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Saturday, April 4, 2015

Blue Bloods S05E19 Recap: Through The Looking Glass

Blue Bloods: Time To Let It Go?

Story by David Clark

Blue Bloods season five has been a series of one-and-done episodes. With the season finale looming only a short four weeks away, it might be time to throw in the towel for any chance of a season building story arch. That said, season five has not been all bad. This season has seen hostage situations in a police precinct, wild gunfights, dangerous stakeouts, and high speed chases. It has definitely been enough to keep fans of the series coming back. The season opened with over 10 million viewers. Mid-season the show peaked at a little over 12 million and the most recent episode dipped back down into the 10 million viewer range. The dip in ratings might be more from the shows recent sporadic breaks than from a lack of interest. Whether the show will receive a sixth season remains to be seen but regardless, fans of the series should tune-in for the last couple episodes of season five.

This week Blue Bloods focused on three main storylines each of which followed a different Reagan. Setting the mood for the episode, the opening scene was that of a few gang member initiates setting a homeless man on fire. Normally this would lead the boys (and girls) in blue to embark on a swift police investigation, but this homicide took place in an area where police are not trusted. When police tried to investigate they were met with resistance and the homicide investigation stalled.

A reporter, with an unexplained vendetta against the police commissioners office, took it upon herself to publicize the lack of police presence in the poorer parts of the city. She slandered the New York Police Department claiming it to be more concerned with the affluent portions of the city than the poor communities. Understandably Frank Reagan took issue with his department being attacked in such a manner.

Abandoning his usual cool demeanor Frank dawned a sarcastic and angry attitude towards the reporter when he finally met her. Undeterred the reporter investigated the murder and found the assailant that committed the crime. The reporter interviewed the murderer and released the story but refused to give up the name of the criminal. Hiding behind her rights of free-speech the reporter declined to give up her source. Her convictions landed her in prison for impeding a police investigation that would prevent other lives from being taken in the ongoing gang initiations.
After a visit from Frank Reagan in prison the reporter was released and an anonymous tip was called into the department regarding the name of the assailant. It was never directly said, but it was implied that the reporter finally caved to Frank’s requests for cooperation and called in the tip. Somehow, despite the bad blood between the two, the last scene with Frank shows him and the reporter smiling as they talked and shared drinks at a local restaurant. Even when Frank was potentially in the wrong he managed to come out of this one shining like a rose.

While Frank was mingling with local reporters his son Danny was dealing with his own problems. In a New York style program similar in concept to Scared Straight, Danny is tasked with taking a local 16 year old juvenile girl under his wing in the hopes of turning her into an upstanding citizen. Fans know that Danny is not exactly the mentor type and this episode reiterated that time and again. Danny’s partner Maria sat back and watched the train wreck as Danny and this young girl constantly butted heads.
During Danny’s time mentoring the girl a sting operation was planned with the intention of catching some local criminals impersonating police. Out of spite and because she was a curious girl, Danny’s mentee showed up at the sting operation and ended up with a gun pointed at her head. Of course being a Reagan Danny saved the day, but he was none-too-pleased with the girls actions.

After a long tirade in which he bit the girls head off verbally it appeared like Danny finally snapped. He handcuffed the girl and had her thrown in a jail cell with other inmates. It is not until the very end of the episode when his captain asks him about his decision that Danny confesses he was only bluffing. Danny really cared about what happened to the girl he was tasked with helping. He relayed a story that made it clear he had nothing but the best intentions toward the girl, and that he was only trying to communicate with the girl on a level she would understand.
While Danny learned to communicate with his mentee, Erin was having difficulty communicating with Alex McBride, a detective and friend that operates out of the District Attorney’s office. She opened an old cold case into the unsolved homicide of her friends mother. She had the best of intentions but she never stopped to consider how it might impact her friend Alex. Understandably upset as old wounds were opened Alex chastised Erin for not speaking with him first.

Unfortunately the problems did not end there. Despite her friend’s reaction Erin proceeded with the investigation. It was not until she learned who the murderer was that it started to become clear the emotional baggage she might be stirring up for her friend. The person that murdered Alex’s mother was his father. Long since dead there was nothing that Erin or Alex could do about his murderous father. For once Erin did not look pleased when she solved the case because the revelation of the truth caused Alex extensive pain.
Eventually the two reconciled their differences but it encapsulates why caution is wise when dealing with matters of family. Erin meant well but ended up turning her friend’s world upside down. Alex would probably have been happy going to his grave never knowing that his father was the one who killed his mother.

As is the case with season five, every storyline opened in this episode was closed by the end. There was nothing in episode 19 that gives any hint towards what fans might expect in the upcoming season finale. My personal opinion is that Blue Bloods may be out of fresh ideas. Clearly 10 million people still like the premise of the show enough to tune in from week-to-week, but it may be time to let the series wrap up.

For Recaps of previous episodes please check out the following links: Season 5 Episode 18: Bad Company
Season 5 Episode 17: Occupational Hazards

Discuss this story with fellow SJF fans on Facebook or in the comments section below. On Twitter, follow us at @SandwichJohnFilms, and follow author David Clark at: @Clark_SJF

iZombie S01E03 Recap: The Exterminator

Murderers, Sociopaths, and Zombies. Oh my!

Story by @ErikaAshley

A couple of teenage film makers shoot footage for their most recent film at an abandoned building down by the shipyard when they stumble across a person down in cellar. Over at the morgue Ravi scrolls through his Google Search for “Seattle Zombies” finding a recent post from a local teenager featuring a picture of what looks to be a zombie. He suggests they do some recon and take a look for themselves but Liv refuses, at first, and then reluctantly accepts but insists she eat because she was started to feel ravenous and he wouldn’t be safe around her. The most recent dead man to come into their office is a hit and run victim and after reading the case file for the deceased gentleman, Marvin Webster, Ravi gives her the clear that the brain should be safe to chow on. Just as Liv finishes a much needed snack Blaine drops by the morgue and confronts her as to why she stood him up. She lets him know she doesn’t trust him since he turned her and not taking the news well he leaves.
Back at Liv’s apartment her roommate, Peyton, wants to celebrate her first high profile murder case for a local tech genius, Wally Walker. Peyton asks that she help her prep for the trial cross examination and when Peyton flashes the victim’s picture pretending Liv is the suspect, she has a flashback from Marvin’s memory. She sees Wally shot in the head by Marvin. The next day Liv visits Babineaux at the precinct to inform him that the big tech victim case is connected to Marvin because of a vision she had. Babineaux laughs in her face and dismisses her ridiculous idea. He says he can’t go to his boss without any evidence and the suspect in custody is already looking to be extremely guilty of the crime. Since having eaten Marvin’s brain Liv realizes he’s a hitman sociopath filled with crazy amounts of random trivia factoids. When Liv gets back home Peyton shows her a recent video post on Major’s Facebook profile of him kissing a new girlfriend while they play Jenga at a party. Peyton asks Liv if she’s ok or wants to make fun of the new girl but due to Liv’s new lack of empathy from the brain she’s consumed she awkwardly shrugs the entire thing off. She tries rationalizing knowing the video should have illicit some kind of reaction but she can’t feel anything but curiosity about the case.
Next Ravi and Liv go to the shipyard in hopes of finding the suspected zombie. They start to hear some strange moaning noises coming from the cellar and they peel the boards blocking the top to find a woman zombie stumbling around in the filth. Liv recognizes the woman as Marcie, the co-worker that asked her to go to the boat where she was turned into a zombie. The two stare at her for a moment and Liv begins to throw rocks at her when Ravi tells her to stop. He explains a theory he has that if Marcie is able to feed on human brains she might be able to revert back to her cognitive self. He throws a few tidbits of human flesh including a full brain down to her and suggests they come back to see if she gains her awareness.

