My Top 10 Movies of 2013

Another year is in the books. Many thanks to everyone who read my blog over the past 12 months. This time around, I'm releasing this entry in phases just to have a little more fun with it. The full list should be complete before New Year's Eve.

Six months ago, I postulated that the best movies of the year would arrive over the course of the second half of the year, as per usual. I was right, not that this is a difficult thing to predict. During the spring and summer months, Hollywood is focused on blockbusters. They don't necessarily have to be good, they just have to give viewers another helping of their favorite franchises without being embarrassing. Anything shooting for something beyond that is dubbed as "Oscar Fare" and released in the autumn or later. It's all neatly compartmentalized. Everyone gets what they want, but there's a predictable rhythm to it all.

Nevertheless, I'm pleased to note that my Top 10 list here, in contrast to last year's, spread the ball around a little more. A vast majority of my choices in 2012 were released in the November-December timeframe. This time, only three films on the list fit that description as September, October, and even July received a little more love.

A few notes: don't expect any superheroes or other franchise favorites to make the list this year. Really, 2012 spoiled us with The Dark Knight Rises, The Avengers, and Skyfall. That's blockbuster representation we might not see again for a long time. The closest thing we had to that this year was The Hunger Games: Catching Fire, which, for what it's worth, I'd rank #16, just barely behind my five runners-up choices.

Also, I normally have a pretty easy choice most years in selecting my No. 1 movie. Not this time. I went back and forth many, many times between two films before finally settling on one. Really, they should be 1 and 1A, and either one of them would've ranked ahead of my No. 1 from last year (Looper).

On with the show! First, the five runners-up (in alphabetical order):

All is Lost

The Conjuring

 Don Jon

 The Place Beyond the Pines

The Spectacular Now













                And now for the Top 10, presented in reverse order with commentary:

10. The Wolf of Wall Street

Scorsese and DiCaprio are back and in great form, and this time they’ve taken things in a different direction. The Wolf of Wall Street is a bio-pic, but the filmmakers throw us a changeup by making this take on the slippery-dealing, hard-partying Jordan Belfort into a comedy. It makes for a fresher, not to mention more entertaining, approach than what we’re used to seeing with movies like this. And in all the times DiCaprio has worked for the director, this is easily the most wow-worthy performance he’s given.

9. Prisoners

Of all the movies in my Top 10, Prisoners has by far the most plot, and does it ever need its full 153-minute running time to tell it. It is both an awesomely unpredictable mystery thriller and a fascinating dive into brutally tough questions about morality and the law. Oscar buzz is curiously low for this movie and its stars (in particular Hugh Jackman, who is even better here than he was in Les Miserables), but don’t let that stop you from scoping this one out. It’s a superior thriller that not only keeps viewers guessing, but gives them plenty of after-movie debate material as well.

8. Blue Jasmine

It sure feels good to include a Woody Allen movie in a Top 10. And while the venerable actor/director has another winner on his hands, it’s his star actress who deservedly earns all the accolades. Cate Blanchett turns in career-best work here as a character who is deplorable for her superficiality and addiction to wealth yet nonetheless fascinating for all the same reasons. Blue Jasmine hits all the right notes with its commentary on elitism and mental illness, and just when you think you have the movie’s title character figured out, Allen introduces a final wrinkle that forces you to re-evaluate everything.

7. Her

Spike Jonze really knows how deliver movies that are unique, moving, darkly funny, and thought-provoking. He’s an auteur much like Quentin Tarantino, where a new film of his represents an event for a select group of movie-lovers. The basic premise of Her, that of a man starting a romantic relationship with a sophisticated, human-like Operating System, may sound ridiculous, but Jonze mines it for all its worth and takes the story in fascinating directions. Originality is at a premium these days in Hollywood, so it’s all the more refreshing when someone delivers something like Her.

6. Captain Phillips

Quite a few of 2013’s best movies are based on or inspired by a true story, and Captain Phillips is no exception. Though the ending is a matter of historical record, director Paul Greengrass’ movie is likely to enthrall and exhaust most viewers. It’s a more exciting movie than anything featuring superheroes or fast cars because the characters and situations connect and feel real. Throw in superb performances from the ever-reliable Tom Hanks and newcomer Barkhad Abdi and you’ve got a movie that should leave an impact on just about everyone, whether they’re looking for pure entertainment or something more.

