Cindy Prascik's 2017: Well, At Least It Had Good Movies...

 

 

Dearest Blog: Today we take a fond(ish) look back at 2017, grateful, at least, that it didn't fail us at the cinema as it did in so many other ways.

 

To start, the usual disclaimers:

 

1-a.) I live in a rinky-dink town, so most of the real awards heavyweights won't turn up here until they're nominated for Oscars, then they'll split four screens across two cinemas for one week and I'll need Hermione Granger's Time Turner to catch up with all of them.

 

1-b.) If we're being honest, most of said awards heavyweights wouldn't affect this list in the slightest, anyway. The Post would probably sneak on here, and maybe Molly's Game, but it's fair to say that the Academy and I do not share many common "best picture" criteria.

 

2.) A picture's original Weasley rating has little bearing on its end-of-year placement. Some movies wear well with repeat viewings, some not so much, and some I haven't had a chance to revisit since their cinema runs.

 

3.) This is gonna get long. If I can drop 1200 words on Batfleck, you can only imagine how many I'll need for ten winners, a handful of runners-up, a few disappointments, and other assorted miscellany.

So, without further ado, buckle up and let's get to it...

 

My Best of 2017

 

10. It

 

"We all float down here."

 

One of Stephen King's best works gets a worthy big-screen treatment. Sure, they screwed the pooch on Pennywise, whose CGI'd scares are too fake to freak, but the kids are extraordinary and the story is such a beautiful blend of nostalgia, hope, and melancholy that the film comes out a winner despite any petty quibbles.

 

9. Detroit

 

"It's a war zone out there."

 

Kathryn Bigelow's harrowing trip down memory lane to the 1967 Detroit race riots is terrifying, compelling, and sadly still timely in 2017. Brilliant performances highlight a picture so tense as to feel almost like living the horrific events in real time. Difficult as it is to stomach, Detroit is must-watch cinema.

 

8. John Wick, Chapter 2

 

"Somebody please get this man a gun."

 

If you think the John Wick movies are nothing more than a lot of shoot-'em-up machismo, you haven't been paying attention. What appears, on the surface, to be a big, dumb, action sequel is a wonderfully choreographed, strikingly filmed bit of movie magic that serves as the perfect vehicle for its limited-but-lovable star, Keanu Reeves. John Wick, Chapter 2, is that rare sequel that's even better than the original.

 

7. Goon: Last of the Enforcers

 

"I need to protect my team."

 

It was never likely Last of the Enforcers would duplicate the pleasant surprise of the original Goon. The sequel has fewer laugh-out-loud moments and lacks the feel-good underdog vibe of its predecessor, but Last of the Enforcers is blessed with a great cast and tons of heart, as well as writers who obviously cared enough to make the right choices for its much-loved characters. It was a story well worth continuing.

 

6. Kingsman: The Golden Circle

 

"I hope you're ready for what comes next."

 

The Golden Circle is another sequel that had no real hope of matching the surprising perfection of the original Kingsman, but it was still one of 2017's most fun and exciting cinema offerings. Throw in the year's best cameo by Sir Elton John and Mark Strong's heartfelt and hilarious performance of Country Roads, and you've got an epic actioner that's not to be missed.

 

5. Dunkirk

 

"We have a job to do."

 

Dunkirk is a big movie that manages to go small in its storytelling. Rather than relate the famous tale from a familiar grand standpoint, Christopher Nolan delivers intimate stories from ordinary folks who faced impossible circumstances. Gorgeous cinematography and stellar performances are the crowning glory of another Nolan masterpiece.

 

4. Coco

 

"There's something that makes me different."

 

Ladies and gentlemen, if there's one 2017 movie I would recommend to everyone, enthusiastically and without hesitation, it would be Disney/Pixar's glorious Coco. Coco is visually stunning, with a wonderful message underscoring its magical story. Delightful characters bring the celebration of Dia de los Muertos to life in warm, colorful, family-friendly fashion. Grab your friends, your family, and everyone else you can find and get out to see Coco on the big screen--as it's meant to be seen--while you can!

 

3. Justice League

 

"Dressed like a bat. I dig it."

 

Justice League brings DC's most notable heroes to the big screen together for the first time, while taking a much lighter tone than other recent DC offerings. It's a formula that works, thanks to excellent casting and mostly well-placed humor. Justice League's primary baddie is a bit underwhelming, but otherwise the movie boasts solid action and humor, terrific chemistry, iconic characters, and, for my money, the best live-action Batman/Bruce Wayne ever to have graced the screen, one of my favorite cinema experiences of 2017.

 

2. Pirates of the Caribbean: Dead Men Tell No Tales

 

"The dead have taken command of the sea."