Liv heads back to the precinct determined to solve the case and requests help from Babineaux. She fills him in on a new lead for Wally’s bookie, Fred Smith. Babineaux explains to her that Fred Smith is a retired cop that owns Smitty’s Bar where cops go to drink and unwind. When they arrive at the bar they are welcomed with confused and distrusting glances. When they ask to see Smitty the bartender takes a moment to retrieve him but when Smitty arrives and agrees that Wally owes him lots of money Liv presses for more information. The last night Smitty had seen Wally was on the night of his murder when he left the bar promising to pay him. Wally was also at the bar that night and won the trivia game resulting in his photo to be posted on the wall of winners. Babineaux and Liv visit Marvin’s widow at her home and request to see in his office for clues because they have suspicion that his murderer might be someone that knew him. While going through his office Liv has another flashback where she sees Marvin’s murder. They witnesses the car that that hit Marvin and then backed up to run over him again. She writes a few letters from the license plate and Babineaux finds the gun with the silencer that was used to shoot Wally.

The following day Liv searches the on the internet to find the car that was used to kill Marvin when Peyton comes home early and is upset. Liv tells Peyton that if they hadn’t have found the gun she would have sent an innocent man to prison and Peyton argues that Liv has single handedly derailed her career and is showing no remorse. Liv sits in their apartment apathetic to her roommates woes. Later at the morgue Liv tries to rationalize her new sociopathic episode and Ravi suggests she eats a new brain but warns her that Marvin’s murder might go free because she won’t be able to see his memory’s anymore. She agrees to finish the case when Major comes in to the morgue with a friend. He apologizes for not answering her text and says they need help with getting in contact with police officer. Major’s friend, Jerome, has a missing friend, Eddie, that’s missing from his shelter home. She takes them to Babineaux and they give him information about Eddie’s last whereabouts and Babineaux promises to give the details to missing persons and move him up on the list.
The guy that owned the car that killed Marvin shows up at the precinct for Babineaux and Liv to question. The man said he knows the person who recently bought his car and shows them the picture from the paper of Wally’s investor, Don Watts. The man informs them that the car still has low-jack on it and they could use the information to locate the missing vehicle. Later Babineaux and Liv bring Watts into questioning and grill him over the vehicle they finally were able to locate. The car had Marvin’s blood and hair on the bumper and his own hair in the car which quickly jogged Watts’s memory. Watts lawyer reminds the two that Watts is only there as a courtesy unless they are charging him. Babineaux confronts him as to how and why he killed Wally then Marvin. Watts uses his wits and power leaving Babineaux forced to connect him to Marvin in order to convict. Babineaux and Liv then use Marvin’s vehicle’s GPS to take them on a short journey to his most recent stops. Liv reluctantly consumes more of Marvin’s brains in order to have another vision. While Babineaux questions some bystanders at their recent stop Liv has a flashback placing a witness at Watts and Marvin’s last meeting where they argued over the price of killing Wally. She informs Babineaux and tells him she’s sorry she can’t look into it further because she has another arrangement to attend.
Ravi and Liv go back to the shipyard where Marcie is still in the cellar with no change. Ravi tried to take a specimen sample to examine and Liv, even more removed from her usual self, tries to find a rock to use to kill Marcie for good to put her out of her misery. Ravi argues with Liv to let Marcie be that he’ll try to cure her while attempting to get a sample falls into the pit where Marcie attacks him. Liv stands at the opening watching the fight and finally snaps to when Marcie almost gets to Ravi. Liv turns full zombie and bashes Marcie’s head in with a pipe and nearly moves towards Ravi when he tries to console her and bring her back into herself. She returns to normal and they make it back to Ravi’s car. Liv feels so guilty for almost letting Ravi die and he accepts her apology when they get a call from Babineaux needing them both to head over to the precinct.
When they arrive Watts and his lawyer refuse to cooperate any longer because of the allegations of Watts’s involvement. Babineaux questions Watts further and fills him in on the details that they were able to locate the witness a garbage man that picked him out of a lineup and can testify to his connection to Marvin. Peyton enters with a plea deal for Watts and against his lawyer’s advice Watts signs the deal. Peyton and Liv exchange silent apologies and Ravi was happy to assist in the case by pretending to be the garbage man. When all was said and done Liv heads back to the morgue and half tempted to remain numb by eating more of Marvin’s brain decides against it and gets rid of it. She allows herself to feel the pain of Major moving on and the guilt of killing Marcie.

Jerome continues his search for Eddie at a nearby skate park and ends up asking Blaine, whom he doesn’t know, if he has seen Eddie. Blaine tells him he knows exactly where Eddie is and offers to take Jerome. He excitedly agrees as he hopes to see his missing friend and they walk into the night together.

I rather enjoyed this episode because it digs a little deeper into what could happen to Liv if she isn’t too careful. Leading up to the additional zombie it was almost unbelievable that Liv and Blaine could continue functioning as undead but still “living.” With Marcie’s condition being full-on-zombie-mode the there is a chance that no matter how often Liv eats brains that could be her ultimate end result. I’m looking forward to see how the writers move the story along to include more realistic zombies and possible play with the idea that Liv might not be able to stay “human” much longer.

Custom Fan Box: Review: April 2015

Our subscription box reviews continue with Custom Fan Box.

