That the truth is so elusive is a brilliant revelation that couldn’t come at a worse time. The reason for trying to mine out the truth unfiltered in “Stories We Tell” is because the film focuses on Sarah’s mother, Diane Polley, who died of cancer when Sarah was very young. In an attempt to paint an accurate picture of the woman, Sarah turns her cameras onto her family to have them tell Diane’s story to the audience and, ultimately, to Sarah herself.

At first swipe we see that Diane was a beautiful, happy woman who loved life. Stories are told by her children (all of which are much older than Sarah), her friends, and Sarah’s stoic father Michael who is shown recording the film’s narration that he wrote to his lost love. Archived home video footage is used to fill in the blanks left by the interview footage. As the stories reveal new truths, Sarah becomes more involved and visible in her film as the focus shifts from her mother to Sarah and how she deals with new facts discovered.

There are secrets waiting in “Stories We Tell” that I will not reveal or even hint at. For me much of the joy of watching the film was letting these secrets come to light when they are meant to be exposed. It is my hope that many other reviewers follow suit as it is important component. If you read or hear anything that starts to spoil, run for the hills.

“Stories We Tell” unravels in a way that plays like investigative journalism you see on television with shows like “60 Minutes” or “20/20”. As you scratch at the surface you see that people always remember fondly and gloss over reality. Was Diane ALWAYS full of cheer with her laughter filling every room she ever walked into? Probably not.

As Sarah realizes that her documentary is no longer about what she intended and that coming to some pure truth is not possible, the film takes on another tone and becomes about the manipulation of truth on many layers. You see something and tell someone about it and it inevitably goes through your “filters” as you remember parts that stuck out to you as most important. Maybe you forget components completely. If you remove any element, it is no longer true. And even if you were there for the important event, how you store into the mind will always be flawed, always lacking all the details that made that event unique.

Polley is able to turn this eye onto the documentary filmmaking process itself. It’s a very Meta-thought as the film becomes about what the film can and cannot be but she is able to take this turn and make it feel natural. Like I said, she’s incredibly honest to the point that she shares her family’s most intimate secrets and flaws while pointing out that she is, in fact, manipulating us the entire time. How she reveals what and when, as the music swells and we cut to a picture of Sarah as a kid dealing with her dying mother. All choices she makes to tell us the Truth.

It’s been four years, but after an impressive re-launch of the “Star Trek” franchise, director J.J. Abrams returns with the much anticipated and oddly titled “Star Trek Into Darkness”. Thankfully, for the most part, it’s a fun ride.

After a deadly explosion on Earth, James Kirk (Chris Pine) and his crew are sent by a superior (Peter Weller) on a revenge mission to the edges of the “neutral zone”. His assignment; eliminate the villainous mastermind (Benedict Cumberbatch) who is now hiding on a remote planet in Klingon territory. Kirk is told that it must be done without being detected by the fleshy headed mutants, who may see any advance as an act of war. Of course, Kirk can’t follow orders. Before long, the protagonist encounters Klingons, unveils a larger conspiracy and discovers the true identity of his original target.

By now, the able cast members have completely settled in to their roles. A few gags fall flat, mostly involving Kirk bedding numerous female aliens (it’s been more than forty years since the original series and that element now seems outdated). However, much of the camaraderie and bickering between Kirk and McCoy (Karl Urban), as well as tension between the oddball couple of Spock (Zachary Quinto) and Uhura (Zoe Saldana) lead to many laughs. And as usual, Scotty (Simon Pegg) steals nearly every scene with a great observation. Cumberbatch also makes for an appropriately chilly villain, to the point where he almost seems underutilized by the conspiracy subplot.

The “bromance” angle between Kirk and Spock is heavily utilized, with the two often discussing friendship. This is fine, but it culminates in a scene late in the film that attempts to recreate one from a previous “Trek” film. Somehow, it has little of the emotional impact this time around – perhaps because we’ve seen it before or maybe, as bizarre as it might be to suggest, the previous Kirk and Spock knocked the moment out of the park the first time around. Whatever the reason, Abrams would have been wiser to do something completely different with this dramatic thread and make it his own.

Additionally, the attempts made to decry violence and revenge as morally wrong are excellent sentiment, but there is at least one instance in which a character reacts in a completely contradictory manner to his humanistic ideals. Apparently, the same morals do not need to be enforced when dealing with nameless crewmembers.

