Why you're right to be psyched about the new 'Star Wars' teaser

John Boyega in 'The Force Awakens'

An endless amount has already been written about the first teaser trailer for next year's Star Wars sequel The Force Awakens -- and let me add my voice to the chorus.

Star Wars obsessives have now become black belts at spotting flaws in what was once the most beloved sci-fi series of all time.

This can get tiresome and self important, except when it comes to the prequels, where the complaints were largely right.

Save for a few moments towards the end of Revenge of the Sith, the last three Star Wars films were a worthless waste of talent, money and good will. Those films had to meet unreasonable expectations but they also could have easily been better. I've often fantasized that one day those movies would be remade by filmmakers with less self-hate than George Lucas, but in the short term all our hope must be placed in director J.J. Abrams.

The Force Awakens

I feel hopeful about that. Abrams did wonders with the Star Trek franchise, and while his two entries in that saga certainly have their detractors (mostly among purists), few could deny that he revitalized those characters and their mystique. Star Wars desperately needs a fresh take (lightsaber duels are now met with yawns instead of gasps).

And although the new trailer gives us very little plot, character or detail, it promises enough to get me to line up in 2015 for this guaranteed blockbuster.

Here are the first things that struck me. The sense of urgency. The prequels were practically glacial compared to the footage we see here, which doesn't include boring Galactic Senate maneuvers or stilted dialogue. The panic on John Boyega's face (the breakout star of the terrific sci-fi comedy Attack the Block) riveted me immediately. I also appreciated seeing a new unfamiliar face, although I can't wait to see Han and Chewie back in the Millennium Falcon again.

Speaking of which, the greatest ship in sci-fi history makes a breathtaking return in this teaser. The context is still unknown -- but who cares, to see that "hunk of junk" back in action brought goosebumps. The voiceover, which some speculate is provided by Swedish acting legend Max Von Sydow, is appropriately moody and ominous, as is the sword-like triple-bladed lightsaber.

Of course, the prequel trailers got me excited too, and each film ended up a disappointment. The difference here is that The Force Awakens, for better of worse, will be new. It's the first Star Wars film where the series' creator, Lucas, will truly be on the sidelines, and that's a good thing.

Lucas decided long ago that the Star Wars movies were his own personal play set. He decided the films should be aimed solely at children, although he wrote dialogue even kids could find laughable. He tinkered with his films endlessly to the point where they became a pristine CGI blank slate. The prequels produced no memorable, indelible moments or images -- and when they did achieve anything resembling greatness it was by reminding us of "the old Star Wars movies."

Abrams is an original filmmaker who also appreciates the tactile appeal of lived in, model-based sci-fi. There will be CGI in The Force Awakens, that's already apparent in the teaser. But he knows how to use it sparingly and make it serve the scene. This film won't look like it's all taking place in front of a green screen. The promise of a fresh take on this familiar material is enough to get me intrigued.

And the return of the original series characters: Han, Luke and Leia (although I am still angry they snubbed Lando), should be the icing on the cake.

'Whiplash' will restore your faith that this can be a great year for film

I've always regretted the fact that I didn't keep up with playing an instrument. I had aborted dalliances with the clarinet, saxophone and the trumpet. I probably could have been good but I hated practicing. My regret came washing back over me as I watched the dynamite new character study Whiplash.

If you can get past some of the utter ludicrousness of the movie -- it presents a college jazz competition as extremely high stakes, even violent combat -- you'll be wildly entertained. Even though the movie is not stacked with special effects, it's a real thrill ride, thanks largely in part to the naturalistic performance of Miles Teller in the lead role and the go-for-broke, surefire Oscar-worthy performance of J.K. Simmons.

Teller plays an earnest would-be drummer prodigy who is socially awkward and prone to make mistakes. Still, he has natural talent and drive, he just needs to harness it. Simmons, as his would-be teacher and mentor, shows up to help him do just that, albeit in a foul-mouthed, abusive and downright manipulative manner.

Their relationship takes turns that aren't exactly realistic, but are nevertheless utterly compelling. I've never seen Teller in a film before, but he has the makings of a major star. He is attractive in a totally unassuming way and he never seems to be acting. There is a moment where he begins to cry that feels very authentic, not a "movie star cry".  He also has a romantic subplot that doesn't play out as you suspect it to. He makes a great, sympathetic lead.

Still, make no mistake about it. It's Simmons' movie. He has been great for years in small supporting roles and here he finally has a part where he can bring his unique set of skills to the table. He's a phenomenal physical presence, his hangdog face stands in stark contrast to his imposing physique. He is capable of vicious, sadistic cruelty one minute and tender geniality the next. Simmons' work here elevates the movie to another level, and in a latter scene when his character describes his contempt for mediocrity I was right on board with him.

