• AMERICAN HUSTLE (R) Since 2004’s disappointing I Heart Huckabees, from which his on-set meltdown went viral, David O. Russell has been on fire. Could his latest film be his greatest yet? Yes; it’s certainly possible. A fictional account of the real life ABSCAM investigation that sent several members of federal, state and local government to prison, American Hustle, already nominated for seven Golden Globes, is set to rake in more nominations. Conman Irving Rosenfeld (a near unrecognizable Christian Bale) and his not exactly British girlfriend, Sydney Prosser (Amy Adams), are forced by an unstable FBI agent, Richie DiMaso (a sweetly permed Bradley Cooper), into conning the mayor of Camden, New Jersey, Carmine Polito (Jeremy Renner), and some of the scariest mobsters still living (enjoy the uncredited surprise guest!). Torn between his love and his beautiful, crazy, young wife (Jennifer Lawrence) and son, Irving has to come up with his master plan to escape jail and death. Russell has proven an uncanny ability to take a great cast and make them greater. American Hustle is a film made for ensemble cast awards; picking one standout nears impossible, though the film takes a hit during most of Bale’s absences. Go. See it.
• ANCHORMAN 2: THE LEGEND CONTINUES (PG-13) Much has changed since last we heard from San Diego’s top newsman, Ron Burgundy (Will Ferrell). He married co-anchor, Veronica Corningstone (Christina Applegate), and moved to New York City. But professional disappointment relegates Ron back to San Diego until he is offered the chance to front a 24-hour news network, the first of its kind. Ron returns to the Big Apple with his old news team behind him: features-stud Brian Fantana (Paul Rudd), sports-guy Champ Kind (David Koechner) and weatherman Brick Tamland (Steve Carell). But they face new challenges from rival anchor Jack Lime (James Marsden) and Veronica’s new lover Gary (Greg Kinnear). The jokes might not fly as fast or as quotable as those of the original, but the narrative and characters are better. Carell’s newfound stardom after the first movie means more Brick, and surprisingly, that’s a good thing. A late detour into staged melodrama falls a bit flat, adding unnecessary length, and the expected climactic battle gets too cameo-heavy with little comic payoff. Happily, the legend of Ron Burgundy is not tarnished by his return; only time will tell whether the sequel retains (or surpasses?) its predecessor’s rewatchability.
AUGUST: OSAGE COUNTY (R) Another adaptation of a Tracey Letts’ play (see Bug and Killer Joe) brings an all-star cast headed by Meryl Streep to Oklahoma. A family crisis reunites several strong willed women (including Streep, Julia Roberts and Juliette Lewis) on the family farm. Drama ensues. A top candidate for the year’s best cast, August: Osage County adds Ewan McGregor, Chris Cooper, Margo Martindale, Sam Shepard, Dermot Mulroney, Abigail Breslin and Benedict Cumberbatch to its trio of female leads.
BAD GRANDPA (R) Much funnier and more poignant than one would expect from a production company named Dickhouse, Bad Grandpa expounds upon the “Jackass” sketch featuring Johnny Knoxville’s elderly alter ego, Irving Zisman. Like Borat, Knoxville and company (including director-cowriter Jeff Tremaine and cowriter Spike Jonze) capture people’s real reactions to the interactions of a naughty, oversexed grandfather and his eight-year-old grandson, Billy (Jackson Nicoll). Knoxville tests just how much patience people have for old people in sketches narratively connected as grandpa Irving takes his grandson to live with his father. The credits offer a glimpse into the fascinating filming. (A behind the scenes doc about Bad Grandpa’s making would be worth a watch.) Sure, it’s raunchy, but Knoxville never breaks character, even when Zisman’s all alone. As a result, he gives a transformative, Sellers-like performance. Jackass has also been shockingly effective comedy, and if one can laugh at (or simply ignore) their new flick’s sophomoric hijinks, one will find the crew’s grown up…a little.