Still, these are very brief and minor inconsistencies dwarfed by the impressive action scenes. Highlights include a thrilling sequence featuring two space-bound characters being hurtled through a debris field in space and another bit in which the leads must scurry through a ship that is spinning in freefall towards the Earth, necessitating the need to race along walls and ceilings. It’s all expertly executed and exciting to watch.

In the end, it may not have a big emotional impact and may not always play true to some of the well intentioned morals it espouses. Still, the hyperactive pace and character interplay pushes any problems out of the mind quickly. It isn’t perfect, but “Star Trek Into Darkness” does succeed at transporting viewers on an enjoyable voyage.

Satan!!!

Here’s the new Poster for “Hell Baby”

Written and Directed by Thomas Lennon and Robert Ben Garant (“Reno:911,” “The State”)

Starring Rob Corddry, Leslie Bibb,  Keegan-Michael Key, Michael Ian Black, Riki Lindhome, Rob Huebel and Paul Scheer

According to this new poster there promises to be a bunch of Minions for the second dose of Despicable Me.

The show is produced by Mr. Sly Stallone himself and features a score by the guys that gave us Ragtime. It has already played in Germany under the name Rocky Das Musical and apparently features such hits as “Fight from the Heart,” “Adrian” and “Wenn es weiter regnet”. I’m guessing they will translate that last one into English but I could actually see some entertainment value in leaving it in German.

While this seems crazy to me it really is not very far off from a Spiderman musical written by U2 and directed (initially) by the lady that turned “The Lion King” into a puppet show. Broadway is becoming a Hollywood Bizarro World where movies go to become FABULOUS!! (Jazz Hands wiggling to the sky as you read this please).

I got to thinking; Why not make some suggestions of my own? Ridiculous suggestions that should not be taken seriously but really are not any more crazy than a Rocky Balboa jogging around the stage, shadow-boxing in the air, singing “Philly Pie” (another actual song title).

The Godfather: The Musical Keeping with the 70s classic theme established by “Rocky,” lets entertain this one, shall we? I can see some Gershwin-style action here as Don Corleone belts out “Let’s Make’em an Offer” and a sad ballad called “Slice of Orange, Slice of Life” where the Godfather inserts a wedge of the fruit into his mouth and dances a waltz around a garden only to keel over dead at the end. The lavish Wedding Scene writes itself while Michael’s sudden trip to Sicily and his whirlwind romance with Apollonia cold be told in a lyric less Ballet number. If it’s a hit they can make Part II and Fredo can sing his triumphant song, “I’m Not Dumb, I’m Smart (and I want Respect)”

The Artist: The Instrumental The 2011 French silent film ends with a wondrous, full-blown dance scene. Why not tell the ENTIRE story that way? Sample Lyrics: “……………/…………..”. Told with a black and white set and costumes created in nothing but tones of grey, “The Artist” would transport to back to the Silent Movie Era… again!

Joel Schumacher’s Batman While the misguided “Batman Forever” and the heinous “Batman and Robin” completely failed as actual movies, the day glow scenery and nippled costumes practically scream Broadway Musical. All you need to do is add a couple songs and you’re finished.  I suggest you take the “Rock of Ages” route and use pre-existing pop songs from the past. Poison Ivy can  saunter to… I don’t know… “Poison Ivy”. Mr. Freeze warbles through “Cold as Ice” and Batman duets “I got You Babe” with Robin. I’m pretty sure Val Kilmer is available if you can squeeze him into the suit.To my amazement, as I went to dig for images for this piece I found that this already sorta exists!!! Not a musical but an “action-packed adventure with stunts, illusions, martial arts, trapeze artists and an all-new Batmobile!” It is called “Batman Live”. Check it out HERE

The Silence of the Lambs: The Musical They keep coming at the Hannibal character from every angle possible (“Hannibal: The Sequel,” “Hannibal: The Prequel” and “Hannibal: The T.V. Series”) then why not this? In all actuality I put this here because I would really love to see a huge choreographed dance number with Buffalo Bill dancing around to “Goodbye Horses” with his manhood tucked between his legs. I would also like to see a song called “It puts the lotion in the basket” sung to the tune of the Fiddler on Roof classic “If I were a Rich Man”.

