Cindy Prascik's Review of Reminiscence, Woodstock 99 & Beckett

My dear reader(s), this weekend I had the opportunity to catch a triple feature without ever leaving home...a state of affairs that is as troubling as it is comforting. First on my agenda: Reminiscence.

A machine that allows people to relive their memories leads its operator to obsession.

With its fantastical premise and its core cast of Hugh Jackman, Thandiwe Newton, and Rebecca Ferguson, Reminiscence is the kind of movie I used to love seeing on the big screen. Sadly, hokey twists, broadly-drawn characters, and wooden performances make this one a real drag. The narration sets an awkward tone from the outset, and there's a weird undercurrent of climate-change warning that — no matter how essential — is a poor fit. The pace does pick up somewhat about the midway point, Ramin Djawadi's score is pretty nifty, and an unintentional (I guess?) homage to the great 80s comedy Top Secret! is actually quite funny, but there's just no saving this one.

Reminiscence clocks in at 116 minutes and is rated PG13 for "strong violence, drug material throughout, sexual content, and some strong language."

Reminiscence is a memory you won't care to revisit. Of a possible nine Weasleys, Reminiscence gets three.

Reminiscence is now playing in theaters worldwide, and streaming on HBO Max through mid-September.

Next on the docket: Woodstock 99: Peace, Love, and Rage.

A documentary showcasing the dark side of the third Woodstock festival.

Woodstock 99, the concert, booked talent that clearly indicated it wasn't aiming for the mellow hippie vibe of its predecessors. Woodstock 99, the film, wants you to believe only one outcome ever was possible, and it doesn't mind throwing a little shade at Woodstock 69 and Woodstock 94 along the way. Horror stories abound: Rioting, sexual assaults, even deaths. Attendees are generalized as angry white fratboys, and organizers come across as woefully out of touch. A testosterone-fueled lineup, featuring acts such as Metallica, Rage Against the Machine, Red Hot Chili Peppers, Korn, and Limp Bizkit, is rightfully painted as aggressive, with the only three women on the bill — Jewel, Sheryl Crow, and Alanis Morissette — portrayed as all sunshine and lollipops. Morissette, in particular, writes some pretty angry music, but here she's featured simpering her way through the idiotic "Ironic." While there's no denying some very bad things happened at this festival — some due to poor planning and others due to uncontrollable factors like the weather — I daresay there are thousands who enjoyed themselves and remember the event fondly. This film is interested only in tales of terror.

Woodstock 99: Peace, Love, and Rage runs 110 minutes and is rated TVMA for pervasive language, nudity, violence, and alcohol and drug use.

Woodstock 99: Peace, Love, and Rage is a riveting watch, even if it presents just half the story. Of a possible nine Weasleys, Woodstock 99 gets seven.

Woodstock 99: Peace, Love, and Rage is now streaming on HBO Max.

The final picture on my weekend agenda was Beckett.

Following a deadly car crash, an American tourist in Greece finds himself on the run from dangerous and powerful people.

Beckett is one of those films that probably seemed like a good idea on paper, but the execution is so poor it's hard to imagine anyone ever thought so. This movie is so slow and dull it almost stopped me calling Reminiscence slow and dull. The plot is both jumbled and eye-rollingly predictable, with its sole constant being, "How much can we physically abuse our lead?" John David Washington and Alicia Vikander are the most annoying on-screen couple in recent memory. They're among the top actors of their generation, but they've got zero chemistry and they've phoned it in here. Someone, somewhere, determined it wasn't necessary to caption the Greek dialogue, but there's enough that it's a little too easy to zone out a little too often. Mostly, though, poorly written characters and bland performances make it impossible to invest in anyone. The end seems a long time coming, and by the time you get there, you won't care what happens to any of them.

Beckett clocks in at 110 minutes (feels like about six hours) and is rated TVMA for moderate violence, profanity, and frightening/intense scenes. And because I haven't written anything nearly this funny, here's my favorite user-posted content warning from IMDB, totally more entertaining than the film itself: "Film starts off with a prolonged sex scene with limited thrusting." Kindly beware the "limited thrusting."

I desperately wanted to like Beckett. I didn't. Of a possible nine Weasleys, Beckett gets two.

Beckett is now streaming on Netflix.

Until next time...

MOVIE REVIEW: REMINISCENCE

 

A scientist discovers a way to relive your past and uses the technology to search for his long lost love. Whilst a private investigator uncovers a conspiracy while helping his clients recover lost memories.

Director: Lisa Joy

Cast: Hugh Jackman, Rebecca Ferguson, Thandiwe Newton, Cliff Curtis, Marina de Tavira, Daniel Wu

Rated PG-13 for strong violence, drug material throughout, sexual content and some strong language

Release Date: August 20, 2021

Genres: Mystery, Romance, Sci-Fi, Thriller

Runtime: 1h 56min

Review:

Writer, director Lisa Joy's Reminiscence is a sci-fi noir thriller that's sweeping and ambitious with a A List cast.  The strange thing about the entire affair is that during it's ambitious world building it forgot to create a story that's as engaging as the concepts presented.  Joy's visuals evoke memories of Blade Runner and dashes of Alex Proyas' Dark City if you bought them from a dollar store.  Hugh Jackman leads the film with relative ease even though he feels miscast for the role and doesn't ask much from him outside of acting sad and angry. Jackman is typically a magnetic performer but this role just doesn't seem to fit him the way it should, the odd voiceover throughout the film doesn't help.  Likewise, Rebecca Ferguson is usually an engaging performer but in this film she's stiff and bland throughout.  Cliff Curtis is the primary villain who pops up in the third act and he chews up his screen time with weird out of place monologues that scream of overkill.  Thandiwe Newton is the lone bright spot who comes out unscathed with a strong performance which the film doesn't take full advantage of.  Reminiscence ends up feeling like a missed opportunity with ideas that needed more time to marinate and mature.  As is, it ends up being another forgettable sci-fi film that feels more like a middle of the road tv show than a big budget film. 

