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Showing posts with label Tom Hooper. Show all posts
Showing posts with label Tom Hooper. Show all posts

Friday, December 27, 2019

Cindy Prascik's Reviews of Dark Waters & Cats

































The weekend before Christmas provided an opportunity to catch up with my sorely neglected cinema. First priorities: Dark Waters and Cats.

Spoiler level for Dark Waters will be mild, nothing you wouldn't know from the trailers or the news. I don't think there are proper spoilers for a film like Cats--it's not exactly rife with plot twists--but I'm going to talk about it in excruciating detail. If you really don't want to know anything before you see it, or if you really don't want to read 1500 words on one of the year's worst movies, please proceed accordingly.

First on my weekend docket: Dark Waters, a based-on-actual-events tale of the attorney who took on chemical giant DuPont over poisoned water in Parkersburg, West Virginia.

Dark Waters is a compelling story told in pedestrian fashion, a disappointment considering the names involved. It's weirdly edited in places, with some shots lingering overlong while others cut off so abruptly it seems like somebody forgot to come back and finish it. The movie wears its agenda on its sleeve, with broadly-drawn good guys and bad guys, chugging along at a deliberate pace that makes it seem longer than it is. Some good tension builds towards the end, as the case comes to a head, but it's pretty late in the game. The big-name cast includes Mark Ruffalo in a fine but unremarkable turn as Robert Bilott, David to DuPont's Goliath. Anne Hathaway and Tim Robbins are up and down as Bilott's wife and boss/mentor, respectively. Bill Pullman turns in the only performance I really enjoyed, and his screen time is, sadly, rather limited. West Virginia doesn't necessarily get the worst cinematic treatment it's ever had, though certainly Dark Waters doesn't have an opportunity to show our state at its best, even if it effectively portrays the resilience of our people. (Some would say "bull-headedness," but we'll stick with "resilience" here.) Dark Waters is a movie worth seeing, but maybe more worth seeing on Netflix or as a rental, rather than with the full cinema pricetag.

Dark Waters runs 126 minutes and is rated PG13 for "thematic content, some disturbing images, and strong language."

Dark Waters is a serviceable telling of a great story, one that's all the sadder as West Virginia continues to sell itself to the highest bidder with little regard for its own well-being. 

Of a possible nine Weasleys, Dark Waters gets seven.

Next up: the big-screen adaptation of Andrew Lloyd Webber's much loved musical, Cats. Buckle up, kids. We're gonna TALK about this one.

On the night of the Jellicle Ball, the Jellicle Leader chooses one Jellicle cat to elevate to a new Jellicle life.

Think that synopsis makes no sense? You aren't alone. Many would say (and have said) Cats makes no sense, there's no story. The plot is a thin one, more a series of vignettes, with each cat making his or her case to win the Jellicle Leader's favor.

Now, the disclaimer: I love Cats. It's one of my top three musicals of all time, and my favorite Andrew Lloyd Webber property. When I see the current national tour of Cats in February, it will mark my 30th visit to the junkyard. Certainly some productions are better than others (the 1993 national tour that featured now-Tony-winning choreographer Christopher Gattelli as Mr. Mistoffelees and Mad Men's Bryan Batt as Munkustrap is a favorite), but I've yet to crawl away disappointed...until this movie. Herein we shall discuss where the film goes wrong, and those few things it actually gets right.

We'll start with some of the big misses: Despite its best-known number being a proper belter, Cats is a dance-oriented show, yet this film has eliminated the most impressive dance sequences: Mr. Mistoffelees' solo, Jennyanydots' tap number (represented, but not properly), and the Invitation to the Jellicle Ball. Each of those pieces is included, but the best dance bits have been cut or bastardized by an over-abundance of CGI. (Anybody else weirded out by those perpetually-erect tails??) The stage production has always gone to great lengths to get makeup, costumes, and feline movement spot-on, but here not a care was taken...in fact, these things are so bad as to appear willfully wrong. Most costumes stop at the ankles, leaving obviously human bare feet on display, though some Jellicles (in their sensible, everyday forms) wear high-top sneakers, boots, overalls, and even a top hat. Human garb in the stage production is a storytelling tool, and generally is crafted to fit with the cat's pattern, such as Misto's vest and bowtie and Grizabella's dress and coat. The film's makeup leaves its very famous faces very recognizable and looking like A-list actors in dollar-store Halloween costumes. It's distracting. Finally, for a barely-there plot that requires no explanation, this movie does an awkward amount of explaining.