Review by Matt Cummings

Subscription boxes - the monthly subscription service - are all the rage these days: you can go with the standard themes behind Loot Crate, choose a clothing line, and even get a little kinky from Unbound. While I haven't partaken of the latter, I have gotten deep into several geek boxes. This time, it's the new service from Pop-Up Tee's Custom Fan Box. Here's the deal: you choose the single month plan - that's all the choices you're given - and then select from a variety of radial boxes broken down into categories like favorite movies, television, etc. You're also asked to choose a shirt size, which doesn't appear to be the case for May's offering. That one asks you for a shoe size. But we're worried about April, and so here's the breakdown of Custom Fan Box's inaugural offering.

First, let's be clear about expectations: you're promised a collection of items worth more than its $29.98 "subscription." I say that because currently you can only choose a one-at-a-time option. Also, remember that due to the many, many choices you're given, each box is totally customized; therefore each experience will be different. I chose items including Marvel, DC, Godzilla, Lord of the Rings, The Big Bang Theory, Star Wars, and bacon. Yes, I had to choose a food.

This arrived in a Priority Mail box. Not a great start.

Upon cracking the case, things immediately improve with a quick glance. Looks like a t-shirt and Vinyl Pop! figure.

And yes, the shirt is excellent! Well-made and fits great.

The Vinyl Pop! X-men Deadpool is straight-up cool. This one will not be flipped!

The good news continues with this excellent Godzilla coffee cup. Again, another item I will be keeping.

Then we get to the smaller pieces, some of which are a bit...odd. Like the Bacon Mints. Eeewwww.

Finally, we get these two great pins, one from The Big Bang Theory and Lord of the Rings. It's a nice conclusion to the box.

In the end, April 2015's April's Custom Fan Box is an excellent first-at-bat for the company. The idea of choosing your own custom-filled box with terrific exclusives is far more interesting when compare to Loot Crate or other geek-related subscriptions. The only issue here is cost: at $10 more than Loot or similar packages, it's an expensive alternative; however, what you get is superior to the sometimes uneven Loot. If you're thinking of making this a monthly effort, you'll have to visit the site regularly to choose your preferences and pay. At this point, I do plan on doing exactly that.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

Friday, April 3, 2015

David Ducovny Thinks Broadcast TV Needs Shorter Seasons

Here's why his recent comments are absolutely necessary in order for network television's survival.

Story by Matt Cummings

Network television - specifically CBS, NBC, ABC, Fox, and The CW - are in a sort of renaissance. Fueled by some of the best programming we've seen since the "Must See" era of 1994-1995, shows are grittier and more realistic than ever before. Yet, some would claim the opposite, that the current formula for television is outdated and could lead to its death unless big changes are made. With pay television opting for shorter seasons (that is, between 10-13 episodes) with shows like the Amazon Original Bosch, broadcast television has been slow to catch up. Recent trends - such as the short run for Marvel's Agent Carter - suggest that someone is listening. But, has there been enough to change the entire industry?

That subject has been on our minds lately, as we've discussed it several times on our podcast Inside the Bucket. But now, recent comments by none other David Duchovny lend credence to the belief that television must do something large-scale and soon, before audiences leave potentially put them out of business.

It all started when Duchovny spoke to Variety at NBC’s Summer Press Day. There, he stated that he would have been unable to commit to The X-Files six-episode run if Creator Chris Carter had wanted a traditional 22-episode run. But it was Duchovny's additional comments about shorter seasons could keep network TV alive that got our attention.

“Television started to change in that now there are limited runs. I think it’s the way the networks have to survive in the future. I think you can attract the talent you want by having a shorter season and you can tell more interesting stories… I would never have gone and done another 22 episodes of ‘X-Files,’ but we’re going to do six — well, that’s like doing a movie. That’s like continuing the show in a way that we all can do at this point in our lives so that’s it all came about.”

For us, the suggestion makes absolute sense, some of the reasons we present below:

Actors Love It
For someone like Duchovny - or really anyone for that matter - the short-run series make total sense. Rather than try to get top-shelf actors to commit to the grind of a 22-episode season (which takes 9 months to complete), the shorter runs offer more opportunity for someone between a film or other project to commit. Could Netflix have gotten Kevin Spacey for House of Cards with a traditional requirement? How about HBO and Matthew McConnaughey in True Detective? The same could be said for CBS's Extant and Actress Halle Berry - her attendance was based entirely on CBS' promise to keep the Science-Fiction drama at 13 episodes. In Spacey's case, House of Cards has benefited tremendously, taking home a slew of Emmys, mostly because of his attendance.

The quality of seasons vastly improves
For decades, audiences have enjoyed the current 22-episode runs without asking whether they were getting the best season possible. Mired in needless side stories, network television audiences have become more aware of the problem, and shows have suffered for it. Watch anything that involves a dedicated story arc - like SJF favorites The Flash, Arrow, Person of Interest, or The Blacklist - and you'll see exactly what we're talking about. Slogging around for 22 episodes hurts the quality of those and many others, forcing writers to extend plots far beyond their lifespan. Shorter seasons would solve that problem, only delivering the best possible stories, and keeping fans around for its entirety. We also think shorter seasons help struggling shows, because it forces their writers to get to the point with their characters and situations. And in our fast-paced world, who has time for 22-epiode arcs anymore?

Is a sea change coming?
Will shows like The X-Files limited run pave the way for shorter seasons? Apparently, some people are listening: several shows like Fox's The Following and 24: Live Another Day have already benefited from their 15- and 12-episode runs respectively. The bold chances those series took can certainly be traced to shorter runs; but with fewer episodes comes more shows, and some have correctly countered that some never deserved to see the light of day. Would that result in audiences seeing a diluted pool, with shows being forced onto network television that had no business being there in the first place?

If the trend is to shorter seasons, we hope the quality of programming doesn't decline. But does the industry need to make a wholesale swap, cutting all shows to 10-13, in order for it to survive? We've already entered the trial period, but whether it becomes practice or remains an interesting idea limited by old-school network execs, the one player in this game - the audience - will ultimately dictate what happens. What do you think: is it time for a change, or are you happy with the current format?

The X-Files short series should premiere on Fox in 2016.

Source: Variety

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

April 2015 Movie(s) On Our Radar

While several April titles look appealing, only release gets our full attention...again.

