Cindy Prascik's Review of The Old Guard

With local cinemas still struggling to get by on a diet of classics and films whose theatrical releases were interrupted by Covid_19, this week I again threw myself on the mercy of streaming services. I really wanted to watch the Tom Hanks movie, but I don't have Apple+ and I *do* have Netflix, so...the Old Guard it was.

Spoiler level here will be moderate, likely nothing a trailer wouldn’t have revealed if you saw one, which I did not.

A team of immortal mercenaries struggles to keep its existence secret while unexpectedly finding another of their kind.

I have to admit, dear reader(s), that the Old Guard couldn't quite hold my attention for its duration, though, in fairness, little does these days. The world as it stands is difficult to keep at bay, and it's tough to avoid distractions and interruptions outside the cinema. That aside, the movie does try a bit too hard at times, and some of the dialogue is awkwardly written or awkwardly delivered, or maybe both. It probably could have used at least a small trim as well.

Despite those few small quibbles, the Old Guard gets it mostly right. Characters who have lived for hundreds of years have volumes of backstory, and the movie provides enough, but never bogs down with explaining itself. Its action is well spaced and well paced, and the fight choreography is really good. Characters and those portraying them, faces familiar and not, are engaging; there isn't one of the principals I didn't want to learn more about. Charlize Theron is fantastic, as always, in the lead, and the supporting cast is pitch perfect, too. The Old Guard is beautifully diverse, but never for the sake of it. Everything feels organic; the movie doesn't beat its audience over the head to make a point. The story winds to a nice finish, but definitely leaves plenty of room for prequels or sequels if the demand is there.

The Old Guard clocks in at 125 minutes, and is rated R for "sequences of graphic violence and language."

The Old Guard is a smart, solid action flick that wouldn't have felt out of place in a normal summer of blockbuster superhero fare.

Of a possible nine Weasleys, the Old Guard gets seven and a half. Until next time...

MOVIE REVIEW: THE OLD GUARD

A group of mercenaries, all centuries-old immortals with the ablity to heal themselves, discover someone is onto their secret, and they must fight to protect their freedom.

Director: Gina Prince-Bythewood

Cast: Charlize Theron, KiKi Layne, Matthias Schoenaerts, Marwan Kenzari, Luca Marinelli, Chiwetel Ejiofor

Release Date: July 10, 2020

Genres: Action, Fantasy

Rated R for sequences of graphic violence, and language.

Runtime: 2h 5min

Review:

Charlize Theron is one of those actresses that make pretty much any production better simply by taking part in it.  She’s the type of performer that’s always interesting especially when she has a role that’s meaty enough for her talents.  The Old Guard offers an intriguing and fun role for her even if it doesn’t take full advantage of her talents.  Gina Prince-Bythewood directs the film with an impressive bit of energy even if the story covers some well worn tropes in the comic book genre.  The film’s action sequences are impressively choreographed with some of them being particularly brutal ballets of destructions.  The quieter moments have varying levels of effectiveness with some feeling like genuine character building moments while others feel like they could have been left on the cutting room floor.  The cast plays well off each other even if KiKi Layne comes off as a bit stiff in here and there but for the most part the ensemble make for an engaging group.  Sadly, Chiwetel Ejiofor isn’t used nearly enough which seems like a major misstep and the villain played by Harry Melling is about as stereotypical as they come.  The story does suffer from being a franchise starter with the finale leave a massive open door for future installments.  As a result, it feels like the film doesn’t explore the story to its fullest potential with a handful of story threads left unexplored. 

B-

MOVIE REVIEW: THE LION KING

Simba idolizes his father, King Mufasa, and takes to heart his own royal destiny on the plains of Africa. But not everyone in the kingdom celebrates the new cub's arrival. Scar, Mufasa's brother -- and former heir to the throne -- has plans of his own. The battle for Pride Rock is soon ravaged with betrayal, tragedy and drama, ultimately resulting in Simba's exile. Now, with help from a curious pair of newfound friends, Simba must figure out how to grow up and take back what is rightfully his.

