MOVIE REVIEW: THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES

 

Years before he becomes the tyrannical president of Panem, 18-year-old Coriolanus Snow remains the last hope for his fading lineage. With the 10th annual Hunger Games fast approaching, the young Snow becomes alarmed when he's assigned to mentor Lucy Gray Baird from District 12. Uniting their instincts for showmanship and political savvy, they race against time to ultimately reveal who's a songbird and who's a snake.

Director: Francis Lawrence

Cast: Rachel Zegler, Tom Blyth, Peter Dinklage, Hunter Schafer, Josh Andrés Rivera, Viola Davis

Release Date: November 17, 2023

Genre: Action,Adventure, Drama, Sci-Fi,Thriller, War

Rated PG-13 for strong violent content and disturbing material.

Runtime: 2h 37m

The Hunger Games: The Ballad of Songbirds & Snakes is a pleasant surprise on multiple levels from the quality of the direction and impressive performances from its cast.  This prequel avoids multiple pitfall that franchise expansion packs usually fall into by taking time and care with the story and characters presented.  Francis Lawrence delivers a wonderfully shot film which is aided by familiarity with the franchise and setting as he leans more into the art deco design.  He delivers some big sweeping moments even if some shoddy CGI kills the effect of a few action set pieces but the film works best when it focuses on its character.  Luckily, the film is blessed with an inspired cast that makes the film far more engaging than it should be.  English actor Tom Blyth takes on the role of a nascent Coriolanus Snow years before he becomes a dictator.  Blyth turns in a nuanced performance which is engaging enough to draw you in before he reveals bits of simmer rage and anger as the film moves on.  His committed performance makes it easier to overlook some of the more bombastic and melodramatic bits of dialogue that the script throws at him.  The chemistry he shares with Rachel Zegler is the engine that keeps the whole thing moving even during some of the lulls in the pacing during the film's runtime.  Zegler is just as committed throughout as the film takes full advantage of the multi talented artist which includes her singing talents, who knew there were so many hootenannies going in Panem, on top of her acting skills.  They are blessed with wonderful supporting cast made up of established stars whose characters give the film a sense of respectability.  Peter Dinklage is appropriately mournful as the accidental co creator of the Hunger Games while Jason Schwartzman is a perfectly preening predecessor to Stanley Tucci's character but Viola Davis leaves the biggest impression with a deliciously twisted turn which has her manically chewing up scenery to great effect.  The film though isn't without some issues with pacing being the most glaring.  There are noticeable lulls that pop up throughout the film's runtime making it feel far longer than it's 2 hour and 37 minutes length.  While there are plenty of moments in the first two acts that could use some trimming, the final act is strangely overstuffed and rushed so much so that you get the sense this story could have been broken up into two films.  Those issues aside, The Hunger Games: The Ballad of Songbirds & Snakes, manages to be one of the more carefully crafted and enjoyable prequels in recent memory.  

B

Cindy Prascik's Review of Air

 

My dear readers, with continued apologies for my sporadic content, here I am pleased to share some thoughts on Ben Affleck's Air.

Hoping to compete with the biggest names in its field, a shoe company courts a future superstar as the face of its brand.

Spoiler level here will be mild for the film, with no accounting for what a reader might know of actual events.

Air isn't the sort of film that's going to set the world on fire, but it's an engaging story, well told and well acted. As the shoe company's brass and bolts, the reliably watchable trio of Matt Damon, Jason Bateman, and Ben Affleck carries the movie effortlessly. Viola Davis nearly steals the whole show as the mother of the athlete they court to represent their company. The broad popularity of the titular product makes it unlikely anyone's watching Air without knowing how it turns out, but the movie manages to maintain tension all the same (a feat Affleck also achieved admirably with Argo). Rounded out with a stellar 80s soundtrack, Air is the most enjoyable movie I've seen in a good, long while.

Air clocks in at 111 minutes and is rated R for language.