Story by Matt Cummings

For a year that's supposed to be the highest-grossing in the history of cinema, February and March 2015 did nothing to help that expectation. In fact, both have turned out to be something close to disasters, with March delivering the lowest box office since 1997 ($461.9m). Even Cinderella's very nice $156m monthly haul wasn't enough to offset Chappie's scant $30m, or Run All Night's $24m). Home and Get Hard could turn in decent money by April's end, but none of that is guaranteed. So, it's with a bit of sheepishness that we present you yet another month with very few - ok, only ONE - film that we know could singlehandedly keep April alive. And while there's potentially appealing stories about corporate greed (Ex Machina), a comedy about growing old (While We're Young), and a drama about a man on the FBI's most wanted list (True Story), we'll keep this month's list purposely short.

April 3rd
Furious 7
Plot: Deckard Shaw seeks revenge against Dominic Toretto and his family for the death of his brother.(IMDB)
Director:James Wan
Starring: Vin Diesel, Paul Walker, Dwayne Johnson
Why We're Interested: Duh. Fast cars, exotic locations, women in bikinis. What's not to like? In all seriousness, this one is going to be hard to watch, not because of the unrealistic but totally awesome stunts, but because this is Actor Paul Walker's last film. Killed in a car accident in 2013, all of Hollywood held their breath while the heads at Universal and Wan desperately tried to finish Furious 7 with some sense of ending for Walker. We expect the experience to be everything the series has been so far - loud, funny, and entirely predictable - and a bit sad as there will be a finality to Walker's character Brian O'Conner. Whether that will be in a violent death that could elevate the series to new heights or the predictable drive off into the sunset, we'll just have to wait and see. The addition of Jason Statham as Deckard Shaw should also be memorable.
Watch the trailer for Furious 7:

How Long Will Furious 7 Lead?
Much like last April 2014's debate we had about Captain America: The Winter Soldier, the only question worth discussing here is not IF Furious 7 impresses, but for how long. Numbers are already pointing to a $130-150m opening weekend, and with nothing except small dramas and comedies to opposed it, Furious 7 could rule all month, especially if fans find Walker's story appealing. This is the only guaranteed winner out there this month, so enjoy it if that's your thing. Otherwise, listen to our podcast Inside the Bucket for things we're watching that you shouldn't miss. But don't wait too long: there's a little film called Avengers: Age of Ultron with a May 3rd release.

Be sure to add these to your Movies To-Do List:
  • April 3rd: Furious 7

    Which films are you looking forward to this month? Comment below and join the conversation!

    Discuss this story with fellow SJF fans on Facebook.  On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.


  • X-Men: Days Of Future Past "Rogue Cut" Is 17 Minutes Longer

    X-Men: Days Of Future Past” director tweeted and clarified that the runtime of “Rogue Cut” of “X-Men: Days Of Future Past” is actually 17 minutes longer than the original cut due to the changes he’s made.

    Anna Paquin’s iconic character X-Men character, Rogue, actually had scenes in “X-Men: Days Of Future Past”, but it got cut because it just didn’t fit into the big picture that was always meant to focus on Xavier (James McAvoy)

    Thankfully, 20th Century Fox wants to bring you these deleted scenes in the movie’s own extended version; these scenes will be added back to the film and re-released as the “Rogue Cut” which contains extra footage, not just Rogue scenes, but other sequences involving other characters as well.

    Please Leave A Comment-



    Wells finally revealed his secret to Cisco, and Barry had to admit that Joe was right about Dr. Wells, but a bit of time traveling nulled that timeline, as well as the kiss he shared with Iris.

    15 years ago. Barry's mother puts Barry to sleep when a pair of speedsters enter her home in a fight. They fight around her, and she ends up dying.

    Barry shows everything that he knows about Wells. Wells is a speedster, and his machine made Barry the Flash, it's all connected. Since Barry got struck by lightening Wells has done everything he could to make Barry faster. They're unsure if he's the Reverse Flash, but he's something. Whatever Wells wants from Barry he's been patient, scary patient, since this all started fifteen years ago.

    Balloons float down from the sky. They look innocent enough, until the balloons touchdown and begin exploding. Barry runs in and saves one of the children before he can grab the explosive gift.

    Joe, Barry, Cisco and Caitlin watch the Trickster's video as he claims responsibility. He's a copycat killer, copying a nutcase from a few decades ago. James Jesse was the original Trickster, one who terrorized the city, causing many casualties. Barry points out that he was the most lethal until the accelerator accident. Joe and Barry plan to pay him a little visit and see what he knows about his groupie. Wells wonders if Barry is okay, but Joe brushes it off, even the Flash can wake up a little cranky.

    Past. The young Barry gets transported to the street as the two Flashes fight. Yellow and Red clash. Reverse Flash finds that the fight has left him depleted, and no longer able to run in time. The Reverse Flash removes his mask, but its not the Wells that we know.

    Joe and Barry head to a place in the prison that they've never been to. It was specially built for James. He was seeing the prison psychiatrist, until he convinced that psychiatrist to commit suicide. Barry and Joe are brought into a room, with given some red ropes. James can smell them in Barry's pocket. Barry hands over the licorice and the case files. No one was killed in the attack yesterday, but the bombs were similar to the ones that James use to use. It was the same chemical composition. James thinks its impossible, he never shared the formula. The newest incarnation calls himself the Trickster too, and James does not like the sound of that. He is nothing like James. James finally rises to retrieve the items. If he did know who it was, he would tell the police so that they could catch the amateur. Joe asks him to help them. The Trickster won't be tricked, but he assumes that this copycat found his lair. James tells them that when they find him, they should make sure their safetys are off.

    Iris goes to see Eddie. She's worried that something has happened to Mason Bridge. He's a reporter though, so Eddie thinks its normal for him to disappear, chasing down a story. Iris thinks that its something more. Eddie wonders if he's running from a story, or lying low because of a threat. Mason thought threats were no more than nuisances. He was investigating Wells and now he's disappeared, and she has a bad feeling about it. Most of the police resources are being used to find this Trickster, but once he has a free moment, he will look into Mason's whereabouts.

    Joe and Barry head to old Trickster lair. It looks like its been untouched since the 90's. The Trickster seemed to be very ticked off that someone was besmirching his name. Barry finds a hidden door, and he has to use some super fast wiggling to get into the room. The door pops open, and Barry has to grab Joe fast as he sets off a trap. Once the smoke clears, they see that the room has been completely cleaned out.

    Joe and Barry head back to the prison. Barry takes a moment to stop by his father's cell. He's very close to finding out who really killed his mother, and to freeing his father. His father doesn't want him to keep looking into this, but Barry isn't going to stop.

