Reviews: The "Before" Series - Before Sunrise, Before Sunset, and Before Midnight

Three Films, Eighteen Years, and One Magical Encounter

By Chris Sabga

Five other people were with me in the theater when I went to see "Before Midnight." All five walked out. Life can be tough, and this movie pulls no punches about that. From the moment Jesse and Celine (Ethan Hawke and Julie Delpy) appear together again, it feels different in the air somehow; their dialogue carries with it a much a sharper edge this time. They are no longer the lovestruck young pups we first met eighteen years ago. They've had time together, and the comfort that comes along with it – but that can be a double-edged sword. In one scene, Celine remarks that men believe in magic. We do. Jesse still does too. After the incredible chance meeting he had on a train when he was only 23, it's easy to see why.  

Before Sunrise (1995)

Rarely is a film's promotional material anything more than mere marketing fluff with a few carefully chosen buzzwords – but whoever wrote the back cover for the DVD of "Before Sunrise" understood its allure and conveyed it perfectly.

"Love is their destination. On the way there's the mutual sharing of hopes, jokes, dreams, worry and wonder. It's a day to linger in their memories. And a valentine to young love forever."

An experience so magical, it obviously managed to capture even a random ad-writer's heart. It certainly captured mine.

The story of two young people, Jesse and Celine, randomly meeting on a train and exploring Vienna together cannot help but fascinate, inspire, and warm even the most jaded of hearts.

There are no big twists or turns. There isn't an explosion anywhere in sight. There's simply a conversation.

Two strangers walking and talking, getting to know each other, and becoming more smitten with each passing syllable and step.  

Hawke and Delpy are perfect in their roles. Not just good, not just excellent, but perfect.

As I wrote previously: When "Before Sunrise" was released in 1995, there was nothing else quite like it. It was and remains one of the truly great "silver screen surprises."

At the time, no one could have ever imagined that Jesse and Celine would ever meet again on screen. Movies like this simply didn't get sequels. This one did.  But it took nine years.

Before Sunset (2004)

Jesse has never forgotten that night in Vienna with Celine. Neither has anyone else who's ever seen "Before Sunrise." Nine years later, Jesse is an author – and his book about that one magical encounter brings Celine back into his life. This time, they're in France.

They were supposed to meet again much sooner. Why didn't they? That particular conversation is beautifully awkward and feels incredibly true.

Jesse and Celine are almost a decade older now. "Before Sunset" expertly uses the realities of life to subtly chip away at the picture-perfect connection they shared in "Sunrise" – something that doesn't become as obvious until viewed through the lens of the third film, "Before Midnight."

In a telling scene in "Sunset," Celine criticizes Jesse for acting like a "little boy" at one point during their previous meeting in Vienna. It's such a quick flash of pettiness – over almost in an instant – and yet it seems so jarring and out of place. Little did we know at the time that such clouded judgmental thinking would eventually come to dominate Celine's entire personality.

However, "Sunset" never erodes the gentle love shared by its two characters. Their chemistry remains as magical as ever.

But magic is an illusion.

Before Midnight (2013)

The film opens with Jesse and his almost 14-year-old son Hank (Seamus Davey-Fitzpatrick) walking through an airport. Celine is nowhere in sight. That alone is telling. It becomes immediately obvious that everything has changed.

When Jesse and Celine finally do meet up, they don't actually get to be alone with each other until the second half of the film. That's another monumental difference between "Before Midnight" and its previous chapters.

Some of their conversations – especially with other people – border on being overly pretentious, but those moments are fleeting and entirely forgivable from such a dialogue-driven film. Maybe the other "Before" movies were that way too and I'm just more jaded now – much like Jesse and Celine themselves.

In "Midnight," Celine is obnoxious, unbearable, and impossible to please – a drastic and depressing change from her sunny sweetness in "Sunrise" and "Sunset."

She has become the kind of person who makes blowjob jokes inside a church, even though the love of her life is a "closet Christian."

There is a conversation about the tragic fate of Joan of Arc at one point. With the way Celine is carrying on, it's easy to wish the same for her.

But I'm a man. Women who see the film might find fault with Jesse instead. Of course, he is far from flawless himself. That's the point, I think. Regardless of whose perspective you lean toward, these characters have created enough goodwill over the past eighteen years and two previous movies that I ultimately wanted both of them to succeed – together.