Director: Jon Favreau

Cast: Donald Glover, Seth Rogen, Chiwetel Ejiofor, Alfre Woodard, Billy Eichner, John Kani, John Oliver, Beyoncé Knowles-Carter, James Earl Jones

Release Date: July 18, 2019

Animation, Adventure, Drama

Rated PG for sequences of violence and peril, and some thematic elements |

Runtime: 1 h 58 min

Review:

First and foremost, I have to admit that I’ve never seen the original Lion King.  It’s a film that’s become so ingrained in the cultural zeitgeist that it almost doesn’t feel necessary.  None the less, I understand it’s a much beloved property that many people have incredible affection for so it makes watching this remake a strange experience.  The film itself is a technical marvel, all the animals are beautifully realized throughout.  The film’s voice cast is a who’s who of big stars who all do serviceable work in their particular roles with nobody really standing out.  A handful of the legendary songs reappear with some strong staging but all of it feels strangely hollow.  Unfortunately the whole thing feels rather soulless much like most of Disney’s ongoing money making scheme of remaking all their animated classics.  Jon Favreau’s film isn’t a terrible film by any stretch but it’s strangely uninspired.  Some of that might come from the fact that by making the film photo realistic the animals lack any sort of real expressive features, something that’s much easier in an animated feature.  As such it feels like you are watching one of those old 90s Homeward Bound films with much better production values.


C+

MOVIE REVIEW: SHERLOCK GNOMES

After a string of garden gnome disappearances in London, Gnomeo & Juliet look to legendary detective Sherlock Gnomes to solve the case of their missing friends and family.

Director: John Stevenson

Cast: James McAvoy, Emily Blunt, Chiwetel Ejiofor, Mary J. Blige, Johnny Depp

Rated PG for some rude and suggestive humor.

Genres: Animation, Adventure, Comedy

Runtime: 1h 26min

Review:

Sherlock Gnomes is a fun and lighthearted sequel that works more than it doesn’t even though it doesn’t deliver a ton of surprises.  Going through the basic of Sherlock Holmes mythology in gnome form plays out in a fun family friendly manner.  Johnny Depp provides the voice for Sherlock Gnomes and gives him a fun self centered narcissistic voice.  Depp and Emily Blunt spend the better part of the film together and they have some fun chemistry.  McAvoy spends the better part of the film on a separate storyline which means that he and Blunt don’t have a lot of interplay which was the highlight of the original but it’s all in service of the story.  The film has a solid message of not taking loved ones for granted which is a bit more thoughtful than it really needed to be for this type of family film which is refreshing. 

B

Cindy Prascik's Triple Feature Weekend: Sherlock Gnomes / Peter Rabbit / Pacific Rim: Uprising

Dearest Blog: Yesterday it was off to Marquee Cinemas for that rarest of treats: a triple feature. On the docket: Sherlock Gnomes, Peter Rabbit, and Pacific Rim: Uprising.

 

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

 

First up: Sherlock Gnomes.

When all of London's garden gnomes go missing, it's up to the world's greatest detective to solve the case.

 

Like it's predecessor Gnomeo and Juliet, Sherlock Gnomes banks on good-nature and likability for its appeal. It's not a game-changer and and it won't be remembered by awards voters when that time rolls around again, but it's the most enjoyable movie I've seen in a good long while. The movie is blessed with a terrific cast, including newcomers Johnny Depp and Chiwetel Ejiofor, returning favorites James McAvoy and Emily Blunt, and...yes...Ozzy Osbourne, whom the filmmakers are wise enough to use in moderation. The art and animation are pretty, bright, and colorful, if not revolutionary, and the cute story bounces along to a cheerful score by Chris Bacon, peppered with familiar snippets of Elton John songs. Sherlock Gnomes expertly rides a fine line, working for kids of all ages while also entertaining adults. There is nothing here that will disturb or upset the young ones, but, in addition to the tunes, there are several adult gags that aim far enough over kids' heads that parents won't be left answering uncomfortable questions afterward. If the message is familiar, the movie delivers it in such charming fashion you won't even mind. Sadly, there's no Jason Statham gnome this time around (*sobs*), but I still loved Sherlock Gnomes exactly as much as I expected, and I expected a LOT.

Sherlock Gnomes runs a quick 86 minutes and is rated PG for "some rude and suggestive humor." (Though the more crass bits from the trailer are missing from the finished product.)

 

Sherlock Gnomes is great fun for all ages. Of a possible nine Weasleys, Sherlock Gnomes gets eight.

 

Next on my agenda: Peter Rabbit.

 

Rabbits and humans jockey for territory in a somewhat abrasive fairytale.

 

Well, dear reader(s), if there's one thing I want you to know right off the bat, it's that Peter Rabbit probably isn't as bad as you'd think from the trailers or from everything you've heard. Make no mistake, it has BIG problems, but it overcomes most of them for an enjoyable outing.