Miles Teller and J.K. Simmons in Whiplash

A good friend of mine recently told me she felt this year hasn't been a great one for movies, and I think she's right. I've seen two transcendent masterpieces: Boyhood and Birdman. A couple very good films: Foxcatcher and Gone Girl. And another bizarre movie whose genius has yet to be appreciated: Under the Skin. Whiplash probably falls somewhere in the middle of the pack for me but that's in no way a putdown. It's a fully-realized, smart film that is never predictable and thrilling to the very last shot.

It deserves to be seen on the big screen where it's jazzy and relentless score can best be felt, heard and appreciated. It's a testament to this movie's greatness that it actually made me want to go home and research Buddy Rich albums after it was over.

Whiplash is one of those rare movies that really captures the joy and excitement (and yes, pain) of putting on a live performance. I have no idea if Teller is a musician himself in real life but he sells the hell out of drumming in this film. And Simmons takes what could have been a caricature and creates a real, tangible person who you can both fear and respect.

It may not be the best year for films, but it has been a solid year for acting. Michael Keaton, Steve Carrell, Patricia Arquette, Mark Ruffalo, Scarlett Johansson and now J.K. Simmons have all turned in what could arguably be consider career-best performances. And that's something worth celebrating.

My take on early Oscar buzz: Let the campaign season begin!

Happy Thanksgiving. Although election season is behind us, a far more competitive campaign period is underway, that's right -- the road to Oscar. Although over a dozen contenders have still not even been released there are several movies generating a lot of buzz and even a handful of surefire nominees.

My two favorite films of the year, Birdman and Boyhood, seem like locks for nominations if not top honors but with no clear overwhelming favorite, this year's race could be wide open in several major categories. If you haven't already guessed, I am huge nerd about this stuff. I know it doesn't really matter in the greater scheme of things, but what the hell, I find it fun.

Best Picture: As has been the case for the last few years, the academy is still allowing up to 10 best picture nominees. It's all very complicated but depending on how many first place votes a movie gets we could wind up with only nine. I don't oppose the idea of a larger field -- the more quality movies that get recognition the better -- but usually it's still coming down to two or three movies come Oscar night and that is if there isn't a huge frontrunner.

This year it's hard to say what will be the film to beat. None of the most critically acclaimed films of the year has been a runaway commercial hit (which unfortunately matters a great deal in the race, with the rare exception of The Hurt Locker). My picks as of right now would be Boyhood and Birdman, but neither of these films is conventional enough for the win. I think Foxcatcher deserves a spot, but apparently it's somewhat divisive among the critics.

Some folks still see Interstellar making the cut, which surprises me. Even its fans must admit it's not Christopher Nolan's best work and yet there is a space for a commercial project here. Buzz is building for the Benedict Cumberbatch code-breaking thriller The Imitation Game and although it looks like another Beautiful Mind, the same goes for the Stephen Hawking biopic The Theory of Everything. The one wild card is the Martin Luther King film Selma, which could really shake up the race.

Best Actor: My personal pick, Michael Keaton in Birdman, is a lock for a nomination here. Steve Carrell looked like a sure thing for Foxcatcher but then some critics panned the movie. I still think he makes it because his performance is so transformational. Cumberbatch has been really buoyed by a growing fan base, I could see him joining this competitive field. If nothing else than because of the iconic nature of the MLK role, I think black British actor David Oyelowo has a shot for Selma. That leaves two spots. Eddie Redmayne will surely make the cut for his physical performance as Hawking, although I fear the movie will be unbearably sentimental. I wouldn't be furious if the final spot (which is very much up for grabs) went to Bill Murray for St. Vincent. I am a defender of this breakout indie hit. It's not the most original movie or the most profound, but Murray is really terrific in it and he deserves consideration.

Birdman

Best Actress: Another disappointing year for women's roles. The only real contender I've seen so far is Rosamund Pike for Gone Girl. As fun as she is in that movie, I don't expect her to seriously contend for the win. Most pundits are predicting a two-way race between the long overdue Julianne Moore (playing a woman experiencing the early stages of Alzheimer's in Still Alice) and Reese Witherspoon for her comeback role in Wild. I would say Moore has the advantage, having never won before and at least as far as the early reviews are concerned, giving the most deserving performance.

Best Supporting Actor: This could wind up being the most competitive category of the night. Edward Norton is a scene-stealing riot in Birdman and he's never won before. The same goes for Mark Ruffalo, who gives a moving and likable performance in Foxcatcher as the movie's most normal character. Everyone has been raving about J.K. Simmons scenery chewing performance in Whiplash. And then there's Ethan Hawke's endearing and epic performance in Boyhood. It's going to be really interesting to see how this race shapes up.

Best Supporting Actress: Speaking of Boyhood, I will freak if Patricia Arquette isn't nominated in this category. I just thought she, more than anyone else, was the heart of Boyhood. She was so real, it didn't feel like a performance. I sort of fell in love with her flawed but humane character. Emma Stone showed more chops than she has previously in Birdman. The rest of the category is still filling out, but rest assured, Meryl Streep will probably be there in some capacity.