It won't be the talk of awards season, but Air is a satisfying exercise elevated by a familiar and likeable cast. Of a possible nine Weasleys, Air gets eight.

Air is now streaming on Amazon Prime.

Until next time...

MOVIE REVIEW: AIR

Sonny Vaccaro and Nike pursue basketball rookie Michael Jordan, creating a partnership that revolutionizes the world of sports and contemporary culture.

Director: Ben Affleck

Cast: Matt Damon, Ben Affleck, Jason Bateman, Marlon Wayans, Chris Messina, Chris Tucker, Viola Davis

Release Date: April 5, 2023

Genre: Drama, Sport

Rated R for language throughout.

Runtime: 1h 51m

Air runs the gamut of sports underdog tropes as it dramatizes the truth story of how Michael Jordan and Nike started their legendary business relationship. Ben Affleck’s direction injects the film with a breezy, retro feel by using archival footage and music to place it firmly in a very specific place in time.  In lesser hands, this could have been a very bland and paint by the number dramatization that wouldn’t have been nearly as interesting as it is since we all know how it ends.  The film’s biggest asset though is its cast which is made up of likable actors led by Matt Damon.   The role of Sonny Vaccaro is perfectly suited for Damon’s talents since it requires an air of authentic sense of self-determination, drive, and vulnerability.   He delivers the kind of performance that makes some of the more grandiose and self-aware speeches hit with more emotional impact than they would in the hands of a lesser actor.  The supporting cast is made up of familiar faces like Jason Bateman, Marlon Wayans, Chris Tucker and Affleck who all share the kind of lived-in chemistry which make their interactions believable.  Chris Messina is fun even though he’s jarringly over the top as legendary sports agent David Falk.  Viola Davis and her real-life husband, Julius Tennon, play Jordan’s parents with the kind of levelheaded parental energy the roles call for.  Jordan himself is only shown from behind and has very minimal dialogue with archival footage from his career and life serving as most of his presence in the film.  The script smartly focuses the story on the Nike side of this story since Jordan is such a well-known figure.  There are moments, though, where the script rushes some of the behind-the-scenes machinations and relationships a bit too much to make you believe they would take such a massive risk.  These issues are sort of baked into the genre along with the predictability of it all, but Air does an impressive job of making it all so easy and engaging to watch.

B+

MOVIE REVIEW: THE WOMAN KING

 

The Woman King is a 2022 American historical epic film about the Agojie, the all-female warrior unit who protected the West African kingdom of Dahomey during the 17th to 19th centuries. Set in the 1820s, the film stars Viola Davis as a general who trains the next generation of warriors to fight their enemies.

Director: Gina Prince-Bythewood

Cast: Viola Davis, Thuso Mbedu, Lashana Lynch, Sheila Atim, John Boyega

Release Date: September 16, 2022

Genre: Action, Drama, History

Rated PG-13 for sequences of strong violence, some disturbing material, thematic content, brief language and partial nudity.

Runtime: 2h 15m

Review:

The Woman King is a bit of a throwback to old fashion historical epics.  Gina Prince-Bythewood's film hits the standard beats by delivering a handful of well done action set pieces in between quieter moments that make up the larger part of the actual film. She keeps a keen focus on the characters and she gives the audience time to get to know a handful of them.  Viola Davis's General Nanisca gets the lion share of the attention and for good reason. Davis's world-weary façade and imposing physicality make her tailormade for the role.  She's the perfect actress to capture the ferocity of the role while balancing the quieter more vulnerable moments.  Lashana Lynch and Sheila Atim both deliver solid supporting roles as warrior and confidants to Nanisca with each getting plenty of screen time to leave a memorable impression. John Boyega isn't asked do much outside of sound and look regal which he accomplishes with general ease. Thuso Mbedu plays a young woman given to the female troop with her sub plot increasing in importance as the film moves on.  Mbedu does her best, but she feels miscast since she's never able to believably exude the strength her character is supposed to have.  It doesn't help that the script is thin on characterization, giving each character a few traits but very little else in terms of depth. Additionally, there are pacing issues that pop up especially in the final act where the film noticeably drags in spots making it feel much longer than its 2 hour and 15 minute runtime.  Even with its faults The Woman King is a solid addition to the genre anchored by a strong central performance.