C

Cindy Prascik's Reviews of All the Money in the World & The Greatest Showman

Dearest Blog: Yesterday it was off to Marquee Cinemas to close out the busy movie week with All the Money in the World and The Greatest Showman.

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

First up: All the Money in the World.

Inspired-by-true-events tale of the kidnapping of JP Getty, III, and his mother's desperate attempts to secure his release.

Let's see, dear reader(s), where do we start with this one? Well, I was pretty young at the time of the Getty kidnapping, so I remember enough to have known the outcome, but not enough to say how many liberties are taken along the way in this telling of the story. I'm not sure if being aware of the ending contributed to the movie's seeming rather long and slow, but long and slow it certainly does seem. It's never dull, but I was still pretty happy when it finally cruised to its conclusion. The eldest JP Getty appears, at least from this depiction, to be so loathsome an individual that it hardly would have been a disservice to him to have allowed his portrayal by a sexual predator to remain in the film, though of course it would have been a great disservice to everyone else. The movie suffers no ill effects from hasty re-shoots necessitated by the Kevin Spacey controversy; on the contrary, Christopher Plummer's solid turn as as the cantankerous old billionaire is woven seamlessly into the picture. Charlie Plummer (no relation) is also great as the young victim, but it's Michelle Williams who carries this movie with such extraordinary skill that you'll scarcely be able to take your eyes off her. Mark Wahlberg seems miscast as Getty's right-hand man/security expert (spoiler alert: putting glasses on a guy doesn't actually make him seem smart), but he's a likable enough actor that I didn't mind. As mentioned, the movie is deliberately paced and somewhat overlong, but the the kidnapping and surrounding events are nerve-wracking enough that I doubt anyone could be bored with it. There's a bit of up-close and personal violence/gore that may be a little much for some viewers.

Daniel Pemberton's subdued score and cinematography by the brilliant Dariusz Wolski set an appropriately somber tone for this sad and scary story.

All the Money in the World clocks in at 132 minutes and is rated R for "language, some violence, disturbing images, and brief drug content." I can't say it's something I'd ever watch again, but All the Money in the World is a riveting tale bolstered by exceptional performances.

Of a possible nine Weasleys, All the Money in the World gets six.

Next on the agenda: The Greatest Showman.

A heavily-fictionalized musical account of the rise of PT Barnum.

Yet again I found myself with a bit too much time between flicks yesterday, and happened upon a negative article beating up on The Greatest Showman for its rose-colored-glasses version of Barnum.

It was difficult putting it from my mind once the movie started, but movie's sunny demeanor and lively tunes ultimately won the day.

Hugh Jackman is a treasure unmatched in 2017 Hollywood. Top-notch at acting, singing, and dancing, no picture ever has to make allowances for his weaknesses; he doesn't have any. The Greatest Showman is a lightweight film that doesn't remotely tax his skills, but it's thanks to him the movie is elevated from entertaining-but-forgettable to something special. Zac Efron continues to surprise with each new role, a gifted and eminently watchable young talent. If I was dazzled by Michelle Williams in All the Money in the World, The Greatest Showman was quick to remind me why I usually loathe her; her simpering smiles and silly twirling wear thin very quickly. The "circus" players do a fine job and all seem to be having great fun with their limited screen time, and the remaining supporting cast is peppered with familiar faces that are more than up to what little the film asks of them. La La Land composers Benj Pasek and Justin Paul have again provided tunes lacking any real flair, but The Greatest Showman's musical numbers make an impact with interesting choreography and eye-popping costumes, hair, and makeup, along with Jackman's irrepressible charisma. The story is hokey at times, as many great old-school musicals are, but if this version of PT Barnum is an upgrade from the real deal, the film itself keeps pace with a positive, inclusive tone that is more than welcome at the end of a divisive, difficult year. The Greatest Showman is pure joy onscreen, the very definition of can't-miss cinema.

The Greatest Showman runs a quick 105 minutes and is rated PG for "thematic elements, including a brawl."

The Greatest Showman’s opening number includes the line, "All that was real is left behind," a perfect setup for the most magical bit of movie humbug I've seen all year.

Of a possible nine Weasleys, The Greatest Showman gets eight and a half.

Fangirl points: Will Swensen! Byron Jennings! Frederic Lehne!

Until next time...

MOVIE REVIEW: LOGAN

In a hideout near the U.S./Mexico border, an aging Logan (Hugh Jackman) cares for the ailing Professor X (Patrick Stewart). However, their sheltered existence comes to a sudden end when a young mutant girl (Dafne Keen) arrives and needs their help to stay safe. James Mangold directed this film, the third Wolverine-based spin-off of the X-Men franchise. ~ Daniel Gelb, Rovi

Director: James Mangold

Cast: Hugh Jackman, Patrick Stewart, Stephen Merchant, Richard E. Grant, Eriq La Salle

Release Date: Mar 03, 2017

Rated R for Language Throughout, Brief Nudity and Strong Brutal Violence

Runtime: 2 hr. 15 min.