Best Director: No matter what, Richard Linklater will be recognized for his historic achievement with Boyhood. Alejandro Gonzalez Inarritu is probably also a lock for trying his hand at comedy for the first time with the visually inventive Birdman. The rest of this category is still wide open. It'd be nice to see a woman in the mix -- Ava DuVernay for Selma. As much as I loved Gone Girl and think David Fincher has been snubbed repeatedly, I don't believe this is his year. I would say the same for Christopher Nolan. We might wind up with some unknowns, or an unheralded newcomer like J.C. Chandor (whose A Most Violent Year looks potentially great) could sneak in.

Nominations and the awards themselves are still months away, so get out to theaters and catch these quality films while you still can!

More than a Joker: Jack Nicholson's most underrated roles

Jack Nicholson

Writing about the sudden death of director Mike Nichols got me thinking about Jack Nicholson, who collaborated with the director on a handful of films, most of which were underrated at the time of their release -- like the brilliant sex comedy-drama Carnal Knowledge (1971).

Nicholson may be my favorite actor of all time although that designation changes from time to time. He has been unfairly painted as someone who goes "over the top" and while some of his most famous performances are "big"-- I think he's earned the right to be broad because he's been so terrific over several decades.

Sadly, he appears to have prematurely retired from making movies. He hasn't appeared on the big screen since 2010 and hasn't had a role really up to his talents since 2006's The Departed. Still, this wily movie star has left an incredible body of work to feast on.

In fact, he has made so many great movies that his biggest hits: Terms of Endearment, Chinatown, Batman, etc., sometimes overshadow some of this other masterpieces.

Most movie audiences first became aware of Nicholson because of his scene stealing performance in Easy Rider. It's a film of its time, but Nicholson is really the actor that makes it work, if for no other reason than because he is actually acting while Peter Fonda and Dennis Hopper seemed to be genuinely stoned throughout it. But his first truly breakthrough role was in the hit film Five Easy Pieces.

This movie has largely been forgotten by modern audiences but it was one of the great character studies of the 1970s. Nicholson plays a man born into privilege with a talent for playing classical piano, who eschews his past to live the life of a blue collar guy. Circumstances draw him reluctantly into his old world and Nicholson gives a sensitive, emotional performance as a man who doesn't fit into any crowd.

His next triumph was the low key 1973 road movie The Last Detail. Nicholson plays a navy man tasked with transporting a prisoner who is also a fellow soldier, who has committed a petty crime. Nicholson starts to show flashes of his profane, devil-may-care latter day persona here but director Hal Ashby also knows how to play off Nicholson's quieter more introspective side. It's a little movie who's stature has only grown in the years since its release.

Nicholson in The Passenger

One Flew Over the Cuckoo's Nest may have been Nicholson's greatest triumph in 1975, but a close second would be his excellent work in Michelango Antonini's fascinating thriller The Passenger.

It's not paced like a typical suspense film but if you give yourself over to it's gorgeous visuals and dream like storytelling this story about a journalist who switches identities with a dead man to restart his life is endlessly rewarding. And it features one of the most famous one-take tracking shots of all time.

I've written many times about how The Shining is one of my favorite films of all time, and Nicholson gives an unforgettable performance in the film. But that Stanley Kubrick classic's success became a double-edged sword for the actor because ever since that 1980 film's release all of his performances are compared to it. Still, he managed to be fantastic against type in Warren Beatty's 1981 epic Reds.

Nicholson plays a jaded but romantic Eugene O'Neill, a depressive drunk who nevertheless shows a tenderness to Diane Keaton's lead female character, that Beatty's hero cannot. Nicholson scored an Oscar nomination for the role.

Four years later he was delightful as a dimwitted gangster in the black comedy Prizzi's Honor. If you can get past the odd prosthetic upper lip he dons for the role, you will have a ball seeing Nicholson take on the unlikely role of mafia hitman who falls in love with the wrong woman. It's also a film that captures his unique chemistry with his longtime real life romantic partner, Anjelica Huston.

He also generated sparks with Michelle Pfeiffer in the underrated thriller Wolf. Much has been made about Nicholson's unconventional looks and his tendency to star opposite women who are far more fetching (and younger) than he is. And yet, his charm and charisma are undeniable. You can't help but be drawn in by him.

That ability to hold the screen is put to great effect in Sean Penn's 2001 police procedural The Pledge. Penn gathers an all-star cast (including Helen Mirren, Mickey Rourke, Benicio del Toro and Aaron Eckhart) to provide support but this is Nicholson's movie. He plays a retiring detective who becomes obsessed with his last case and starts taking that preoccupation to unhealthy extremes. It's an extremely unconventional thriller with a Nicholson performance low on histrionics, and he knocks it out of the park.