B

Cindy Prascik's Review of The Suicide Squad

My dear reader(s): The weekend just passed brought us the latest installment in DC Comics' extended cinematic universe, the Suicide Squad.

A collection of the criminal and the criminally insane embark on another secret mission.

Spoiler level here will be mild, nothing you wouldn't know from the trailers or a general familiarity with the product.

Technically, I believe the Suicide Squad is considered a sequel to 2016's Suicide Squad. In reality, minus Jared Leto's Joker and with an almost completely new cast, it feels more like a do-over. The original was universally reviled (though I didn't hate it), so putting maximum artistic distance between the two probably was in the best interest of the new movie.

It comes as no surprise, then, that Suicide Squad and *the* Suicide Squad are two very different films. As mentioned, gone is Leto's deeply divisive Joker. While that's a significant character to remove from the mix, I don't think the movie misses him. Gone, also, is Will Smith as Deadshot. The team's new leader is Bloodsport, portrayed by Idris Elba. Will Smith is cool, but I can't say there are many actors I wouldn't happily swap for Elba, and Mr. Smith is no exception. (Sorry, Will. Love ya.) Margot Robbie makes her third big-screen appearance as Harley Quinn, and — given the character's psychoses — it feels inappropriate to say she's delightful, but delightful she is. She's come to own the character, and certainly she owns the screen whenever she's on it. Joel Kinnaman returns as Rick Flag, and Viola Davis as Amanda Walker, but most of the other faces are new to the property, if mostly familiar to movie-goers. Notable are the brilliant Peter Capaldi, John Cena, and David Dastmalchian, a favorite of mine since he named Rachel Dawes as next on the Joker's hit list in the Dark Knight. (Dastmalchian and co-star Michael Rooker have also done time in the Marvel Cinematic Universe.) Sylvester Stallone is a scene-stealer as the voice of King Shark. Most of the performances can fairly be called terrific without a "for the genre" qualifier. The Suicide Squad uses a solid score by John Murphy and an interesting selection of tunes to underscore its dark mood, another important distinction from the original, which often felt more like a series of music videos than it did one cohesive film. The movie has its fair share of juvenile humor, but an equal helping of legitimately funny bits. CGI is decent throughout, and action scenes are exciting and don't wear out their welcome. Harley Quinn features in a fight sequence that is right up there with the Freebird/church scene in Kingsman: the Secret Service as a new classic and maybe an all-time great.

While the 2016 and 2021 Suicide Squads are very different, they're also quite similar. Both are very, very violent, though in a stylized way that doesn't seem as much about the gross-out as it does about interesting visuals. Both have a bright comic-book look to them, with colorful graphics and bold text. Both feature an abundance of bad language and disturbing content. (Why does James Gunn hate birds??) Both play Harley Quinn's insanity for laughs when, really, hers is a grotesque and unsettling story. If the houses ended up looking quite different, it's clear their foundations were the same.

The Suicide Squad is now playing in cinemas worldwide, and streaming on HBO Max through the first week of September. It runs 132 minutes and is rated R for "strong violence and gore, language throughout, some sexual references, drug use, and brief graphic nudity."

The Suicide Squad is good fun for those who aren't squeamish about extreme content, a definite improvement over the original. Of a possible nine Weasleys, the Suicide Squad gets seven and a half.

Until next time...