 

Getting the bad news out of the way first, we'll begin with the obvious: Those damn rabbits. They are utterly insufferable, like the brattiest, most annoying kids you've ever met. It makes rooting for them impossible, even when the film hits that "delivering the message" point where the relevant parties are supposed to become the best versions of themselves. While the physical comedy mostly works, and Domhnall Gleeson's expressions and timing are impeccable (more on that later), the film's "jokes" are painfully bad, especially a couple awkward attempts at social commentary. The movie struggles mightily to settle on a tone, doubling-down on unfunny attempts at humor and, especially towards the beginning, coming across rather nasty. Finally, though the parental guidelines don't mention it, there are a couple things in this movie that may be upsetting to younger kids. At one point when the rabbits' well being is threatened, there was a small boy in my screening screaming, "I don't like it! I DON'T LIKE IT!" so...um...take care with those little ones, will ya?

 

Now the good news, and there's more of it than I expected. Leads Domhnall Gleeson and Rose Byrne are ridiculously adorable and have great chemistry. Gleeson, who seems to be in every single movie these days and continues to prove he's pretty amazing at everything, shows off some solid comic chops, working mostly opposite a tennis ball on a stick that would later become the film's talking woodland creatures. An almost-unrecognizable Sam Neill is also great (as always) in too little screen time. The story never really goes anywhere you don't expect, but I'm not sure you'd want it to. Songs pop up awkwardly throughout the movie, but there are some great pop nuggets that are no less enjoyable for the weird placement. Ultimately, the charm of Gleeson and Byrne outweighs the negatives just enough to make Peter Rabbit worth your while.

 

Peter Rabbit clocks in at 95 minutes and is rated PG for "some rude humor and action."

 

I'd taken a pass on Peter Rabbit weeks ago, and only saw it this week by virtue of a cinema schedule that left a huge gap between Sherlock Gnomes and Pacific Rim. In the finest example of backhanded praise you're likely to find today, I can tell you it was certainly better than spending two hours sitting in the hallway. 

 

Of a possible nine Weasleys, Peter Rabbit gets five.

 

Closing yesterday's triple-header was the sequel Pacific Rim: Uprising.

 

Hey guys...guys...we're cancelling the apocalypse again, 'kay?

 

Uprising is a big step down from the original Pacific Rim, and I can assure you with a reasonable amount of certainty, dear reader(s), that I didn't find it so only because it's missing Charlie Hunnam and Idris Elba. (Though that won't ever help in my eyes, obvs.) The film suffers from paper-doll characters and painfully bad dialogue, but is salvaged somewhat by its likable cast. Though the action is solid, the plot is weak and filled with predictable twists. Lorne Balfe's score is properly epic, and the effects are as massive as a movie-hugeness junkie like me could hope, but, ultimately, if you want brainless fun with big robots, Transformers is a better option.

 

Pacific Rim: Uprising is a witless good time that you'll forget almost as soon as you exit the cinema. 

 

Of a possible nine Weasleys, Pacific Rim: Uprising gets six.

 

Until next time...

 

MOVIE REVIEW: DOCTOR STRANGE

After a car accident leaves him with nerve damage that ends his career as a New York neurosurgeon, Stephen Strange (Benedict Cumberbatch) travels to Kathmandu in the hope of finding an otherworldly cure for his injuries. There, a powerful mystic known as the Ancient One (Tilda Swinton) accepts him as her pupil and trains him in the art of sorcery. Eventually, Strange must use his new powers to stop a rival (Mads Mikkelsen) from causing chaos by accessing the Dark Dimension. Rachel McAdams, Chiwetel Ejiofor, and Benedict Wong co-star in this entry in the Marvel Cinematic Universe. Directed by Scott Derrickson (Sinister). ~ Jack Rodgers, Rovi

Director: Scott Derrickson 

Cast: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Michael Stuhlbarg, Benedict Wong, Tilda Swinton

Release Date: Nov 04, 2016

Rated PG-13 for Sci-Fi Violence and Action and an Intense Crash Sequence 

Runtime: 1 hr. 55 min. 

Genres: Action/Adventure, Sci-Fi/Fantasy 

Review:

Doctor Strange is a visually impressive origin story that’s better than it should be most due to its cast.  That’s not to say that director Scott Derrickson doesn’t do some impressive cinematic gymnastics because he does.  Its just that when you peel back all visual flourishes its plot feels incredibly familiar with magic taking the place of superhero powers.  Thankfully, the film is a generally enjoyable thanks to some strong turns by Benedict Cumberbatch and Tilda Swinton.  Benedict Cumberbatch feels perfect for the roles and he’s clearly having a great time throughout.  The real stand out though is Tilda Swinton who’s generally the most interesting actor on screen throughout.  It’s a bit of a disappointment that the other great actors assembled aren’t given much to do.  Mads Mikkelsen, Rachel McAdams and Chiwetel Ejiofor are all saddled with some terribly underwritten and generic characters.  It’s a shame because they are all excellent actors and with better material this film could have been something truly special.  As is, the film is a solid addition to the ever expanding Marvel Cinematic universe.