Life is full of disappointments. In some ways, this movie is one of them. I don't want to watch people argue for two hours! Listening to an angry couple sniping and bickering about family issues is simply not my idea of a good time. That certainly wouldn't be considered entertaining in any other setting.

Still, the acting remains as breathtaking ever and the dialogue once again kept me glued to the screen from beginning to end. It's real. It's raw. Life can't always be the fairy tale presented in the other two films (especially the first). If there are still several more "Before" movies to be made, this could end up becoming a very important and necessary part of the series. Until then, though, I can only view "Midnight" and its characters as they are currently.

Yet, I haven't been able to stop thinking about it. I actually feel flashes of real anger at times. I almost wish I could go up to Jesse (a fictional character, mind you) and offer him my support and a listening ear. A movie that inspires such raw emotion in its audience – especially when most don't – is obviously doing something right. It's challenging and conflicting. Isn't that what great cinema is supposed to be?

___

The title of each film expresses more than I previously realized. In 1995, Jesse and Celine were 23 and about to enter the sunrise of their lives. Nine years later, the optimism of youth was still present, but they were older now. That meeting was perhaps their last before they entered the sunset phase that inevitably comes with age and experience. But midnight is a dark time. It's when the magic wears off for Cinderella. It has, too, for Jesse and Celine. The slipper is off Celine's foot – metaphorically but also literally in one pivotal scene. However, midnight is also a time filled with mystery and wonder. Can their relationship regain that, or will it indeed be darkest Before Dawn?

Review: Cloud Atlas

Maybe We've Met Before – Somewhere in Time

By Chris Sabga

Release Date: October 26, 2012 – U.S.

Rating: R

Genre: Action, Drama, Sci-Fi, Comedy, 

Romance, Thriller, War

Running Time: 172 minutes

Directors: Tom Tykwer, Andy Wachowski, 

Lana Wachowski

Writers: David Mitchell (novel), Tom Tykwer, 

Andy Wachowski, Lana Wachowski

Cast: Tom Hanks, Halle Berry, Jim Broadbent, 

Hugo Weaving, Jim Sturgess, Doona Bae, 

Ben Whishaw, James D'Arcy, Zhou Xun, 

Keith David, David Gyasi, Susan Sarandon, 

Hugh Grant

"Cloud Atlas" isn't a movie that's meant to be written or read about – it simply has to be experienced! Spanning six different time periods and featuring an international cast of world class actors in multiple roles, it's utterly breathtaking in its sheer size and scope. It's a historical drama, an action movie, a conspiracy thriller, a love story, a comedy, futuristic sci-fi, a post-apocalyptic war film, and a mystery.

Even though it incorporates a wide variety of genres, it's definitely not for everyone. Great art never is.

___

Here is a list of the impressive cast and the many personas they play (courtesy of IMDB):

Tom Hanks: Dr. Henry Goose / Hotel Manager / Isaac Sachs / Dermot Hoggins / Cavendish Look-a-Like Actor / Zachry

Halle Berry: Native Woman / Jocasta Ayrs / Luisa Rey / Indian Party Guest / Ovid / Meronym

Jim Broadbent: Captain Molyneux / Vyvyan Ayrs / Timothy Cavendish / Korean Musician / Prescient 2

Hugo Weaving: Haskell Moore / Tadeusz Kesselring / Bill Smoke / Nurse Noakes / Boardman Mephi / Old Georgie

Jim Sturgess: Adam Ewing / Poor Hotel Guest / Megan's Dad / Highlander / Hae-Joo Chang / Adam (Zachry's Brother-in-Law)

Doona Bae: Tilda / Megan's Mom / Mexican Woman / Sonmi-451 / Sonmi-351 / Sonmi Prostitute

Ben Whishaw: Cabin Boy / Robert Frobisher / Store Clerk / Georgette / Tribesman

Keith David: Kupaka / Joe Napier / An-kor Apis / Prescient

James D'Arcy: Young Rufus Sixsmith / Old Rufus Sixsmith / Nurse James / Archivist

Xun Zhou: Talbot / Yoona-939 / Rose

David Gyasi: Autua / Lester Rey / Duophysite

Susan Sarandon: Madame Horrox / Older Ursula / Yusouf Suleiman / Abbess

Hugh Grant: Rev. Giles Horrox / Hotel Heavy / Lloyd Hooks / Denholme Cavendish / Seer Rhee / Kona Chief

___

A brief breakdown of the various time periods featured in the film:

1849: South Pacific High Seas

A lawyer, Adam Ewing (Jim Sturgess), vouches for a runaway slave (David Gyasis) to the ship's captain (Jim Broadbent). Eventually, Ewing becomes deathly ill. Can the doctor on board (Tom Hanks) save him?