MOVIE REVIEW: THE SUICIDE SQUAD

 

The government sends the most dangerous supervillains in the world -- Bloodsport, Peacemaker, King Shark, Harley Quinn and others -- to the remote, enemy-infused island of Corto Maltese. Armed with high-tech weapons, they trek through the dangerous jungle on a search-and-destroy mission, with only Col. Rick Flag on the ground to make them behave.

Director: James Gunn

Cast: Margot Robbie, Idris Elba, John Cena, Joel Kinnaman, Sylvester Stallone, Viola Davis, Jai Courtney, Peter Capaldi

Release Date: Rated R for strong violence and gore, language throughout, some sexual references, drug use and brief graphic nudity

Genre: Action, Adventure, Comedy, Sci-Fi

Rated R for strong violence and gore, language throughout, some sexual references, drug use and brief graphic nudity

Runtime: 2 h 12 min

Review:

James Gunn's The Suicide Squad is a visually aggressive Dirty Dozen grindhouse film in the guise of a superhero film.  Gunn's Guardian of the Galaxy was one of first Marvel films that had a decidedly unique feel to it but those expecting something similar in DC universe will be surprised.  In this film Gunn has gone back to his gory roots by mirroring his first film's, Slither, story and using his refined directorial talents to great effect.  He delivers some truly beautiful sequences which will leave a lasting impact, Harley's escape is colorful collage of carnage.  His story is goofy, bloody but heartfelt at the same time even if all those elements don't hit the mark perfectly.  The character arches are filled with lingering mommy and daddy issues which doesn't give the ensemble much depth outside of being an outcast.  Robbie's Harley fares the best since her character has had three films to evolve into herself.  Idris Elba instantly feels like a more natural fit for this film than Will Smith did in the original film. Elba has a natural toughness that oozes through the screen which works perfectly for his character.  John Cena's Peacemaker should be the stand out of the piece but the script doesn't give him much to work with so he's not as impactful as the script wants him to be.  Daniela Melchior's Ratcatcher 2 ends up being the beating heart of film with her and Bloodsport's relationship providing the emotional string to the film.  Joel Kinnaman's Col. Rick Flag gets an expanded role here which makes him feel more like a complete character even amongst the insanity of Sylvester Stallone's, R rated Groot, King Shark or David Dastmalchian's Polka Dot Man.  Gunn's film embraces the insanity full bore by the final act by delivering the kind of big budget midnight movie madness which you have to appreciate for its sheer audacity.  

B

MOVIE REVIEW: WIDOWS

A police shootout leaves four thieves dead during an explosive armed robbery attempt in Chicago. Their widows -- Veronica, Linda, Alice and Belle -- have nothing in common except a debt left behind by their spouses' criminal activities. Hoping to forge a future on their own terms, Veronica joins forces with the other three women to pull off a heist that her husband was planning.

Director: Steve McQueen

Cast: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Carrie Coon, Robert Duvall, Liam Neeson

Release Date: November 16, 2018

Genres: Crime, Drama, Thriller

Rated R for violence, language throughout, and some sexual content/nudity

Runtime: 2h 9 min

Review:

Steve McQueen’s Widows is a densely packed heist thriller.  Beautifully shot and thoroughly engaging, the film is never boring.  McQueen packs so much into his film that it might be necessary to give it multiple viewings.  He touches a multitude of topics from gender and racial politics all while unfurling a well crafted heist film.  The film moves at a methodical pace, never rushing from one scene to the next.  Instead it allows you to enjoy and appreciate the series of fine performances on display.  Viola Davis leads the film with her steady hand which makes you feel every bit of determination commingled with grief.  Elizabeth Debicki is just as impressive playing an abused trophy wife who is left picking up the pieces to her life after her husband’s death.  Michelle Rodriguez delivers as strong a performance as she can turn in but it’s hard not to notice the difference in talent level between her and her cast mates.  Colin Farrell and Robert Duvall make for a fascinating father and son duo and they deliver one of the film’s most impactful moments.  Brian Tyree Henry and Daniel Kaluuya are both just as interesting with limited screen time.  Widows is quiet at the level of Michael Mann’s Heat but its pretty close.

