Cindy Prascik's Reviews of The Tomorrow War & No Sudden Move

My dear reader(s): Still having no access to the Sparks Brothers, the long holiday weekend just passed offered nothing to draw me to the cinema, so I checked out a couple new streaming options. On my agenda: the Tomorrow War and No Sudden Move.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First on the docket: the Tomorrow War.

A high-school teacher is drafted into a future alien war.

The Tomorrow War is a hodge-podge of over-used tricks, our muscle-bound hero and his cliched family awkwardly facing a world of aliens and time travel. Chris Pratt is really good at playing a likable goof, and this role is neither likable nor goofy enough to suit him. The rest of the cast is unremarkable, the story offers no surprises, and  — for an effects driven movie — the effects are actually kind of sketchy. I had hoped this might be good, dumb fun, but sadly it's just dumb.

The Tomorrow War clocks in at 140 minutes and is rated PG13 for "intense sequences of sci-fi violence and action, language, and some suggestive references."

The Tomorrow War is the movie equivalent of those recipes that use up whatever's left in your 'fridge. All the stuff is in there, but that doesn't necessarily make the finished product very good.

Of a possible nine Weasleys, the Tomorrow War gets one.

The Tomorrow War is now streaming on Amazon Prime.

Next up: No Sudden Move.

A pair of criminals becomes reluctant partners when a job goes wrong.

Written by Ed Solomon and directed by Steven Soderbergh, No Sudden Move is a sharp heist film with surprises around every corner. The cast — led by Don Cheadle and Benicio del Toro — is exceptional, with nary a weak link among them. At times it's tricky keeping up with all the twists and turns, but smart writing and well-crafted dialogue make the journey a treat and the finish worthwhile.

No Sudden Move runs 115 minutes and is rated R for "language throughout, some violence, and sexual references."

No Sudden Move is a smart movie with a great cast, a nice surprise for a summer holiday weekend.

Of a possible nine Weasleys, No Sudden Move gets seven and a half.

No Sudden Move is now streaming on HBO Max.

Until next time...

Cindy Prascik's Review of Sicario: Day of the Soldado

Dearest Blog: Yesterday it was off to Marquee Cinemas for the highly anticipated (at least by me) Sicario sequel, Day of the Soldado.

 

Spoiler level here will be mild, nothing plot-related that the trailers didn't give away.

 

In order to combat trafficking of would-be terrorists across the border, the US aims to set the Mexican drug cartels at war with one another.

 

The usual full and fair disclosure(s)...quite a laundry list this time! First, I love Josh Brolin. Like, I really, really love him...since the Goonies but especially since The Young Riders. He never seems to be one of the guys who comes up in the Gary Oldman-level conversation, but I've loved him so long he's practically part of my DNA, and, despite the fact that he's become a superstar with a hefty collection of accolades, I've never learned to take his position above the movie's title for granted. 

 

Secondly, I am what is not-so-politely referred to as "part of the problem" in Hollywood. I like testosterone-fueled shoot 'em ups, and I didn't miss a female lead this time around. (No hate; I mention it only because it does color my opinion of movies.) Finally, the real world is such a shambles these days that it can be difficult to stomach films that depict some of its worst aspects, and certainly it's never easy to be reminded how awful your own government can be. I was pretty twitchy through Day of the Soldado's opening scene, but I was able to get lost in the story quickly, troublesome as the subject matter is.

 

Onward: Sicario: Day of the Soldado is a solid follow-up to one of 2015's better surprises. The movie loses a bit of momentum in its second act, but, thanks to well-maintained tension, a fully-utilized runtime, and amazing performances all 'round, it never really lets go of your attention. An implausible twist nearly derails the whole shebang (my cinema actually laughed out loud during the grim scene, certainly not the filmmakers' intention), but the film quickly regains its footing. 