B

Cindy Prascik's Reviews of Doctor Strange & Hacksaw Ridge

Dearest Blog: Yesterday it was off to Marquee Cinemas for Doctor Strange and Hacksaw Ridge, two movies that I anticipated about as much as a fork in the eye. (Any 80s metal fans guess what I'm listening to as I write?) Fortunately, one of them had the decency to be better than expected. 

 

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

 

First on the agenda: Marvel's latest cinema smash, Doctor Strange. Following a car accident that cost him his career, an arrogant doctor is awakened to a whole new world. Ladies and gents, if I had to describe Doctor Strange in one word, that word would be "trippy." 

 

Of course I'm gonna use a lot more words than that, but...yeah...trippy. I saw it in 2D, but I'll go on record as recommending the 3D unreservedly; I'm entirely convinced it's worth-the-upcharge spectacular. Inception-Meets-Pink-Floyd-Laser-Show special effects are Doctor Strange's primary virtue, but Marvel has hit it out of the park on casting again, as well. 

 

Benedict Cumberbatch is mesmerising as Strange, and make no mistake, he HAS to be. 

 

Strange is the Dr. House of comic books; he's abrasive and needs the right portrayal for fans to warm to him. In Cumberbatch, he's got it. Chiwetel Ejifor and Mads Mikkelsen lead a supporting cast that is almost uniformly terrific. 

 

The movie could have done with more Rachel McAdams and less Tilda Swinton, but Benedict Wong nearly walks off with the whole thing anyway. Michael Giacchino's epic score provides perfect accompaniment to the huge set pieces and fantastic action. 

 

The movie features the requisite Stan Lee cameo and a couple quick reminders that you're supposed to love it because it's from the people who gave you the Avengers. Guys...THE AVENGERS!! 

 

Don't forget now! Marvel's trademark humor occasionally seems shoehorned into situations where it feels awkward, ill-fitting, and inappropriate, but it mostly hits the mark. Story-wise, Doctor Strange is a generic origins tale that dwells too long on certain bits, making it seem bloated even though it's not really that long. It's a movie with some great elements, but hardly a great movie. Doctor Strange clocks in at 115 minutes and is rated PG13 for "sci-fi violence and action throughout, and an intense crash sequence." Doctor Strange never fails to entertain, but, ultimately, it's nothing special. 

 

And if that's not Marvel's corporate slogan...well...it should be. 

 

Of a possible nine Weasleys, Doctor Strange gets seven. 

 

Fangirl points: Benjamin Bratt! Michael Stuhlbarg! 

 

Next up: Hacksaw Ridge. A young man whose faith keeps him from carrying a weapon hopes to serve as a combat medic in World War II. (A.K.A. "War is Hell. Literally.") 

 

Hacksaw Ridge is an inspiring tale that, in someone else's hands, might have made a great movie. In director Mel Gibson's hands, it's two hours of being clubbed over the head with an agenda. Andrew Garfield heads a magnificent cast with zero weak links. 

 

I'd hoped this might be Garfield's step up to a long-deserved Oscar nod, and I'm not sure it's that, but he is brilliant nonetheless. Hugo Weaving is heartbreaking in a scene-stealing turn that'll have you digging for the Kleenex, and Luke Bracey, Sam Worthington, and Vince Vaughn (you heard me) flesh out a memorable supporting cast with excellent chemistry. Sound mixing and editing are spectacular as well. That's the good news. 

 

The bad news is, Hacksaw Ridge has little else going for it. An excessive runtime exacerbates the feeling that it never gets anywhere. The terrible physical toll of war is detailed in such up-close, prolonged excess that it strays into Tropic Thunder territory. War = Bad. We've got it. No need to spend half the film focused on men you can't tell from lunchmeat. 

 

The faith angle gets full marks for its earnestness, but, again, is so unsubtle as to be comical. If I'd rolled my eyes any harder, I'd be writing this out the back of my head. Ultimately, you can't help feeling such an extraordinary story deserved better. Hacksaw Ridge runs 131 minutes and is rated R for "intense, prolonged, realistically-graphic sequences of war violence, including grisly, bloody images." 