Genres: Action/Adventure, Sci-Fi/Fantasy

Review:

Logan is one of the rare comic book movies that works on multiple levels.  James Mangold and Huge Jackman had a big task ahead of them trying to give fans the kind of send off that the character deserves.  Both seemed to have a great affinity for the character and it shows onscreen.  Mangold delivers a somber dour film that’s as exciting as it’s moving.  There’s an added depth to the character that gives Jackman more to work with than he’s had in previous solo films.  As such, it’s a meatier more well rounded performance even though the basic story of child and guardian is well worn.  Patrick Stewart also delivers an excellent performance as aged Professor X.  Stewart is clearly having a grand time in the role since the script gives him something different to do than just sit in the wheelchair and look stately.  Dafne Keen is a revelation as X-23.  Keen is able to deliver an impressive performance even though it’s mostly done with limited dialogue.  It’s a pivotal character and if the child actor wasn’t as strong, the film wouldn’t have been as good as it ended up being.  Logan is a strong film but it does drag in a few spots.  Certain sections feel like they could have been cut all together making the film a sleeker and better film.  Even with those issues, Logan finally nails the heart of the character which is a perfect way to end Jackman’s tenure in the role.

B+

Cindy Prascik's Review of Logan

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: Yesterday it was off to Marquee Cinemas for Hugh Jackman's final turn with the super sideburns, Logan.

 

Spoiler level here will be mild, mostly nothing you wouldn't get from trailers and clips.

 

A jaded, aging Logan is drawn from hiding to help a young mutant being pursued by some nasty characters.

 

Logan is a somber affair whose tone reflects its tired hero. This Logan isn't interested in saving the world, he's just trying to get by and get out. Action is plentiful, well-choreographed, and brutal, with decapitations and dismemberments aplenty. Do take that "R" rating seriously and leave the kids at home; graphic violence and bad language are pervasive. Hugh Jackman, Patrick Stewart, and newcomer Dafne Keen turn in lovely performances that would not seem out of place on 2017's awards circuit, though timing and genre will probably leave them forgotten. The film suffers from its bloated runtime and tends to drag here and there. A trim would have worked in its favor, but otherwise, Logan is a superhero movie that's more than good enough to get away with taking itself so seriously. 

 

Logan clocks in at 137 minutes and is rated R for "strong brutal violence and language throughout, and for brief nudity."

 

It's not quite The Dark Knight or Captain America: The Winter Soldier, but Logan is definitely one for the ages. Of a possible nine Weasleys, Logan gets eight.

 

Fangirl points: Stephen Merchant! Richard E. Grant!

 

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 Review of Pan & The Walk

 

 

 

Dearest Blog: With an insanely busy weekend looming in front of me, it was down to Friday afternoon to cover cinema duties. 

 

On the agenda were two movies that, if we're being honest, I'd have been just as happy to skip: Pan and The Walk.

 

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

 

First up: Pan, a Peter Pan origins story. (Yes, Hollywood is apparently *that* desperate!)

 

By now you've undoubtedly heard that Pan is terrible, and, even worse in many people's eyes, a box office flop. Both of these statements are undeniably true, but there are some qualifiers, so, first, let's get to the positives...

 

Kid actors. Even when they're good for kid actors, they're not always GOOD, but Pan lucked out with its Peter, Levi Miller. A movie riding on a kid star walks a fine line between precociously adorable and annoyingly snotty, but Miller falls firmly on the good side. Pan boasts some lovely locations and sets, and costumes and makeup--while not always to my taste--are unique and interesting. Pan's best feature by far, though, is a soaring score by John Powell that is good enough to make the movie's many other failings almost entirely forgivable.

 

Now the bad news...

 

While Hugh Jackman's booming delivery and exaggerated mannerisms might serve him well on the stage, here he'd have done better to dial it back a notch or ten. 

 

Garrett Hedlund's Hook bears no resemblance to the pirate of lore, but rather looks like a poor-man's Indiana Jones and sounds like someone doing the world's worst impression of Dr. McCoy from the newest Star Trek movies. It's so awful it'll give you a start every time the man opens his mouth. Odd choices that would have looked like genius, had they played well, only end up providing a couple WTF moments. (Some old-school punk or 90s grunge, anyone?) 

 

Finally, the movie is so dark that even bright daylight scenes appear dingy, a possible side-effect of seeing a 3D movie in 2D because the schedule said so. It's clear the folks who crafted Pan threw as much money as they could at the screen, and it's clear they wanted that to be garishly obvious, so the middling box office was bound to be a disappointment; Pan was a "flop" before it ever got out of the gate.

 

Pan clocks in at 111 minutes and is rated PG13 for "fantasy action violence, language, and some thematic material."

 

It may be terrible, and it may be a flop, but Pan is still strangely enjoyable at times. 

 

Of a possible nine Weasleys, Pan gets five.

 

Next on the docket: The Walk.

 

French high-wire artist Philippe Petit captivates the world with a daring illegal walk between the Twin Towers of the World Trade Center.

 

Dear reader(s): I'ma be straight: My preconception of The Walk was the same as Gravity, that is, I expected the movie to be visually stunning and boring as hell. 

 

As with Gravity, though, I was too hasty in judgment.

 

The Walk IS visually stunning. When you hear the 3D is making people throw up, BELIEVE IT. I was forced by the schedule to endure 3D myself; I'm not particularly skittish about heights--this is not to say I'm eager to do a high-wire walk anytime soon, either!--but I still I had to look away more than a few times. The visuals from both ground and air level are quite spectacular. Joseph Gordon-Levitt pulls double-duty as Petit, the movie's star and narrator, and his supreme charm is once again in full effect. It's literally impossible to dislike Gordon-Levitt, though I found his French accent to be a bit distracting. 

 

He does a fine job of it, but, as with David Tennant's American accent in Gracepoint, it's just so weird coming out of his face that it feels very noticeable all the time. 

 

The supporting cast, outside of Ben Kingsley, will be mostly unrecognizable to fans on this side of the pond, but they are uniformly solid. The Walk would have been smart to take a page from Gravity's book and rein it in at about 90 minutes, but other than a bit of bloat, it's a pretty fantastic film. 

