MOVIE REVIEW: DAMSEL

 

A young woman agrees to marry a handsome prince -- only to discover it was all a trap. She is thrown into a cave with a fire-breathing dragon and must rely solely on her wits and will to survive.

Director: Juan Carlos Fresnadillo

Cast: Millie Bobby Brown, Ray Winstone, Nick Robinson, Shohreh Aghdashloo, Angela Bassett, Robin Wright

Release Date: March 8, 2024

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of strong creature violence, action, and bloody images.

Runtime: 1h 47m

Review:

Damsel takes an interesting approach to the fairy tale genre by delivering something darker and more interesting even though it only skims the surface of the concept.  Juan Carlos Fresnadillo, director of the underappreciated 28 Weeks Later, directs his film with a steady hand, setting up a colorful Disney approved kingdom before revealing the story's more sinister side.  He makes solid use of stark visuals throughout which are sadly hampered by uneven F/X that fluctuate from solid to early 2000's Sci-Fi channel bad with the open sequence serving as a prime example of the bad.  It’s noticeably choppy throughout which sadly takes you out of the film at various points during its runtime.  F/X issues aside, Fresnadillo moves the film at a steady pace especially once the story moves into the dragon's lair with the focus centering on Millie Bobby Brown's character.  Brown is slowly making a career of these sort of self reliant characters and this role is right in her wheelhouse.  She's tasked with carrying the story alone for the better part of the film with her working against digital backgrounds and Shohreh Aghdashloo's excellent voice work as the dragon.  Sadly, the script never gives her anything really substantial to really sink her teeth into with only surface level characterization.  It doesn't help that the script continually stretches credibility at multiple moments, even for fantasy film, such as Princess Elodie's rather impressive rock and rope climbing skills or her ability to sneak up on a dragon just to name a few.  Brown, to her credit, does the best she can with material even though you get the feeling there's a better story in there somewhere.  Her supporting cast is made up of strong performers such as Ray Winstone, Angela Bassett and Robin Wright but the film never takes full advantage of them.  Robin Wright in particular is just begging for more screen time as the villainous queen.  It’s a consistent issue for the film since there are plenty of opportunities to make Damsel some truly special.  

C+

MOVIE REVIEW: WONDER WOMAN 1984

 

Diana Prince lives quietly among mortals in the vibrant, sleek 1980s -- an era of excess driven by the pursuit of having it all. Though she's come into her full powers, she maintains a low profile by curating ancient artifacts, and only performing heroic acts incognito. But soon, Diana will have to muster all of her strength, wisdom and courage as she finds herself squaring off against Maxwell Lord and the Cheetah, a villainess who possesses superhuman strength and agility.

Director: Patty Jenkins

Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen

Release Date: December 25, 2020

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of creature action and violence throughout

Runtime: 2 h 31 min

Review:

 Patty Jenkins follow up to the her wildly successful original is a film that has soaring ambitions but the execution doesn't land perfectly. That being said she accomplishes so much during her trek through the 80s.  She manages to hit on every 80s trope you can imagine while never losing focus on her characters.  It's a fun trek that's surprisingly light on actual superhero action outside of rousing action set pieces.  Jenkins focuses far more on the the characters as the work through living their wish fulfillment.  The trope that the script uses to bring back Pine is an interesting choice but it does sort of fit in with the goofy 80s vibe and it allows the film to explore more of the characters desires and wants.  In a weird way sort of plays out like a superhero version of the Last Temptation of Christ.  Kristen Wiig seemed like  a strange choice to play Barbara Minerva originally but it works as she plays the nerdy dork who turns into a fox of cheetah in this case.  Wiig and Gadot have great chemistry together which makes their friendship more believable and grounded.  Gadot at this point is just the walking embodiment of Diana Prince, she has the ability to pull off the mixture of grace, empathy and strength so effortlessly that you just have to sit back and appreciate it.   Pedro Pascal plays the primary villain and he does so with a crazy amount of gusto.  His turn as Lord has some overt Trumpian tones taken to the extreme which makes him more of a caricature than a fully realized character.  Its a shame since it would have have given the film's conflict a bit more heft than it has but you have to wonder if it's intentional since the overall theme is much more internal and personal.  The film was written and filmed more than a year ago but there is something in it's incredibly hopeful message about selflessness that seems incredibly precedent in 2020.  Once the required battle between Diana and Barbara's newly born Cheetah, the script sadly doesn't really explain this transformation so it feels like it's just checking a box, the story turns into one of the more interesting superhero finales.  Instead of a massive showdown it's more of a reflective message that grounds the story with its hopeful sense.  It's a lofty ambition which doesn't quite work as well as it should onscreen because the story has a hard time connecting it all together. Its easy to appreciate the intention but it doesn't quite stick the landing.  Still, Wonder Woman 1984 is very much on brand with ideal that they established in the original about what the character stands for.  Longtime fans will find plenty to love here like Diana sporting the Golden Eagle armor and other treats, be sure to stay through the credits for a fun surprise.   

B

MOVIE REVIEW: BLADE RUNNER 2049

Officer K (Ryan Gosling), a new blade runner for the Los Angeles Police Department, unearths a long-buried secret that has the potential to plunge what's left of society into chaos. His discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who's been missing for 30 years.

Director: Denis Villeneuve

Release Date: Oct 06, 2017

Cast: Ryan Gosling, Harrison Ford, Ana de Armas, Robin Wright, Lennie James.

Rated PG-13 for language, Brief Suggestive Content, Sequences of Sci-Fi Action and Violence

Runtime: 2 hr. 43 min.

Genres: Suspense/Thriller, Sci-Fi/Fantasy

Review:

Making a sequel to a seminal sci-fi film is a huge task, especially 35 years after the fact.  Denis Villeneuve and his cinematographer Roger Denkins deliver a visually mesmerizing film that’s gorgeous from start to finish.  It’s an impressive accomplishment that honors the original but also expounds on it.  Ryan Gosling ably leads the film with an understated performance that’s surprisingly nuanced and layered.  Those expecting a heavy dose of Harrison Ford’s Deckard will be left disappointed since he’s only in the film for a small amount of the film’s runtime.  While it’s hard to ignore the high level of craftsmanship and artistry, you do have to wonder if Villeneuve fell a little in love with his creation.  The film’s nearly 3 hour runtime isn’t necessary since some scenes seem inconsequential to the overall plot.  That’s not to say the film isn’t enjoyable or engaging but I can’t help but feel like there’s a tighter more efficient film in there somewhere.     

B+

Cindy Prascik's Reviews of Blade Runner 2049 & The Mountain Between Us

Dearest Blog, yesterday it was off to Marquee Cinemas to see the highly-touted Blade Runner 2049 and not-at-all-touted The Mountain Between Us.

 

Spoiler level here will be mild for 2049, somewhat elevated (see what I did there?) for Mountain, but nothing really plot-related.

 

First on my agenda: Blade Runner 2049.

 

A young Blade Runner unearths a secret that sends him on a dangerous quest.

 

Ohhhhh...Ryan Gosling...you owe me. La La Land. Lars and the Real Girl. The Place Beyond the Pines. Only God Forgives. (Worst. Movie. Ever.) At this point, *I* could be forgiven for thinking this guy willfully takes only projects he hopes will bore me to death. Slowly.

 

In the interest of full and fair disclosure, here I'll confess that I haven't seen the original Blade Runner in about a hundred years and thus I remember very little (read: nothing) about it. I had good intentions of revisiting it before the new one hit cinemas, but never got around to it, so I know there were certain "recognition" moments that were lost on me. I should also note that I was in no way predisposed to dislike this, so the degree to which I did came as something of a surprise.

