignment. He wakes up after a three-month coma to find that he sees everything upside down, literally. Then he meets a girl that turns his world even more upside down. Who was trying to kill him in the first place?
There is no trailer for this film yet

Why excited: Why not?
Synopsis: Idiosyncratic, cheeky and uncategorizable, the films of Guy Maddin are testaments to the singular vision of a great contemporary cinema artist, and Keyhole may be his boldest film yet. A surreal indoor odyssey of one man, Ulysses Pick (Jason Patric) struggling to reach his wife (Isabella Rosellini) in her bedroom upstairs, this hypnotic dreamlike journey bewilders and captivates.
There is no trailer for this film yet

Philip Seymour Hoffman stars in his directorial debut in Jack Goes Boating, a film that is adapted from his acclaimed Off Broadway play. Considering Philip Seymour Hoffman is one my favorite present-time actors, keeping my expectations for the film in-check was troublesome if not impossible. Still, I try to give an unbiased review of this indie film, which I confess was not easy.

Jack Goes Boating is about a single shy limousine driver in his 40s named Jack (Phillip Seymour Hoffman). His best friend happens to be his co-worker named Clyde (John Ortiz). Clyde’s wife Lucy (Daphne Rubin-Vega) works in a funeral home with Connie (Amy Ryan). Connie is also single and shy so Clyde and Lucy decide to play matchmaker as they both seem perfect for each other. They invite Jack and Connie over for a dinner date.

Going boating is somehow brought up in conversation and Jack, without realizing, makes the mistake of setting a date with Connie in summer, after they had just met. You can tell he is uncomfortable around women. Good thing for Jack is she is not fazed by the six month future date, but the bad thing for Jack is he does not know how to swim.

A similar mistake is made on their next encounter which takes place in a hospital. The two both agree that waiting for summer to come is going to be a while so Jack comes up with the idea of cooking her dinner. The suggestion makes Connie very happy and confesses that no one has ever cooked for her before. Jack realizes that he not only has a place to cook, living in the basement with his Uncle, but he does not even know how to cook. Jack continually puts himself these situations but seemingly not on purpose but rather out of sheer awkwardness Jack possess as a conversationalist.

Luckily for him, Clyde is there for him. Clyde bails Jack out by teaching him how to swim and letting him borrow his kitchen to cook in. And if that was not enough, Clyde even knows someone that can teach him how to cook. Needless to say, Clyde is a friend you can count on.

However, Jack gets the opportunity to return the favor to him when Clyde tells him that his wife has been cheating on him. Jack is no longer the one in need of help. Although, Jack admittedly states that he cannot relate to the situation, he still helps Clyde by allowing him to vent his problem.

As Clyde’s relationship with his wife is on a downward spiral, Jack’s is just starting to blossom. We see more than them just changing roles with their relationships, we see a transformation among their lives. The ending is up for interpretation but I think Clyde is ultimately the one looking up to Jack and perhaps be the one that dependents on him more now, instead of the other way around.

The scenes at times are almost painfully awkward but it fits because both Jack and Connie are awkward too. For an example, when Jack visits Connie when she is in the hospital, he brings his tape player and asks her to listen to a song. We are left to just watch her as she is listening to the music with headphones on and they say nothing. Realistic? Yes. But a little strange as a viewer, definitely.

The characters were not given much background at first, instead the film jumps right in and you learn about them along the way. Which was a little off-putting at first but as you learn more about the character you can then start to connect with each of them. Eventually, we can empathize with the characters about what they are going through.

Jack Goes Boating is based on the play by Bob Glaudini and three out of the four main characters were in that play, so playing the role for them should have felt comfortable. One would have thought Amy Adams would have been part of that play as she easily fits right in but she was the new addition. I would have liked to have seen her up for Best Supporting Female for the Independent Spirit Awards this year instead of Daphne Rubin-Vega who played Lucy.

Philip Seymour Hoffman is one of the most under-rated, or at least forgotten about, current actor on screen. His acting performances are nothing short of brilliant and here is no exception. He seems nature playing the shy and vulnerable character which is one we have seen from him on a few films.

The soundtrack on Jack Goes Boating was both pleasant and fitting. It contains a few indie and folk bands which include a song from DeVotchKa, Cat Power and Goldfrapp as well as multiple songs by Fleet Foxes.

I had higher hopes for Philip Seymour Hoffman’s directorial debut but unfortunately the outcome was slightly above average. The dialog seemed out of place in a few spots and my guess is some scenes in general just worked better on stage. The transition from stage to screen is not an easy task as this film proves.

Soon as I heard that Philip Seymour Hoffman was in a lead role in a new movie I immediately got excited. Unfortunately, when you hype up a movie too much it must live up to high expectations which most of the time result in disappointment, which is how I felt at the end of this movie. But don’t get me wrong, Doubt is a good film, just don’t hype it up too much.

Doubt is set back in 1964 at a Catholic school in the Bronx. At this church a nun (Meryl Streep) suspects something foul is going on between a priest (Philip Seymour Hoffman) and a young black student. She squares off against him to get him removed from the church. This proves to be a difficult challenge given the fact she has no real hard evidence.

The acting in this movie was amazing. Hands down, top notch acting by both Philip Seymour Hoffman and Meryl Streep. Philip is easily becoming one of my favorite modern day actor. For no real reason, I was never particularly a huge fan of Streep but this movie really changed my mind on her. I now have great respect for her talent. Amy Adams did an excellent job with her smaller supporting actress role. The drama between Hoffman and Streep was done very well, there was even a point in the movie where I got goosebumps from the argument that they were having. The movie was filmed very well, some interesting and unique camera angles. Not an easy thing to accomplish in such a dialog heavy movie such as this.

Since it is such a dialog heavy movie, I can definitely see this not being a movie for everyone. It’s dry, slow moving, and not a lot of action throughout. But that’s not necessarily a bad thing, I really do enjoy movies with those characteristics. I think the thing that hurt it the most is the conflict took too long to develop. Also it was lacked a strong plot, it’s entertaining, just not very complex.

So if you want to see some superb acting, look no further than Doubt. Just be warned that it’s a pretty dry and slow moving film that’s not for everyone.