 

Where the movie is most successful, though, where it's really, really effective, is not with top-notch 3D or engaging actors. At its heart, The Walk is a love letter to the Twin Towers, a heartbreaking declaration of affection from Petit and the filmmakers to those big, beautiful buildings that now live only in memory. I didn't anticipate that aspect, so for me it was a pleasant surprise that turned a good movie into a great one (and left me a blubbering mess).

 

The Walk runs 123 minutes and is rated PG13 for "thematic elements involving perilous situations, and for some nudity, language, brief drug references, and smoking."

 

The Walk is a film of great visual magnificence, but it's real beauty is in its heart. 

 

Of a possible nine Weasleys, the Walk gets seven and a half.

 

Until next time...

 

 

MOVIE REVIEW: CHAPPIE

Neill Blomkamp expands on his 2003 short film Neill Blomkamp in this futuristic sci-fi saga written in collaboration with screenwriter Terri Tatchellmore

Director: Neill Blomkamp 

Cast: Sharlto Copley, Dev Patel, Jose Pablo Cantillo, Sigourney Weaver, Hugh Jackman

Release Date: Mar 06, 2015

Rated R for Language, Brief Nudity and Violence

Runtime: 2 hr. 0 min.

Genres: Action/Adventure, Sci-Fi/Fantasy

Review:

Chappie is a worrisome film, not because it’s an awful film by any stretch but because it lays bare Blomkamp’s flaws as a director.  Chappie is filled with big ideas but mired by substandard execution and cartoonishly drawn characters.  Casting South African rappers from Die Antwoord is an odd choice made even worse by the fact that they are main characters.  If they’d been supporting characters it might have worked out a bit better for everyone involved.  Dev Patel, Sigourney Weaver and Hugh Jackman (who’s sporting Wolverine’s hairdo in reverse) are saddled by poorly drawn characters who are types instead of well formed characters with depth.  As for Chappie himself, he’s a well formed creation even though he leans a bit too much on the cutesy side than he should.  When all the explosions have ended and the film has run its course you can’t help but wonder if you’ve watched sub par Short Circuit remake.

C+

Cindy Prascik's Reviews of Chappie & The Second Best Exotic Marigold Hotel

Dearest Blog: Yesterday it was off to the cinema--or, as it's more rightly called this weekend, "The Dev Patel Film Festival"--for a pair of unlikely bedfellows: Chappie and The Second Best Exotic Marigold Hotel.

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

First on the agenda, Neill Blomkamp's latest, Chappie.

In the not-too-distant future, human police in Johannesburg have been replaced by a robot force. A young programmer poaches a decommissioned police droid and creates the world's first true A.I.
Chappie is no District 9, however hard it might be trying. With that out of the way, it's not the disaster some early notices would have you believe, either.

Starting with the positives: The robot looks great...beautiful motion capture work, with natural movements that should be the envy of those ridiculous Apes movies. Sharlto Copley turns in a fantastic performance as Chappie, completely sympathetic even when he's behaving like the world's most annoying toddler. The story is entertaining, even though it's never too hard to guess what's coming. As a "message" movie, it's a bit ham-handed, but as an A.I. movie, it's waaaaaaay better than Transcendence. (Talk about backhanded praise!) Dev Patel is his usual wide-eyed, earnest self, perfect for a role like this, and Sigourney Weaver...well...especially when it comes to sci-fi, I guess having Sigourney Weaver is always better than NOT having Sigourney Weaver, and at least she hasn't been saddled with a random weird accent (lookin' at you, Jodie Foster!). Hans Zimmer provides a fantastic score, and the interspersed Die Antwoord tunes are ideally suited to the movie's harsh, ugly landscape.

On the negative side, I have to start with Hugh Jackman. Yes, THAT Hugh Jackman, arguably one of the world's most gifted all-around performers. Can we actually be meant to take him seriously here, a silly one-note baddie, stomping about in a mullet and goofy shorts, shooting the camera his best Snidely Whiplash looks?

Did he really read this script and think it was a good idea? I can't imagine. The movie throws a ton of screen time at Die Antwoord's Ninja and Yo-Landi, relying heavily on viewers finding the two super cool and awesome. In fact, they are anything but...unless you're a 14-year-old boy who is endlessly amused by vulgar t-shirts and tattoos of tiny men with giant penises, then, hey, they're super cool and awesome. In fact, all the characters are essentially caricatures of what they're meant to be, and the movie would have done well to dial everyone back a tick. Finally, though the movie never lost my attention, there's no denying the story is predictable and derivative, with a terribly contrived finish that left me rolling my eyes.

Chappie clocks in at 120 minutes and is rated R for "violence, language, and brief nudity."

It's got more problems than a calculus textbook, but I still kinda liked it. Of a possible nine Weasleys,
Chappie gets five.

Next up was The Second Best Exotic Marigold Hotel.

(Or, "The further adventures of Heaven's Waiting Room.")

The Best Exotic Marigold Hotel was a fantastic film, sweet and sincere, with more feels than the average teenager's Tumblr.

Did it need a sequel? Of course not.

Did it do well enough for everyone to know it was getting a sequel? Well, hey, when this whole group is still kicking three years later, you gotta take it as a sign, eh? There's nothing I can say about the Second Best Exotic Marigold Hotel that you don't already know, whether or not you've seen it. The movie features more wisdom from Mrs. Donnelly, more adorableness from Mr. Ainslie, more cougaring from Mrs. Hardcastle, and more well-intentioned shenanigans from Sonny. The age jokes never get old (see what I did there?), and the beautiful colors of India make it a joy to watch. If we're being honest, of course, you could take all that away and still there'd be no going wrong with this cast; they are the most perfectly perfect bunch of perfect to ever grace the silver screen. Special perfection marks to Maggie Smith and Bill Nighy; minus her deadpan delivery and his lovable awkwardness, the movie would definitely be missing its most special pieces.