THE BEST MAN HOLIDAY (R) Taye Diggs, Morris Chestnut, Terrance Howard and Harold Perrineau return as the former college pals audiences first met in 1999’s The Best Man. Now all are married (besides Howard’s sex-obsessed Quentin) and facing numerous grown up problems ranging from money to kids to illness. A well-appointed holiday movie (every outfit and every room is catalog ready) clad in melodrama and mostly on target humor, The Best Man Holiday is the sort of film Tyler Perry has never quite made. Writer-director Malcolm D. Lee (Spike’s cousin) handles the tonal shifts from laughter to tears much more deftly, and his very pretty cast (rounded out by Sanaa Lathan, Nia Long, Monica Calhoun, Melissa De Sousa and Eddie Cibrian) is far from painful to watch. This sequel has a fairly focused appeal that should not disappoint moviegoers looking for some adult fare during this opening salvo of the holiday season.
THE BOOK THIEF (PG-13) I always intended to read Marcus Zusak’s novel before I saw the filmed adaptation. That does not look like it’s going to happen now. A tale set in Nazi Germany and narrated by Death, The Book Thief stars Monsieur Lazhar’s Sophie Nelisse as young Liesel Meminger, who steals books. “Downton Abbey” director Brian Percival’s previous feature film was A Boy Called Dad. Geoffrey Rush and Emily Watson star as Liesel’s foster parents, Hans and Rosa Hubermann.
CLOUDY WITH A CHANCE OF MEATBALLS 2 (PG) The animated family comedy, Cloudy with a Chance of Meatballs, wasn’t quite one for which a sequel seemed necessary. Inventor Flint Lockwood (v. Bill Hader) is working for The Live Corp Company when he must leave his job to investigate claims that his machine is creating food-animal hybrids. Joining Hader for voicework are Anna Faris, James Caan, Will Forte, Andy Samberg, Benjamin Bratt, Neil Patrick Harris and Terry Crews. This flick sounds like it barely escaped a direct to DVD launch.
DALLAS BUYERS CLUB (R) Matthew McConaughey and Jared Leto have been hogging a lot of the recent buzz for their performances in The Young Victoria director Jean-Marc Vallee’s mid-80s AIDS drama. After being diagnosed with the deadly disease, a hard living electrician Ron Woodruff (McConaughey) overcomes his homophobia and attempts to beat the system while getting necessary medications for himself and others struggling to survive the burgeoning epidemic. With Jennifer Garner, David O’Hare (“American Horror Story”) and Steve Zahn.
DESPICABLE ME 2 (PG) As far as animated sequels go, Despicable Me 2 has more creative life in it than might first be thought. Gru (v. Steve Carell) may no longer be a master criminal, utilizing his freeze rays and other diabolical inventions to raise his three adopted daughters—Margo (v. Miranda Cosgrove), Edith (v. Dana Geier) and Agnes (v. Elsie Fisher). When a new super villain steals a dangerous, experimental serum, the Anti Villain League – represented by sweet potential love interest Lucy (v. Kristen Wiig) – enlist Gru’s assistance. Watching this enjoyable kiddie flick with a kid definitely increases the appeal of the little yellow Minions, whose roles have been enlarged with their own spinoff in the works for 2014. Carell’s Boris Badunov accent still entertains and warms the heart, as does little Agnes. A little long, even at 98 minutes (remember when Disney cartoons clocked in under 80?), Despicable Me 2 has no shot at surpassing expectations like its underdog predecessor, and its appeal to anyone over ten probably depends on one’s tolerance for the Minions. Still, it’s a funny movie for kids and parents.
47 RONIN (R) It’s hard to imagine this long-delayed action flick (an original release was scheduled for late 2012) will make much of a dent at the box office. Keanu Reeves stars as a samurai (WTF?!) looking, along with a few other roaming warriors, to avenge the death of their master. Confidence is not boosted with the knowledge that this movie is Carl Rinsch’s directorial debut. Oddly, the script was written by Oscar nominee Hossein Amini and Fast and Furious’ Chris Morgan.
FROZEN (PG) Disney returns with a newfangled computer animated feature that feels very old school. A young princess, Anna (v. Kristen Bell), must venture into the frozen wilds to save her sister, recently crowned Queen Elsa (v. Idina Menzel), who has lost control over her icy powers. Anna is assisted in her search by ice salesman Kristoff (v. Jonathan Groff, “Glee”), his reindeer, Sven, and a goofy, talking snowman named Olaf (v. Josh Gad). The narrative, adapted from Hans Christian Anderson’s “The Snow Queen” by Wreck-It Ralph scripter Jennifer Lee (who co-directed), is as Disney formulaic as they come, and the animation shines without standing out. Nonetheless, the characters, especially Gad’s silly snowman, are winning. The songs are catchy, as is their diegetic musical inclusion. Little kids will love Frozen, and parents who grew up on Disney classics will not feel left out in the cold.