 

Hacksaw Ridge is an inexcusably pedestrian telling of an amazing tale. 

 

Of a possible nine Weasleys, Hacksaw Ridge gets four. 

 

Until next time...

Cindy Prascik's Reviews of Eddie the Eagle & Triple 9

 

 

 

Dearest Blog, yesterday it was off to Marquee Cinemas for the promising double-bill of Eddie the Eagle and Triple 9. Spoiler level here will be mild, nothing you wouldn't know from the trailers. First up: Eddie the Eagle. An unlikely prospect dreams of Olympic glory. 

 

I cannot and shall not mince words here: I absolutely adored Eddie the Eagle. It exceeded all my expectations, and marks the second consecutive February that Taron Edgerton stakes an early claim on my year-end top ten. Eddie the Eagle keeps its tone light. A road like this always has more than its share of potholes, but these filmmakers are more interested in presenting a hopeful, inspiring piece than than in putting forth the full truth. 

 

The movie is also a textbook example of that old saying, "A happy ending depends on where you stop your story." (The film's namesake, Eddie Edwards, attempted to participate in three Olympics subsequent to the Calgary Games, and failed to qualify all three times.) Edgerton is phenomenal in the lead, equally convincing as this tenacious outsider as he was portraying Kingsman's streetwise thug turned debonair secret agent. 

 

As Eddie's reluctant mentor, Hugh Jackman owns every minute of his screen time, providing some of the movie's best laughs as well as its most sincere, intelligent moments. 

 

There's some lovely Bavarian scenery on display, and a fair bit of nostalgia for those who fondly remember the 1988 Olympic Games. The movie is smartly paced, fully self-aware, and can't help but speak to anyone who's ever been unfairly disregarded or marginalized. 

 

Eddie the Eagle clocks in at 105 minutes and is rated PG13 for "Some suggestive material, partial nudity, and smoking." 

 

Superficial it may be, but Eddie the Eagle is a thoroughly delightful cinema experience. 

 

Of a possible nine Weasleys, Eddie the Eagle gets eight. 

 

Next on the docket: Triple 9. The Russian mob coerces a ruthless gang into attempting a nearly-impossible heist. 

 

Well, dear reader(s), if your current cinema mood is somewhat less cheerful, the weekend schedule also offers the gritty Triple 9, a crime thriller so intense I'm pretty sure I didn't breathe for the first 15 minutes. 

 

Triple 9 boasts an impressive cast, with uniformly solid performances from Chiwetel Ejiofor, Woody Harrelson, Anthony Mackie, Clifton Collins, Jr., Aaron Paul, and Norman Reedus, and brilliant, nearly unrecongizable turns by Michael Kenneth Williams and Kate Winslet. 

 

Despite showing its hand early, the movie is gripping from the first second to the last. It's a brutal picture, backed by a tense, masterful score, and I was equal parts fascinated and appalled. Triple 9 runs 115 minutes, and is rated R for "strong violence and language throughout, drug use, and some nudity." 

 

Triple 9 won't be everyone's cup of tea, but if you're not put off by the dark side of life, you can't help but fall for this exciting-but-grim tale. 

 

Of a possible nine Weasleys, Triple 9 gets seven and a half. 

 

Until next time... 

 

 

Cindy Prascik's Reviews of The Hunger Games: Mockingjay-Part 2 & Secret in Their Eyes

 

 

 

 

Dearest Blog, yesterday it was off to Marquee Cinemas for the depressing double-bill of The Hunger Games: Mockingjay-Part 2 and Secret in Their Eyes. Spoiler level here will be mild, nothing you wouldn't know from the trailers. 

 

 Mama always said, "If you can't say something nice, don't say anything at all." If I adhered to that advice, I'd have a free day today, but since I wasted yesterday watching these movies, it seems fitting that I waste today writing about them. 

 

First on the docket: The Hunger Games: Mockingjay-Part 2, the further and final adventures of Katniss Everdeen. Dear Reader(s), let it be noted that I consider myself a fan of the Hunger Games franchise. 

 

It doesn't talk down to its audience, and the folks responsible for bringing it to the screen have done so with genuine regard for quality, rather than just milking a popular franchise for a cash grab. 

 

It's a miserable premise--the sort of thing I'd never watch more than once--but to this point I've given HG full marks for execution. 

 

Sadly, this final installment is a real letdown. For as much as Mockingjay-Part 2 has got going on, it is insufferably slow and dull. Perhaps stretching the final book to two movies was a bad idea, or maybe they've just done a poor job of translating events from page to screen, but I was ready to claw out my eyes long before the halfway point. 