The Second Best Exotic Marigold Hotel runs 122 minutes and is rated PG13 for "some language and suggestive comments."

The Second Best Exotic Marigold Hotel is a charming, funny, moving film, and, if it never takes a turn you didn't expect, maybe you never wanted it to, anyway. Of a possible nine Weasleys, the

Second Best Exotic Marigold Hotel gets seven.

Until next time...

I may look harmless, but I'm taking over your cinema!!

Cindy Prascik's Review of X-Men: Days of Future Past

Dearest Blog, today it was off to the cinema in the hope that X-Men: Days of Future Past would live up the hype. I am pleased to report I was not disappointed.

Spoiler level here will be mild, limited to one very specific, non plot-related...um..."asset" that I must mention.

Logan travels to the past to try to change history and avoid a terrible fate for mutants and humans.

Well, dear Blog, whenever the 70s are in play, one thing's for sure: the fashion is going to be good for laughs, whether intentional or not. While Days of Future Past doesn't go full American Hustle, it's fair to say the ascot is not Michael Fassbender's best look.

I love the cast of X-Men: Days of Future Past like I've loved few others. Were I to make a bullet list of the acting awesomeness, we'd be here all night. Suffice to say everyone is just great, and it's worth mentioning that Evan Peters--who is routinely terrific in American Horror Story--is every bit as good as his better-known castmates in his sadly limited screen time.

With its wibbly-wobbly timey-wimey plot, Days of Future Past could have ended up a convoluted mess, but instead it's handled expertly, a clever story that never bogs down. If the movie feels a little too long, I can't say there was so much as a minute I wasn't engaged. The effects are solid and--yes!!--we do get one (1) "pants optional" scene with the ever-fit Mr. Jackman. (The movie gods have heard my prayers!) If I had one complaint, it's that I kinda feel like what's the point of anything happening if you can just go back and make it un-happen, or what we'll call "The Heroes Effect."

That sounds like a pretty huge problem, but it diminishes my enthusiasm for neither the film nor the franchise.

I did not see this in 3D, and I can't say I felt like I was missing anything.

X-Men: Days of Future Past clocks in at 131 minutes and is rated PG13 for "sequences of intense sci-fi violence and action, some suggestive material, nudity, and language."

X-Men: Days of Future Past gets full marks for writing, acting, directing, and effects, and a few small quibbles won't stop me from calling it a truly great movie.

Of a possible nine Weasleys, X-Men: Days of Future Past gets eight.

Until next time...

Your argument is invalid.

MOVIE REVIEW: X-MEN: DAYS OF FUTURE PAST

Convinced that mutants pose a threat to humanity, Dr. Bolivar Trask (Peter Dinklage) develops the Sentinels, enormous robotic weapons that can detect a mutant gene and zero in on that person. In the 21st century, the Sentinels have evolved into highly efficient killing machines. With mutants now facing extinction, Wolverine (Hugh Jackman) volunteers to go back in time and rally the X-Men of the past to help change a pivotal moment in history and thereby save their future.

Director: Bryan Singer 

Cast: James McAvoy, Michael Fassbender, Jennifer Lawrence, Patrick Stewart, Ian McKellen.

Release Date: May 23, 2014

Runtime: 2 hr. 11 min. 

Genres: Sci-Fi Action, Superhero Film, Action, Fantasy

Review:

All in all I don’t think I’d be too far off base by saying that X-Men: Days of Future Past was probably more challenging endeavor than assembling The Avengers.  Thankfully Bryan Singer is back in the drivers seat along with an incredibly strong script which works surprisingly well even with the all the characters and timelines at play.  Singer’s ability to weave complex storylines while keeping the story’s heart is his gift to the series.  Watching him build this epic story will leave most fans even more bitter that he choose Superman Returns over the third X-men film.  Everything about the story is huge and the action set pieces are simply dazzling with the film rarely faltering during its 2 hour runtime.  James McAvoy, Michael Fassbender and Jennifer Lawrence are all in fine form.  They’re all much more comfortable in the characters skin bringing even more depth and meaning to each of them.  Hugh Jackman also gives us his best turn as Wolverine since X-2.  The original cast gets their moments to shine even if some of the new characters mostly serve as superhero fodder with the exception of Evans Peters Quicksilver who’s gone from the film far too quickly.  X-Men: Days of Future Past was probably one of the most anticipated film on this years calendar and is a rare example of a film delivering in spades.

A-

[Trailer] X-Men: Days of Future Past

That nerd screech you heard earlier today was just a normal reaction to the next big comic book movie on the horizon. After being revitalized by prequel/reboot X-Men: First Class, the franchise suddenly had some interesting avenues it could explore but most were surprised when it was announced they’d tackle the legendary Days of Future Past storyline helmed by Bryan Singer and mixing the old cast with the new one.

Personally, I think this might be a more daunting task than The Avengers because of how established the characters are in the old and new iterations. This first trailer gives us a glimpse into the ominous storyline with plenty of glimpse at the returning cast members, more so than the more recent incarnations. It’s not heavy on effects, most aren’t ready, which actually benefits the trailer getting me even more intrigued, check it out below…

Cindy Prascik's Reviews of Prisoners & Don Jon

Dearest Blog, today it was off to the cinemas for a double-feature of strange bedfellows, Prisoners and Don Jon.

Spoiler level here will be mild, nothing the trailers didn't reveal.

First up was last week's number-one box office draw, Prisoners.

Two young girls go missing on Thanksgiving day, and while locals and law enforcement attempt to find the girls and the culprit, one father takes matters into his own hands.