GRAVITY (PG-13) Yes. Children of Men filmmaker Alfonse Cuaron’s latest film is as great as you have heard. An astronaut (George Clooney) and a doctor (Sandra Bullock) must work together to survive an accident in the cold, silent confines of space. Gravity is an acting tour de force by Bullock (this movie is essentially her Cast Away) and the most incredible special effects driven film I have ever seen. See it in 3D/IMAX if you can, as the film reminded me of Six Flags’ Chevy Show. You feel like you are in space, which is simultaneously awe-inspiringly beautiful and coldly dangerous. Though a science fiction film, Gravity is the most harrowing cinematic experience I can remember. It’s often more terrifying than any recent horror film. Cuaron has cured me of any lingering desires to travel into space. He has also proven himself to be the single most intriguing major filmmaker working today. Taking two mega-stars and placing them in a straight up disaster movie that is heavily reliant on special effects takes so much vision and control to keep the spectacle from overwhelming the humanity. Gravity is heavyweight genre filmmaking that never lets up. It is intense, but you cannot miss it.
THE GREAT BEAUTY Before his 65th birthday, Jep Gambardella, played by Toni Servillo, was a one hit novelist living it up with the rich and fabulous in Rome. But when his past reemerges, Jep turns his life around to see Rome for it's timeless beauty. (Ciné)
GRUDGE MATCH (PG-13) This Raging Bull meets Rocky is competing for Christmas Day’s biggest snoozefest. Robert De Niro and Sylvester Stallone star as two aging boxers looking to recreate the magic of their epic final tilt some 30 years after the event. Kevin Hart and Alan Arkin show up for ethnic and (more) aged comic relief. Not terribly funny, should-be-crowdpleasers are director Peter Segal’s “specialty,” if one wishes to be that kind. With Athens’ own Kim Basinger.
THE HOBBIT: THE DESOLATION OF SMAUG (PG-13) Peter Jackson’s first return to Middle-earth, The Hobbit: An Unexpected Journey, did not disappoint, even if it failed to excite like The Lord of the Rings trilogy. The second Hobbit feature still feels hobbled by a feeling of déjà vu. Armies of orcs marching to war or battles against giant killer spiders are nothing new. But when Jackson takes us to new locales like Lake Town at the foot of the Lonely Mountain, where mammoth dragon Smaug (v. Benedict Cumberbatch) resides, the epic fantasy film reaches toward those heights of its predecessor. The return of Legolas (Orlando Bloom) does not hurt nor does the first appearance of the lovely elven warrior, Tauriel (Evangeline Lilly, best known as Kate from “Lost”). The river barrel ride that acts as the film’s highlight action set piece is spectacular, except for moments of poor FX so uncharacteristic of Jackson or the Weta digital effects house. Smaug, though, is a wonder, a massive work of CGI art. The climactic, fiery escape from the Lonely Mountain leaves the audience breathless, eager for the final installment, There and Back Again, due next December.
THE HUNGER GAMES: CATCHING FIRE (PG-13) The Hunger Games returns, and its sequel, while more a formality setting up the series’ final, revolutionary entry, improves upon an original that was more of a visual book report than an exciting cinematic adaptation. (Original director Gary Ross’ absence was addition by subtraction.) After surviving the 74th Hunger Games, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) are the Capitol’s newest celebrities. But all is not well in the Districts, and creepy President Snow (Donald Sutherland, who I’ve only just noticed resembles Sid Haig) lets Katniss know it by putting her back in the next year’s Games. New director Francis Lawrence (I Am Legend) paces the film better once we escape District 12 (every scene in it is so drab and boring), and the Quarter Quell is excitingly envisioned with deadly fog, killer monkeys and fun new faces like Finnick (a key new role well played by Sam Claflin) and Johanna (Jena Malone). Largely dismissed as repetitive upon the novel’s release, the underrated Catching Fire successfully adds more wrinkles to the Suzanne Collins’ formula than its more straightforward predecessor. However, it’s about time Katniss take more charge of her situation, a flaw hopefully remedied by the franchise finale, Mockingjay.