 

Blade Runner 2049 actually does have a fair few things going for it. The principal roles are carried by well-known and well-decorated actors who do as much as they can with wooden characters. Gosling is never less than watchable, and Robin Wright is the same. Harrison Ford takes his sweet time showing up, but when he does it's welcome, even if it seems a rehash of pretty much everything Harrison Ford does these days. The picture boasts astonishing, Oscar-worthy visuals and an ominous score that I can't wait to torture my coworkers with. For at least the first half of the movie, all of that was enough that I didn't hate it, but the longer it dragged on, the less interested I became in finding that silver lining, and there you'll find the movie's chief handicap: it is just too long to be as slow as it is (or too slow to be as long as it is). Yes, it's pretentious at times (lots of times). Yes, Jared Leto is ridiculous. Yes, it's often too dark to see anything at all, and yes, the 3D is utterly pointless.

 

BUT...2049 likely could have gotten away with most of that if only it weren't So. Damn. Long. I saw a few social media posts yesterday saying that the film leaves many questions to be answered by a potential "next installment," but the only question Blade Runner 2049 left me was: "Can Robin Wright take a drink without slamming it like a belligerent pirate?" The world may never know.

Blade Runner 2049 clocks in at a painful 163 minutes and is rated R for "violence, some sexuality, nudity, and language."

 

Blade Runner 2049 is a flaming bag of poo left on my cinematic doorstep, but it sure looks and sounds pretty! Of a possible nine Weasleys, Blade Runner 2049 gets four.

 

Next up: The Mountain Between Us.

 

Two professionals who HAVE TO BE SOMEWHERE charter a small plane and end up not getting anywhere.

 

The Mountain Between Us is nothing more than badly-done fanfiction, Twilight for grownups, minus the sparkling. How on Earth anyone got one--nevermind TWO--actors the caliber of Kate Winslet and Idris Elba to sign on for this drivel is beyond me. The most entertaining thing about the whole mess was the two older folks in my screening who loudly admonished the screen: "You should have waited for the other plane!" "You should have brought warmer clothes!" (It's a testament to just how bored I was that I found that amusing instead of infuriating.) The picture plods on for nearly two snowy hours, hitting every tired AO3 tag you can think of, and often turning very specifically reminiscent of 1993's Alive. (Spoiler alert: Except they never ended up having to eat each other. At least not literally.) By the time the movie reminds you for the last time that this horrible experience has made someone FEEL ALIVE, you'll be wishing you weren't.

 

The Mountain Between Us runs 103 minutes and is rated PG13 for "a scene of sexuality, peril, injury images, and brief strong language."

 

If ever I am stranded somewhere with Idris Elba and you send someone to "rescue" me, I will end you. 

 

Of a possible nine Weasleys, The Mountain Between Us gets three.

 

Until next time...

Cindy Prascik's Review of Wonder Woman

Dearest Blog, yesterday it was off to Marquee Cinemas to see Wonder Woman...with a side of Pirates of the Caribbean.

 

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

 

If your world (or your franchise) needs saving...ask a woman.

 

Regular reader(s) will know I generally don't read reviews until I've written mine, though of course I've seen headlines, most of which run along the lines of "DC Finally Gets It Right!" I'm of the rare opinion that DC always gets it right (yes, even Green Lantern!), so, if this review seems somewhat less gushing than most, it's only because the awesomeness was entirely expected.

 

Beginning with the obvious, our Wonder Woman is, indeed, a wonder. Strong and stunning, charming and smart, Gal Gadot carries this picture like it's old hat; she is perfect in every way. And how about Chris Pine?? I mean, if you're only catching onto the fact that he's more than just blue eyes and a dreamy smile, well...shame on you!! He's always great, but this might be his finest performance yet. The supporting cast is extremely solid, although...does Danny Huston play Nazis weirdly often, or does he just look like someone who does? How great to see Robin Wright in a badass role like this! As Wonder Woman's super support team, Said Taghmaoui, Ewen Bremner (yay!), and Eugene Brave Rock are the picture's unsung heroes, thoroughly engaging. I'm not a huge fan of all the super-slo-mo, but otherwise Wonder Woman's action sequences are well choreographed and don't run on too much. Thanks to spot-on humor, the movie never feels too dark, despite the high stakes, and I think we can all agree Wonder Woman has the coolest theme of any superhero! If I had one small complaint outside the overuse of slow-motion, it's that the movie definitely would have benefited from at least a small trim. It also feels a bit preachy at times, a side effect of its resolutely hopeful tone. 

