Cindy Prascik's Review of The Kid Who Would Be King

Dearest Blog: Today it was off to Marquee Cinemas for the Kid Who Would Be King.Spoiler level here will be mild, nothing you wouldn't know from the trailers or--you know--one of the most-told stories of all time.

A young boy on the run from school bullies unearths a medieval sword and discovers there are bigger problems.Dear reader(s), if my first official movie of 2019 is any indication, it's going to be a great year!The Kid Who Would Be King is utterly charming.

Kicking off with a gorgeous animated sequence, the movie is beautifully filmed throughout and features lovely scenery and solid effects. The cast of kid actors is terrific, with Louis Ashbourne Serkis (yes, he's Andy's son) carrying the picture like an old pro. For what little screen time they have, the grownups are pretty great too.

Action sequences are spelled by quieter moments for near-perfect pacing, and the film has a fantastic, thoroughly English, sense of humor. The final battle does drag on a bit, leaving the picture perhaps a little long (and a little dark) for younger kids, but it's a small quibble with what is otherwise a very, very good movie. Oh...and I think the mighty Led Zeppelin would be proud to have their concert tees turn up in this film!

The Kid Who Would Be King runs 120 minutes and is rated PG for "fantasy action violence, scary images, thematic elements including some bullying, and language."The Kid Who Would Be King is a genial, totally engaging movie with a powerful and important message for young people.

Of a possible nine Weasleys, the Kid Who Would Be King gets eight.

Fangirl points: Erm...I think I may have squealed out loud when Mark Bonnar turned up...Until next time...

Cindy Prascik's Retro-Review: Flashback Cinema Presents Harry Potter and the Prisoner of Azkaban

Dearest Blog: Yesterday it was off to Marquee Cinemas for Flashback Cinema's presentation of Harry Potter and the Prisoner of Azkaban.

As this third installment in the Harry Potter franchise turns 15 years old this summer, I daresay no one is reading this who hasn't formed an opinion by now, so we'll call this a discussion rather than a proper review. In other words: Here be spoilers. Please chime in with your thoughts in the comments!
A dangerous felon escapes from the Wizarding World's most terrifying prison in search of the Boy Who Lived.

The Harry Potter books and movies, to me, seem much like Beatles records: The early ones are very sweet and innocent, and the later ones sometimes almost impossibly heavy; it's those middle ones that find that perfect tonal balance. Prisoner of Azkaban is my favorite HP book and movie, and not just because it introduced my beloved Mr. Oldman to this magical universe. (Shut up, I know you were thinking it!)

Prisoner of Azkaban features major transitions in the Potter universe. As mentioned, the tone begins to turn darker. "Darker" is relative in a story that begins with a baby orphaned in an attempt on his own life, but here the threat seems more constant and fully permeating. Even fun moments are tinged with a hint of worry, like Dementors hovering just outside the Hogwarts grounds.

Following Harry Potter & the Chamber of Secrets, Christopher Columbus ceded the director's chair to Alfonso Cuaron. While I think every director did a fine job with his bit of the Potter world, I have long contended that none of the others *truly* understood magic the way Cuaron did. At times I think it meant more butting heads with author J.K. Rowling, who retained a great deal of creative control over the films (I seem to recall a story about her vetoing his wish to have little people dancing on pianos?), but ultimately it resulted in the most magical feel of any of the movies. Despite releasing in the summer, Azkaban's production design boasts a very Halloween-ish atmosphere that fully expresses Cuaron's vision, with especially brilliant use of the Whomping Willow to indicate the change of seasons. Maestro John Williams' final Harry Potter score also reflects the picture's creepier tone. While my favorite piece for any of the Potter movies comes from the previous film (Fawkes the Phoenix), overall I find Azkaban's score to be the most immersive of the franchise, and the best reflection of its film.

In Harry Potter and the Prisoner of Azkaban we see Michael Gambon's first turn as Albus Dumbledore, following the sad loss of Richard Harris. (RIP.) While many prefer Harris' kind-hearted Headmaster, I feel Gambon better captures Dumbledore's kookiness, and the hardness that allowed him to ask the same great sacrifices of others--including children--that he expected of himself. There's a brand new look for Professor Flitwick this outing, and several notable cast additions, including my Gary as the titular jailbird, David Thewlis as Lupin, the new Dark Arts professor, Emma Thompson as flighty Divination professor Trelawney, Timothy Spall as the Potters' childhood friend Peter Pettigrew, and the brilliant Dawn French in an all-too-quick appearance as the Fat Lady.

In POA, Daniel Radcliffe turns in a a more mature performance that really begins to reflect how seriously he takes his craft. Watching him grow up as a fine actor and even finer young man has been such a joy! Rupert Grint and Tom Felton cement their places as the strongest of the young performers, and Emma Watson gets to add a few more layers to her Hermione. The Weasley twins, my favorite characters in the Potter universe, turn up only briefly, but enjoy one of their more defining moments in this installment as well.

