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Here's a look at the new movies I saw last week, including our first Oscar bait!

The Master
Starring: Joaquin Phoenix, Phillip Seymour Hoffman, Amy Adams, and Jesse Plemmons
Synopsis: I have mixed feelings about Paul Thomas Anderson, but there is no denying his incredible talent. He is a gifted writer, director, and, above all, storyteller. That is what makes his films fascinating, compelling, and the subject of many discussions. But it usually depends on how you feel about the worlds and characters that he is trying to illuminate when it comes to deciding how much you like a film. I loved the ideas and performances in "There Will Be Blood," and consider it a classic. I appreciated what was being attempted with "Magnolia," but it didn't resonate with me as it did with some. So too, do I find myself feeling about "The Master." A great deal of the buzz around the film is centered on the idea that it is a direct assault on Scientology. I confess, I don't know a ton about Scientology, but I don't feel it is exactly a direct assault. It more feels like a look at the kind of luminary figure that would create a movement like that, the kind of people drawn to a movement like that, and the lasting effect their experiences have on their lives. The film features two knock out performances. Hoffman is among a handful of incredible actors working today. He has an uncanny ability to lift the material he's given, and he does so here. Phoenix also finds a role ideally suited to his talents. He shines in this role because it is right in his wheel house and because of his immense talent. The other performances in the film are sturdy as well, including the work of Adams who doesn't have as much meat as Phoenix and Hoffman. The film is also well crafted with some stunning visuals. But it's the story where it breaks down for me. It has been said that, in America, we like things tied up neatly. That is probably true from a broader cultural sense, but I have often appreciated open-ended films. That isn't what bothers me about this, though the film is clearly left open-ended and up for interpretation. What bothers me about this is that I can't figure out what statement Anderson is trying to make, and worse yet I can't figure out how I feel about the message of the film. It feels a bit too much and is muddled. I suspect this is a film that requires multiple viewings to really process because there is simply so much going on that isn't vocalized. However, this film also left me cold — which is a somewhat common complaint I've heard about the film. You don't really feel drawn to or engaged by the characters. It feels more like a clinical evaluation of these people and this situation. That isn't terrible, per se, but it doesn't help draw you into the narrative as much as it could. This is a brilliant technical film with outstanding performances, but to me it isn't a brilliant film. It doesn't feel a fully formed and complete as something like "There Will Be Blood." It's a noble effort that, to me, falls a bit short.
Rating: R for sexual content, graphic nudity, and language. Enter with caution.
Verdict: Two stars out of four.

Pitch Perfect
Starring: Anna Kendrick, Rebel Wilson, Brittany Snow, Skylar Astin, and Anna Camp
Synopsis: Musical comedy has made a comeback in recent years, thanks in large part to the success of “Glee” on the small screen. But as “Glee’s” numbers have faded in its fourth season, it’s logical to wonder if interest in the genre has waned. The answer, based on the strong Box Office reception for “Pitch Perfect” in limited release, is no. Audiences still love the genre, they just want to see it done well. That’s where “Pitch Perfect” nails it. The film was adapted from a non-fiction book, written by Mickey Rapkin. For the book Rapkin, a writer for “GQ,” spent a year following a cappella college groups. The film dives into that concept in a fun, funny way. What made “Glee” so endearing during its early seasons was the way the story was told. It was a fun mix of a plucky underdog story and sharp humor. “Pitch Perfect” has that in spades, and it’s similarly endearing and effective. Screenwriter Kay Cannon — who has written episodes of the hilarious “30 Rock” and charming “New Girl” — does a great job of nailing the comedic tone. The film is moving when it needs to be, silly when it wants to be, and hilarious throughout. That’s a tough trick to pull off. Director Jason Moore — who has worked on teen shows like “Dawson’s Creek” and “Everwood” — does a great job of framing the action and keeping the story moving nicely. The musical numbers are great, the action is well-paced, and the film hits all the right notes to keep the audience engaged and hooked. As “Pitch Perfect” is a musical, the song selection is an important element to the overall presentation. The film offers a nice blend of classic songs and modern radio hits, and integrates the musical selections and choices well within the context of the film. Unlike some of the recent musical selections on “Glee,” none of the numbers in “Pitch Perfect” feel forced or like they’re pandering to the popular tastes of the day. That, too, is an important element to the success of an entry in this genre. But what really sells the film are the excellent performances. Camp and Snow are great as the leaders of the Bellas, Wilson is a crack up as the wild card of the group, and Elizabeth Banks and John Michael Higgins are hilarious as the commentators at the a cappella competitions. Banks and Higgins get some of the best lines, and their delivery is spot-on. But a movie like this rises and falls with its leads, and here, too, “Pitch Perfect” nails it. Astin is great as Jesse. He’s strong in the performance sequences and endearing in his moments off stage as well. But the star of the film is Kendrick, an Academy Award nominee who continues to show her range. She’s great at this kind of humor, and handles all the other aspects of the role well too. “Pitch Perfect” feels fun and fresh, and it’s a delightful cinema experience. It’s not the deepest movie, but it’s the kind of exuberant, escapist fun that has been too often missing at the Box Office in 2012.
Rating: PG-13 for sexual material, language and drug references.
Verdict: Four stars out of four.

Won't Back Down

Starring: Maggie Gyllenhaal, Viola Davis, Holly Hunter, and Oscar Isaac

Synopsis: It's hard to argue that we are failing our children, by and large, when it comes to public education. This being an issue I am passionate about, a movie like "Won't Back Down" will naturally appeal to me. This film is inspired by a true story, and you don't have to look too hard to find examples of parents, teachers, and education professionals being dissatisfied with the system and trying to make a change. "Won't Back Down" is meant to inspire, and it does. It's also meant to show the difficulty in going against a highly entrenched system that is broken, and it does. The broader question is what lasting legacy will the film have? That's where it gets murky. The film drew a paltry opening weekend Box Office, suggesting that most people simply aren't that interested in these kinds of stories. And therein lies our national problem. We need people to get passionate, to get angry, and to get fired up to demand real change. "Won't Back Down" is a beautiful example of this principle in action — a fictionalized story inspired by real efforts. But people can't even get excited for a well-made, well-acted, beautiful film. So how do we get them inspired to really act in real life? That's a question that can't be easily answered. However, "Won't Back Down" works as both a compelling narrative and a call to action. The acting is excellent, with Gyllenhaal and Davis headlining this film and putting their all into it. It is an inspiring film, and it's also entertaining — the ultimate goal for a film. I think it's an important kind of film and worth seeing, it's just too bad that the rest of our country doesn't feel the same.

Rating: PG for thematic elements and language.

Verdict: Three stars out of four.

Upcoming Releases:

Friday, Oct. 5 — "Pitch Perfect" (wide), "Taken 2," "Frankenweenie"

Friday, Oct. 12 — "Argo," "Here Come's The Boom," "Seven Psychopaths," "Sinister"

Friday, Oct. 19 — "Alex Cross," "Paranormal Activity 4"

Friday, Oct. 26 — "Cloud Atlas," "Chasing Mavericks," "Silent Hill: Revelation 3D," "Fun Size"