 5. Disconnect

I can’t for the life of me understand why a drama this engrossing doesn’t have a place among the year’s Oscar hopefuls. Disconnect is nonetheless 2013’s great hidden treasure, a movie few saw but absolutely need to see for its blistering commentary on the darker side of social media. With a classic ensemble approach to storytelling that I always appreciate, all three of Disconnect’s story threads engage, intrigue, and enrich the viewer. I’ve seen it twice (it holds up extremely well on a second viewing) and sincerely hope movie-lovers everywhere see it at least once. It is for and about our Digital Age.

4. Blue is the Warmest Color

Yes, the graphic, NC-17-rated lesbian sex scenes in this movie caused quite a stir. But what makes Blue is the Warmest Color so memorable is that it’s about so much more than nudity and orgasms. It’s about a young woman’s very realistic struggle with life’s transitions, coming of age, and relationships. Lead actress Adele Exarchopoulos gives, in my humble opinion, the best female performance of the year, beating out Blue Jasmine’s Cate Blanchett by a whisker. The language barrier and three-hour running time appears daunting, but those two obstacles are surprisingly easy to overcome. Give it time and patience and you’ll be rewarded with one of the year’s most memorable experiences.

3. Gravity

Director Alfonso Cuaron went seven years between this film and his last one, and the wait was worth it and then some. Gravity represents technology in the movies used for its maximum impact; has the vastness and danger of space ever felt like as much a character in its own right as it does here? The story, while simple, is both realistic and resonant; this is not only about a woman’s fight for survival but about the gamut of emotions she runs through in trying to achieve it. Gravity also delivers a resounding message to Hollywood about the use of 3D; if you’re going to use it, make sure you only let filmmakers with vision handle it. I’d say Cuaron, like James Cameron with Avatar, fits the bill.

 2. 12 Years a Slave

I understand the counter-argument against 12 Years a Slave, that it provokes anger rather than healing, but I couldn’t disagree more. This blisteringly powerful movie deals with an overwhelmingly dark period in human history, and filmmakers who take on this challenge should absolutely not flinch from showing the ugliness of slavery nor the wrenching emotions displayed by everyone involved. 12 Years a Slave isn’t made to entertain viewers; it’s made to challenge and move them, and does it ever. Boasting superb acting across the board (in particular from Chiwetel Ejiofor and Lupita Nyong’o) and perfect pacing, director Steve McQueen has made the slavery-based film all others will now be judged by.

 1. Fruitvale Station

This is the only movie of 2013 that I feel goes beyond simply telling a great story and becomes a teaching tool. It breathes three-dimensional life into a main character that could’ve easily been depicted as little more than an angelic victim. Its endgame is phenomenal, delivering the hardest emotional punch of any movie this year in spite of the fact we all know its coming. Yes, some scenes deviate from the historical record of Oscar Grant III, but this isn’t a documentary. Instead, it’s narrative as statement, whether you interpret that statement as political, existential, cautionary, or all three. Fruitvale Station represents the timeliest and most transcendent film of 2013, and its impact will stay with me longer than any of its counterparts. It came out in July, and even after Hollywood’s rush of "Oscar" releases, it still stands alone for me as No. 1.

Review of The Wolf of Wall Street

When one thinks of a Martin Scorsese film, it's easy to conjure up images of violence, brutality, mobsters, sociopaths, and memorably profane dialogue exchanges. With the exception of that last part (more than 500 f-bombs this time around, folks), The Wolf of Wall Street is devoid of all those usual staples. Surprised? You shouldn't be. Consider that the director's two most recent movies before this one were a member of the "mind-fuck" sub-genre (Shutter Island) and a family film (Hugo). Scorsese possesses much more versatility as a filmmaker than many give him credit for, and with his sure-handed direction and phenomenal acting from all involved, he comes up with yet another winner with The Wolf of Wall Street.

Based on former stockbroker Jordan Belfort's memoir of the same name, The Wolf of Wall Street tells of the rise and fall of a man consumed by the "money above all else" mentality that infects New York's financial district. There's an important twist, however-- most of this plays out like a comedy. Yes, there are a few serious scenes and an important underlying message, but for much of the three-hour running length, Scorsese's film is shooting for the funny bone. Its success rate is remarkably high, and I commend the filmmakers for going this offbeat route. How many more standard-order bio-pics do we need, anyway?