1936: Cambridge and Scotland

Two gay lovers, Robert Frobisher (Ben Whishaw) and Rufus Sixsmith (James D'Arcy), correspond via letters after Frobisher leaves Cambridge to seek out the great Scottish composer Vyvyan Ayrs (Broadbent). Together, they will create a musical masterpiece, the Cloud Atlas Sextet.

1973: Los Angeles, California

Roving reporter Luisa Ray (Halle Berry) gets stuck in an elevator with an older Rufus Sixmith (D'Arcy), who tips her off to a shocking conspiracy. Will the help of a scientist (Hanks) and her father's old friend (Keith David) be enough?

2012: The United Kingdom

John Travolta lookalike Dermot Hoggins (Hanks) becomes a bestselling author after he tosses a critic off a building – leading to trouble for his publisher, Timothy Cavendish (Broadbent). Cavendish turns to his brother, Denholme (Hugh Grant), who puts him in a nursing home – where he's imprisoned against his will. From there, a comedy of errors follows.

2144: Neo Seoul

Fabricants – a series of subservient slave drones cloned and engineered to please Consumers – are unchanging in their routine and unwavering in their beliefs. But one of them, Sonmi-451 (Doona Bae), eventually desires more. With the help of Hae-Joo Chang (Sturgess, playing an Asian man), she breaks away and discovers the deeper, darker truth.

106 Winters After The Fall: The Valley

A simple goat herder, Zachry (Hanks), tends to his family in a post-apocalyptic, prehistoric world. When his village, The Valley, is invaded by a violent tribe, he's helped by a mysterious, sophisticated woman, Meronym (Berry), who has access to technology. She wants him to take her up to the mountains, where "the devil" is believed to live. 

___

Those small summaries barely scratch the surface of "Cloud Atlas's" ambitious story, powerful themes, and central message.

Connections form across time in both big and small ways. Jim Sturgess's character from 1849 makes decisions that will shape his actions in 2144. Halle Berry and Tom Hanks meeting and falling for each other in 1973 will ripple through ages and beyond the fall of civilization. A comedic observation made in 2012 about something from 1973 will have sinister implications in 2144. And there are countless other examples...

Each segment has one or two (or more) major characters, but almost all of the main cast members are featured in some way. Sometimes they're easy to spot, even under heavy costuming and makeup – such as the Asian actress Doona Bae portraying a Caucasian redhead in 1849 or Halle Berry as a European white woman in 1936. But don't expect to catch all of them: Berry, again, is unrecognizable in the 2144 timeline as a male Korean doctor.  

The aforementioned prosthetics aren't always convincing. Doona Bae doesn't look or sound like a white woman, and Berry's appearance as one is equally as strange. However, Jim Sturgess pulls off the role of an Asian man surprisingly well. Everyone will have their own favorite performance and one particular actor they consider the "star" of the film. For me, it's Sturgess.

As I thought more about the jarring appearances of Berry, Bae, and others in some of their more disparate roles, it dawned on me that I can come up with countless examples of people from my own life who look nothing like their actual nationality. Have we, too, been "Cloud Atlasing" through the ages? 

Sometimes we make connections of such great power that they instantly seem otherworldly. Have you ever just met someone, and yet it feels like you've already known them your whole life? According to "Cloud Atlas," maybe we have – for all of our lives.

Review: Snitch

The Rock: Father, Husband, Drug Informant

By Chris Sabga

Release Date: February 22, 2013 – U.S.

Rating: PG-13

Genre: Action, Drama

Running Time: 112 minutes

Director: Ric Roman Waugh

Writers: Justin Haythe, Ric Roman Waugh

Cast: Dwayne Johnson, Barry Pepper, 

Jon Bernthal, Susan Sarandon, 

Michael K. Williams, Rafi Gavron, 

Melina Kanakaredes, Nadine Velazquez, 

Benjamin Bratt

"Snitch" is an action-drama with something to say. An unusual combination. It ends with a damning statistic: "The average sentence for a first time non-violent drug offender convicted under the federal mandatory minimum sentencing laws..." Pause for dramatic effect. "...is now longer than the average sentence for rape, child molestation, bank robbery and manslaughter."  The rest of the movie does everything it can to make its message as persuasive as possible. There is definitely an agenda being driven here, but it never feels heavy-handed. At its core, "Snitch" is still an entertaining spectacle with gang shootouts and "Spy Hunter"-style car chases – but it also features great actors tackling tough topics.