My favorite late career Nicholson performance though was in About Schmidt, one of Alexander Payne's most underrated comedy-dramas. The titular hero, a put-upon, inherently dishonest insurance man fits Nicholson like a glove and he has a ball with his unreliable narration and fits of fury. The film, which has occasionally been accused of looking down on its characters, has a surprisingly emotional wallop of a finale, which makes every scene that proceeded it more powerful.

Nicholson doesn't cry a lot on screen, so when he does at the end of About Schmidt, you feel it.

I think he may be my favorite actor because he brings both the emotion and the entertainment with virtually every role he plays. Even when the films he's in aren't terrific, he's never boring in them. And considering how much I watch movies, it's good not to be bored. I do think although he is approaching 80 he still may have great work in him, but only time will tell if he'll bring his instantly recognizable mug back to the movies.

Loss of a legend: My top 5 favorite Mike Nichols movies

Working Girl

I've already written one extensive Mike Nichols obit today, so I won't bore you with another one. Suffice to say -- the man was prolific and incredibly talented. He was an actual EGOT -- he won an Emmy, Grammy, Oscar and Tony during his multi-decade career. He died today at 83, leaving behind a phenomenal filmography.

But because he didn't have a signature style Nichols was never as celebrated as his contemporaries like Scorsese and Spielberg. He also could be wildly inconsistent. While most his movies were well received, there was the occasional flop. Although his work was almost always classy.

I figured I should do some sort of tribute to this gifted man (who was also a celebrated performer, bringing improv comedy into the mainstream alongside his performing partner Elaine May). So here are my five favorite Mike Nichols movies:

Wolf

Who's Afraid of Virginia Woolf? (1966) - Nichols' first film, this bold and brilliantly adapted version of the Edward Albee play cemented his status as a major director. He scored two of the greatest performances Richard Burton and Elizabeth Taylor ever gave as a boozy couple unraveling over the course of one night. An early film that dealt frankly with sex and the darkness lurking beneath the American dream.

The Graduate (1967) - This is understandably Nichols' most famous film. It made a movie star out of Dustin Hoffman and features Anne Bancroft in one of the sexiest performances of all time. A wonderful time capsule of the late '60s, with a killer soundtrack. The Graduate helped kick off a fruitful period of truly original filmmaking. A must-see for anyone suffering from post-college angst.

Carnal Knowledge (1971) - Frequently and unjustly overlooked, this masterpiece on sexual insecurity and obsession may be Nichols' greatest film. It features one of the best Jack Nicholson performances of all time, as a shameless womanizer who refuses to grow up. The film is full of genuinely funny moments but also some very disturbing scenes as well. Not as raunchy by today's standards as it was perceived at the time, but still pretty blunt. And Ann-Margret oozes more sex appeal here than any leading actress of the decade.

Working Girl (1988) - Sure, the hair and gender politics of this movie may be dated but I still find it irresistible. For those of you who wonder how Melanie Griffith ever became a movie star, this is the movie for you. She is really terrific as a secretary who seizes the opportunity to pose as her boss (a dynamite Sigourney Weaver) to advance her career. She has real chemistry with Harrison Ford, who gets a rare chance to play a romantic lead in a comedy. A real crowd pleaser.

The Graduate

Wolf (1994) - Arguably Nichols' most underrated film, this werewolf feature starring Jack Nicholson was misunderstood when it was initially released. It's more of a satire than a straight up horror film. Nicholson plays a mild mannered book publisher who discovers his inner badass after being bitten by a wolf. His romance with Michelle Pfeiffer's character has genuine pathos and the finale is pretty exciting stuff. Bonus points for providing one of James Spader's smarmiest performances.

Nichols was an incredibly versatile talent. His stage work (and even TV directing) is the stuff of legend. When we lose giants like this the one positive thing that comes out of it is that for at least 24 hours people are driven to take stock of their contributions and art. Anyone taking a visit down Mike Nichols' memory lane will not be disappointed.

'Foxcatcher' finds my sweet spot: 2014 top 10 is filling out

Foxcatcher is my kind of movie.

It has some complex themes, an incredibly flawed lead character and heaps of existential dread. It's not exactly the feel-good movie of the year.

That said, it's one of the year's very best films, firmly entrenched in my top four (that I've seen so far) along side the likes of Boyhood, Birdman and the most underrated movie of the year, the Scarlett Johansson sci-fi mind-bender Under the Skin.

I was probably predisposed to like this film because of its stellar cast and my appreciation for the film's director, Bennett Miller, who in my estimation has yet to make a bad film.

Like his previous true-story based films Capote and Moneyball, Foxcatcher concerns a man obsessed, in this case John du Pont (played brilliantly by Steve Carell), the eccentric member of one of the wealthiest, elite families in the United States. For reasons that aren't entirely explained (and I like that) du Pont has a preoccupation with Olympic wrestling. He desires to mentor and coach a pair of star brothers (played exceptionally by Mark Ruffalo and Channing Tatum).