Harry Potter and the Prisoner of Azkaban clocks in at 142 minutes and is rated PG for "frightening moments, creature violence, and mild language."

Harry Potter and the Prisoner of Azkaban marks the finest moment in one of the world's best and most beloved movie franchises. Of a possible nine Weasleys--and being the only film that actually features all nine Weasleys (photo evidence below!)--Harry Potter and the Prisoner of Azkaban of course gets nine.

N.B.: My everlasting regrets regarding the Potter franchise are that I never got to see Rik Mayall as Peeves, nor hear Uncle Vernon utter the words, "Dementy-Whatsits."

Fangirl points: You. Guys. I forgot how hard I ship Sirius/Remus. I will go down with that ship!
Until next time...

Cindy Prascik's Review of Spider-Man: Into the Spider-Verse

Dearest Blog: After rather a long hiatus, yesterday it was off to Marquee Cinemas for Spider-Man: Into the Spider-Verse.

Spoiler level here will be...uh...you know what, we're five weeks in and I never did see a trailer for this, so let's just say read on and take your chances.

Many Spideys from many dimensions join forces to fight a common threat.

Dear reader(s), the week Spider-Verse was released, we had five new movies opening locally. As the busy holiday season left me time for only two and I am prone to poor life choices, I opted for The Mule and Mortal Engines. Yesterday was my first opportunity to catch up with Spider-Verse, and, while I normally wouldn't bother reviewing a movie this late in its run*, Spider-Verse is so extraordinary that if I can convince even one person to get out and see it while it's still on the big screen, it's my civic duty to do that.

Spider-Man: Into the Spider-Verse is a terrific film, sans genre qualifier. The story is clever and layered without being muddled, and it explains itself well enough that even those not well-versed  in the multi-verse should have no trouble keeping up. Glorious visuals could pass for pages pulled directly from a comic; in fact, there's more than one panel I'm pretty sure *was* pulled directly from a comic. Your enjoyment may ebb and flow depending on the amount of time "your" Spidey spends on screen (I'm a Peter Parker girl myself), but the movie is at its best when all the Spideys share scenes together. A familiar stable of villains lends a comfortable feel to the proceedings, but a great sense of humor and multiple focal points keep the picture moving at pretty frantic pace. Daniel Pemberton's fantastic score and a positive, empowering message wrap up the heroic proceedings with a neat little bow.

Spider-Man: Into the Spider-Verse clocks in at 117 minutes and is rated PG for "frenetic scenes of animated action violence, thematic elements, and mild language."

Spider-Man: Into the Spider-Verse is an exceptional movie that stands out among a glut of super-hero movies and sets a new standard for animation.

Of a possible nine Weasleys, Spider-Man: Into the Spider-Verse gets nine.

Until next time...

*Feel free to laugh at this remark when my next review is of a movie that turns 15 years old this summer.

MOVIE REVIEW: ESCAPE ROOM

Six adventurous strangers travel to a mysterious building to experience the escape room -- a game where players compete to solve a series of puzzles to win $10,000. What starts out as seemingly innocent fun soon turns into a living nightmare as the four men and two women discover each room is an elaborate trap that's part of a sadistic game of life or death.

Director: Adam Robitel

Cast: Logan Miller, Deborah Ann Woll, Taylor Russell, Tyler Labine, Jay Ellis, Nik Dodani

Release Date: January 4, 2019

Genres: Drama, Mystery, Sci-Fi

Rated PG-13 for terror/perilous action, violence, some suggestive material and language

Runtime: 1h 39 min

Review:

Escape Room is one of those January horror releases that pop up every year.  For all intents and purposes, it should be terrible and forgettable.  Escape Room is surprising in that it’s actually an entertainingly brisk sci-fi horror film.  The film itself plays out like a blood and gore less version of Saw, at least on the surface.  As the film goes on, you’d be hard pressed to ignore a more than passing similarities to the 1997 sci-fi gem Cube.  Nobody would ever accuse this film of being as intelligently written as Cube but it works more often than it doesn’t.  That’s because the film cast is surprisingly likeable even though their characters are written with only the most basic levels of layering.  Recognizable faces such as Deborah Ann Woll, Tyler Labine and Jay Ellis give the film a bit more clout than you’d usually expect from films of this ilk.  Sadly, the film does lose a bit of steam in its final act where it seems to rush through the conclusion only to set up a possible sequel, never allowing this original entry’s plot to settle.  Ultimately, Escape Room is one of those fast food style films where you’re liable to forget about it shortly after you leave the theater but then have a sequel pop up a year later.

C+