To be perfectly frank, I wasn't buying much of the hype about Prisoners. It looked like a good enough whodunnit, but nothing special. Sadly, it didn't surprise me.

Dear reader(s), by now we know one another well enough that I don't need to tell you

Prisoners is too damn long. It clocks in at two and a half hours, and starts feeling like it's never going to end somewhere around the 90-minute mark. The mystery itself is interesting, if nothing new, but the pacing is slow and never really gains any momentum.

The bleak late-fall/early-winter landscapes (Georgia masquerading as Pennsylvania) set the perfect tone for what is a humorless, miserable film. I'm not a fool, and I don't expect pratfalls and belly laughs in a story about child abduction, but there's a sort-of graveyard humor that's common among folks who work in grim circumstances, and the movie could have used some of that.

The cast is a who's who of Awards season darlings: Hugh Jackman, Jake Gyllenhaal, Terrence Howard, Viola Davis, Maria Bello, Melissa Leo and Paul Dano. I can't say anyone gave the performance of his or her career, but everyone was more than adequate. I might fairly be accused of some personal bias in Mr. Gyllenhaal's favor, but I thought he captured his stressed and twitchy detective especially well. And I will never complain about two hours of Melissa Leo. Ever.

Prisoners clocks in at 153 minutes (you heard me!) and is rated R for "disturbing violent content including torture, and language throughout."

Prisoners is an average thriller that's blessed with, but ultimately can't be saved by, an extraordinary cast.

Of a possible nine Weasleys, Prisoners gets five.

Lightening things up a bit for the second half of our doubleheader, I sprinted across the cinema to catch Don Jon, starring, written, and directed by Joseph Gordon-Levitt.

A young New Jerseyite is content with his life of working out, clubbing, and watching porn...until he meets the girl of his dreams.

Lest any readers get the wrong idea, and I think the wrong idea easily could be gotten here, I'll state up front that the following thoughts are based on this film only, there's no underlying discomfort with or distaste for the subject matter. (Read: I'm entirely okay with porn.)

Don Jon isn't the straight comedy sold by the trailers. When it's funny, it's very funny. The drama is equally well done, but--not being what I expected--it left me feeling a bit off-kilter about the whole. The film is very crass throughout. It's short by today's standards, but I suspect it would have worn out its welcome long before the end if Gordon-Levitt weren't so charming. Scarlett Johansson is fantastic as his Jersey Shore-esque dream woman, and Julianne Moore, Tony Danza, and Glenne Headly are strong in supporting roles.

Before I saw this, if you'd asked me to list ten ways I thought it might end, I wouldn't have come close to guessing the way it does end. Full marks for one of the best cinema surprises I've had in a good, long while.
Don Jon runs 90 minutes and is rated R for "strong graphic sexual material and dialogue throughout, nudity, language, and some drug use."

Don Jon isn't a perfect film, but it's confident, funny, and charming enough to be worth a rental, if not a trip to the cinema.

Of a possible nine Weasleys, Don Jon gets six.

Now, seriously, I've already had enough of this crap. Remind me when Thor's out again, please??

Until next time...........



If I ever go missing, please send Detective Jake Gyllenhaal!

MOVIE REVIEW PRISONERS

A small-town carpenter turns vigilante in order to rescue his abducted daughter and her best friend in this thriller starring Hugh Jackman and Jake Gyllenhaal. Six-year-old Anna and her friend Joy have vanished on Thanksgiving without a trace.

Director: Denis Villeneuve

Cast: Hugh Jackman, Jake Gyllenhaal, Paul Dano, Viola Davis, Terrance Howard

Release Date: Sep 20, 2013

Rated R for language Throughout, Disturbing Violent Content and Torture

Runtime: 2 hr. 33 min.

Genres: Drama, Suspense/Thriller

Review:

Prisoners is a dark movie, oppressive from the start, unrelenting. It’s not the type of film that’ll be on many people’s rewatch list. As a film it’s wonderfully shot and methodically paced, even if it overstays its welcome during its weak final act. Director Denis Villeneuve knows how to establish mood with settings. The film is coated in rain and haze with nary a glimmer of sunlight. Hugh Jackman delivers full forced performance that really impresses. Jackman portrays the unflinching rage of his character throughout. It’s a showy performance which leaves an impression. Equally impressive is Jake Gyllenhaal who uses uncontrollable blinking to maximum effect here. Gyllenhaal’s performance is driven and focused, making it one of the best of his career. Rounding out the cast are the criminally underused Paul Dano, Viola Davis and Terrance Howard, who reminds us he can put in a performance when he wants to. Prisoners isn’t a perfect film though. For all its heavy themes and impressive acting, the film keeps the audience at arms length. We see the characters and understand their motivations but there’s a disconnect as well. That disconnect keeps the film from delivering its message home even if it’s a rather bleak one.

B

Cindy Prascik's Reviews of Red 2 and The Wolverine

Dearest Blog, yesterday I trekked to the cinema to see two highly-anticipated (for me) releases: Red 2 and The Wolverine. If I'm guessing by the number of people with whom I shared the theatres, not everyone anticipated these films quite so highly.

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

First on my agenda was the middle-aged comic-book sequel Red 2.

Ex-CIA agent Frank Moses (Bruce Willis) has retired (again) to domestic bliss with Sarah (Mary Louise Parker), but the life he thinks he wants is re-interrupted when his crazy old pal Marvin (John Malkovich) drags him back into the world of international espionage.

I tend not to read many reviews before I write my own, but as much as I'm online, I can't help but see headlines. The headlines I saw about Red 2 led me to believe it's worth an eye-roll and no more, in keeping with the first one.