The Wolf of Wall Street opens, believe it or not, with a dwarf-tossing contest. It's there we're introduced to Belfort (Leonardo DiCaprio), and we flash back to his early days of breaking into the stock industry. Unfortunately for him, he completes his Series 7 Exam and earns his license on Black Monday, the day of the largest crash since the 1920s. Soon out of work and looking to make some inroads, he discovers a small firm specializing in "penny stocks," applies for a job, and becomes an almost overnight sensation among his co-workers. When he becomes wealthy enough, he founds his own company, Stratton Oakmont, where he and his right-hand-man, Donnie Azof (Jonah Hill) help grow it to gargantuan levels. He eventually divorces his wife for a younger, blonde, former Miller Light girl named Naomi (Margot Robbie) and develops a serious addiction to quaaludes. The SEC starts to suspect something isn't quite right with Stratton Oakmont (after all, they're essentially running a gigantic pump-and-dump scheme), but that's nothing compared to when FBI Agent Greg Coleman (Kyle Chandler) opens a case on Belfort.

Leonardo DiCaprio, in his fifth outing for Scorsese, is clearly the director's go-to-guy, and rarely has the pairing flourished like it does here. DiCaprio is magnetic from beginning to end; he presents Belfort as an oily yet charming leader who knows exactly how to help anyone get rich quick but loses so much more in the process, including any sense of morality. His speeches to throngs of men and women, who work in such incredibly close proximity in the phone room that they resemble packs of wolves, are something to behold. Think Alec Baldwin in Glengarry Glen Ross or Ben Affleck in Boiler Room, only instead of that personality dominating a single scene, it carries an entire film. And yes, many of these are laugh aloud hysterical.

Scorsese's leading man receives admirable support all around from both big names and relative unknowns. Jonah Hill matches DiCaprio's manic energy stride for stride; a scene featuring the two of them tripping out on industrial-strength quaaludes is physical comedy at its finest. Australian actress Margot Robbie proves she's a lot more than a pretty face and a hard body with her lively performance, and the character is treated as such as well. Belfort didn't just dump one "plain" wife for a "hotter" one, he felt he had a connection with Naomi and later fathered two children with her. Not that it worked out any better for him. Finally, a cornucopia of familiar faces all delight with their various supporting turns, including Rob Reiner as Jordan's father, Jean Dujardin as a Swiss banker, and Kyle Chandler as the primary antagonist.

In most R-rated Scorsese films, the director pushes the limit of the rating through violence. Here, it's with sex and nudity. As such, Scorsese was forced to make edits to avoid being slapped with the dreaded NC-17, but even after that, the finished product is still chock-full of naked bodies (mostly female, some male) and kinky activities. The emphasis on hedonism is so overpowering that the movie can't help but lose a little steam at the beginning of its third hour (I'd say a running time of 2:35 would've made this movie just about perfect). It rebounds though, when the proverbial shoe eventually falls on Belfort and Scorsese's point about the dehumanizing effect of doing nothing other than chasing money, women, drugs, rinsing and repeating rings loud and clear.

Is The Wolf of Wall Street an Oscar contender? That depends largely on your definition of the term. This is certainly a movie about something, and it crackles with energy and powerhouse acting, but time will tell if the Academy deems it "too comedic" to be taken seriously. Nevertheless, this is a very strong piece of work from a leading man at the peak of his powers and a filmmaker who adds another strong chapter to his storied legacy.

Rating: ***1/2 (out of ****) 

Review of Her

Spoiler Warning: In the second-to-last paragraph, I hint at the film's ending. While I don't think knowing what happens ahead of time will in any way ruin HER, those who want a completely "fresh" movie-going experience may want to back out now and read this later. Your choice. 

With his fourth directorial outing, Spike Jonze has officially become one of those filmmakers you watch for and become excited for his projects. Whether he's adapting someone else's work (like Adaptation and Where the Wild Things Are), or cutting his movies from original cloth (like here and his awesome debut film, Being John Malkovich), his films are worth the wait for true movie-lovers. In a world of pre-packaged entertainment, Her is a breath of fresh air. By turns very funny and deeply moving and filled to the brim with thought-provoking material about our need to connect in an intrapersonal, technology-driven world, it's safe to say there's nothing else like this out there. The maxim "There's nothing new under the sun" may have met its match.