The Producers I know that this has been done and, in fact, is to blame for the influx of Movie Adapts to Musical craze in the last decade or so but what I’m suggesting is this: Base a New Musical off of the Movie version of the Musical that came out and bombed in 2005. That would make this new adaptation a musical based on the movie musical that was based on a musical that was based on the 1968 Gene Wilder/Zero Mostel comedy. I foresee 20 Tonys for this one.

Oh, but it truly is something to behold. The film was shot in 3D and must be seen as intended. Luhrmann continues the trend of great directors using the 3D medium and using it to its full potential. Think Scorsese zipping down the train station in “Hugo” or Lee placing you on a boat with a tiger in “Life of Pi”. “The Great Gatsby” is loaded with hyper-kinetic energy as the camera zips around the synthetic world. During the first half of the film, the images are crammed with a thousand ideas per frame that will leave you breathless. This, and this alone, is worth the price of the E ticket.

“The Great Gatsby” fails when it comes to the people, the characters and, to be fair, this may just be the shortcomings of the source material. The mandatory high school reading material that is F. Scott Fitzgerald’s short novel is filled with shallow revelers that epitomize the greed and excess of America Before the Depression. While these vapid vermin read well enough, translating them to flesh has been a problem. Just look at the lifeless and vanilla Robert Redford version of the 70s.
We see the world through the eyes of Nick Carraway (Tobey Maguire), a penniless wallflower that does little to interact with the world around him. He is trying to make his way in the world but has friends and family in high places. His cousin Daisy (Carey Mulligan) is married to a rich man who boozes and womanizes but she keeps quiet, consoled by the string of pearls around her neck.

Nick lives next to a castle of sorts that houses the mysterious Jay Gatsby (Leonardo DiCaprio), a man who throws the most lavish of parties but whose intentions and background are unknown. Nick quickly befriends Gatsby but there is a plan behind the Great One’s extended hand. Gatsby has a connection in the past to Daisy and… this is when the movie turns into a melodramatic mess.

Instead of wasting time commenting on Leo’s performance (he struggles) or Carey’s hairstyle (she’s a vision and gives us the best work by the cast) I would like to mention my favorite character in the film: The Soundtrack. The movie is filled with vital music that gives the story whatever heartbeat it can muster. Much like “Moulin Rouge!,” the music does not feel out of place and allows Luhrmann to turn something old into something modern. Jay Z tells us the story, Jack White makes us feel the loss of love better than any actor on the screen.

Written and Directed by Ethan Coen and Joel Coen

Starring Oscar Isaac, Carey Mulligan, John Goodman, Garrett Hedlund and Justin Timberlake

Javert- Les Misérables.

This one will be easy. I’m proposing that they take last year’s Oscar nominated film, re-shoot all of the sloppy Russell Crowe crap and insert RDJ singing the role of stiff armed antagonist. I don’t know if Rob’s singing is all that much better but I do know that I cannot be any worse.

Santiago- The Old Man and the Sea. .

This one is personal as it is my favorite Hemingway novel. In fact, it is the only Hemingway novel I’ve read. I terrible with the classics. But I’ve see the Spencer Tracy movie version and I think Robert Jr. on a boat talking to giant marlin for 90 minutes sounds like bliss. Throw a tiger on the boat while you’re at it and make it a “Life of Pi” mash-up. Kate Winslet too. Make it the ultimate “On a Boat” flick.

Batman-.

Time for a re-boot, right? In fact let’s go all the way on this one. The only way a proper “Justice League” movie will ever get done is if DC lets Marvel make it. Path of least resistance: Cast “The Avengers” crew. Downey as Batman. Paul Bettany (voice of Javis) as Robin. Chris Evans trades his Cap’n shield for Superman’s cape. Scarlett as Wonder Woman. Poor Jeremy Renner as Aqua Man! Hemsworth as Martian Manhunter! You know, initially I was only kidding but this may be a fantastic idea. Note to Disney: BUY DC COMICS AND MAKE THIS HAPPEN!!!!!

Count Dracula- Dracula. .

This would just be cool. I know the vampire thing is dying but this would sell tickets. Maybe Mel Brooks can remake “Dracula Dead and Loving It” with Robbie Downey sporting the fangs?

Christian Grey- 50 Shades of Grey. .