It begins with a dopey, naïve 18-year-old boy reluctantly agreeing to accept a suspicious package from his so-called friend. As soon as Jason Matthews (Rafi Gavron) opens the box, DEA agents swarm the house and arrest him for drug possession with intent to distribute. The charge carries with it a minimum ten-year sentence.

But the kid's father is played by The Rock (Dwayne Johnson), so you know heads are going to roll! John Matthews (Johnson) will do whatever it takes to free his son. He pleads his boy's case to a prominent district attorney, Joanne Keeghan (Susan Sarandon), who is staunchly against drugs and has her eye on a congressional seat.

John offers to go undercover and pose as a drug dealer in exchange for his son's release. He owns a truck company and can easily use his rigs to distribute "product." In reality, he'll be an informant – a "snitch" – to help Joanne bring down a major narcotics operation.

He just needs an introduction into that world. He turns to one of his employees with a criminal past: Daniel (Jon Bernthal) used to associate with a local dealer named Malik (Michael K. Williams), but he has put all of that behind him for the sake of his wife and son.

A DEA agent, Cooper (Barry Pepper), and a drug kingpin nicknamed "El Topo" (a lethal Benjamin Bratt), get involved along the way.

The acting is strong for the most part. The outspokenly liberal Sarandon portrays a Republican politician with a bitchy relish that's fun to watch. Pepper is almost unrecognizable in his role; it's hard to believe that this is the same actor who played a cocksure stockbroker in "25th Hour." It's a great performance. Bernthal is fantastic as a desperate ex-con who finds himself dragged back into his old life.

The Rock, on the other hand, portrays a regular husband, father, and business-owner. The problem is: he's not really any of those things. He's a former WWE Champion who became famous by being brash, over-the-top, and in your face. He doesn't excel when he's forced to play ordinary characters – because it's not really a natural fit for him. As a result, his line-delivery can sometimes come across as stilted and overly-rehearsed. However, he's wonderful expressing emotions and conveying the weight of the world on his shoulders. He knows how to make an audience root for him. His years as a pro wrestler taught him that skill, and he carries it with him to the silver screen.

The role of Jason, the son, is another weak spot. Rafi Gavron's performance is fine, but his character isn't given enough development to generate much sympathy from the audience. More often than not, I shook my head at the boy's stubborn stupidity. Actions that are meant to be "noble" come across instead as childishly rebellious.  

While the situation wasn't entirely his fault, all I kept thinking was, this spoiled dope fiend has ruined multiple lives with his irresponsible actions. Perhaps his character can return for a sequel that takes on another controversial topic – the pro-choice movement might work, because his existence is a pretty good argument for abortion.

Despite some faults, the message is still effective and the experience is entertaining. You know where it's going at all times, but the fun is in getting there.

Family is one of the film's central themes. John and Daniel are husbands and fathers who simply want to protect the people they love. Through them, "Snitch" examines the heavy toll the drug industry takes on families.

Review: Warm Bodies

Not Your Typical Zombie Movie

By Chris Sabga

Release Date: February 1, 2013 – U.S.

Rating: PG-13

Genre: Comedy, Horror, Romance

Running Time: 98 minutes

Director: Jonathan Levine    

Writers: Jonathan Levine (screenplay), 

Isaac Marion (novel)

Cast: Nicholas Hoult, Teresa Palmer, 

Analeigh Tipton, Rob Corddry, 

Dave Franco, John Malkovich

Zombies are dead and eat human brains, but other than that, they're just like you and I.

In "Warm Bodies," the world has been overtaken by the undead. The cause is unknown, but the effect is obvious: zombies now outnumber people. The surviving humans have been plunged into an apocalyptic wasteland. Teenagers are turned into trained soldiers.

In other words, the setup for every zombie movie ever made.