    James greets Joe and Barry, but notes that they aren't baring sweet gifts this time. They're a little miffed that the place they were sent was booby trapped. James tells them that one can never be too careful. Barry tells him that he was protecting nothing. Everything was gone. James begins to lose it. This insult cannot continue, the new wannabe is stealing his legacy and he won't stand for it. James had a bomb inside, one big enough to blow up all of Central City. Cisco calls with news, the new Trickster just put up a vlog,that he thinks Barry should really see. Barry shows James the vlog, where he talks about a bigger display, and all James can focus on is the fact that he's wearing his mask.

    Wells goes over the findings with Joe and Barry. Barry's jabs get more brutal towards Wells. Cisco tells him that the guy is using some crazy Felicity-scambler. Until he uploads a new video, finding his location will be tough. Caitlin is sure that they will catch him. Wells asks for an aside with Barry. He tells Barry that he knows what he's thinking, what he's feeling. Wells thinks that he knows what Barry is thinking, that talking with James had brought on feelings about his father. Barry agrees that knowing that his mother's killer is hard on him. Wells thinks they should focus on the case at hand. Barry gets a text and runs off.

    Past. Wells babbles on the beach. He sketches the buildings that will eventually become S.T.A.R. Lbas. His wife gives it the name, and it looks picturesque. The Reverse Flash watches Wells on the beach from a distance.

    The Flash sneaks up on Iris. She asked to meet him in her former workplace, she thought it was kind of their thing. Iris tells him that Mason Bridge is missing, and she's worried. Eddie says that he's fine, but she's not so sure. For her, he will look into it. Iris notices that he appears to have a heavy heart. The Flash isn't sure why he even wears the mask with her. Cisco signals that the Trickster is broadcasting another message. The Flash asks to use Iris's laptop. The Trickster claims that he's going to be nice, to give them an area to find the bomb. Barry races off to search that area. He runs the streets, but can't find anything. The bomb should be giving off some sort of signal, but its nothing that Cisco has been able to pick up. Wells thinks that its a trick, tells Barry to trust him. But Barry remains adamant that he's going to continue to look. Barry finds the crate that the Trickster said the bomb would be in, but the crate is empty.

    The Trickster isn't anywhere near there, he's causing explosions elsewhere. Cisco gets a notice that there has been an explosion at the prison. Wells was right, it was all a diversion. It was all a ruse to release James Jesse. Barry calls into Joe, that the bomb threat was a diversion to break out James Jesse. Joe already knows, they have video footage of the escape, and worse they have a hostage, Barry's father. Barry does not take the news well.

    The Trickster pulled one hell of a trick, and he's back to laughing manically ala the Joker. There's a reason that Mark Hamill has voiced that iconic character many times, he brings the crazy. The Trickster's protege is so happy that they're in the same room. He's gushing at him. Barry's father tells him that James is just using him. The young kid doesn't know why they took Barry's father. It's because his son works for the police. Barry's dad is confident that if the police don't catch James, then the Flash will. James hopes so. The protege asks whats next, he said that he had something big planned. He has a big bang planned. The protege's next question is why him. He knew that he could be trusted, that he could carry out his plan, and well he has a Darth Vader moment, he's his father.

    Joe fills Team Flash in on his findings. The protege is named Axel and he's been corresponding with James for the past decade. And no one noticed this sooner? Caitlin is sure that they will find his father. Barry admits that he should have listened to Wells.

    Past. Wells's wife has trouble straying awake on their drive home. The other speedster has something planned for them. A spike strip strategically placed causes their car to crash. Tess doesn't look good, and Wells begins to panic. He sees the man, and thinks that he's there to help. Wells tells him to hurry, she's dying, but the man tells him that she's been dead for centuries.

    Barry worries over his father. Joe knows that he was taken for leverage, he's fine at the moment. Their team is looking for him. Barry isn't happy to leave his father's fate in the hands of the man who may have killed his mother. It doesn't make sense. Why is Wells helping him? He doesn't understand his motivations. Joe tries to help him hold it together. Barry and Wells are connected. Barry is the type of person who always sees the good in people. As fast as he is, that's his real power, and he can't let Wells take that from him. Joe tells Barry he's not sure why Wells is helping, only that he is, and they have to trust in that for now.

    Iris enters the gala to re-elect Bellows, taking a glass of offered champagne, unknowing that she just took it from the Trickster. Her reporter skills really suck, since he's not really in much of a costume. The champagne is almost out, and the fun is about to begin. Iris approaches Mayor Bellows about his lovely party. The Trickster takes the microphone, and cracks some jokes. Bellow silences the mic, and asks the Trickster who he is. James Jesse introduces himself, removing his disguise. He then tells everyone in the room that he's robbing them, and to make sure they're compliant, he's poisoned them. They have one hour before they're dead. One man begins to froth at the mouth, he arrived to the party early, and drank the first glass of champagne. He's beyond the antidote's help. It's a good motivation. He tells them that they have time to call their bankers and transfer money to the account on their glasses. If anyone tries to call 911, then they'll be poisoned by lead.

    Cisco searches traffic cameras for leads when Joe gets a call from Iris. Joe puts it on speaker phone, and they hear the Trickster's little speech. Barry races off, while the team works on synthesizing the cure.

    James appraoches Iris, who happens to stand out since she's not only in the middle, in red, and not on her phone or panicking like everyone else. He's been in prison a long time, and Iris looks delicious. She tries to sass him, but the Flash arrives, slamming James into a wall, asking where Henry Allen is. He tells him that he's in heaven where the Flash will soon be. Axel straps a bomb to The Flash's wrist. They're gonna play a little speed game. If Flash slows to under 600 mph, he'll explode, if he tries to remove the bomb he'll explode. The Flash speeds off. Cisco tells him that it appears the Trickster wasn't bluffing, the device is linked to a speedometer. Barry knows that he cannot maintain that speed. Caitlin isn't sure how to get the device off without hurting Barry. Wells tells Barry that he needs to find a wall and run through it. If he can get his cells to vibrate at a high enough frequency then he'll phase through the wall, and the bomb will be left on the other side. It sounds just crazy enough to work. Barry doesn't think that he can do it, but Wells believes in him. Wells talks him through it, telling him to feel the air, the lightening. Become the lightening, its part of him, part of something greater, that's his. Barry goes all zen, and he shifts through a truck. It worked. It felt weird, but the device is off. It explodes, and Barry is safe.

    The Flash races back through the gala. He speeds through the inoculation process, which may not be sanitary, but it is efficient. He approaches the Trickster, asking where Henry is again, James is going to jail either way.

    Henry waits for his rescue or death. Barry speeds through his traps,and rescues his father. Henry laughs looking at his son. Barry unmasks himself. He's always looked good in red.