B+

Cindy Prascik's Reviews of Fantastic Beasts: The Crimes of Grindelwald & Widows

 

Dearest Blog: Yesterday it was off to Marquee Cinemas for Fantastic Beasts: The Crimes of Grindelwald, and Widows.

 

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

 

First on the docket, Fantastic Beasts: The Crimes of Grindelwald.

 

The magical world must pick a side when the dark wizard Grindelwald begins spreading a dangerous message.

 

Well, dear readers, in my house Harry Potter is gospel. It's unlikely I'll ever worship the Fantastic Beasts movies as I do the original series, but I'm happy enough to see the franchise continue and generally have no issues with its means of doing so. However...

 

Fantastic Beasts 2 has some problems. It's solid enough that I still enjoyed it, but the negatives are noteworthy.

 

The Harry Potter movies were always better than they had to be, largely due to the quality of the talent they attracted. Fantastic Beasts also has its share of great actors, but the missteps seem more pronounced. Katherine Waterston, in particular, is annoying to the point of distraction. On the flip side, an under-used Jude Law is wonderful as the young Dumbledore and--though it's unfashionable to say so--Johnny Depp is remarkable as Grindelwald. Law's characterization of Dumbledore skews more amiable-Richard-Harris than aggressively-kooky-Michael-Gambon, a wise choice that leaves plenty of room for development. Though his recent films do little to prove it, for my money Johnny Depp remains the most talented actor in the world. Fantastic Beasts lacks the gravitas of his best projects, but in his turn as Grindelwald there are flashes of the brilliance we once took for granted, particularly during a showcase speech towards the film's end.

 

Fantastic Beasts runs long and frequently feels like it's wasting time, yet there are no drawn-out action sequences or other obvious spots that could have used a trim. The movie fiddles with canon in ways both large and small, but before anyone gets their robes in a bunch, I'd suggest not everything is as it seems just now. Remember: Three more films are planned for this series. Nods and callbacks to the original series provide plenty of "awwww" moments for die-hards. Fantastic Beasts 2 boasts glorious visuals, with top-notch effects and lovely colors and textures in the costumes. James Newton Howard's always exceptional work in the music department effectively sets the mood from start to finish. It's an uneven but entertaining outing that leaves me excited for the next installment, and hopeful the filmmakers will sharpen their efforts to make a movie more worthy of carrying on this much-loved franchise.

 

Fantastic Beasts: The Crimes of Grindelwald clocks in at 134 minutes and is rated PG13 for "some sequences of fantasy action."

 

Fantastic Beasts 2 is an imperfect movie that's still magical enough to keep fans of the wizarding world wanting more. 

 

Of a possible nine Weasleys, Fantastic Beasts: The Crimes of Grindelwald gets seven.

 

Next on my agenda, Widows.

 

When their husbands are killed on a job gone wrong, a group of women attempts to pull off a heist the men had planned.

 

Widows is being touted by some Serious Film Critics as a potential best picture contender, so I suppose it's a pretty great movie, but the sad fact is I hated every minute of it.

 

For an action movie that presents as credible drama, Widows has too many suspiciously convenient turns, and a fair few other things I just couldn't swallow. Outlandish tricks work with light entertainment like Oceans 8, but not here. Viola Davis lately makes a career of playing troubled people for whom I just can't muster any sympathy, and her abrasive gang leader is no different. As one of the finest actresses of her generation, I did wonder that nobody could have taught her to hold a dog as if she'd actually *seen* a dog before, but other than that it's a strong performance as another brash, unlikable woman. If there's a more irritating actor than Zooey Deschanel working today, well, I guess her name is Elizabeth Debicki. (End of list.) Smokin' hotness can't save Michelle Rodriguez from being way out of her acting depth. A chilling turn by Daniel Kaluuya is easily the movie's the best work, and, fresh off a stellar performance in Bad Times at the El Royale, Cynthia Erivo manages to present Widows' one and only character with any appeal at all. (Not counting the dog, of course. The dog is always the best character in any movie.) Overall Widows is a drab, violent exercise that's way too implausible for as seriously as it takes itself.