Not so fast! Right from the very beginning, it's obvious that "Warm Bodies" isn't your ordinary, everyday flick about the sluggishly slow. The movie starts out with a narration from a teenage boy named R (Nicholas Hoult, "About a Boy"). He's one of the zombies. Narration from a zombie? Well, that's unusual.

R's best friend is M (Rob Corddry, not Judi Dench). You can see his pain and hopelessness. Their "rapport" is one of the highlights of the film. It's a rare dramatic role for Corddry, and he nails it!

But R is different. That becomes obvious after he encounters Perry (Dave Franco, brother of James), who tries to kill him. He's one of those teenage soldiers I mentioned above. With him are his girlfriend, Julie (Teresa Palmer), and her best friend, Nora (Analeigh Tipton, who was great as the babysitter in "Crazy, Stupid, Love"). They're also soldiers. Times are tough!

They're under the command of Julie's dad (John Malkovich). Years of tragedy have made him lose perspective. He has become obsessed with wiping out the zombie plague. Everything else is secondary – including what's left of his family.

R has an opportunity to kill Julie, but he protects her instead. Not typical zombie-like behavior, but then, there's nothing typical about "Warm Bodies" at all. The friendship that develops between R and Julie is one of the reasons why. Julie isn't the pathetic, fawning Bella Swan of the "Twilight" series, who trips over herself to inhale the fumes of her pale, sparkling, distant, emotionally abusive vampire lover.

Even though R is among the walking dead and Julie is a frightened girl, they still somehow manage to make a typical teenage connection. In many ways, R's altered state symbolizes the awkwardness and anxiety that come with being that age. Using a zombie backdrop to explore those complex feelings and emotions is a flat-out brilliant storytelling device.

I'll be perfectly honest: I hate zombies in general. They're slow, boring, and have no personality. I go out of my way to avoid anything featuring these brainless mutants from the monster kingdom's third world. I'm told "The Walking Dead" is amazing television, and I will give in and watch it eventually. I also have very little interest in the upcoming "World War Z" with Brad Pitt. I'll keep an open mind though. Maybe if it were "World War V" instead and featured vampires, I would care more.

But "Warm Bodies" won me over. It's one of the most interesting, creative takes on the zombie genre that I've ever seen. 

Silver Screen Surprises Coming in June

Between the Explosions: The Potential Hidden Gems Being Released This Month

By Chris Sabga

"Man of Steel" and "World War Z" are among the many blockbusters slated for June, but there are also several other options that are more off the beaten path.

I haven't seen any of them yet, so I'm merely projecting what looks good to me. Inevitably, one or two – or all of these – could end up being duds. However, I'd like to think that my radar is refined enough that I'm on target more often than not.

A few of these are limited releases, which means you might not get them right away – or at all. If you have a budget theater, your movies of interest could pop up there a few weeks after their initial release date. Otherwise, you may have to wait for video.

For example, "Before Midnight" still hasn't come to my area. Do you smell that? It's the smoke coming out of my ears. But such is life when it comes to certain types of films – especially during the blockbuster summer months.

Here's what's on the docket for the next 30 days:

The Purge (June 7th): Yes, this also appeared on last month's list. With the competitive summer season in full swing, release dates tend to shift around as every movie jockeys for position. To recap: For one night of the year, people are legally allowed to commit any crime they want. A family – led by "Before Midnight's" Ethan Hawke – has to protect themselves from the madness just outside their doors. It's a tantalizing idea. Horror movies these days are usually hit or miss, but Hawke rarely appears in junk. 

Much Ado About Nothing (June 7th): Joss Whedon gathers his friends together for a modern day retelling of Shakespeare's classic tale. Instead of taking a vacation, Whedon shot this in twelve days (in black and white), in his own house, with a hand-picked cast of actors: Amy Acker, Alexis Denisof, Reed Diamond, Nathan Fillion, Clark Gregg, Fran Kranz, Sean Maher, and Jillian Morgese. Seasoned "Whedonites" will recognize those names from his other television and film projects. If you're not sure why you should be excited about this, you're not among the rabid converts familiar with the "Whedonverse."

Rapture-Palooza (June 7th): This will either be a complete train-wreck or downright hysterical. The rapture has occurred and now it's raining blood, locusts have appeared, and the devil (played by Craig Robinson) has come to Earth. Anna Kendrick proved she could handle wacky material well in "Pitch Perfect." This time, she's joined by comedy stalwarts John Francis Daly ("Waiting...") and Rob Corddry ("Hot Tub Time Machine"). Ken Jeong ("The Hangover") is also in the cast.