Steve Carrell and Channing Tatum in Foxcatcher

He seeks to both buy their affection and their total dedication -- and that's where things go terribly wrong. This is not a fast paced thriller though, there are moments that will shock and scare you, but it's not a movie interested in cheap thrills. Miller's ambition, I think, is to do a multi-layered character study with takes on sibling rivalry, greed, and a subtle critique on the American way of life.

Despite the film's quiet almost methodical tone, I think he achieves that. Foxcatcher is a movie that gets better as it goes along and it also leaves you fascinated to learn more about its subjects.

I am a sucker from true crime stories, and yet I knew and still know very little about the du Pont story. This film left me wanting to devour anything I can find on it, and yet even if the movie takes liberties, that doesn't detract from its power.

There's a lot to unpack here with this film. It sneaks up on you and is certainly about more than just wrestling. What makes the film truly great though is its trio of lead performances -- at least two of which I can't imagine won't be recognized come Oscar time. I doubt this movie will be a hit in the traditional sense of the word -- it's far too downbeat. But it will stand the test of time thanks to the work of Tatum, Carrell and Ruffalo.

Channing Tatum was someone who was dangerously close to Shia LaBoeuf territory. Instead he has carved out an interesting niche for himself, alternating star turns in glossy junk like Magic Mike with self parody in the 21 Jump Street films and now indie films like this. This is easily his most successful dramatic performance, even it does rely on his physicality more than anything else. Unlike some of his other hunky heartthrob peers, Tatum is unafraid to look and play dumb on screen, which helps him be immensely vulnerable -- just what his role here requires. It's a transformational moment for him.

Speaking of transformations, let's talk about Steve Carrell. Much will be made about his showy role, how unrecognizable he is, how adept he is at drama. But none of that surprises me. Sure his big screen roles have largely been in mainstream comedies, but his work on The Office consistently showed incredible range. His Michael Scott is one of my all-time favorite TV characters because in a single episode he could make you laugh hysterically, shake your head in disgust and break your heart. As du Pont, he is both quietly menacing and profoundly pathetic. My favorite shot of the film is of him just sitting alone staring into the ether. He plays a man totally lost in his own mind, desperately clinging to a fantasy image of himself. It is an engrossing and creepy performance.

And last but not least there's Mark Ruffalo. Can someone give this guy an Academy Award already? He's easily one of our most underrated actors, and I guess he goes unheralded because he's such a natural. I have never seen him give a showy or histrionic performance. He's always just very smart and endearing. He has a warmth in this movie that's disarming but he also plays the film's voice of reason. He has the movie's best scene, a cringeworthy sequence where a documentarian working for du Pont tries to force Ruffalo's character to call the eccentric heir his mentor. It's a study in acting of the highest order.

There are still quite a few buzzworthy movies I still need to see: Whiplash, Selma, Inherent Vice and A Most Violent Year, just to name a few. But I can say without equivocation that Foxcatcher shouldn't be missed. It sticks with you, long after the credits have rolled.

Premature director retirements are bad for the future of movies

Quentin Tarantino and his muse Christoph Waltz

When Jay-Z said he was retiring early from the hip-hop game, nobody took him seriously. So maybe we should feel the same way about Quentin Tarantino.

For a while now, the eccentric but undeniably talented auteur has been hinting that his days in the director's chair were numbered.

The 51-year-old has suggested that the rise of digital film-making (supplanting traditional film stock) has turned him off, but he also has said he believes directors' skills diminish with age and he wants to leave fans "wanting more."

I think Martin Scorsese, Steven Spielberg and a few other legends might have a bone to pick with the age argument. But Tarantino definitely will have made his mark on film culture after just 10 films (he is saying his tenth, The Hateful Eight, which is currently in development, will be his last). And I believe he will be missed.

Tarantino is not the first filmmaker to hang it up prematurely. His contemporary Steven Soderbergh has also decided to stop making feature films even though he was still doing terrific work and he went on the high note of his critically acclaimed HBO film Behind the Candelabra.

Soderbergh appeared to be burnt out by the Hollywood industry, with its current preoccupation with superhero blockbusters and built-in young adult audiences. I suspect that Tarantino, despite all his Kanye-esque bluster about his own legacy, has a similar anxiety. These were two filmmakers who made original movies (even Soderbergh's highly commercial Ocean's films had a fizzy style and tone of their own) that were largely driven by actors and dialogue, not special effects.

Steven Soderbergh

Both directors ushered in the best generation of filmmakers since the so-called "movie brats" of the late '60s and early '70s. Tarantino, besides refining and mastering the meta-movie, revived the careers of John Travolta, Robert Forster, David Carradine and Pam Grier -- and introduced us to the talents of actors like Christoph Waltz. Samuel L. Jackson was a respected character actor before he teamed up with Tarantino for Pulp Fiction, but that movie made him a star.