 

Brolin and co-star Benicio Del Toro are riveting, and, like the original, Day of the Soldado boasts extraordinary cinematography (this time by the incomparable Dariusz Wolski), and a phenomenal score by Hildur Guonadottir. This felt like the first time in a very, very long time I was truly excited to get out to the movies, and Sicario: Day of the Soldado did not disappoint. Also, small spoiler alert: Josh Brolin eating noodles like he's never seen food before is my new porn.

Sicario: Day of the Soldado clocks in at 122 minutes and is rated R for "strong violence, bloody images, and language."

 

Sicario: Day of the Soldado as a whole is never quite as good as some of its parts, but it met my expectations and kept me engaged to the end. 

 

Of a possible nine Weaslesys, Sicario: Day of the Soldado gets eight.

 

Fangirl points: Yeah, still gotta give 'em to Josh Brolin, and also Dariusz Wolski, whose work never ceases to amaze me. AND...Shea Whigham, too!

 

Until next time...

SICARIO: DAY OF THE SOLDADO

FBI agent Matt Graver calls on mysterious operative Alejandro Gillick when Mexican drug cartels start to smuggle terrorists across the U.S. border. The war escalates even further when Alejandro kidnaps a top kingpin's daughter to deliberately increase the tensions. When the young girl is seen as collateral damage, the two men will determine her fate as they question everything that they are fighting for.

Director: Stefano Sollima

 

Cast: Benicio del Toro, Josh Brolin, Jeffrey Donovan, Isabela Moner, Manuel Garcia-Rulfo, Catherine Keener

Release Date: June 29, 2018

 

Genres: Action, Crime, Drama

Rated R for strong violence, bloody images, and language

Runtime: 2h 3min

Review:

Sicario: Day of the Soldado is a solid sequel even though it is missing that spark that made the original film so impressive.  Losing Denis Villeneuve and Roger Deakins was bound to leave a gap but new director Stefano Sollima tries his best to keep the aesthetics the same and general feel of the original.  Still there’s a noticeable talent gap which is compounded by some truly bleak sequences which are as shocking as they are rather unnecessary.  The script has a strange undercurrent of nastiness which can distract you from some strong performances.  Benicio del Toro drives the film with an impressive showing expanding on his character from the first film.  Del Toro is always the most interesting person on screen while Josh Brolin is a close second.  Brolin adds some needed depth to his character but the film doesn’t spend as much time cultivating it as it should.  Isabela Moner is a strong child performer who emotes fairly well even though she’s not given a ton of dialogue.  Catherine Keener is given a thankless role which wastes her considerable talents which is a real shame.  The film’s twisty plot is kind of muddled and once the film gains momentum it suddenly just ends with a door flapping open for a sequel.  It’s weird to think of this series being a franchise but that’s where the film leads us.

B-

Cindy Prascik's Reviews of Sicario & The Martian

 

 

 

 

Dearest Blog: Yesterday it was off to the pictures for a promising pair, Sicario and The Martian.

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

 

First on my agenda: Sicario.

 

A tactical specialist for the FBI is recruited for a multi-agency operation targeting a drug kingpin.

 

Dear Reader(s), I was a HUGE fan of the TV series The Bridge, so when I started seeing trailers for Sicario, I thought, "The Bridge on the big screen, with a li'l Josh Brolin stirred in for good measure? SIGN ME UP!" The movie does have its twists, but it definitely includes all the "law vs. cartel" aspects you'd expect, too.

 

To wit: It will surprise exactly no one that a film about running down a cartel boss is not for the faint-hearted. Sicario is brutal, and it does not flinch in its presentation of violence and gore, though torture is mercifully more implied than explicitly shown. It's all about ugliness, with the occasional surprisingly pretty moment. In a world of dirt and shacks, suddenly there's a silhouette framed against a stunning sunset, a frame of breathtaking beauty. Emily Blunt is fantastic in the lead, a competent, confident woman who lands in a situation she doesn't fully understand and can't control. For the second time in as many weeks, Josh Brolin turns up as a vaguely obnoxious guy that you'll kinda like anyway, and Benicio Del Toro all-but steals the show. The proceedings are accompanied by a menacing, magnificent score (composed by Johann Johannsson) that perfectly enhances the movie's tense tone. There are many moving pieces in Sicario, but, at almost an even two hours, it never feels muddled, slow, or long.