 

The film yadda-yadda-yaddas over at least one thing that seems pretty important, and the ending feels like the author just got bored and turned it over to a 14-year-old fan-fiction writer. On the plus side, James Newton Howard has provided his usual strong score, and there are some nifty effects. 

 

The acting is solid from top to bottom, and Jennifer Lawrence is no less outstanding than when she's fronting something the Academy takes seriously. The Hunger Games: Mockingjay-Part 2 clocks in at an excessive 137 minutes and is rated PG13 for "intense sequences of violence and action, and for some thematic material." 

 

It's not without its good points, but The Hunger Games: Mockingjay-Part 2 is, overall, a disappointment. 

 

Of a possible nine Weasleys, Mockingjay-Part 2 gets five.

 

Next up: Secret in Their Eyes. A group of law-enforcement professionals presses the law's limits when one of their young daughters is murdered. It's clear, at some point, someone fancied Secret in Their Eyes a legitimate awards contender, The film on which it's based has already collected an Oscar (thanks, Maynard Maynard, for that tidbit!), the cast is mint, and it's a Very Serious Story. 

 

Sadly, it's also a tedious affair in which the twists happen exactly how and when you'd expect, and two-thirds of the decorated principals are embarrassingly bad. 

 

Nicole Kidman is about as expressive as a ventriloquist's dummy, which may be less about her actual acting than it is about her tinkering with her face 'til it no longer moves. On the other end of the spectrum, Julia Roberts flails through the proceedings "as if there were no such thing as overacting." (I have shamelessly poached that glorious insult from an old review of Gary Oldman's performance in Bram Stoker's Dracula!) 

 

Chiwetel Ejiofor is terrific, making it hard to believe he's the only one of the three who doesn't (yet) have an Oscar. 

 

An unnecessary romantic subplot adds nothing, and the movie seems to take it as a matter of personal pride that each storyline reaches the least-satisfying resolution possible. Secret in Their Eyes runs 111 minutes and is rated PG13 for "thematic material involving disturbing violent content, language, and some sexual references." 

 

Secret in Their Eyes has all the pieces of a great bit of cinema, but, unfortunately, it fails to put them together. 

 

Of a possible nine Weasleys, Secret in Their Eyes gets four. 

 

If you are visiting the cinema this weekend, and--like me--you weren't lucky enough to get Legend or Spotlight, I suggest you revisit Spectre or The Peanuts Movie, and take a pass on these two downers. 

 

Until next time...

Cindy Prascik's Jack Ryan: Shadow Recruit, Dallas Buyers Club & 12 Years a Slave

Dearest Blog, in a weekend where my cinema rolled out all the awards nominees at once and I should have seen six movies, I feel pretty good about the fact that I managed three: Jack Ryan: Shadow Recruit, Dallas Buyers Club, and 12 Years a Slave. Though most of the world has probably already seen at least two of those, we'll keep spoilers to a minimum, nothing you wouldn't know or guess from the trailers.

First on the weekend's agenda was the new release Jack Ryan: Shadow Recruit.

Newly-minted agent Jack Ryan gets himself in hot water after discovering a terrorist threat from Russia.

First, dear Blog, let me say how comforting it is to have good ol' Mother Russia back to her cinematically villainous ways. I'm a child of the Cold War, and I have to admit I'm just not feelin' more recent threats like North Korea and the Taliban.

In his first outing as the iconic Ryan, Chris Pine is younger and less polished than his predecessors, but no less entertaining. He's a good fit for the role, and I won't mind if he's the new face of a(nother) franchise. Kenneth Branagh is a bit over the top, but enjoyable, as the big baddie, but, sadly, Kiera Knightly is a casting misstep as Ryan's fiance. She's flat, unsympathetic, and her generic American accent is awful.

Good action sequences and interesting (if dubious) technology keep Shadow Recruit moving at a nice pace, and it doesn't overstay its welcome.

Jack Ryan: Shadow Recruit runs 105 minutes and is rated PG13 for "sequences of violence and intense action, and brief strong language."

Especially in this glittering awards season, there's nothing special or memorable about Shadow Recruit, but if you're looking for a couple hours of fun escapism at the movies, don't let snotty reviewers talk you out of this one.

Of a possible nine Weasleys, Jack Ryan: Shadow Recruit gets six.

Number two on my weekend's agenda was the much-anticipated Dallas Buyers Club.

After discovering he has HIV, a Texas rodeo rider challenges the law and his own prejudices in his attempts to find treatment.