Her opens in a not-so-distant future version of Los Angeles. Thodore Twombly (Joaquin Phoenix) is a writer who earns a living writing personal letters from one stranger to another. He's frequently lauded for his work and has a few close friends, but there's something empty within Theodore. His ever-present lonliness, driven in large part by a divorce he's going through with his ex-wife, Catherine (Rooney Mara), is what prompts him to take the plunge and purchase an Operating System for his computer and smartphone. He chooses a female voice and is greeted by "Samantha" (voice of Scarlett Johansson). While the technology is largely intended to be something of a personal assistant for work files, Theodore and Samantha hit it off, and he discovers, much to his delight, that this AI seems to "get" him more than any "real" woman does.

As crazy as it sounds, a romantic relationship with an AI reveals plenty of universal human truths. Theodore and Samantha go through all of the expected sign posts, including a honeymoon phase (complete with a tastefully done virtual "sex scene"), double-dates with friends, an attempt to add a little "spice" to their relationship (in the person of a young woman acting as a "surrogate sexual partner"), and a fight. When Theodore's platonic best friend, video game designer Amy (Amy Adams), learns about his relationship, she reacts with curiosity rather than disdain, as does one of his co-workers. It's actually kind of refreshing to see supporting characters in a story like this be supportive rather than unnecessary complications.

As befitting of a movie with science fiction influences, Her is replete with social commentary. One could look at this movie as an example of where our society might be headed; how often in public places do you see scores of people playing with their smartphones, disconnected from the world around them? This movie possibly represents the next logical step by depicting individuals out in public conversing with their personal AIs.

Joaquin Phoenix is the glue that holds Her together. He's in every scene and he's an easy character to like and want the best for. Jonze's frequent, lengthy close-ups of the actor's face during conversations with Samantha are also extremely effective in making us feel like we're getting inside his head. Meanwhile, Scarlett Johansson has been drawing raves for her voice acting as Samantha, and it's easy to see why. The character may be an AI, but Johansson gives her personality and depth beyond the printed page; Samantha really does feel like a flesh and blood character.

Her is primarily a drama, but early on, it contains some of the most explosively funny scenes of any 2013 movie. A "phone sex" scene between Theodore and a chat room stranger goes to some very bizarre places, and a controller-free video game involving a swearing blue alien is a nonstop laugh-riot. Her lags a bit pace-wise toward the end of its second act, but it rebounds with a final act some will find heartbreaking. This is the way Her has to end. One of the film's most dominant themes is that there's no way to escape personal accountability in a relationship. Theodore finds it liberating to be with Samantha, thinking that the lack of a flesh-and-blood human being couldn't possibly have a downside, but we all know better.

Her is one of the most original, unique, and emotionally resonant movies of 2013. Its themes and visual style slide right into Spike Jonze's repertoire, and anyone who adored his previous three outings are sure to lap up this one as well. We need more movies like Her. Sure, it has legitimate Oscar aspirations, but watching this movie, I felt the sense that Jonze has actually made the film he wanted to make rather than simply casting his line hoping for awards to bite. Her hooks the viewer intellectually and emotionally from start to finish.

Rating: ***1/2 (out of ****)

Review of American Hustle

David O. Russell must be a very busy man. American Hustle is his third film in four years (following 2010's The Fighter and 2012's Silver Linings Playbook), and like the previous two, he's aggressively gunning for Oscar Gold. This time, he mashes the casts of both of those movies together and dips into the "period piece" well. American Hustle is based very loosely on the ABSCAM scandal in the 1970s, so loose in fact, that a caption helpfully reminds us at the beginning that "some of this actually happened." That's a perfect tone-setter for the film itself, which is wildly comedic, full of boundless energy, and steeped in nostalgic excess, right down the inclusion of multiple chart-topping hits on the soundtrack. 

American Hustle begins by introducing us to the meeting of Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams). He’s a skilled con-man on his own, but with her help (in the form of sex appeal and a convincing British accent), they become hugely successful at by preying on the greed of their clients. But one day, their games come to an abrupt end when they’re caught in a sting by FBI agent DiMaso (Bradley Cooper). Richie decides to spare jail time for the two lovers in exchange for them helping him climb the FBI's corporate ladder by nailing some big fish - Carmine Polito (Jeremy Renner), the mayor of Camden, New Jersey; congressmen; and maybe even some mobsters. Irving and Sydney go along with the scheme, but the scheme itself is far from the only complication they’ll face.