 

Sicario clocks in at 121 minutes, and is rated R for "strong violence, grisly images, and language."

I anticipated greatness from Sicario, and I'm pleased to report it exceeded my expectations. 

 

Of a possible nine Weasleys, Sicario gets eight.

 

Next up: Ridley Scott's The Martian.

 

A space mishap leaves a presumed-dead astronaut alive and alone on Mars.

 

Box office reports indicate that, if you went to the movies this weekend, you probably saw The Martian. And you loved it, didn't you? Seems everyone did. Well, almost everyone...

 

First, the positives: The Martian is a great story, and very well acted. A strong supporting cast is uniformly solid, but it's essentially up to Matt Damon to ensure you aren't rooting against astronaut Mark Watney's rescue. Damon does a fine job; he's believably smart, funny, and likable, yet also beautifully plays those moments of despair bound to beset a person in his situation. It's worth noting that, for all the movie's meant to be taken seriously, it does not hesitate to get a shirtless Matt Damon onscreen as early and as often as possible. There's a shortage of Sebastian Stan (would you even believe I wrote this if I didn't say it?), but it's nice to see Stan, an excellent actor in his own right, in something worth watching. I'm a long-standing Stan Fan, but outside Marvel projects, I'm pretty sure he hasn't done a decent movie or show since the short-lived NBC series Kings. The Martian's effects are big and sweeping, not in the same universe (see what I did there?) as the visual magnificence of Interstellar, but certainly worth seeing on the big screen. It's played for laughs, but there's also a proper disco-stompin' soundtrack that'll leave you humming ABBA's Waterloo for the next week or so.

 

The negatives? Despite all that, The Martian is pretty boring for pretty frequent and pretty significant stretches. You've no reason to care whether anyone outside of Watney lives or dies. The off-Mars sequences at NASA are actually far more interesting and entertaining than the movie's galactic bread and butter. If we're being honest, I looked at the clock a LOT and was fidgetingly anxious to wrap it up before the movie's halfway point.

 

The Martian runs an excessive 141 minutes, and is rated PG13 for "some strong language, injury images, and brief nudity."

 

It's a good movie, maybe even a great movie, but on the heels of Sicario, 

 

The Martian just didn't feel all that special. 

 

Of a possible nine Weasleys, 

 

The Martian gets six and a half.

 

Until next time...

 

MOVIE REVIEW: SICARIO

An idealistic FBI agent (Emily Blunt) is assigned to work a dangerous stretch of the US-Mexico border by her superior officer (Josh Brolin). She's exposed to the brutality of the Mexican drug cartel, and becomes partners with a defector from the cartel (Benicio Del Toro) who possesses keen knowledge about the organization. As she gets deeper into the ruthlessness and corruption surrounding the FBI sting to find the organizations leaders, her moral and professional boundaries are pushed to their breaking point. Denis Villeneuve directs this pulse-pounding crime drama, which competed for the Palme d'Or at the 2015 Cannes Film Festival. ~ Daniel Gelb, Rovi

Director: Denis Villeneuve

Cast: Emily Blunt, Benicio Del Toro, Josh Brolin, Jon Bernthal, Daniel Kaluuya

Release Date: Sep 18, 2015

Runtime: 2 hr. 1 min.