LAST VEGAS (PG-13) What can one say about Last Vegas? The comedy is funnier than expected, and the drama is worse than one can imagine. Four old friends—Paddy (Robert De Niro), Billy (Michael Douglas), Archie (Morgan Freeman) and Sam (Kevin Kline)—head to Vegas for Billy’s bachelor party. Hilarity ensues as horndog Sam hits on all the ladies, Paddy gripes and grimaces, Archie drinks and gambles, and engaged Billy romances an older woman, lounge singer Diana (Mary Steenburgen). Astonishingly, the gags that ensue from the aforementioned clichés are funny. The forced melodrama between Billy and Paddy, who have been fighting over girls since they were little boys, drags the entire movie down, as does the unenlightened view of old people and young people, wholly represented by hot young women and “Entourage”’s Turtle (Jerry Ferrara). Director Jon Turteltaub smartly lets his four strong leads do their thing, and they are an appealing quartet. They work well together, no matter how unimaginative the script. However, the comedy will naturally play better to older audiences; cinematically uneducated youngsters will just be left wondering who all these old fogies are.
LONE SURVIVOR (R) The new film from underrated action filmmaker Peter Berg (I’m still disappointed by how quickly his The Kingdom was so resolutely dismissed) stars Mark Wahlberg, Taylor Kitsch, Emile Hirsch and Ben Foster as Navy SEALs taking part in the failed 2005 mission, “Operation Red Wings.” While seeking to capture or kill a Taliban leader, four SEALs must tackle 200 plus enemy soldiers. The trailer is appealing but might too closely resemble Act of Valor with real movie stars. With Eric Bana.
MONSTERS UNIVERSITY (G) So let’s call it a slump. Cars 2 was a clunker; Brave was good verging on really good but not close to great; and Monsters University lacks the Pixar pop of their undeniably great features (Up, Wall-E, Toy Story 3). In this prequel to Monsters, Inc., we learn how Mike (v. Billy Crystal) and Sully (v. John Goodman) met. Apparently, the two scarers didn’t start as best buds. First, they were scaring rivals at Monsters University. This Revenge of the Monster Nerds doesn’t creatively bend college life for monsters as one would expect from Pixar. The life lesson is trite—don’t let others define your limits or some similar sentiment—and is taught as cleverly as an inferior animation studio’s Monsters, Inc. knockoff. Fortunately, the animation, especially the creature design, is as lush and lifelike as ever, and the voicework from Pixar newcomers like Nathan Fillion and Charlie Day saves the comic day. Kids will love the silly, low scare fun, and parents will be happy it’s not Cars 3.
OLDBOY (R) Oh boy, does Spike Lee’s Oldboy have some big shoes to fill! The second installment of Park Chan-Wook’s Vengeance Trilogy is ten years old and still sears the imagination of those who have seen it. Violently vengeful Joe Doucett (Josh Brolin) seeks answers for his seemingly random 20-year captivity. Lee’s gathered a sharp cast—Samuel L. Jackson, Elizabeth Olsen, Sharlto Copley, Michael Imperioli, Lance Reddick and more—and scripter Mark Protosevich retains some genre buzz (despite the Poseidon remake).
OUT OF THE FURNACE (R) Like an episode of “Justified” minus the deft, light touch of Elmore Leonard, Out of the Furnace focuses on working class heroes and backwoods baddies. After a tragic accident, steel mill worker Russell Baze (Christian Bale) faces more bad news as his soldier brother, Rodney (Casey Affleck), runs afoul of a meth-ed up MF-er named Harlan DeGroat (a natural role for Woody Harrelson). Despite warnings from the local policeman (Forest Whitaker), who just so happens to be dating Russell’s ex-girlfriend (Zoe Saldana), Russell tackles Harlan head-on. Crazy Heart filmmaker Scott Cooper follows up his Academy Award-winning debut, mostly renowned for its performances, with another heavy drama whose best feature is its actors. Bale and Harrelson are standouts, though Harrelson nearly succumbs to hamminess with his lollipop routine. Clumsy plot devices and characters (cough, Rodney, cough) that almost erase all of their sympathy recur, but the tension of Russell’s sad world will suck you in. Plus, the soundtrack features Pearl Jam; it’s hard to say no to Pearl Jam.