Violet & Daisy (June 7th): Alexis Bledel ("Gilmore Girls") and Saoirse Ronan ("Hanna") portray a pair of teenage assassins who set their sights on a new target, played by James Gandolfini. The premise sells itself, but it's far from a sure thing. Subplots about pop idols and terminal cancer could weigh it down. Still, I'm definitely curious.

Tiger Eyes (June 7th): Like many of you, I grew up reading Judy Blume. It's almost impossible to believe, but none of her books have ever made it to the silver screen – until now. She teams up with her son, director Lawrence Blume, for this film adaptation of her bestselling 1980s novel (which I haven't read) about a girl who moves to New Mexico with her family after her father is shot.

Vehicle 19 (June 14th/July 23rd):  After a long flight, a recent parolee (played by Paul Walker, "The Fast and the Furious") unwittingly rents the wrong car. There's a woman tied up in the backseat and the entire police force is after him – in South Africa. The international location might give this "Vehicle" some juice – or it could end up being bargain bin schlock. We'll soon find out. It comes out on video July 23rd – only a month after its limited theatrical release – which means that most of us will probably catch this one at home.

Byzantium (June 28th): Two strange women (Saoirse Ronan and Gemma Arterton) seek shelter at a coastal resort named Byzantium, but they have a secret: they're 200-year-old vampires. Ronan's specialty seems to be playing mysterious girls who are slightly off-kilter.

I'm So Excited! (June 28th): Most of us have been stuck on a plane at one time or another for far too long because of some vague technical mishap. That's the idea behind the newest project by acclaimed Spanish writer and director Pedro Almodóvar. The flight attendants do everything they can to distract their passengers from possible danger. Naturally, the plane is filled with various eccentric personalities. This foreign-language film could potentially be one of the surprise comedies of the year.

Redemption (June 28th): Jason Statham plays a homeless former soldier who assumes another man's identity to seek revenge and redemption. The strange trailer makes this seem like more than just the typical Statham action flick. "Redemption" may end up being a beefier dramatic role than usual for the underrated British actor.

Blockbusters: The Internship (June 7th), Man of Steel (June 14th), This is the End (14th), Monsters University (June 21st), World War Z (21st), The Heat (June 28th), White House Down (28th)

To be honest, I can't bring myself to care about zombies ("World War Z") or an Englishman playing the American icon Superman ("Man of Steel") – is he fighting for truth, justice, and tea and crumpets? – but I'll keep an open mind, of course. The only June blockbuster really grabbing me is "The Internship" with Vince Vaughn and Owen Wilson. I didn't even love their previous outing, "Wedding Crashers," but the idea of two 40-something men interning for Google sounds like it could be fun. My expectations are modest. "Monsters University" might end up in my rotation if I ever get around to watching "Monster's Inc."

Which ones are you looking forward to? Comment below or discuss it on Facebook or Twitter.

Review: Dark Skies

An Insidious Alien Invasion

By Chris Sabga

Release Date: February 22, 2013 – U.S.

Rating: PG-13

Genre: Horror, Sci-Fi, Thriller

Running Time: 97 minutes

Director: Scott Stewart         

Writer: Scott Stewart

Cast: Keri Russell, Josh Hamilton, 

Dakota Goyo, Kadan Rockett, 

J.K. Simmons

What if an alien invasion already happened and their hidden presence is now a fact of life like death and taxes? That's the situation facing the Barrett family in the sci-fi horror hybrid, "Dark Skies."

It begins with a mess in the kitchen and an open sliding door – a typical break-in scenario. But something seems off right away. It feels bizarre.  

The situation continues to escalate over the next few nights. In response, security systems are installed – first an alarm and then cameras – but those only leads to more issues and additional mysteries. The investigating officer wonders if there are any problems in the family. Maybe one of the children is acting out for attention?

Lacy (Keri Russell) and Daniel (Josh Hamilton) have been under stress because he has been out of work and their income is dependent solely on her success as a realtor. They have been arguing – which their two little boys, Jesse (Dakota Goyo, "Real Steel") and Sammy (Kadan Rockett), can't help but overhear.

Jesse is about 13, hangs out with an older boy, watches porno videos starring the world's ugliest performers, and has entered that rebellious, hormonal stage where he notices girls and doesn't want to be treated like a little kid anymore.