Genres: Action/Adventure, Drama

Review:

Sicario is the type of action thriller that leans towards the adult audience more so than the blockbusters.  It’s a moody mix of suspense peppered with action and compelling characters.  Denis Villeneuve’s is beautifully shot film that never shies away from the ugly side of violence and vengeance.  Still it’s not nearly as bleak as his previous film Prisoners which seemed intent on showing the closing darkness.  That’s not to say that this film is a bright and uplifting sing along, far from it.  Its characters are various shades of gray.   Emily Blunt’s performance here shores up her transformation from rom-com to ruthless but with a touch of subtle vulnerability.  The supporting cast is headline by Josh Brolin who is having a good time playing a CIA spook that is out for his own interest but Benicio Del Toro is the star of the show.  Del Toro is a fascinating mix of cool and dangerous throughout.  His character doesn’t say much but the performance lets you know there’s plenty going on behind those eyes.  It’s an intriguing drug war drama throughout Villeneuve’s most accessible film yet.

A

MOVIE REVIEW: SAVAGES

IN THEATERS

SAVAGES




Oscar-winning director Oliver Stone adapts author Don Winslow's best-selling novel into this all-star ensemble crime drama about a pair of peaceful, Laguna Beach marijuana dealers who are targeted for extortion by the ruthless Mexican Baja cartel. Ben (Aaron Johnson) is a devout Buddhist and dedicated philanthropist, and his best friend Chon (Taylor Kitsch) is a former mercenary who trained as a Navy SEAL. They may not seem like major drug dealers, but together they make a comfortable living selling top-quality marijuana. And they share more than just a profitable business; their mutual girlfriend O (Blake Lively) is more than enough woman for the two ambitious young entrepreneurs to handle. But just as Ben and Chun are feeling like they're on top of the world, their blissful life of lawless hedonism threatens to yield dire repercussions. The Mexican Baja cartel wants a piece of the action, and their cruel leader Elena (Salma Hayek) has dispatched her top hatchet man Lado (Benicio Del Toro) to ensure that she gets it. When the cartel kidnaps Ophelia and threatens to kill her unless Ben and Chun comply, the desperate pot dealers enlist the aid of a shady DEA agent (John Travolta) to try and avert a tragedy. Emile Hirsch and Uma Thurman also star. ~ Jason Buchanan, Rovi

Release Date: Jul 06, 2012

Rated R for Language Throughout, Drug Use Throughout, Nudity, Some Graphic Sexuality and Strong Brutal/Grisly Violence

Runtime: 2 hr. 10 min.

Genres: Drama, Suspense/Thriller

Director: Oliver Stone Cast: Taylor Kitsch, Aaron Johnson, Salma Hayek, Benicio Del
Toro, Blake Lively, John Travolta, Emile Hirsch, Demián Bichir

Review:

Oliver Stone has wallowed in the pits of mediocrity since the mid 90’s, producing films that neither excite nor intrigue. His film’s started to feel like he was phoning it in, putting in as little effort as possible which was readily apparent onscreen. Thankfully Savages is a return to a more confident and self secure filmmaker, closer akin to Natural Born Killers without the film school excess. Working on a script based on a novel by Don Winslow, Stone is kept on course making his most coherent film in years. Savages is a gleefully violent crime tome told in an wonderfully engaging manner. A rather impressive feat since some of the character arch are terribly clichéd and clunky. Even with that, Stone’s film never disengages or loses your interest during its 2 hours plus run time. Taylor Kitsch and Aaron Johnson are stuck playing two halves of what could have been one character in reality. Kitsch does his best to bring some gravity to his role, occasionally succeeding. Johnson is far too passive, a result of how his character is written, to register much. A golden baked and busty Blake Lively is given far too much screen time, made even worse with an annoying voiceover throughout, for my taste bringing very little to the role. The supporting cast, made up of grade A talent, is clearly having a ball playing overblown exaggerated characters. Salma Hayek in a black bob wig is a steely spitfire of a villain. Benicio Del Toro delivers one of his best performances, along with a mullets, in years playing an unhinged psychopath with subtle strength and ease. John Travolta rounds out the cast, playing a small but equally fun role which grows in importance as the film reaches its climax. It’s great to see Stone back on the top of his game let’s hope this is a sign of things to come.