With Golden Globes, Critics' Choice, and SAG awards already under Matthew McConaughey's and Jared Leto's belts, nobody needs this blog to reassure them of the quality of performances in Dallas Buyers Club; it goes without saying they are simply amazing. The supporting cast, including Denis O'Hare and Jennifer Garner, also does a fine job.

The story is at times sad and difficult to watch, but never miserable just for effect. It doesn't bog down and engages from the first second to the last.

Dallas Buyer's Club clocks in at 117 minutes and is rated R for "pervasive language, some strong sexual content, nudity, and drug use."

Reviews say as much about the reviewer as they do about the subject, and when it comes to this year's awards contenders, Dallas Buyers Club is the one telling the story that matters to me, personally. I'm grateful the people telling it have done such an extraordinary job.

Of a possible nine Weasleys, Dallas Buyers Club gets eight and a half.

The final installment in my weekend triple-header was the lauded drama 12 Years a Slave.

A free black man is torn from his life in New York and sold into slavery in the south.

Again, any plaudits I can heap on this film are pretty redundant at this point. It's cleaning up at the major awards shows and, while it's not my personal best picture, I wouldn't say doesn't deserve the accolades, either.

The cast, awards-acknowledged (Chiwetel Ejiofor and Lupita Nyong'o) and not (Benedict Cumberbatch, Michael Fassbender, Alfre Woodard, Brad Pitt, Garrett Dillahunt, and especially Paul Dano), is extraordinary, and the story is as fascinating as it is disturbing. For my money, the movie occasionally over-does it, dragging some shots and scenes on longer than necessary. There's no denying that it works at times to set a mood or maintain tension, but other times it just made me look at the clock. In the end, it's a small flaw to forgive in what's otherwise a truly special picture.

12 Years a Slave runs 134 minutes and is rated R for "violence/cruelty, some nudity, and brief sexuality."

Tough as it is to watch, 12 Years a Slave should be mandatory viewing for everyone, period. It's just that important.

Of a possible nine Weasleys, 12 Years a Slave gets eight.

Now I've done my duty with awards nominees and have to get out to see The Hobbit again one day this week! Until next time...



When "Chris Pine on a motorcycle" is an option, you didn't think I'd pick a photo from one of those other movies, did you?

MOVIE REVIEW: 12 YEARS A SLAVE

Steve McQueen's 12 Years a Slave stars Chiwetel Ejifor as Solomon Northup, a free black man in 1840s America. He makes his living as a fiddle player, and his wife is a teacher. He is shanghaied by a pair of nefarious white men, and soon finds himself on a ship headed to New Orleans where he is informed he will be called Platt and is sold into slavery by an unscrupulous businessman (Paul Giamatti). Solomon bides his time, attempts to preserve a modicum of self-respect, and waits for the chance to reclaim his rightful name as well as his family. ~ Perry Seibert, Rovi

Director: Steve McQueen

Cast: Chiwetel Ejiofor, Paul Giamatti, Benedict Cumberbatch, Paul Dano, Michael Fassbender, Lupita Nyong'o, Alfre Woodard

Release Date: Oct 18, 2013

Rated R for violence/cruelty, some nudity and brief sexuality

Runtime: 2 hr. 14 min.

Genres: Drama

Review:

When you are watching a movie there occasionally comes a sense that you are watching a classic piece of filmmaking. It’s rare especially in modern cinema but it does happen. Steve McQueen’s 12 Years a Slave is majestic journey through America’s “peculiar institution”. McQueen direction and visuals are beautiful, unflinching and incredibly moving. It’s a powerful movie centered by a powerful performance from Chiwetel Ejiofor. I’ve always found Ejiofor incredibly interesting as an actor and it was really impressive watching him flex in considerable acting muscles here. Ejiofor has a quiet strength about himself which suits the character very well. Ejiofor’s talent shines through during those moments when he doesn’t say anything. His pain and anguish is readily apparent through his eyes and face, its spectacular piece of acting. The supporting actors are a who’s who of A list actors with Michael Fassbender getting the beefiest role. Fassbender continues to impress me which his range. Personally, I didn’t know if he’d be able to pull off a plantation owner but he delivers in spades. Lesser known actress Lupita Nyong'o has a small role as a fellow slave but it’s a stunningly effective and tragic performance, it wouldn’t surprise me if she was nominated for a supporting acting nod come awards season. That same can be said of the film as a whole. It’s a prestige through and through with everyone’s talents on full display in this modern day classic.