Sammy is several years younger and still fears mythical creatures that exist solely to harm children. No one pays him much mind when he has bad dreams and claims to be receiving visits from the "Sandman."

It's only when Sammy wets his pants and has a screaming fit do his parents realize that something is amiss. Perhaps he needs therapy?

But it isn't long before a series of strange occurrences sweep over everyone else in the household too.

Desperate for help and answers, Lacy and Daniel turn to an eccentric "expert," Edwin (J.K. Simmons), who lays out the bare facts for them. His approach is blunt and matter-of-fact, and his information is not at all comforting – but the plain, cold truth never is.

"Dark Skies" uses unsettling dream sequences, blackouts, strange bodily marks, animals, tripped alarms, and distorted video footage to create a genuinely spooky atmosphere and dreadful sense of foreboding. The movie succeeds because it takes a fantastical situation and approaches it in a completely realistic manner.

However, the ending comes out of nowhere, and in retrospect, the overall plot structure is nearly identical to another recent horror movie (which I won't name). My initial reaction to the final scene was: "That's it?" It almost seems like only half the story has been told and a sequel is being set up on the spot. Yet, it also works in a way – by leaving the viewer with a feeling of lingering darkness. 

Review: The Hangover Part III

Barely a Buzz

By Chris Sabga

Release Date: May 23, 2013 – U.S.

Rating: R

Genre: Comedy

Running Time: 100 minutes

Director: Todd Phillips         

Writers: Todd Phillips, Craig Mazin, 

Jon Lucas, Scott Moore

Cast: Bradley Cooper, Ed Helms, 

Zach Galifianakis, Justin Bartha, Ken Jeong, 

John Goodman, Melissa McCarthy, 

Jeffrey Tambor, Heather Graham, Mike Epps

It's almost impossible to imagine now, but Bradley Cooper, Ed Helms, and Zach Galifianakis weren't always massive stars. The original "Hangover" took the world by complete surprise when it was released in 2009. It remains a comedy classic. The sequel, which came out two years later, hardly felt original or fresh – it rehashed the formula almost exactly – yet, it still managed to be side-splittingly hilarious. "The Hangover Part III" brings back almost every major character from the series for its grand finale, but it isn't nearly as funny.

As the movie begins, Alan (Galifianakis) is cruising down the highway with his new pet – a giraffe. It's a funny sight gag at first, but it quickly becomes desperate and overwrought. It's impossible to suspend your disbelief for the scene's ridiculous "punchline." That ends up being a recurring issue in "Part III." The first "Hangover," even with its wild and crazy antics, was at least mostly plausible.

After Alan's giraffe gaffe, his friends – including his "Wolfpack" buddies Phil (Cooper), Stu (Helms), and Doug (Justin Bartha) – stage an intervention. He obviously needs severe mental help. It took them this long to come to that conclusion?

The Wolfpack hits the road. Everything is going according to plan. And then Black Doug (Mike Epps, reprising his role from the first film) runs into them – literally. This time, his boss is with him: Marshall (a menacing John Goodman) is looking for Mr. Chow (Ken Jeong) and strongly "persuades" Phil, Stu, and Alan to find him.

Their journey will take them into Tijuana and back to Vegas where it all began. Along the way, they'll meet Cassie, a foul-tempered pawn shop owner (Melissa McCarthy), and reunite with Stu's "ex-wife," the prostitute Jade (Heather Graham).

I smiled and chuckled many times during "The Hangover Part III," but unlike the first two movies, I rarely felt myself succumbing to uncontrollable laughter. No deep, guttural belly laughs. You know the kind I mean.

(With that said, don't leave when the credits start rolling – or you'll miss by far the best and funniest scene in the film.)

However, there is one surprising area where "Part III" succeeds: emotionally. After three adventures, it's impossible not to feel a connection with these characters and recall their wild antics with a degree of fondness. This final outing brings everything back full circle. If nothing else, it's nice to spend time with these people again. However, I remember thinking the same thing about "Cocoon: The Return" and it's not like that was a great movie.

If "The Hangover Part III" had been able to combine its gooey emotional center with gigantic laughs, it would have made for a deeply satisfying conclusion to the trilogy. Only a few hours after seeing it, very little sticks out in my mind. I'd call it a hangover, but I'm feeling barely a buzz.