Soderbergh is responsible for making George Clooney the icon that he is. And his box office success with Traffic and Erin Brockovich proved you could inject hit mainstream movies with indie sensibility.

These are voices we need in movies right now more than ever.

Besides Christopher Nolan, David Fincher, Alexander Payne, P.T. Anderson, Wes Anderson and Spike Jonze -- there aren't a hell of a lot of directors out there these days with a singular style that you can almost instantly recognize.

It's true that Tarantino might have had some misses once he got into his sixties (some may feel he has already stumbled, although I would disagree), but sometimes great director's "failures" end up being some of their most fascinating films. Take Hitchcock's Marnie for instance, some think it was a misstep, for me it's one of The Master's best movies.

And quite often a truly talented filmmaker can have a resurgence. Robert Altman had many years in the wilderness before his triumphant 1992 comeback with The Player. Sidney Lumet was remarkably inconsistent but went out with a bang with Before the Devil Knows You're Dead.

So has Woody Allen, who I've gleaned Tarantino is a fan of (he named Midnight In Paris his favorite film of the year back in 2011). Allen's work became stale and repetitive in the 1990s and I remember reading several pieces at the time that he should just hang it up already. And then came Match Point and Vicky Christina Barcelona, a one-two punch any director would envy. And Blue Jasmine was one of his more timely and potent movies ever. The guy is nearly 80 years old and he still makes movies worth seeing.

Clearly, these guys have made up their minds and I'm not going to change them. But I am going to miss their work and I would have liked to have seen their visions evolve with time.

'Interstellar' may go down as the most polarizing film of 2014

Matthew McConaughey in Interstellar

I am used to knowing how I feel pretty much instantly about a Christopher Nolan movie. He has a unique capacity to really grab your attention from the very opening titles.

I knew I loved his Dark Knight films and Inception long before the credits rolled, but I am still not sure about Interstellar.

It's his most ambitious movie yet and you can't deny the genius of its craftsmanship. It has some really interesting, intelligent ideas and concepts in it and the cast -- despite having to utter some pretty leaden dialogue at times -- it mostly excellent. Still, it struggles with over a dozen plot holes so wide can drive out a Buick through them and some truly cornball moments that feel like something out of one of M. Night Shyamalan's more watchable movies.

But I think I am leaning towards calling this movie great, despite its pretty glaring flaws. It's not my favorite Nolan movie by far, but I also think I will find it more rewarding with repeated views. I am very curious about the path this expensive epic will take commercially. Its nearly three-hour length and more maudlin aspects may turn off a lot of viewers. The word "gravity" is uttered at least a dozen times and serves as a steady reminder of that shorter, more accessible and arguably more fun Sandra Bullock-George Clooney blockbuster of the same name from last year. Fanboys expecting an action extravaganza will surely be disappointed by a movie that is talkier and more sentimental than anything Nolan has made before.

Still, I admire the hell out of this movie if nothing else than for the balls it took to make it. And it does have one unassailable show-stopping set piece involving a massive wall of water that rivals anything Nolan has made before or since.

Anne Hathaway in Interstellar

The movie has essentially three and a half acts. Most of the critical quibbling has been over the latter half of the film but I struggled the most through the opening. Nolan movies are usually a propulsive rush but this movie felt plodding to me during the early scenes which establish the McConaughey character's incredibly close relationship with his daughter Murphy. This portion of the film, with its existential dread and Shyamalan-esque mysticism, had me shifting in my seat.

But once the adventure portion of the film kicks into gear I was more hooked. Everyone on the planet seems to hate Anne Hathaway right now -- but Nolan seems to know how to tap into her most appealing qualities. Here, as in The Dark Knight Rises, she is an appealing presence and counterpoint to McConaughey's down home charms. They are on a mission to find a more inhabitable atmosphere and source of food because Earth is being gradually enveloped by dust clouds. The stakes are huge. In some circumstances, hours they spend in one location can cost them years back on earth and if they fail humanity is doomed. This set-up and its fallout are terrific but it's the movie's explanations and resolutions that probably require the biggest leap of faith.

I've never sat down and tried to parse whether Inception's logic pans out or makes sense, that film did enough to sell me on its premise. Interstellar labors mightily to both wring emotion and play mental gymnastics with its conceits, and I'm not sure it succeeds. Far too often I found myself questioning the logic of characters' decisions and rolling my eyes at all-too-obvious symbolism.

There is a lot to like about this film. I like the movie's concept of robots and how it delves into complex questions on the nature of time and whether it makes more sense to try to salvage a dying species or start a new one. And despite my quibbles with the film I want it to be successful, because the world needs more thought-provoking blockbusters. I just hope the next one is a little bit more fun.