B+

MOVIE REVIEWS: THE WOLFMAN

Sunday, February 14, 2010
MOVIE REVIEWS: THE WOLFMAN
IN THEATERS

THE WOLFMAN

Universal Studios resurrects the classic lycanthrope with this tale of a man who experiences an unsettling transformation after he returns to his ancestral home in Victorian-era Great Britain and gets attacked by a rampaging werewolf. When Ben Talbot (Simon Merrels) vanishes into this air, his brother Lawrence (Benicio Del Toro) returns to his family estate to investigate. Upon reuniting with his estranged father Sir John Talbot (Anthony Hopkins), however, he discovers a destiny far darker than his blackest nightmares. Ben is dead; the victim of a savage attack by a beast that keeps the superstitious locals cowering in fear every time the moon shines bright in the sky. Shortly after discovering his brother's true fate, Lawrence. swears to Ben's wife Gwen that he will bring her late husband's killer to justice. As a young boy, the untimely death of his mother caused Lawrence to grow up before his time. Though Lawrence had previously attempted to bury his pain in the past by leaving the quiet Victorian hamlet of Blackmoor behind, he discovers that you can't outrun fate when he's attacked by the very same nocturnal beast that claimed his brother. Not even recently arrived Scotland Yard inspector Aberline (Hugo Weaving) can dream up a rational explanation for the gruesome spell cast over Blackmoor, yet rumors of an ancient curse persist. According to legend, the afflicted will experience a horrific transformation by the light of the full moon. Now, the woman Talbot loves is in mortal danger, and in order to protect her he must venture into the moonlit woods and destroy the beast before it destroys her. But this isn't a typical hunt, because before the beast can be slain, a simple man will uncover a primal side of himself that he never knew existed. Screenwriter Andrew Kevin Walker pens a film directed by Joe Johnston and featuring creature effects by special-effects makeup legend Rick Baker. ~ Jason Buchanan, All Movie Guide

Cast: Benicio Del Toro, Anthony Hopkins, Emily Blunt, Hugo Weaving, Art Malik.

Director: Joe Johnston

Release Date: Feb 12, 2010.

Rated R for bloody horror, violence and gore

Runtime: 2 hr. 5 min.

Genres: Action, Horror

Review:

More often than not, films that are beset with long production problem are destined to roll out as terrible films. Occasionally, a film will some how come together and find its way even with a myriad of trials and tribulations, Tombstone being one of the more recent examples that pop to mind. The Wolfman isn’t one of those films. Less its original director and after reshoots and delays, The Wolfman comes to the screen an unfocused mess. Joe Johnston took over the reigns after Mark Romanek walked off over creative differences. Johnston working in gothic horror is like watching a porcupine playing with a balloon. Johnson has no talent at building suspense or establishing characters as a result he drags down what is a fairly impressive cast. Benicio Del Toro gives what maybe be the stiffest most uninteresting performance of his career. He’s neither brooding nor conflicted instead he walks through scenes in an almost catatonic state only occasionally showing a glimmer of life. Anthony Hopkins crews scenery as readily as the Wolfman chews off appendages. In certain films Hopkins can be effective in this type of role but the script here is just a horrid unfocused hodgepodge that provides zero characterization. Emily Blunt is simply asked to look dour and speak in her natural British accent, nothing more nothing less. Hugo Weaving, like Hopkins, makes as much of an impression as possible but his effectiveness is severely limited as a result of the films massive flaws. Besides a bulldozer approach at direction from Johnston, whose over use of gore makes it more comic than scary, the script is wrought with issues. As mentioned the characters are all underwritten, the audience never has any idea what these characters motivations or connections are. This makes a film that is just over 2 hours long seem rushed but tedious at the same time. A major twist that could have been saved for the finale is just haphazardly thrown out in the open way too early in the game. The finale lacks any emotional bite and features a final battle that is funnier than it is dramatic. Kudos to Rick Baker’s practical effects which echo the work done in the original, sadly the CGI is mostly ineffective. Coupled with the fact that most of the outdoor scenes feel cheap and distinctly soundstagey this mess of a movie is neither enjoyable or scary.

D-