    Barry takes his father to S.T.A.R. Labs. He's very impressed, most of the equipment in that lab wasn't around when he was working. Cisco offers to give him a crash course. Caitlin offers him a hug. Henry is in awe of everything. He asks his son what it feels like to run like that. It feels unlike anything else. Henry thanks Wells for everything that he's done for his son. Wells has kind words for Henry about Barry. He's just doing what he can. Henry is ready to return to jail, but Joe doesn't cuff him to return him. Caitlin gives Barry a hug, he seemed like he could use one too. Wells tells Barry that his father is an extraordinary man. Barry feels lucky to have him, and lucky to have Wells too. Barry walks away after his lie.

    Past. The man pulls Wells from the car. In the year 2020 Wells and his wife launch a successful particle accelerator and change the world, but if he's going to get back to his time he needs to speed up the time line Eobard tells him. He's not coming to save Wells, but to save himself. He uses a weird device, linking himself and Wells. It gives Eobard Wells' face, and leaves the man crumpled on the ground.

    Joe had asked Eddie to meet with him, he wants to talk to him about Iris. She was looking into Mason Bridge's disappearance, and he can't let that happen. The Flash runs in, and Barry unmasks himself. Eddie looks at him in shock. Joe tells him that they need his help.

    Eddie spins a story that Mason moved to Brazil. There was a girl involved, and he decided to go off the grid, to follow this girl. Iris guesses she didn't really know Mason. Joe and Barry arrive for dinner. Iris seems to believe the story. Joe thinks it better to keep her in the dark for her safety for now. Eddie isn't so sure, but he'll go with it. He wants to know the next move. Barry tells them that when Wells was talking in through the phasing, he sounded like he was speaking from experience. He's sure that Wells is the Reverse Flash.

    Past. The police come across the car accident, they help Wells out of the car. He tells them that he's Harrison Wells.

    Discuss this review with fellow SJF fans on Facebook and make sure to follow us at @SandwichJFilms on Twitter, and follow the author Sue Lukenbaugh on Twitter at @suepafly.

    Please Leave A Comment-

    #FURIOUS7 Premiere Highlight Reel

    Continuing the global exploits in the unstoppable franchise built on speed, Vin Diesel, Paul Walker and Dwayne Johnson lead the returning cast of Furious 7. James Wan directs this chapter of the hugely successful series that also welcomes back favorites Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Chris “Ludacris” Bridges, Elsa Pataky and Lucas Black. They are joined by international action stars new to the franchise including Jason Statham, Djimon Hounsou, Tony Jaa, Ronda Rousey, Nathalie Emmanuel and Kurt Russell.

    Neal H. Moritz, Vin Diesel and Michael Fottrell return to produce the film written by Chris Morgan. www.furious7.com

    Please Leave A Comment-

    Exclusive Interview Director ROB HILL #REPLANIT

    Filmmaker Rob Hill, known for his acclaimed doco The Fort Fisher Hermit, has moved ontosomething different… you might say more ambitious. RePlan It, as a series that sees CNN hero Jock Brandis and his team visiting underprivileged villages and communities around the world and helping supply them with machinery and contraptions that produce such vitals as water and a peanut sheller. We spoke to Rob about how the public can help with this project.

    Has it been a challenge getting this project up, Rob?

    It has been a tremendous challenge. Replan It began as a feature documentary about Jock Brandis and his groundbreaking work in appropriate technology. Jock invented a manual operated peanut sheller in 2002 for people in developing countries where they spend an enormous amount of time shelling nuts by hand to deliver them to market. I knew Jock from his work in the film industry, in 2006 Jock walk  so I asked him if I could do documentary about him and his work. He agreed, and I began following him around the world. After about two years of traveling with Jock, the project hit a wall. I didn’t know how to end the story, and one of the greatest challenges of making a documentary is when to stop filming. I wanted this project to be about global sustainability. That progressed into the idea for a documentary series and we began pitching  cable channels,distributors, networks and production companies. We've now partnered with KCET/Link TV, the counties largest public television broadcaster.

    Read entire interview after the Jump...

    Why do you feel so passionate about it?

    My grandfather was an agriculturalist and began working in Africa in the mid-1950's and he was a founding member of USAID (United States Agency for International Development). As a child I spent time with him traveling in Africa and that was huge influence on my life. When I was introduced to Jock's work with the peanut sheller it really struck a cord with me and I was compelled to begin documenting the process.

    How did you meet Jock Brandis initially?

    I initially meet Jock working in various departments in the film industry. Jock technical back ground come from is work over the last three decades as a lighting director and gaffer.

    You direct, but do you also help Jock and his team build their machines?

    Yes, I have help the team build and prototype. Several of the technologies that we've developed for the program have come from our internal conversions and identifying some of corporate sponsors immediate needs. For Herman Miller we developed and designed adaptable school desk and for Sealed Air/Diversey we created a recycled soap machine. Mainly my work with Jock is more that of a “project manager” rather than a producer/director.

    What are some of the places you’ve visited for the series?

    We've traveled to Uganda, Kenya, Haiti, India, the Philippines and Cambodia. Not all of our projects are designed for far off developing countries, we've had great success with sustainable technologies in rural North Carolina as well.

    How can the public help with RePlan It?

    We have crowdfunding campaign going on now. People can find it on Indiegogo at


    There’s incentives for those that do invest, I believe?

    Some of our reward perks help the Full Belly Project send sustainable technologies to communities in need. Backers are not just helping produce a documentary series, they can also help create sustainable development around the world.

    Please Leave A Comment-

    Thursday, April 2, 2015

    Movie Review: Woman in Gold

    Truth, Justice, and The American Way.

    Review by David Clark

    Woman In Gold, a movie inspired by real life events, has a flavor to it that will appeal to some and that will push away others. Starring the ever popular Ryan Reynolds along with Katie Holmes, Helen Mirren, Tatiana Maslany, and Charles Dance, this movie has a lot of star power. At least, it would if the big name actors associated with this movie had the amount of screen-time that the viewing audience was expecting.

    Woman In Gold gives a bit of the old bait-and-switch between what the trailers show versus what the actual movie presents. For example, Katie Holmes is a name that might draw fans to this movie; however, she has about as many words in this entire film as she has in the official trailer. The same can be said for Charles Dance. Why enlist household names in a movie and then underutilize their talent? The roles portrayed by Holmes and Dance could have easily been filled by unfamiliar faces and it would not have deterred from the movie in the slightest. If anything, it was distracting to have such famous actors have such small roles.