There are far too few moments of levity in Interstellar and it's so concerned with being epic that its sonorous score often drowns out some of the actors who are trying to emote with subtlety. For Nolan haters this film will confirm their suspicions that he is a shallow fraud. But for fans of his, like me, this movie marks an intriguing departure -- a flawed would-be masterpiece that proves, if nothing else, that Nolan (and his co-writer brother) is not looking to repeat himself.

First time viewing: 'The Goonies' are still good enough

Chunk in The Goonies

I feel like everybody has some movie they were supposed to see when they were a kid that they just missed. Not because they didn't want to see it, or because they were afraid to -- but just because it wasn't a staple in their household.

The Goonies has always been that movie for me.

As a child of the '80s (and let's face it, early '90s), I am supposed to worship this movie. I've seen brief moments from it, am vaguely familiar with its characters and theme song -- but I've never sat down and watched it from beginning to end.

I finally watched it tonight. And boy, did I have a lot of fun with this movie. It's overlong and abrasively loud at times -- but it's got such a buoyant, playful spirit that it's pretty irresistible, and "Chunk" has got to be one of the most endearing comic characters I've ever encountered.

They never make these kinds of kids-on-an-adventure movies anymore, Whereas our generation has Honey, I Shrunk the Kids, Gremlins or even better, E.T. I guess part of what made Super 8 so refreshing was it starred real kids who act like kids.

The cast features future stars like Josh Brolin and Sean Astin, and some other standout child performers who bring a unique energy and charm to the proceeding. Even Corey Feldman manages not to be too grating. It's story is needlessly elaborate -- it's essentially one big treasure hunt, but director Richard Donner, the underrated director of Lethal Weapon and the original Christopher Reeve Superman, knows how to keep the action moving so there's never something that isn't entertaining on screen.

I miss how in '80s movies adults were usually buffoons or foils for kids. Even if that was nothing like the real world, as a kid I liked the idea of reveling in that fantasy. I also had a blast with the ensemble nature of the film. Today's kids movies try too hard to be star vehicles for somber pretty boys/girls. The Goonies, as they call themselves, are goofy, quirky but also clever and neurotic.

Chunk was easily my favorite character. I don't know if it was the performer or the writing but every time he showed up on screen he had me hysterically laughing. I especially loved the scene where he's being held captive by bad guys and is implored to tell them "everything" so he confesses to every bad thing he's ever done in his life, including pretending to vomit on people in a movie theater.

And how badass is it that among the gang is a gadget guy? Data's entrance in the movie, set to the James Bond theme, is a blast. Oh, and Sloth -- how can you not love Sloth?

This must have been a real challenge to shoot for everyone involved. The cast has to spend almost the entire movie in a panic and soaking wet, but like so many Spielberg-produced films of that era, it's mass entertainment at it's best. Spielberg movies (even the ones he didn't direct himself) have always been best at creating a sense of wonder, as well as excitement.

I think what has made The Goonies endure after all these years, besides pure '80s nostalgia, is that it has a truly sweet sincerity and a total uncynical sense of adventure. It's not corny, but it's not afraid to be -- and I wish more films these days had that spirit.

Goonies never say die!

Election Day: Politically-themed movies that get my vote

Today is Election Day and it looks to be a depressing one for reasons I won't elaborate on here. Probably like most Americans, you're sick and tired of politics right now but the reality is that everything is political (just like nearly everything is sexual) and therefore so are most movies.

Of course, most films aren't overtly liberal or conservative. The demands of commerce and the desire to appeal to the broadest possible audience usually keeps most Hollywood productions from veering too far from the center. The industry has a reputation for being progressive, and while there is some validity to that stereotype there has also been a long history of far-right jingoistic propaganda in American film as well.

Here are just a few of my favorite films that are unabashedly about politics, politicians and the system in which they operate.

All the President's Men (1976) - This movie single-handedly recruited a whole new generation of journalists who were inspired by the remarkable true story about two unheralded Washington Post reporters (played with dynamite chemistry by Robert Redford and Dustin Hoffman) who end up helping to bring down Richard Nixon by exposing Watergate. Paced like a thriller, this hit film creates tension even when we know the results. One of the great films of the 1970s.

Nixon (1995) - Speaking of Nixon, this sprawling and more-sympathetic-than-you-might-think biopic on the controversial 37th president was Oliver Stone's last truly great film. Sir Anthony Hopkins wouldn't seem like an obvious choice to play such a resolutely American figure but he is brilliant, as is Joan Allen as his long suffering wife Pat. The movie works as both history lesson and operatic tragedy. One of the most underrated movies of the '90s.

The Manchurian Candidate (1962) - A stunning indictment of the McCarthy era disguised as a wild espionage thriller. A taciturn soldier (played beautifully by Laurence Harvey) is captured and brainwashed in Korea and returned home to be used as a pawn by his Machiavellian mother (Angela Lansbury) and her ultra-conservative senator husband. Frank Sinatra, a Democrat at the time and the star of the film, pulled the movie from circulation after the assassination of JFK, but it has been rediscovered for the masterpiece it was and is since.