By the numbers, Act I:

This movie *almost* gets the Overture right, as there's only a brief frame before its first notes twinkle through the darkened theater. No choreographed Christmas lights, though. Shame. Jellicle Songs for Jellicle Cats fares better than most numbers, though it suffers some unfortunate edits, ditto the Naming of Cats, where they left in the line about cats having three different names, then edited out the stanza about the second name. Hope no one's counting! Robbie Fairchild does a fine job with my second-favorite Jellicle, Munkustrap. Munkustrap is the busiest cat in the junkyard, serving as a sort-of narrator and appearing in nearly every number, so it's important that he's good. This one is good. Rebel Wilson's crass performance as Jennyanydots, the Old Gumbie Cat, renders one of the show's cutest numbers a vulgar exercise. Jason Derulo lacks the chutzpah that makes Rum Tum Tugger so much fun when he's done right, but he's a good singer and has some presence. James Corden as Bustopher Jones is one of the movie's better-cast roles, though the number's adapted rather stupidly. Mungojerrie and Rumpelteazer are deprived of their perk, and neither Danny Collins nor Naoimh Morgan brings any real charm to these audacious felines. Also...there's no tumbling, dammit! Dame Judy Dench is okay as Old Deuteronomy, though I miss the traditionally-male Jellicle Leader's big, booming voice. The new number written by Sir Andrew with Taylor Swift specifically for this film is a dud. It's performed by our Victoria, Francesca Hayward, also something of a dud. Victoria is a featured dancer in the show, so it's baffling that filmmakers chose an accomplished ballerina for the role, then assigned her a bunch of singing and smothered her beautiful dancing in CGI. The Jellicle Ball is a bizarre Furry orgy that again buries its choreography in badly-done effects. Ye gods.

Onward to Act II:

Ian McKellen is of Cats' biggest victories as Gus, the Theater Cat. He doesn't have as much to do as you'd like Sir Ian McKellen to do if you were lucky enough to get him for your movie, but he's quite a good fit. Steven McRae is a pretty solid Skimbleshanks, too, though the number itself is disappointing compared to its live cousin. (Skimble is my third-favorite Jellicle; it's important to get Skimble right.) Macavity...uh...where do I even start? Idris Elba, inarguably (for my money) the sexiest man alive, is utterly ridiculous in a role that is, by default, nefariously sexy. First, he does too much talking. There is no talking in Cats. There is only singing and dancing. Secondly, you can see too much Idris Elba (aren't those weird words to put together?) to think he's anything but Idris Elba in a goofy fur suit. That's down to makeup AGAIN. Finally, his Bombalurina is Taylor Swift, an admirable artist for many reasons, but entirely miscast as this very sexy, very mature Jellicle. Macavity is one of the show's best numbers, and one of the film's worst. How very disappointing. Next up is my favorite Jellicle, Mr. Mistoffelees. (It is MOST important to get Mr. Mistoffelees right.) Laurie Davidson is, in fact, quite a good Mr. Mistoffelees. I mean, he's no Jacob Brent, but he's definitely the best part of the movie, despite the filmmakers cutting his big solo. Following Misto's abbreviated number, our Grizabella turns up for the showstopper, Memory, or, as Jennifer Hudson sings it, "Mamwee." Jennifer Hudson has a great voice--that is an indisputable fact--but it's outweighed by her perpetually-running nose, vacant stare, and sloppy diction. This Grizabella ascends to the Heaviside Layer not in an old tire, but rather in a chandelier (perhaps a nod to ALW's other dumpster-fire film adaptation, the Phantom of the Opera?).  The finale, the Ad-Dressing of Cats, feels like an anti-climax minus an Old Deuteronomy with a commanding baritone, but the fact that it's not a complete disaster feels like a win.

A few missing pieces: Growltiger makes a surprise appearance, but his featured number is predictably absent from the film, as it has been from most of the recent Cats productions I've seen (I assume due to its racial insensitivity). There are no Pekes or Pollicles, also frequently axed from the stage production. As mentioned, while the film visits a junkyard, the junkyard isn't its primary home, an artistic choice that won't have much bearing on your enjoyment of the movie unless you really love that junkyard. (I do.) At least they got the "Vivat!" right, I guess.