 

Wonder Woman clocks in at 141 minutes and is rated PG13 for "sequences of violence and action, and some suggestive content."

 

Wonder Woman (movie) often debates whether humanity deserves Wonder Woman (hero). I guess we probably don't, but I'm sure glad we got her anyway. 

 

Of a possible nine Weasleys, Wonder Woman gets eight.

 

Until next time...

MOVIE REVIEW: WONDER WOMAN

An Amazon princess (Gal Gadot) finds her idyllic life on an island occupied only by female warriors interrupted when a pilot (Chris Pine) crash-lands nearby. After rescuing him, she learns that World War I is engulfing the planet, and vows to use her superpowers to restore peace. Directed by Patty Jenkins (Patty Jenkins). ~ Violet LeVoit, Rovi

Director: Patty Jenkins

Cast: Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, David Thewlis

Release Date: Jun 02, 2017

Rated: Rated pg-13 Some Suggestive Content, Sequences of Violence and Action

Runtime: 2 hr. 21 min.

Genres: Action/Adventure, Sci-Fi/Fantasy

Review:

I’ll start off by saying that I’m terribly biased when it comes to Wonder Woman thanks to reruns of Lynda Carter’s iteration from the 70’s which led to a lifelong fandom.  Wonder Woman has always been my favorite superhero and I’ve actually read a handful of comics and watched endless amounts of Bruce Timm produced animation.  Needless to say, I can understand why it’s so difficult to nail the character.  Patty Jenkins and Batman vs. Superman scene stealer Gal Gadot had a large task in front of them.  Thankfully they nailed it.  Wonder Woman’s first foray onto the big screen is a rousing success.  Patty Jenkins layers the film with a handful of themes but they are done subtly and organically throughout.  Most importantly, it’ll all feel right for long time fans of the character.  Wonder Woman is a tough blend since she’s a warrior but also incredibly compassionate and caring.  Gal Gadot is able convey all of this with relative ease throughout, all the while showing off glimpses of some fine comedic talent.  

Gadot has a magnetic energy about her that’s just incredibly infectious.  Moving the film’s setting to World War 1 is an incredibly smart move since it gives us and Gadot a chance to show off an innocence in Diana’s character as she explores man’s world for the first time.  Chris Pine comes off as a pleasant surprise, in what is easily my favorite performance from him.  Pine and Gadot have an undeniable and realistic chemistry that’s as playful as it’s heartfelt.  Once the action moves into the battlefield, Jenkins and her cast show off an excellent handle on how to do action sequences properly.  There are 2 sequences that are sure to give longtime fans goosebumps.  If there is a minor complaint, it’s a tab bit of overuse of slow mo.  The sequences would have been better served if they’d held back on that just a tad.  Some of the minor drawbacks are the villains, Danny Huston’s character is about as one note as they come and Dr. Maru aka Dr. Poison comes a bit too cartoony for my taste.  Additionally, the third act does fall into the big battle trope most superhero films use.  A tad bit of trimming could have helped it since it overstays its welcome by a few minutes.  Regardless, when the film is done you can’t help but be impressed by how fun, emotionally layered and loving crafted Wonder Woman is by all those involved.

A-

TV SHOW REVIEW: House of Cards

Francis Underwood is Majority Whip. He has his hands on every secret in politics - and is willing to betray them all to become President.