 

Widows runs 128 minutes and is rated R for "violence, language throughout, and some sexuality/nudity."

 

The next time I see a movie that opens with Liam Neeson in a van talking about a plan, it better be a sequel to The A-Team. 

 

Of a possible nine Weasleys, Widows gets four.

 

Fangirl points: Garrett Dillahunt! Manuel Garcia-Rulfo! That oddly-placed WASP song!

 

Until next time!!

Cindy Prascik's Review of Fences

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: Today it was off to Marquee Cinemas to spend the afternoon with my favorite leading man, Denzel Washington, doing double-duty as director and star of August Wilson's Fences. 

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers. A family in 1950s Pittsburgh struggles with an imperfect home life and its place in a changing world. 

 

August Wilson's Fences is storytelling at its finest. It needs no bells or whistles to grab your attention and hold it tight. Leads Denzel Washington and Viola Davis are appearing on awards shortlists everywhere, but the entire cast is quite stellar enough to be mentioned in the same breath. 

 

Washington--for my money, Hollywood's most magnetic leading man--also displays a deft touch in a rare outing behind the camera. Sets/locations are few and simple, retaining the feel of the movie's stage origins. 

 

The story is so real that it's often as difficult to watch as it is impossible to look away, becoming especially tense as the household grows increasingly contentious. Fences is a mature film that doesn't always have to be pretty to be beautiful. 

 

Fences clocks in at 138 minutes and is rated PG13 for "thematic elements, language, and some suggestive references." 

 

Fences is a smart, wordy outing for grownups, deliberately paced but never dull. 

 

Of a possible nine Weasleys, Fences gets eight. 

 

Until next time... 

 

Cindy Prascik's Reviews of Get On Up & Guardians of the Galaxy

Dearest Blog, yesterday it was off to the pictures for Guardians of the Galaxy and some afterthought that dared turn up the same weekend as Guardians of the Galaxy.

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

First on the docket was the afterthought, Get On Up.

Get On Up tells the story of James Brown's self-made rise from dirt-poor childhood to the Godfather of Soul.

Okey-dokey, readers: confession time...and this is an embarrassing one. I don't particularly care for James Brown. There, I said it. I respect the influence of his music on all the music I love, but I've never been a fan of the man himself. As such, my expectations for a movie full of music I don't like were middling at best.

If there's one thing Get On Up does have going for it, it's Chadwick Boseman, who follows up his stunning turn in 42 with an even more amazing performance...and some pretty terrific dance moves.

True Blood's Nelsan Ellis is especially noteworthy as Brown's best friend and longtime professional collaborator, Bobby Byrd, but, truly, the entire cast is well above average. The story is kind of a mess, but never dull. It's not told in linear fashion--beginning to middle to end--but rather jumps among various periods of Brown's life. The order is seemingly random, but the segueways are so flawless that, while I wouldn't say I precisely liked it, I will say it was effective.

I don't imagine it ever felt like there was much order in Brown's life for himself or those around him.

The movie also does a fair job of not painting Brown a saint just because he's: a.) talented, and b.) no longer with us. Then of course there's the music, LOTS of it. My understanding is Boseman lip-synched to actual James Brown recordings, and there were a couple times I felt it was a little obvious, especially having recently seen Jersey Boys, where numbers were performed live on set. If you like the music, you'll be a World Champion Chair Dancer by the end, but for me some of the numbers seemed to drag.

Get On Up clocks in at 138 minutes and is rated PG13 for "sexual content, drug use, some strong language, and violent situations." It was far more enjoyable than I anticipated, but still not the spiritual experience I expect from movies about music legends.