The con games aren’t just part of the movie’s central plot, they’re key with respect to every character’s relationship with others. No one in this film is who they seem, and the pace is so relentless that it takes a while for the pieces to snap into place. Russell also presents corrupt politicians in a different light than what we’re used to seeing. This isn’t a movie simmering with anger and cynicism; it presents some men as simply opportunists and some (particularly Carmine) with wanting to invest the money in a positive way for citizens of New Jersey. That’s consistent with the tone of the rest of the movie; though ABSCAM resulted in the corruption conviction of one U.S. Senator and six members of the House of Representatives, Russell recognizes the comedy inherent in how various parties bumble around with such a complex scheme.

Christian Bale is well-known for the extreme bodily makeovers he takes on from role to role. He’s been buff in American Psycho and the Dark Knight trilogy and skeletal in The Machinist and The Fighter, but this is the first time he tries on “fat” for size. Gaining 40 pounds, adapting a slouchy posture, and sporting a ridiculous comb-over, Bale disappears into Rosenfeld’s skin. Bradley Cooper plays Richie as the ultimate wanna-be Alpha Dog; he’s assertive, reckless, and a little unhinged. But he’s great fun to watch. Amy Adams handles the back-and-forth switch between accents with ease, and Jennifer Lawrence has a lot of fun playing a ditzy sexpot.

Oscar buzz abound for American Hustle, but for me, I fail to see anything that lifts it above its competition. It’s well-made, well-acted, and directed by a man with a unique sense of style, but it misses greatness. At times, the movie rambles, especially early on, and events unfold at such a dizzying pace that confusion occasionally results. Had this been a spring, summer, or early fall release, expectations for it would be lower, and that can factor in how a viewer perceives a film. Nevertheless, American Hustle is a triumph of style over substance, and it’s a welcome diversion no matter what the calendar reads.

Rating: *** (out of ****)

Review of Inside Llewyn Davis

The Coen Brothers' choice of setting Inside Llewyn Davis in New York's Greenwich Village in 1961 will not be lost on the musically astute viewer. In this movie's world, the impact of Bob Dylan has yet to be felt, and it's italicized in a scene where a producer informs the movie's title character "I don't see a lot of money here." Indeed, some will be wondering what happens just a few months down the road after this movie's story comes to a close. For those who don't know or care about such things, however, Inside Llewyn Davis is nonetheless another pleasing, quirky outing from the veteran filmmaking duo. And, as a bonus, it contains several era-appropriate songs guaranteed to get stuck in your head.

Inside Llewyn Davis is strictly character-driven. It follows a week in the life of a struggling folk singer (Oscar Issac) in Greenwich Village as he struggles to support himself. He seems misanthropic and disconnected with everyday life unless he's playing a song, where he displays remarkable talent. Without a permanent place to stay, he bounces from couch to couch, including those of fellow musicians Jean (Carey Mulligan) and Jim (Justin Timberlake). Llewyn's relationship with his sister is also fairly rocky. Late in the film, he takes a road trip to Chicago with oddball travelers Roland Turner (John Goodman) and Johnny Five (Garrett Hedlund) when a promising career opportunity materializes. And in the end, he must make a choice of whether to do what he loves for little compensation or give it up and take a steady job with steady income.

Llewyn Davis isn't the type of down-on-his-luck character who courts pity from a viewer. He's aloof, unfocused on his future, and can be a bit of a jackass at times. But he has just enough humanity (not to mention great skill at his craft) to have the average viewer hoping he catches a break in life. When playing his guitar and singing, we see a far more energetic and passionate man, and the Coens structure his songs almost like musical numbers in a Broadway play. Relative unknown Oscar Issac excels in the title role, both with the music (he does his own singing, as do Mulligan and Timberlake) and in everyday interaction with other characters.

Though this movie is straightforward and low-key, plenty of the Coens' trademark quirkiness can be found. The episodes involving a neighbor's cat (which Llewyn accidentally lets out and later carries around with him throughout the city) are frequently funny, as are the rambling stories of John Goodman's Roland Turner. And even if folk music isn't your cup of tea, the songs still have energy and verve, especially a wacky little number called "Please Mr. Kennedy." The use of a wrap-around framing device (involving Llewyn's confrontation with a mysterious stranger outside the cafe) isn't as effective, however. It seems to serve little purpose beyond shaking up the structure of an otherwise ordinary story.

In the end, while Inside Llewyn Davis isn't "great" Coen Brothers, it's still an offbeat, entertaining diversion. The movie itself won't have any legs beyond the art house circuit, and the performances, while solid, might not garner much attention in a massively crowded Oscar field. The soundtrack, however, has long-lasting potential. If you love the music, you'll love the film. Even if you don't, you'll still be impressed by the movie's immersive sense of time, place, and characters.