 

Dead Men Tell No Tales earns a spot on this list as my favorite movie of 2017. It enjoys first-runner-up status thanks to its extraordinary rendering of the Silent Mary's ghost crew, the best thing to come out of the cinema all year long. Upon repeat viewings I found scenes that don't feature Captain Salazar and his men didn't hold up as well as those that do, but I remain overwhelmed by the exceptional effects, makeup, wardrobe and hairstyling, not to mention performances, that bring this cursed band of pirate hunters to life. Every viewing yields some new, remarkable detail, making Dead Men Tell No Tales a joy to watch again and again.

 

1. Baby Driver

 

"Your name's 'Baby?' B-A-B-Y, Baby?"

 

Writer/director Edgar Wright takes his striking use of music in movies to extraordinary new heights in this imaginative tale of a getaway driver who needs his tunes to get the job done. The result is exciting, clever, funny, totally unique proof that Hollywood is NOT out of good, original ideas, as so many complain. Baby Driver staked its claim to my number-one spot upon first viewing, and has had no serious competition since. Thank you, Edgar Wright, for always giving movie fans a real reason to get out to the cinema.

 

Widely Reviled/Ridiculed Movies that Tip-Toed Very Near My Top 10

 

King Arthur: Legend of the Sword. It should have been epic, and it could have been hilariously awful, but it's actually supremely entertaining and even surprisingly quick-witted at times, with nice-looking effects, cool action, and shirtless Charlie Hunnam. #winner

 

Transformers: The Last Knight. Yeah, you all hated it. I got that. Me, I go to the cinema for hugeness. Three Billboards loses nothing if I watch it on my TV or even on my phone, but Optimus Prime? I like seeing him transform in all the glory a 50-foot screen and mammoth surround-sound have to offer. The Last Knight boasts all the hugeness a hugeness fan like me could want, as well as some good laughs and a fair bit of screen time for one of my lesser-known favorites, Santiago Cabrera.

 

Power Rangers. Considered a flop in the US, its overseas box office may give this reboot a chance to grow into success. As a big fan of Power Rangers in any incarnation, I liked this story, loved the cast, and look forward to more. Plus, any year that gives me a Power Rangers or a Ninja Turtles movie is a win in my book!

 

The Great Wall. Ridiculous, but visually magnificent, I'd watch The Great Wall again and again just for the pleasure of looking at it.

Geostorm. A wildly improbable plot and ham-handed performances couldn't stop Geostorm from being the most fun movie outing of 2017. Terrific disaster effects didn't hurt, either. Can't wait to own this one when it becomes available for download!

 

Biggest Disappointments

 

Free Fire. Trailers led me to believe Free Fire would land near the top of my 2017 best-of list. Instead it's a clumsy waste of an extraordinary cast that was almost impossible to get through, despite its brief runtime.

 

Logan Lucky. Another movie whose trailers promised far more than it delivered. The caper is fun, but nothing new, and laughs are too sparse. Demerits for barely a hint of Sebastian Stan.

American Made. With the eminently-watchable Tom Cruise in the lead, this inspired-by-actual-events tale should have been edge-of-your-seat exciting; instead it's dull and overlong. It was still a nice rebound for Cruise after The Mummy, but nowhere near what it should have been.

 

Worst of 2017

 

Valerian and the City of a Thousand Planets. Every bit as painfully awful as the trailers promised/threatened. I can't remember the last time I suffered through something this horrible, and I have never in my life seen so many people walk out of a movie.

 

Flatliners/The Dark Tower. I almost put these two on the "Disappointments" list, but then it occurred to me that I'd have to have expected better for them to disappoint. I expected nothing of either, and they both delivered just that: nothing. A terrible waste of time, money, and in the case of The Dark Tower, the incredible Idris Elba.

 

Would Have Made My 2016 Top 10 If It Had Played Here In Time

 

Hidden Figures. An inspiring true story featuring lovely, sincere performances. Should be considered mandatory viewing.

 

2017's Individual Honors

 

Best Director: Edgar Wright.

 

Best Actor: Gary Oldman, Darkest Hour. (No, I haven't seen it yet, but there isn't nor will there be any other answer to this question.)

 

Best Actress: Michelle Williams, All the Money in the World. (Likely to be displaced by Jessica Chastain once I see Molly's Game.)

 

Best Supporting Actor: Gil Birmingham, Wind River.

 

Best Supporting Actress: Hong Chau, Downsizing.

 

Best Original Score: Daniel Pemberton, King Arthur: Legend of the Sword. (Along with POTC's 

Silent Mary crew, this is the best thing the movies had to offer in 2017.)