PARANORMAL ACTIVITY: THE MARKED ONES (R) Paranormal Activity 2, 3 and 4 writer Christopher “Son of Michael” Landon makes his directorial debut with this fifth installment, which cannot be much worse than the last. (PA4 was so bad.) A set of Hispanic victims must face an inescapable force, much like Katie and Kristi did. The trailer promises the sort of scares that made the PA series horror’s most successful franchise since Saw. A winter release could shake the series up a bit and provide audiences with a chilly fright.
PARKLAND (PG-13) This rather unheralded feature recounts the chaotic day at Dallas’ Parkland Hospital on November 22, 1963, the day President John F. Kennedy was assassinated. Zac Efron, Tom “Clark Kent” Welling, Billy Bob Thornton and Marcia Gay Harden star, while Paul Giamatti plays Abraham Zapruder, whose namesake film would captivate the world forever. Parkland is the feature debut of writer-director Peter Landesman. Athens native Mallory Moye, who appears in the film, will be featured in a post-screening Q&A. (Ciné)
PHILOMENA (PG-13) Journalist Martin Sixsmith (co-writer Steve Coogan) picks up the story of the title character (Dame Judi Dench) who gave up her son years ago after she was forced to live in a convent. Often, the work of two-time Oscar nominated director Stephen Frears (Dangerous Liaisons, The Grifters, High Fidelity, Dirty Pretty Things and The Queen) is well-received by critics. The vastly talented Coogan can be an acquired taste. Nominated for three Golden Globes—Best Motion Picture, Best Actress and Best Screenplay.
THE ROOM (R) The Room, from baffling “auteur” Tommy Wiseau, might be the Mona Lisa of bad movies; its greatness lies in its mysterious smile, which a laughing Wiseau trots out at the oddest moments. Johnny (writer-producer-director-star-charlatan Wiseau) is engaged to “beautiful” blonde Lisa (Juliette Danielle), who embarks on an affair with Johnny’s “best friend,” Mark (Greg Sestero), for no apparent reason, which may be why she constantly reminds him (and us) that she loves him. The Room will leave you with so many questions that don’t need answering. Did Johnny and Lisa get married? (The infamous tuxedo scene says yes but is contradicted by later dialogue.) What about Claudette’s cancer? Who uses a fake pregnancy bomb to spice up an uninteresting relationship? Why do they want to throw the football so much? Why must everyone keep repeating Mark’s status as Johnny’s “best friend?” Why am I in a theater at one in the morning watching this strange, hysterical man vomit drama on the big screen?
SAVING MR. BANKS (PG-13) P.L. Travers (Emma Thompson) meets with Walt Disney (Tom Hanks) himself during the negotiations for and the filming of her classic Mary Poppins. Apparently, the whole story was about her difficult Australian childhood and her own dad, who served as the inspiration for Mr. Banks. Director John Lee Hancock last helmed The Blind Side. It looks like he’s got another crowd pleasing hit on his hands. With Colin Farrell, Paul Giamatti, Jason Schwartzman, B.J. Novak and Bradley Whitford.
THE SECRET LIFE OF WALTER MITTY (PG) Ben Stiller takes on James Thurber’s classic short story about a regular Joe who daydreams of a more exciting life. (Danny Kaye played Walter Mitty in the 1947 version.) Stiller directs and stars as the titular dreamer, who discovers a real life adventure after his job is threatened. Kristen Wiig costars as Walter’s love interest, and Adam Scott is his workplace antagonist. Stiller’s presence in front of and behind the camera is intriguing, but something about the film seems too manufactured, at least according to the trailer.
THOR: THE DARK WORLD (PG-13) Marvel’s sequel to the surprisingly entertaining 2011 hit should have built on its predecessor’s success. Instead, the movie’s generic plot—an evil villain seeks to destroy the universe—and its science fiction aesthetic resemble an even-numbered Star Trek movie (Malekith even looks like a Romulan) more than a Marvel superhero feature. With frequent “Game of Thrones” director Alan Taylor at the helm, the movie’s Asgard could have benefitted from a grittier, Westeros look; instead, Asgard could be any Naboo-like world from the Star Wars prequel. Chris Hemsworth’s Thor remains as easily charming, and one wonders if the series should have allowed him to be single for a bit. Imagine Thor as an unbound lothario. Oddly enough, what seemed like a weakness of the first film—Thor’s unpowered banishment to Earth—is exactly what’s missing from its sequel. How can you tell? When Thor finally arrives on Earth, the quips fly faster and the gags land more soundly. Thor: The Dark World simply becomes more entertaining when the action leaves Asgard. Apparently, nothing about Thor should ever be serious. After all, he’s a god with flowing blond locks and a giant hammer. Oh, and more Loki please.