So far casting rumors for this erotic trilogy has consisted entirely of people that the public wants to see naked. Emma Watson? Jennifer Lawrence? Rebel Wilson? Yes, please. And who better to administer the various spankings than Downey Jr., Robert (ran out of ways to write his name, sorry)?

BUT the fact that David is having sex with a young girl that he has helped raise from an infant is ignored. This should not be ok and Hollywood Morals deem it fine. This is a fatal flaw in the film as the characters are not crafted good enough to ask or answer these issues. Because of this, “The Oranges” plays like an episode of some television drama you would find on ABC Family that just so happens to use a curse word every once in a while. All falls flat except for Oliver Platt. His performance is the one shining spot. The camera should have never left his side and left that silly business of sleeping with immature children alone.

Meanwhile…

In a secret laboratory located somewhere deep beneath the Hollywood Hills, a brilliant mastermind has concocted the formula for the Perfect Popcorn Flick. Call him Master of the Marvel Universe!!

Or you can call him by his real name: Kevin Feige, President of Marvel Studios!! I think the Master one is better but whatever. And while I doubt he really works out of a secret lab (hell, I don’t even know if he lives in the Hollywood Hills) I am positive that the man has worked with some alien race to create the Marvel Movie Formula. How else to you explain the fact that he has been the creative force behind 7 (!) of these Superhero Movies in a 5 year (!) span that have done nothing but gotten better and better? I’m asking you. What is going on here?

Last year’s Mega-Gigantro Blockbuster Tent Pole Motion Picture Event “The Avengers” marked the culmination of 5 previous films that introduced us to our many heroes: Captain America, Thor, The Hulk…etc. That film was an expert blend, a near-flawlessly executed Action-Adventure that served as the final chapter of what is known as the “Marvel Cinematic Universe: Phase One”.

As turning these things out in Super Quick Time has been part of the Marvel Miracle, one year has passed and we are commencing Phase Two with “Iron Man 3”. Seems fitting as the original “Iron Man” was the picture that started the entire thing and, if box office receipts are any indication, Mr. Stark is the most popular to the Superhero Crew.

The miraculous news is that “Iron Man 3” is the best of the trilogy; a rare feat as the third in a franchise tends to be the dying gasp (“The Godfather Part III,” “Spiderman 3” “Superman 3”). I will give you “Toy Story 3” as an exception but this is surprising news.

This go-around takes the dynamic character development from the first film and mixes it with the last 20 minutes of action from the lackluster second film and gives us the “Best of” remix in this third chapter. Let’s place the blame on writer/director Shane Black who took the reins from Jon Favrau (who still sticks around as Stark’s bodyguard, Happy Hogan. His role is bigger here but then Black literally blows him up and makes the dethroned director spend much of the film lying in a hospital bed). Black has worked with   Robert Downey Jr. before in the trippy flick “Kiss Kiss Bang Bang” and is the best at concocting dialogue for him. Here Downey Jr. is at his snarky peak here, zipping off rapid fire thoughts unfiltered.

We find the billionaire Industrialist a little shaken from his journey through universe that ended “The Avengers”. Tony can’t sleep and is suffering from panic attacks (who doesn’t like their hero flawed?) Like in all “Iron Man” films, at least one Tony’s nemesis is a leader of Giant Corporation. This time its Aldrich Killian (Guy Pearce), founder of A.I.M. and proprietor of a Mystery Something called Extremis. But Killian is not Stark’s only villain to handle as there is The Mandarin (Sir Ben Kingsley), a long-bearded terrorist who threatens the American public through well-edited videos.

As you may know, I hate providing too much synopsis and I will leave this one here as “Iron Man 3” plays out like a gumshoe mystery (much like “Kiss Kiss Bang Bang”). With a near-two and a half hour running time, the film still is able to move along at a nice clip. In fact, one of my only issues with the story is that the final ten minutes are too rushed and important information is simply brushed over. Also, why is the story told with the Christmas setting? Seems out of place and for a summer release and distracting. 

Following “The Avengers,” it is safe to predict that “Iron Man 3” will bring in Billion Dollars in box office receipts worldwide. In fact I’m sure that all of the follow-ups to come (and there are many) will bring huge receipts and this crazy Marvel Cinematic Universe thing should be able to go on for at least another decade. As long as The Master keeps cranking out high quality fare like this, I’ll take one every three months please.