 

So, dear reader(s), there it is, my take on the year that's ending. It's probably not much like anyone else's, but I guess if you wanted anyone else's you'd go read their lists instead. I remain grateful that you’re reading mine, and welcome civil discourse on our agreements and disagreements.

 

Happy New Year, and I'll see you at Marquee Cinemas in 2018!

 

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: MOLLY’S GAME

The true story of Molly Bloom, a beautiful, young, Olympic-class skier who ran the world's most exclusive high-stakes poker game for a decade before being arrested in the middle of the night by 17 FBI agents wielding automatic weapons. Her players included Hollywood royalty, sports stars, business titans and finally, unbeknown to her, the Russian mob. Her only ally was her criminal defense lawyer Charlie Jaffey, who learned there was much more to Molly than the tabloids led people to believe.

Director: Aaron Sorkin

Release Date: Dec 25, 2017

Cast: Jessica Chastain, Idris Elba, Kevin Costner, Michael Cera, Brian d'Arcy James, Chris O'Dowd

Rated R for language, drug content and some violence

Runtime: 2 hr. 20 min.

Genres: Biography, Drama

Review:

Molly’s Game, the directorial debut of renowned screenwriter Aaron Sorkin, is a crackling dialogue driven legal thriller.  Sorkin’s move behind the camera is fairly effortless as he directs his film with a confident steady hand.  His style isn’t overly flashy, outside of an expertly crafted opening sequence, he keeps a steady and measured hand allowing his actors and script to do the heavy lifting.  The script is everything you’d expect from Aaron Sorkin, the snappy dialogue is as plentiful as the extended monologues.  The film carries a sort of Social Network feel to it, especially in the first act, before it settles into its own rhythm.  Molly Brown’s story is a fascinating perversion of the American Dream.  Jessica Chastain is electric in the lead role and she’s nearly always the most magnetic person on screen.  It probably helps that she’s glam vamped for the better part of the film as her character routinely transformed herself into the “Cinemax” version of herself.  Chastain’s talent is on full display as she simultaneously displays sexuality while still radiating an intrinsic intelligence and unbridled drive throughout the entire film.  There’s a running theme about an overbearing father that feels slightly off especially in its resolution even though Kevin Costner turns in decent work in an undercooked role.  Idris Elba spends the most time with Chastain in the post arrest scenes and he’s just ready made for Sorkin’s writing.  He and Chastain share solid chemistry together, making their mutual intellect and respect believable.  A few of the courtroom scenes in the third act do feel a bit clunky and convenient when compared to the majority of the film that came before it.  Still, Sorkin’s first foray into directing is an impressive and entertaining success.

A-

MOVIE REVIEW: I, TONYA

Tonya Harding rises through the ranks of competitive figure skating only to find disgrace when her husband tries to eliminate her rival.

Director: Craig Gillespie

Cast: Margot Robbie, Sebastian Stan, Julianne Nicholson, Caitlin Carver, Bobby Cannavale, Allison Janney

Release Date: Dec 8, 2017

Genres: Biography, Drama, Sport

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

Runtime: 1h 59 min

Review:

I, Tonya is a solid biopic that overcomes some of the story’s drawbacks with stellar performances from the cast.  Craig Gillespie keeps his film interesting by framing the film as a pseudo documentary with interviews spliced through the entire film.  What we get are 3 unreliable narrators who weave together a story stranger than fiction even as it occasionally veers into high end Lifetime movie territory.  That’s not to say it’s not intriguing as it touches on themes of tabloid fame and illusion of the American Dream.  At its center is Margot Robbie in the titular role.  Robbie presents Harding as a doggedly determined individual who can’t reach the summit because of a variety of reasons even if some are not entirely her fault.  Underneath it all, there’s a frayed and broken person who is looking for acceptance and love.  It’s an impressive performance that’s topped off with a silence sequence of Robbie looking into the mirror running a gamut of emotions before the climatic performance at the Lillehammer Olympics.  The supporting roles played by Allison Janney and Sebastian Stan are just as strong with each leaving a lasting impression.  Allison Janney gives the cinematic world another legendary evil mother to pantheon of evil mothers.  It’s an engaging and arresting performance that just as strong as Robbie’s.  Sebastian Stan’s turn as Jeff Gillooly equally impressive as he disappears into the role, he captures the mannerisms and vocal inflections perfectly.  The film builds to the final act where we’re witness to the bumbling cast of characters that lead to the attack on Nancy Kerrigan and the subsequent aftermath.  It’s all anti climatic since we all know how the story ends but watching this collection of actors deliver top notch performances is the real treat.

B+

MOVIE REVIEW: DOWNSIZING

When scientists discover how to shrink humans to five inches tall as a solution to overpopulation, Paul (Matt Damon) and his wife Audrey (Kristen Wiig) decide to abandon their stressed lives in order to get small and move to a new downsized community — a choice that triggers life-changing adventures.