Cast: Kevin Spacey, Michael Gill, Robin Wright, Kate Mara, Michael Kelly, Corey Stoll

Executive Producers: David Fincher, Kevin Spacey, Eric Roth, Joshua Donen, Dana Brunetti, Andrew Davies, Michael Dobbs, John Melfi, Beau Willimon


Netflix’s decision to give original programming a shot was something that could have gone very badly. It could have been some cheaply produced muck with low rent actors. The decision to remake the British series House of Cards, after outbidding the cable networks, with A-list talent in front and behind the camera was a master stroke. With David Fincher at the helm for the first 2 episodes, allowing him to establish is distinctive style, gives the series instant legitimacy. The cast instantly shows you they are on their A game with an incredibly magnetic performance by Kevin Spacey at its center. The supporting cast such as a luminous Robin Wright textures the world being presented. Robin Wright’s performance as Underwood’s wife is just as interesting and complex as Spacey’s, a lesser actress could have faded into the background. Kate Mara continues to leave a noticeable impression even when working with some grade A talent. Other supporting players like Corey Stoll and Michael Kelly round out an impressive cast. The story and characters are all incredibly rich giving all these actors so much to work with throughout. Its plot feels like a MacBeth, King Lear hybrid blended into a modern day Washington all of it handled in an incredibly watchable and engrossing manner. Season 1 only failing speaks to effectiveness, the finale leaves you wishing you could watch season 2 instantly, a real triumph for Netflix.

A

Netflix Streaming Exclusive with all 13 episodes available

MOVIE REVIEW: MONEYBALL

IN THEATERS

MONEYBALL



Brad Pitt stars in the real-life tale of Major League Baseball general manager Billy Beane, who built up a winning team despite a decreased budget thanks to his sly use of statistical data to calculate the best -- and cheapest -- players for his roster. Aaron Sorkin updates Steve Zaillian's adaptation of Michael Lewis' fly-on-the-wall novel for Columbia Pictures, with Robin Wright, Jonah Hill, and Philip Seymour Hoffman co-starring. ~ Jeremy Wheeler, Rovi

Director: Bennett Miller

Cast: Brad Pitt, Jonah Hill, Philip Seymour Hoffman, Robin Wright, Chris Pratt

Release Date: Sep 23, 2011

Rated: Some strong language

Runtime: 2 hr. 6 min.

Genres: Drama

Review:

To call Moneyball a baseball movie is kind of a disservice. Personally, I’ve never been a big fan of sports films mainly because they follow such a predictable pattern and are filled with genre required benchmarks. Moneyball forgoes most of that and explores the business of the sport but doing so in a manner that people who are well versed in sports and those who barely know the difference between and out and a touchdown can enjoy it. It’s engaging from the start and the character piece pops in a way few films can. It’s a slow and organic film that allows scenes to gestate long enough to achieve their desired effect. Bennett Miller provides a strong guiding hand making his film feel like jock version of The Social Network. Miller does such a strong job of giving his film an air of authenticity, the scenes all ring true, even to a sports fanatic like myself, but never spilling over into parody. Brad Pitt is spot on as Beane. Pitt masterfully and subtly displays Beane cocksure bravado and private self doubts that drive the man. It’s the type of performance that brings his character to life especially in character scenes that showcase the man’s mind at work. Jonah Hill playing against type provides an excellent counterpoint to Beane. Hill’s quiet and measured performance is perfect for the character’s persona. Phillip Seymour Hoffman rounds out the cast with an impressive turn as A’s Manager Art Howe, his interaction with Pitt’s Beane is the kind of stuff most sports fans know all too well. The film might overstay it’s welcome near the end but just barely.

A

[Trailer] Moneyball

From this new trailer Moneyball looks like an interesting film that might draw in some sports fans like myself especially with Pitt all in as Billy Beane and Jonah Hill giving a more serious role a shot.

Sports fans know how this plays out but the performances might be worth the price of admission.