However, I loved Red, and I'm pleased to report I loved the sequel equally well.

Bruce Willis is Bruce Willisey in the lead. This is a compliment. He carries this sort of film about as well as anyone, and the wisecracking tough-guy routine has yet to wear thin with me. Helen Mirren is the coolest Dame on the planet...all the more so when she's armed and dangerous. John Malkovich has his kooky on and is enjoyable as always. Anthony Hopkins and Catherine Zeta-Jones kick up the star power of this cast, though I didn't entirely buy either in his/her role. Brian Cox is amusing in another brief appearance, and I was delighted to see David Thewlis. I'll cop to being absolutely fixated on Byung-hun Lee, whom I've only ever previously seen in the G.I. Joe movies, and wishing he had more screen time. I still hate Mary-Louise Parker, FYI.

Plot-wise Red 2 isn't trying to reinvent the wheel. It's action heavy, with the usual not-too-complicated (and somewhat holey) "save the world" storyline. Again, this is a compliment. It does slow down enough in some places that I wished they'd made it a bit shorter, but it's not bad enough to derail enjoyment of the whole.

Red 2 runs 116 minutes and is rated PG13 for "pervasive action and violence including frenetic gunplay, and for some language and drug material."

With its likable, familiar cast and likable, familiar storyline, Red 2 is much like an afternoon passed with good, old friends...except Mary-Louise Parker, who's that one person you don't actually like, but you have to put up with because one of your friends does.

Of a possible nine Weasleys, Red 2 gets seven.

Next up was the weekend's big new release, The Wolverine.

A meeting with an old acquaintance draws Logan into a conflict that is more than it seems, and forces him to confront his personal demons.

So...y'all hated X-Men Origins: Wolverine, yeah? See, I didn't. I liked it. A lot. I also liked this one. A lot.

Hugh Jackman is one of the more gifted and well-rounded leading men working in Hollywood these days, and it's to his credit he can do things like Wolverine and things like Les Miserables and be credible in both. He sings and dances on the Tonys and the Oscars, and he still embodies the macho superhero perfectly. The bulk of Wolverine's supporting cast is comprised of Asian actors with whom I'm only vaguely, if at all, familiar, but I thought they all did a fine job. I did pause to wonder whether Hollywood ever offers these actors any decent roles that have nothing at all to do with martial arts. I feel sure they've more to offer.

I am not invested in X-Men lore, so I can't comment on how well this film represents the comics, but the story is engaging, with (obviously) a good bit of action. It does run a bit too long (I ought to just copy and paste that line from review to review), and there were times, particularly some of the fight scenes, where I wished they'd just get on with it already.

Scheduling forced me to see this in 3D, and it was worse than useless; there wasn't a single scene where I thought it added anything. For the more shallow among us, Hugh Jackman is looking extremely fit, and there's plenty of gratuitous shirtlessness to be ogled.

The Wolverine clocks in at 126 minutes and is rated PG13 for "sequences of intense sci-fi action and violence, some sexuality, and language."

If you were waiting for that perfect superhero movie of the summer, well, you'll still be waiting, but the Wolverine is a solid couple hours of escapism that should please most fans of the genre.

Of a possible nine Weasleys, The Wolverine gets seven.

So, dear Blog, that closes the book on another Star Trek-less weekend; however, as the next four weekends are giving me 2 Guns, Elysium, MY BELOVED GARY OLDMAN in Paranoia, and The World's End, they should be filled with enough awesomeness to get me through.

Until next time...




Not gonna lie, I gave it six and a half Weasleys, looked at this, and changed it to seven.

MOVIE REVIEW: THE WOLVERINE

Hugh Jackman returns as Wolverine in this sequel to the member of the X-Men's first solo outing. Mark Bomback and The Usual Suspects' Christopher McQuarrie penned the script, which takes its inspiration from the Chris Claremont/Frank Miller Marvel miniseries from the 1980s dealing with the character's adventures in Japan as he fights ninjas in the ceremonial garb of the samurai. Knight and Day's James Mangold directs. ~ Jeremy Wheeler, Rovi

Director: James Mangold

Cast: Hugh Jackman, Will Yun Lee, Hiroyuki Sanada, Brian Tee, Famke Janssen

Release Date: Jul 26, 2013 RealD 3D

Rated PG-13 For language, Intense Sci-Fi Action, Some Sexuality and Violence

Runtime: 2 hr. 6 min.

Genres: Action/Adventure

Review:

X-Men Origins: Wolverine was such a massive misfire that I excised the majority of the film from my memory as soon as the film ended. Needless to the say, I wasn’t terribly excited about The Wolverine especially after Darren Aronofsky dropped out. James Mangold is a solid if unimpressive director so I was still fairly leery of another solo entry for Wolverine. Thankfully The Wolverine is a solid piece of comic book filmmaking with a focused storyline with a pensive seriousness that pervades the better part of the film. Mangold delivers a well balanced film that provides enough action to keep your blood pumping, an impressive bullet train sequence stands out, and heart to keep it interesting. By this point in time the audience should be well versed in the general particulars of Logan’s story so the film doesn’t waste much time explaining rudimentary facts, instead it focuses on Logan after the envents of X-Men: The Last Stand. As a result Hugh Jackman is allowed to flesh out some of the turmoil at play in Logan’s mind. The result is a mixed bag with some of the attempts hitting home while most of the Jean Grey hallucinations come off a tad too heavy handed. Even with its flaws, its effect character building. It helps that the cast of supporting characters and villains has been trimmed to an economically small group. Rila Fukushima leaves a solid impression as Logan’s de facto sidekick. Tao Okamoto, the love interest, feels like she should leave a bigger impression but she’s decidedly bland. Fairing worse is Svetlana Khodchenkova’s vamping villainess, Viper, who is a ham fisted misfire especially in the final act. The final act itself forgoes all the seriousness for a goofy and ultimately anticlimactic end to the film. The Wolverine would have fared better if it’d had some tighter editing, especially in the flabby midsection, and delivered a thrilling finale but it still delivers a solid entry into the X-men cannon. An excellent post credit sequence will leave you waiting patiently or impatiently for the upcoming X-Men: Days of Future Past.