Of a possible nine Weasleys, Get On Up gets six.

Next up was the movie the about which I (and the rest of the Internet) have been frantically abuzz for months now, Guardians of the Galaxy.

A ragtag bunch of villains-turned-heroes faces a foe set on mass destruction.

Admit it, reader(s), even if you aren't usually into superhero movies, you took one look at this trailer and were completely sold. The self-deprecating hero. The gun-toting raccoon. The green hottie. The humor. The tunes...oh, the TUNES!! The buzz has been so overwhelmingly positive for so long that, by the time showtime finally rolled around, I was a little nervous about a letdown. I needn't have worried.

There's a joke going around the Internet, something along the lines of DC Comics being all worried the world isn't ready for a solo female super-hero movie, but Marvel says, "Here's a talking raccoon."

I'm a DC girl myself, but Guardians of the Galaxy, to me, is everything Marvel does right.

The overall tone of Guardians is humorous. The movie never bogs down with backstory, yet it tells enough about each character that he's more than just the sum of his actions in this particular film.

Everyone is sympathetic to some degree...yes, even the raccoon. There's plenty of big, explosive action, yet none of those seemingly-endless scenes of run-on destruction. (Lookin' at you, Avengers and Man of Steel.)

The art and effects are beautiful and realistic. I'll happily be the latest in a long line to mention the soundtrack that's about to become the most-played thing on your iPod, filled with great 70s nuggets like 10CC's I'm Not in Love and The Runaways' Cherry Bomb.

Finally, each and every Guardian deserves credit for a solid performance full of heart and wit...though I still wonder who thought it was a good idea to give Bradley Cooper a role where we don't see his magnificent face.

Guardians of the Galaxy runs 121 minutes and is rated PG13 for "intense sequences of sci-fi violence and action, and for some language." It is that very rare item that actually lives up to the hype.

Of a possible nine Weasleys, Guardians of the Galaxy gets eight and a half.

Until next time...

 Karen Gillan + Zoe Saldana? Yes, please.

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

MOVIE REVIEW: KNIGHT AND DAY

IN THEATERS

KNIGHT AND DAY



A fugitive couple (Tom Cruise and Cameron Diaz) wages a war between truth and trust while speeding across the globe in an attempt to avoid capture by a determined federal agent (Peter Sarsgaard). Paul Dano, Viola Davis, Olivier Martinez, Maggie Grace, and Marc Blucas co-star. ~ Jason Buchanan, All Movie Guide

Director: James Mangold

Cast: Tom Cruise, Cameron Diaz, Peter Sarsgaard, Paul Dano, Viola Davis, Olivier Martinez, Maggie Grace

Release Date: Jun 23, 2010

Rated: brief strong language and sequences of action violence

Runtime: 2 hr. 10 min.

Genres: Action/Adventure, Comedy, Comedy

Review:

Silly, predictable and occasionally fun Knight and Day is exactly what it looks like, nothing and nothing less. A thinly veiled plot which only serves to move Cruise and Diaz from one set piece to another so madcap action can ensue. James Mangold shoots his stars as such and it’s light and fluffy with never an ounce of weight or depth. Mangold takes full advantage of the budget with beautiful locales all the while using his general “splosion” money well. Cruise is light hearted and fun, pretty much doing his Ethan Hunt character from Mission Impossible throughout. Cameron Diaz does her usual tomboy but I’m cute deal, something she has down pat, and smiles her Joker smile shrieking intermittently. She’s not as grating as she could have been so that’s always a positive considering what’s required of the role. The strange thing here is that Cruise and Diaz are strangely disconnected throughout as if they are both doing their own thing and the only reason we know they like each other is because the film tells us so. The supporting cast is pretty just going through the motions doing what’s required of their paper thin characters. In the end, it’s Cruise and Diaz showcase; if you enjoy them you’ll enjoy this overlong predictable film.

C