Here's something I learned about Cats when it was revived on Broadway a couple years back: While shows like Hedwig and Hair really seem to find their audiences in revival--remaining relevant even while painted by the times in which they're set--Cats is not so fortunate. Debuting in London in 1981 and on Broadway in 1982, the nearly-plotless two hours of dancing felines seemed a good fit for the Ferris Bueller and Duran Duran set, even a game-changer for the time. In 2017, alongside Hamilton, Indecent, and even Come From Away, Cats just seemed irrelevant. I still shelled out for a front-row seat on my annual trip to the Big Apple, and I still loved it, but it was definitely a show out of its time. Had this movie been a straightforward adaptation of the stage production (I'd hoped for some improvement on the direct-to-DVD 1998 attempt), it still would be too late for this show to set the world on fire, but a quality big-screen version would have found its audience among the show's fans, of which there still are many. Instead, it's been turned into a punchline, a bad-movie benchmark for the foreseeable future, and here's the thing about that: In "serious" theater circles, Cats is already a punchline. Low-brow theater, tourist fare. It's also a very specific, unique thing that can't be made into something it's not. You can love or hate it for what it is, but you can't effectively change what it is. In attempting to do just that, Tom Hooper and company have made Cats a punchline for what it *isn't,* and that just breaks my heart. If In the Heights weren't already in the can and looking so promising, I'd worry Cats was bad enough to scare Hollywood off the movie musical for some time.

Cats clocks in at 110 minutes and is rated PG for "some rude and suggestive humor."

The 2019 film version of Cats is a travesty, crafted by people who either failed to understand this terrific show on a fundamental level or simply didn't care. Of a possible nine Weasleys, Cats gets three (one for each of my favorite Jellicles).

The current national tour of Cats is in Toronto through January 5th, moving to Boston and Baltimore immediately following. For my locals, the show rolls into Pittsburgh's beautiful Benedum Center from February 25th through March 1st. For a full list of dates and tickets, please check out the link below. Please do not let this abomination of a film deter you from seeing this legendary show in person.

https://ustour.catsthemusical.com/tickets/

Now...who's up for a Starlight Express revival??

Until next time...


Wednesday, December 25, 2019

MOVIE REVIEW: CATS







































A tribe of cats must decide yearly which one will ascend to the Heaviside Layer and come back to a new life.

Director: Tom Hooper

Cast: James Corden, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, Rebel Wilson, Francesca Hayward

Release Date: December 20, 2019

Comedy, Comedy, Drama, Family

Rated PG for some rude and suggestive humor

Runtime: 1 h 50 min

Review:

My knowledge of the Cat's stage play is fairly limited.  I've never gotten around to finding out why it was such a cultural phenomenon but have heard the song Memories in passing.  So I walked into the screen adaptation of the musical mostly blank.  Tom Hooper's film is veritable cornucopia of strangeness and WTF moments that it's hard to take your eyes off it.  The much talked about digital fur is instantly distracting and the effect never really seems to wear off for the duration.  It doesn't help that some characters wear clothes and shoes while other don't for no discernible reason, ultimately your left wondering who decides.  Its not the only question that will pop up in your head mainly because the plot mostly consist of introductions with a very general end game which is actually pretty dark once you start to think about it.  Still there are some positives to be appreciated here such as newcomer Francesca Hayward debut.  Hayward's re purposed Victoria is the audience's avenue into this strange world filled with tiny child mice and dancing human cockroaches.  Mind you the film takes very little time to ease the audience into any of this so you jump into the deep end pretty quickly.  Thankfully Francesca's performance is endearing enough to keep you on board if you didn't immediately jump off board.  Her ballerina skills are on full display through the seemingly endless song and dance sequences.  The bigger names all have varying levels of success with their characters as they go full feline.  Ian McKellen and Judi Dench bring and air of respectability to the whole thing with each having a moment to shine in the latter portions of the film.  Meanwhile James Corden and Rebel Wilson play into the whole silliness of the whole thing, it work sometimes but when it misses it misses badly.  Jason Derulo seems to be doing his own thing, particularly during his main song early on.  Idris Elba is all in from the start but he's never given enough screen time to really leave a proper impression outside of leaving you feel confused.  Taylor Swift's cabaret inspired sequence is lively once you get past her dollar story British accent.  Jennifer Hudson is given the film's singular song and you'd be hard pressed to deny her talent even though she can't seem to decide what volume to sing said song at during various attempts.  If this all sounds like a strange hodgepodge of ideas and talents well it is.  At certain points during the film I wasn't sure if I was actually watching some terribly campy 70's grindhouse musical or an unused portions of legendary Marlon Brando 1996 dumpster fire The Island of Dr. Moreau.  At the same time you sort appreciate the audacity of the whole thing like going full bore into the feline mannerisms, so much neck cuddling and nose kisses, while dealing a story is mainly about cats vying for the opportunity to die and move on to it's next life.  

C

Saturday, December 29, 2012

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+

Wednesday, May 30, 2012

[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…..



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