    That is not to say the movie is bad. Ryan Reynolds and Helen Mirren have a great chemistry that develops between the two. The individual growth and friendship on display with the duo will have audiences intrigued one moment and laughing the next. Helen plays a woman named Maria. Maria comes from a long line of Austrian immigrants that fled the country during the second World War. Now an elderly woman in America, she has decided to pursue some of her family's most cherished art work taken by the Nazis. With the help of an unlikely friend named Randol (Ryan Reynolds), Maria will stop at nothing to receive justice for her family. Facing obstacles at every turn this movie is a rollercoaster of cleverly written dialogue and personal growth. Helen's character states in the movie that the story is practically out of a James Bond novel; though that might be a bit of an exaggeration the story is quite compelling. On one side is a struggling lawyer played by Reynolds trying to find his place in the world. On the other side is a woman coming to terms with her past and finding justice in the present. Though, if people are planning on seeing this movie for Ryan and Helen be warned, they too are not in the movie to the extent people might think.

    Woman In Gold is really two movies in one. Half of the movie takes place in the 1990s following the characters of Maria and Randol as they pursue their quest for justice. The other half of the movie takes place in the 1940s following a younger version of Helen's character. The younger version of Maria, played by Tatiana Maslany, is attempting to escape from Austria to America. This is a plot point that the press and trailers associated with the movie do a poor job informing people about. This might single handedly be the reason many people walk out disappointed. The trailers depict a movie about Maria (Helen) and Randol (Ryan), yet there are moments in the movie where people might start asking where Maria and Randol went. The movie frequently pulls the audience away from the actors they came to see for long periods of time. Fortunately the half of the movie taking place in the 40s, though unexpected, was done in a manner that looked and sounded authentic.

    The plot of the movie, though light-hearted at times, is balanced by moments that are reminders of how tragic the 1940s were in certain parts of the world. During that time period entertainment venues were filled by opera, art, and symphony music. In the early 1900's the Stradivarius instruments were the pinnacle of music and culture. Woman In Gold remembers that era and fills the background with symphonies that rise and fall; broken from time-to-time by the mournful cries of a cello or violin. The music goes a long way towards setting the mood during the dramatic moments.

    Taking all things into consideration, if people are capable of looking past the way director Simon Curtis yanks audiences back and forth between decades, this is a good movie. There is excellent character development, the story moves along at a fast pace, and the intrigue will have audiences impatiently waiting to see the conclusion.

    Rated PG-13 with a runtime of 109 minutes, Woman In Gold will not disappoint someone going in without expectations. It will entertain if people are in it for the joy of humorous banter, great speeches, and historically grounded narratives. For someone who wants to see their favorite actor or actress hog the screen for two hours, this might not be the right movie.


    Movie Review: Furious 7

    Filled with high-octane stunts and likable additions, Furious 7 roars to a tearful tribute.

    WARNING: This review contains SPOILERS.

    Review by Matt Cummings

    It goes without saying that Furious 7 has been on the minds of every moviegoer since Actor Paul Walker tragically died in 2013. Among the many questions raised was how Director James Wan would find closure for a character that wasn't supposed to die. With a frantic script re-write resulting in an extension of the release date now in its rear-view mirror, audiences this weekend get to judge whether Universal made the right decision to move forward instead of cancelling the project as some have suggested. And while it's not as effective as other entries, this one will delight audiences with its purely over-the-top action, new characters, and a touching tribute to Walker.

    With Owen Shaw (Luke Evans) defeated in London, Team Furious doesn't realize that Shaw's meaner brother Deckard (Jason Statham) has vowed a blood oath to kill them. After a vicious attack that leaves Hobbs (Dwayne Johnson) critically injured and Han (Dijmon Hounsou) dead, the remaining members gather to take Shaw down. But with Hobbs laid up, they'll need help which comes in the form of a shadowy operative named Mr. Nobody (Kurt Russell); he's got the tools including a device that can track him, provided that the team can secure the services of a tech genius that Deckard has already captured. With their newfound allies, Dominic (Vin Diesel), Brian (Walker), Letty (Michelle Rodriguez), Roman (Tyrese Gibson), and Tej (Ludcaris) travel the world to exact their own style of revenge, wrapped in steel and the roar of high-performance engines.

    A review like this is particularly vexing to wrestle, as you hate to be critical about a film that was on life support after Walker's untimely death. You want to honor him, yet you're aware of one giant-sized elephant: the manner in which Walker is written out. It's the least satisfying scenario imaginable and the way Wan and Diesel envision its conclusion bears no fruit and takes zero chances. Popular opinion was to give O'Conner a violent death, because anything less would leave a huge plot hole that could never be closed. What we're given instead is a brotherly body double and Walker's head CG-ed onto it. It looks a little creepy and out of place in parts, reminding me of CLU in Tron: Legacy. At least there it was integrated into the story; here it oddly sticks out.

    Experience holds true that you can't take the core out of someone no matter how hard you try. O'Conner has gasoline and NOS in his veins, which makes his rather sudden retirement all the more difficult to appreciate. There's no big "You have to quit" scene, no "I'm tired and want to quit," no big death that sets the tone for the rest of the film. Perhaps a more violent ending was discussed and ultimately shot-down by Universal, but their decision to press on makes the film less effective. The alternative would have provided for one of the most gripping endings any film had undertaken; imagine audience hatred of Deckard spanning multiple films as Team Furious tracks him down in a big kill scene to end the series. But don't get me wrong, I didn't have a huge problem with their decision, but the one I imagined would have resulted in a much more emotional - and effective - film.

    Wan steps in nicely to steer this ship though one of the most difficult productions in recent memory. He has an eye both for the dramatic and for cinematic over-the-top action, the sheer amount of ridiculous stunts seemingly doubled from Fast 6. The amount of excess here is like an exercise in motorcar masturbation, with fast whips, quick cuts, and Fastlane-like slow-mo to keep things moving. But there's also signs that Wan understands the traditions laid out in previous Furious movies: there's the token booted girls dancing in Tokyo, the bikini girls in Dubai, and more bikini girls in the desert. But more important, he gets the central theme of family, making the most of Chris Morgan and Gary Scott Thompson's script (and its re-write), veterans of the franchise who understand these characters' every heartbeat.

    Diesel is still classic Dom, his deep nasally delivery providing the heartbeat for his love of this fast family he's assembled. Johnson perhaps suffers the most here, for he's only in about 20 minutes of the movie, giving Rodriguez the time she needs to put Letty back together. That kind of character growth is about all you get, so don't expect anything new from Ludacris or Gibson, the one remaining the tech genius and the other the simpering whiner comedic relief. And then there's Walker, whose charm has evolved over the years, pitting his career strangely at odds with itself. Put him in anything other than a speeding car and he was a disaster; give him a ride and the guy transformed into Bullit. Those scenes in which he's featured in Furious are some of the most memorable, with his reactions to a particular sequence in the trailer about as classic Brian O'Conner as you'd imagine.