JFK (1991) - Speaking of JFK, I have to give props to one of my favorite films of all time. Although the movie is largely concerned with the murder of the president, it is also an incisive look at the danger posed by an overzealous military industrial complex (the film opens with President Eisenhower's stark warning about this very issue). This miraculous movie plunges you into the powder keg of the 1960s, a time where politically charged killings were common place and questions were rarely raised as to who and why.

Clooney, Hoffman and Gosling in The Ides of March

Bulworth (1998) - If you're looking for something lighter, you can't go wrong with Warren Beatty's prescient and daring black comedy about a Democratic senator who's sold his soul to the right but becomes liberated to say what he really thinks when he believes his life is coming to an end. Satire of the highest order, the movie's tone shifts and politically incorrect humor may not hold up well for some viewers. But I'm a big Beatty fan and I think he was right on with this decidedly uncommercial movie.

The Candidate (1972) - Robert Redford gives one of this greatest performances in this very smart and still relevant depiction on how candidates are molded and often neutered by our slick political process. Redford plays an idealist recruited to run in a race and lose, but when his ideas start to get traction, the vultures descend. Hollywood never makes these kinds of sophisticated adult movies anymore and it's a real shame because these are the films with the most staying power.

The Ides of March (2011) - One recent exception to that rule was George Clooney's underrated potboiler The Ides of March. Ryan Gosling anchors a top notch cast, including a terrific Philip Seymour Hoffman and Clooney himself in a rare villainous turn, in this crackling look at a modern high stakes campaign under the threat of a disastrous scandal. Clooney's Good Night and Good Luck was better received by critics, and I liked that too, but this film is more entertaining and less preachy.

Lincoln (2012) -  Steven Spielberg's Oscar winning blockbuster may have been a wee bit corny at times but it's such a stunning rendering of the era of Lincoln it's hard to quibble. Only Spielberg could make legislative dealmaking this riveting, and he's aided by incredible performances from veteran actors like Tommy Lee Jones and Sally Field. Still, it's Daniel Day-Lewis that steals the show with his show-stopping performance as the 16th president. Years from now his take will be how we imagine the man actually was.

Election (1999) - This uproarious black comedy introduced audiences to the unique talents of Alexander Payne, showed us the dark side of Matthew Broderick, and provided Reese Witherspoon with what is still the best part of her career to date (although I am hearing very good things about her upcoming movie Wild). This broad satire captures an especially cutthroat battle over who should be class president of a run-of-the-mill high school. It's laugh-out-loud funny until you think about it's dark core, which suggests drive trumps everything else in the world of politics.

Wag the Dog (1997) - I just recently revisited this one and it really holds up. This very clever black comedy, written by David Mamet, portrays an elaborate White House ruse to help cover-up an affair as an Election Day approaches. There may be no film more indicative of the Clinton era than this one. Dustin Hoffman is marvelous as a Hollywood producer who is brought in to consult and feels perpetually unappreciated and Robert De Niro is his equal in a lower key role as a Mr. Fix It.

In the Loop (2009) - This deliriously fast-paced and foul mouthed precursor to HBO's Veep is like a 1930s screwball comedy with a far filthier script. The cast of character actors from both the U.S. and the U.K. have a field day playing various figures in the political food chain trying to grapple with a potential march to war that is eerily similar to the second Iraq War. I guess it's becoming a bit of theme that the best political comedies are dark, but so be it.

Dr. Strangelove (1964) - Stanley Kubrick's legendary farce mocks the childish men who hold humanity's lives in their grasp because they control our nuclear arsenal, Kubrick apparently had a very serious, real fear (like many Americans at the time) that the Cold War would lead to the destruction of our planet. Fortunately it didn't, and so now we can sit back and enjoy the breathtakingly funny performances of people like Peter Sellers and George S. Scott in this virtually flawless political satire.

Milk (2008) - An incredibly moving and faithful portrait of gay rights icon Harvey Milk (Sean Penn in one of his most emotionally compelling performances). While the documentary The Times of Harvey Milk is arguably superior, Gus Van Sant's terrific biopic gets at the essence of what made Milk lovable and inspirational. The movie couldn't have come at a more relevant time, its release coincided with efforts to roll back gay marriage across the country.

Fahrenheit 9/11 (2004) - Few filmmakers are more of a lightening rod than Michael Moore, and although I don't always agree with his views -- I do admire his audacity. I miss his work because he was a real conversation starter whether it be on guns (Bowling for Columbine), health care (Sicko) or greed (Capitalism: A Love Story). Yet, with this film he really tapped into the zeitgeist. He may not have swung an election, but he changed the conversation about an increasingly unpopular war and president.