Rating: *** (out of ****)

Review of The Hobbit: The Desolation of Smaug

If any movie in the Hobbit/Lord of the Rings saga can be said to be all Peter Jackson and little (if any) J.R.R. Tolkien, this is it. When Jackson made the decision to split the novel "The Hobbit" into not two but three feature films, I'm sure we all knew that we would eventually come across "padding" material that Tolkien never intended to exist. On paper, this sounds like a recipe for disaster, but thankfully, much like last year's An Unexpected Journey, Jackson has successfully navigated most of the traps. With The Desolation of Smaug, this prequel trilogy announces itself not so much as "The Hobbit" but rather "The Hobbit-Plus," and that's okay as long as the end product entertains. This one certainly does.

After a brief flashback, The Desolation of Smaug picks right up with hobbit Bilbo Baggins (Martin Freeman), wizard Gandalf (Ian McKellan), and 13 dwarves led by Thorin Oakensheild (Richard Armitrage) as they resume their quest to take back the dwarves' homeland from the dragon Smaug (voice of Benedict Cumberbatch). After spending the night with a shape-shifting man named Beorn, they proceed through Mirkwood Forrest, where giant, unfriendly spiders await. They are saved by Elves, but later imprisoned when Oakenshield refuses to negotiate with the Elven king, Thranduil (Lee Pace). Bilbo eventually helps them escape, and they continue toward The Lonely Mountain (with a pit stop at the economically suffering human city of Laketown) with orcs in hot pursuit. Gandalf, meanwhile, splits from the group to pay a visit to Dol Guldur, the castle of the Necromancer, where he makes a horrifying discovery: the Dark Lord Sauron is returning to Middle Earth and preparing his troops for war.

The Desolation of Smaug is 20 minutes shorter than An Unexpected Journey as well as better paced. It's almost like the fantasy equivalent of an action movie, where the proceedings rocket from one set piece to the next. Tolkien's original work didn't have much room for elaborate chases and fights, but as presented here, they're a lot of fun and fluidly choreographed. The barrel escape sequence in particular is a standout; it may look like something out of a theme park ride, but it's a dizzying, whirlwind battle featuring moves and props that resemble that of a martial arts film. The dwarves as characters aren't as enchanting as the fellowship from the LOTR films, but those we get to know on a first name basis (not to mention Bilbo) are likable and worth rooting for.

Obviously, purists will be horrified with the liberties Jackson takes from a story perspective. But for me, the inclusion of elves Legolas (Orlando Bloom) and Tauriel (Evangeline Lilly), two characters never mentioned in the book, prove effective. They have just enough of a personality and character arc to add more flavor to this vision of Middle Earth. Jackson also expands the backstory of Lake Town shipman Bard (Luke Evans) to give us another multi-layered human character. Finally, the film introduces a love triangle of sorts between Legolas, Tauriel, and the unusually tall dwarf Kili (Aidan Turner), and as cheesy as it sounds on paper, it's a welcome addition that doesn't soak up too much screen time.

Ultimately, the film's title dragon must have his day, and that's when the film loses a little steam. Don't get me wrong, Smaug looks amazing, and Benedict Cumberbatch (with the help of some Darth Vader-ization of his voice) delivers all his lines with relish, but this portion of the film occasionally dips into the realm of silliness. Think about it for a minute; what use would a gigantic, articulate dragon have for piles upon piles of gold and nothing to do with it? At times, he resembles a Bond villain with too much talk and not enough ruthlessness. And the resulting 20-something-minute action sequence involving Smaug and the dwarves is well-filmed but far, far too long for its own good. This eventually leads to a cliffhanger ending that simply doesn't work. Yes, while every film in the series except for Return of the King ended with one, it followed a climax and a sense that something was accomplished. Here, it's an awkward, literal stopping point.

Nevertheless, these are nothing more than nagging flaws in an otherwise entertaining film. I never expected this "Hobbit-Plus" trilogy to enthrall and engage emotionally the way the LOTR films did, but two films in, they blend in well with the overall mythology. This quest-based story is still fun and well-paced enough for the movie's 160-minute running time to elapse fairly quickly, and Jackson's numerous additions are mostly beneficial. The Desolation of Smaug isn't an Oscar contender; it will have to settle for being a well-assembled fantasy action film. But hey, that kind of movie works just as effectively in December, perhaps even more so, than your average superhero film does in the summer.

Rating: *** (out of ****)