B-

[Trailer] The Wolverine

It won’t take much to wash off the horrible taste from X-men Origins: Wolverine. It was probably one of the worse comic movies I’ve sat through. So while another go around with this character seems unnecessary at the very least they can’t do any worse than before, this trailer gives a glimmer of hope especially with quick shots of Silver Samurai among others. Still, after the last debacle I’m still very wary…



International Trailer




US Trailer

MOVIE REVIEW: LES MISERABLES

The King's Speech's Tom Hooper directs this adaptation of Cameron Mackintosh's successful musical version of Victor Hugo's classic novel. The drama surrounds the obsessive quest of Inspector Javert (Russell Crowe) as he spends years in an effort to capture escaped convict Jean Valjean. Hugh Jackman co-stars in the Universal Pictures production. Anne Hathaway, Amanda Seyfried, and Sacha Baron Cohen also star. ~ Jeremy Wheeler, Rovi

Release Date: Dec 25, 2012

Rated PG-13 for suggestive and sexual material, violence and thematic elements

Runtime: 2 hr. 38 min.

Genres: Drama, Music/Performing Arts

Director: Tom Hooper

Cast: Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Sacha Baron Cohen,
Helena Bonham Carter

Review:

The cinematic version of Les Misérables will give you goose bumps one moment then have readjusting in your chair as the barrage of bombastic yet bold musical numbers beat you into submission. It’s all wonderfully staged by a dedicated Tom Hooper. He treats this beloved musical with a tenderness and love throughout. Everything is wonderful to look at and listen to. Hooper just lets you dive right in and never really lets you take a breath. His A+ cast belts out tune after tune with impassioned veracity and emotional heft. At its center is Hugh Jackman who anchors the entire production with his impressive vocals and performance. Jackman’s stage talent and experience is readily apparent, making his casting a real win for film. Anne Hathaway has garnered plenty of attention because of her turn as Fantine and its well deserved. Her screen time is incredibly limited but she leaves a strong emotional impression. Less impressive is a miscast Russell Crowe. I’ve been a fan of Crowe for years and while he looks the part, his vocal chops are just all wrong for this type of film and character. It’s a major misstep, one that detracts from the film’s quality as a whole which is a real shame. An angelic Amanda Seyfried is strong if limited as the older Cosette. She’s outshined by her character’s counterpart played by Samantha Barks. Barks oozes melancholy as she belts out her songs about unrequited love. Hooper moves his film at a methodical pace but the story does leave you feeling a bit disjointed as it changes from intimate to global back to intimate. Flaws aside, it’s an opulent piece of musical filmmaking which keeps your eyes glued to each actor’s soulful eyes as they sing about dreams lost and found.

B+

[Trailer] Les Miserables

I was a little unsure of what to make of this latest adaptation when I first heard about it. Casting rumors ran wild and thankfully they settled on some impressive names, with an impressive proven director.

This first trailer sure does set the stage for what to expect with Anne Hathaway showing off some impressive vocals to go along with some strong looking sets and visuals…..

Movie Reviews: X-MEN ORIGINS: WOLVERINE

Sunday, May 03, 2009
Movie Reviews: X-MEN ORIGINS: WOLVERINE
IN THEATERS

X-MEN ORIGINS: WOLVERINE

Leading up to the events of X-Men, X-Men Origins: Wolverine tells the story of Wolverine's epically violent and romantic past, his complex relationship with Victor Creed, and the ominous Weapon X program. Along the way, Wolverine encounters many mutants, both familiar and new, including surprise appearances by several legends of the X-Men universe.

Cast: Hugh Jackman, Liev Schreiber, Danny Huston, Lynn Collins, Ryan Reynolds

Director: Gavin Hood

Opened May 1, 2009

Runtime: 1 hr. 47 min.

PG-13 violence, intense sequences of action and some partial nudity

Genres: Superhero Film, Action

Review:

X-men Origins: Wolverine is such a lazy mind numbing film that makes you wonder who the talented cast kept a straight face throughout. A laughable opening sequence gives you a clear indication of the quality of comic book film you are about to endure. Director Gavin Hood lack of big blockbuster experience shows throughout the film as he set up actions sequences that are as chessy as they boring. The main issue is the entire affair lacks any emotional resonance or weight. Most of action and dialogue are mind numbingly generic and unoriginal; sequences that are supposed to blow you away just ends up making you roll your eyes. The cast is an impressive array of talented actors who deserve a much better material to work with. Huge Jackman delivers a fairly flat performance only occasionally giving us a glimpse of his work in the series best entry X2: X-Men United. There are just too many wooden lines that fall flat and too many roars matched with goofy posing. Liev Schreiber is mostly wasted as Logan’s half brother, so much so that it makes you wonder why they’d cast such a capable actor for such a 1 dimensional character. Ryan Reynold’s is good fun for all of 10 minutes he’s in the film. Same holds true for Kevin Durand, Dominic Monaghan and Will I Am, all of put in nice little performances but are horribly underused. Danny Huston does the best of the group as the nefarious William Stryker and seems the most committed to the material. Taylor Kitsch is effective as Gambit but his character seems shoehorned into the plot. X-Men Origins: Wolverine isn’t as bad as X-Men: The Last Stand but it veers terribly close, a real shame considering the talent assembled.

D