A

MOVIE REVIEWS: SALT

IN THEATERS

SALT



Director Phillip Noyce teams with screenwriters Kurt Wimmer (Equilibrium) and Brian Helgeland (Mystic River) to craft this thriller starring Angelina Jolie as dedicated CIA officer Evelyn Salt, who is accused by a defector of being a Russian spy. With each attempt Salt makes to prove her innocence, her mentor, Winter (Liev Schreiber), only grows more suspicious of her true motivations. The longer she eludes capture by ambitious CIA agent Peabody (Chiwetel Ejiofor), the higher the stakes get. ~ Jason Buchanan, Rovi

Director: Phillip Noyce

Cast: Angelina Jolie, Liev Schreiber, Chiwetel Ejiofor, Andre Braugher

Release Date: Jul 23, 2010

Rated PG-13 for intense sequences of violence and intense sequences of action

Runtime: 1 hr. 31 min.

Genres: Action/Adventure, Suspense/Thriller

Review:

Excessively ludicrous and obnoxiously stupid Salt is an action dud of massive proportions. Phillip Noyce directs this seemingly endless parade of shoot out, getaways and plot twist with dead set seriousness that can best be described as oblivious. Oblivious to the abject silliness of the entire proceedings with characters so poorly executed it hard to take any of them very seriously. Taking herself just as seriously is Jolie, whose stone cold demeanor makes you think she really believes this character is somehow grounded in reality. More surprising is that her action sequences are surprisingly unconvincing throughout and she shoots, punches and jump kicks with all the passion of a coma patient. Liev Schreiber is saddled with a character who given some of the most banal dialogue in recent memory. Poor Chiwetel Ejiofor just doesn’t seem to have any luck with summer blockbusters, in last year’s 2012 he got to be the scientist who was wrong all the time, as he’s given the unenviable task of simply looking confused throughout. The entire ordeal makes the Bourne movies look like real world documentaries and the Mission Impossible movie look incredibly plausible. Somewhere Tom Cruise thanking his lucky stars that he passed on Edwin A. Salt and it was redone as a vehicle for Jolie otherwise it may have proven the actual nail in his blockbuster coffin something which Knight and Day isn’t.

D

Movie Review: 2012

Monday, November 15, 2009
Movie Reviews: 2012
IN THEATERS

2012

Never before has a date in history been so significant to so many cultures, so many religions, scientists, and governments. 2012 is an epic adventure about a global cataclysm that brings an end to the world and tells of the heroic struggle of the survivors.

Cast: John Cusack, Amanda Peet, Chiwetel Ejiofor, Thandie Newton, Oliver Platt

Director: Roland Emmerich

Opened November 13, 2009..

Runtime: 2 hr. 38 min.

Rated PG-13 for intense disaster sequences and some language

Genres: Sci-Fi Disaster Film, Science Fiction

Review:

Transformers Revenge of the Fallen was Michael Bay at his most excessive and bombastic; the film was an orgy of everything ever associated with the much maligned director. Equally, Roland Emmerich’s 2012 is a new high point for this apocalyptic auteur. By high point I mean its Emmerich unleashed and unchecked, destruction occurs on such a grand scale that it’s almost comical. It feels like watching an old Tex Avery cartoon, so much so that if a massive anvil were to fall on a major city of monument you’d hardly notice or care. Visually, it’s a technical marvel. A virtual highlight reel of what the best CGI in the business can do with nearly unlimited funds and imagination. The film’s massive set pieces are great fun and deliver the trill ride promised. Then there the story, much like his previous film, Emmerich populates this with a bevy of clichéd characters that always act and react the way you’d expect. John Cusack is pretty much just asked to scream a lot of painfully atrocious dialogue. Cusack is a fine actor but here there very little he can do to elevate a script that sounds like it was written on a Mad Libs book. Equally mired is Chiwetel Ejiofor who has the task of playing the world’s worse scientist. Everything he does and says are wrong but people continue to listen to him because he’s got a conscience unlike Oliver Platt’s stereotypical government chief. Amanda Peet isn’t given anything to do other than stand run and look worried from time to time. Thandie Newton, Danny Glover and Woody Harrelson are collecting a paycheck here and don’t really add much to the proceedings. Harrelson even phones in a character which should have been a lot of fun. It’s all par for the course and should be expected since it’s Emmerich we’re talking about. While some of this films failings are expected one major one wasn’t, the films massive run time that’ll have you wishing the world would just end already! I’ve always thought of directors like Michael Bay and Roland Emmerich like candy bars, they give you a nice little rush but too much could make you sick. Excepting any depth or substance is foolish because like the candy bars they have no problem telling you what they are ahead of time.

C