12 YEARS A SLAVE (R) Will art house sensation Steve McQueen (the filmmaker behind Hunger and Shame, not the quintessentially cool actor) succeed on a larger scale? Chiwetel Ejiofor stars as Solomon Northup, a free black man who is kidnapped and sold into slavery. Screenwriter John Ridley has a spotty filmography (U Turn, Three Kings and Undercover Brother). As glad as I am to see Ejiofor in a starring role, I’m equally jazzed about Quvenzhané Wallis, Michael K. Williams (aka Omar Little), Scoot McNairy, Paul Giamatti, Benedict Cumberbatch, Paul Dano, Michael Fassbender and Brad Pitt.
TYLER PERRY’S A MADEA CHRISTMAS (PG-13) The biggest Madea misfire since Meet the Browns, A Madea Christmas gives off the whiff of expired made-for-TV eggnog. Perry’s merrily mischievous matron travels to Alabama with the worst character Perry has yet created, Eileen (Anna Maria Horsford of “Amen”). Eileen’s daughter, Lacey (Tika Sumpter), is hiding her new marriage to Conner (Eric Lively), who is white, and her mother’s interactions with his likable redneck parents, Buddy and Kim (Larry the Cable Guy and Kathy Najimy), are offensively rude. A Madea Christmas is simply an ugly movie that would look weak even against The Hallmark Channel original holiday fare. Perry’s second worst character also resides in this small town, Chad Michael Murray’s Tanner. Unprofessional acting (check out the horrendous accents) and weak writing marked by outdated jokes about the small town South offend and disappoint. Perry has shown to be better than this gag gift of a holiday movie. So few Madea moments land that Larry the Cable Guy is the funniest fellow in the picture. Boy, that’s not a good thing. Have you ever seen a bad, local church’s Christmas play or that awful War on Christmas movie, Last Ounce of Courage? Then you’ve seen A Madea Christmas.
WALKING WITH DINOSAURS 3D (PG) Seventy million years ago during the Cretaceous period, three Pachyrhinosaurus pals—Patchi (v. Justin Long), Scowler (v. Skyler Stone) and Juniper (v. Tiya Sircar)—grow up together and struggle to survive. The film resembles a live action, computer generated hybrid version of the classic kiddie cartoon, The Land Before Time. John Leguizamo lends his voice to narrator Alex, an Alexornis bird symbiotically bonded with the dino protagonists. Named for the 1999 BBC TV documentary series.
WE’RE THE MILLERS (R) We’re the Millers doesn’t break any laugh records, but after a few laughless weeks at the cinema, it more than accomplishes its goal. Its silliest problem is its star, the hilarious Jason Sudeikis, who comes off far too smug far too easily. (One wonders how this movie would have played with a more sympathetic David Clark, played by Jason Bateman or Jason Segel, etc.) After running afoul of his drug kingpin pal (Ed Helms), Dave (Sudeikis) must smuggle a smidge that turns out to be a lot more than a smidge of marijuana across the border. Dave hatches a brilliant plan to fake a family with stripper Rose (Jennifer Aniston, who is getting hotter with age), runaway teen Casey (Emma Roberts) and virginal Kenny (Will Poulter, Son of Rambow). Everything works out great until he runs into a swell DEA agent and his wife (Nick Offerman and Kathryn Hahn) and the big-time Mexican drug lord to whom the weed really belongs to catches up with them. We’re the Millers will probably gain popularity once it starts airing non-stop on FX. Still, it’s a funny afternoon diversion, thanks mostly to its clever cast, not its familiarly sitcom-ish script.
THE WOLF OF WALL STREET (R) Martin Scorsese’s longest film yet stars his latest muse, Leonardo DiCaprio, as Jordan Belfort, who rose from wealthy stockbroker, greedily feeding off the 1980s teat, to federal prisoner, convicted as part of a 1990s securities racket. Matthew McConaughey practically steals the preview, and the rest of the cast includes Jonah Hill, Kyle Chandler, Rob Reiner and many more. A Scorsese-DiCaprio team-up finally got the legend his Oscar; is it Leo’s turn?