    The real reason why Furious 7 succeeds lies squarely on the addition of Statham, a great follow-up to Luke Evans' character and a genuine bad guy that few films these days are willing to provide. He is the real deal, a definite threat each time he appears, with the real ability to wreck anyone who comes his way. Russell is a genuine surprise, giving us a combination of Snake Pliskin and Wyatt Earp that works every time he's in scene. I hope we'll see more of him in future installments, because he's frankly a badass whose wise-cracking is a perfect mix for Diesel's team. On the other side, I was disappointed that Lucas Black was offered such a minor role: like Russell, perhaps there's larger plans for Black, but here it's just a glorified cameo.

    Make no mistake: Walker's death will have huge ramifications on the future of this franchise; and while I'm sure there will be a Fast and Furious 8, anything moving beyond that must start with a serious and potentially difficult decision to write off Walker with more finality. Until that moment comes, Furious 7 will delight in its place and should make a few tear up at the end.

    Furious 7 is Rated PG-13 for prolonged frenetic sequences of violence, action and mayhem, suggestive content and brief strong language and has a runtime of 137 minutes.

    Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

    Movie Review: While We're Young

    While We're Young is quirky comedy genius that should make Woody Allen very jealous.

    Review by Matt Cummings

    In Noah Baumbach's While We're Young, the struggling documentary filmmaker Josh (Ben Stiller) is at a professional crossroads: his project has been incubating for 9 years, stuck in a self-important loop with no clear direction, while his wife Cordelia (Naomi Watts) sees Josh slowly growing less flexible and spontaneous. But all that changes when a blast of fresh air courtesy of hipsters Jamie (Adam Driver) and Darby (Amanda Seyfried) reinvigorate the elder couple's lives, infusing them with Sinatra-style hats, a democratic music collection, and a finger-on-the-pulse connection to Brooklyn. Jamie is an aspiring filmmaker and soon finds himself attached to Josh like a son to a father; each begins to emulate the other, and before long they find themselves working on a project that Josh is initially unwilling to undertake. As secrets are exposed about Jamie's past, and one couple begins to learn the ulterior motives of the other, each must decide which version of the truth will win, and whose documentary will see the light of day.

    Writer/Director Baumbach directed Frances Ha, which showed 27-somethings struggling to find happiness in New York. In Young, Baumbach eventually turns a harsh light towards similarly-aged and entitled people who were promised the world but struggle with the prospects of living according to its rules. But the film doesn't begin that way, as Josh and Cordelia see their lives gradually upended in some terrific comedy and quirky moments brought on Stiller's nearly-classic straight man shtick. We've seen him evolve from his Zoolander days in to a disarming lead that you want to see succeed and hate when the inevitable bad things happen to him. The only way for Josh to move on is to get this sort of kick in the pants, even though he soon realizes that Jamie has been playing him. But Driver gives Jamie such a breath of life, which Baumbach masterly executes by simply showing his eclectic tastes, including an apartment filled with stuff from the 80's that he and Darby have made look hip. Sitting on a record collection that the boys from High Fidelity would be proud, Jamie makes it all look so easy, playing board games while Josh and Cordelia's with-baby couples tune into Netflix.

    The comedy mixes in the physical as well as some ad-libbig, some of could be off-putting to some, including a sequence of the couples barfing at a Ayahuasca cleansing party. But it's all in good fun, until the ending arrives to make a commentary about the current generation. It's all a ruse really, as the audience laughs their way to the realization Baumbach has set before us: those who currently rule planet Earth and those who are soon to inherit it are very different. To the young, truth is what you think it is at the time, as evidenced by Jamie's factually-embellished documentary. When Josh tries to expose that, he's quickly dismissed by - of all people - Cordelia's famous documentarian father (Charles Grodin), who guffaws at the notion of real truth. Don't take that as a stinging indictment of youth or the idea of entitlement among the old. Baumbach is here to entertain and make us laugh, and his troupe is effectively arranged.

    Stiller and Watts show off a chemistry that feels completely natural; Driver and Seyfried are less so, but their comedic chops make up for any perceived shortcomings. Seyfried sadly gets the short end of the stick: Darby is always in Jamie's shadow and so too is Seyfried. But her style and warmth give Darby an infusion of youth that in turn bumps Cordelia out of her complacency. Grodin spills out quiet disappointment at Josh with a style that's been his trademark for decades. It's too bad we don't see more of him these days, perhaps another commentary Baumbach would like to enjoin about the way elder actors are treated like castoffs in a growing amount of youth-based films.

    While We're Young isn't going to beat down any box office doors, nor win any awards, its uniqueness and characters give it a life that resonates on many different levels. It has the potential to shine a mirror on the sea change that is occurring in society, where anyone with a cellphone is now a director, while accuracy is barely checked against the facts. Stiller in his second phase is amassing a resume that includes the hilarious and the thoughtful, while Watts compliments him perfectly with a solid performance. Some will find it preachy and self-important, but if you decide to dig deeper you'll find a little gem that will resonate with middle-agers and self-realized 30-somethings ready for something more meaningful than Facebook, TMZ, and SnapChat.

    While We're Young is Rated R for language and has a runtime of 97 minutes.

    Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

    Win Tickets To An Advance Screening For #THELONGESTRIDE In Las Vegas

    Win Tickets To An Advance Screening For THE LONGEST RIDE on April 7th at 7:00 PM in Las Vegas.

    Based on the bestselling novel by Nicholas Sparks, THE LONGEST RIDE is an unforgettable, timeless story that explores the challenges and infinite rewards of enduring love.

    Starring Scott Eastwood, Britt Robertson, Alan Alda, Oona Chaplin, and Jack Huston.

    See how to win after the Jump...

    Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast

    Click HERE to get your tickets.

    DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device.

    Please Leave A Comment-

    Win Tickets To An Advance Screening For #THELONGESTRIDE In Tempe

    Win Tickets To An Advance Screening For THE LONGEST RIDE on April 7th at 7:00 PM in Tempe.

    Based on the bestselling novel by Nicholas Sparks, THE LONGEST RIDE is an unforgettable, timeless story that explores the challenges and infinite rewards of enduring love.

    Starring Scott Eastwood, Britt Robertson, Alan Alda, Oona Chaplin, and Jack Huston.

    See how to win after the Jump...

    Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast

    Click HERE to get your tickets.

    DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device.

    Please Leave A Comment-

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