Director: Alexander Payne

Cast: Matt Damon, Christoph Waltz, Hong Chau, Kristen Wiig, Jason Sudeikis, Udo Kier

Release Date: Dec 22, 2017

Genres: Comedy, Comedy Drama, Satire

Rated R for language including sexual references, some graphic nudity and drug use.

Runtime: 2h 15min

Review:

Downsizing is a fairly surprising film that sports some stellar supporting turns but ultimately lacks enough focus to make it truly special.  Alexander Payne has plenty on his mind in this film and he covers bevy topics from environmentalism, class warfare and self actualization.  Its dense film that feels as unfocused as it is polished.  Matt Damon is fine in the lead role but his character is a bit simplistic throughout while everyone around him feels more interesting and nuanced.  Christoph Waltz and Udo Kier make for some fun neighbors to Matt Damon’s Paul but its Hong Chau who ultimately steals the show.  Hong Chau injects the film with a palpable sense of humanity and heart, something the film sorely lacked until her arrival.  The cast’s chemistry really fuels the film even as the film meanders trying to find a definite direction or purpose.  Ultimately, it never nails any of its points and feels like it could have used some trimming and focus.

C+

MOVIE REVIEW: PITCH PERFECT 3

After the highs of winning the world championships, the Bellas find themselves split apart and discovering there aren't job prospects for making music with your mouth. But when they get the chance to reunite for an overseas USO tour, this group of awesome nerds will come together to make some music, and some questionable decisions, one last time.

Director: Trish Sie 

Cast: Anna Kendrick, Anna Camp, Rebel Wilson, Brittany Snow, Hailee Steinfeld, Hana Mae Lee

Rated PG-13 for crude and sexual content, language and some action.

Genres: Comedy, Music

Runtime: 1h 33min

Review:

Pitch Perfect started off as a spunky girl power film that took people by surprise.  Sadly, by its third go around it’s lost a large chuck of its forward momentum simply because it’s not the type of story that really warranted 3 feature length films.  The cast remains the strongest component of the franchise and their chemistry is still just as strong as it was before.  Their interactions are the high points of the film even though the story feels hacked together.  The plot this go around seems to have two primary purposes, to get to the next song and dance routine and move along a paper thing story about the USO, DJ Khaled and Fat Amy’s father.  It’s weak and really feels more like an after thought.  It’s a shame because they probably could have gotten more run out of these characters if they’d put just a tad bit more effort.  Sadly, it’s more of a final victory lap before these characters are put to pasture for good. 

C+

Cindy Prascik's Reviews of Downsizing / Jumanji: Welcome to the Jungle

Dearest Blog: Saturday I kicked off the busy Christmas weekend with Downsizing and Jumanji: Welcome to the Jungle.

 

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

 

First on the docket, Downsizing.

 

In the interest of saving the planet, scientists perfect a process that reduces humans to a fraction of their size.

 

Ladies and gentlemen: I didn't hate this movie, and that's far better than anything I expected to be able to say about it. At least as far as my reaction, Downsizing reminded me of Collateral Beauty: I suspect it isn't a very good movie, but I liked it maybe better than it deserves.

 

First, a few of the problems. Downsizing clears two hours by a quarter, and that's just too long for as slow as it gets in places. In the film's defense, I'll admit I was never *quite* bored, but the length is cumbersome. Matt Damon, generally a pretty likable if unspectacular actor, somehow misses the mark in the lead, failing to earn much sympathy for a character who struggles mightily to be a good guy and do the right thing. For the second week in a row, I also had to endure Laura Dern's presence in a movie, thankfully, this time very briefly. Downsizing feels like a "message" movie, but ultimately muddles too many messages for any of them to have much impact.

 

Now, the good news: Downsizing does boast a pair of extraordinary performances, from Christoph Waltz, who leaves any movie better for having him, and from Hong Chau, who steals the show with a moving and powerful turn. Downsizing is quite funny at times, though the the whole feels tinged with the natural melancholy of irreversible choices. If the movie has one message that ultimately does hit home, it's the importance of being honest with ourselves and accepting the real reasons we do the things we do.

 

Downsizing clocks in at 135 minutes and is rated R for "language including sexual references, some graphic nudity, and drug use." (There are penises a-plenty in this movie, a fact I mention only because it is so unusual. If you're not okay with that sort of thing, take a pass.)

 

Downsizing is a confused morality tale that's more entertaining than expected. Of a possible nine Weasleys, Downsizing gets five.

 

Fangirl points: YOU GUYS THERE'S A BODEANS SONG IN THIS MOVIE!!

 

Next on my agenda: Jumanji: Welcome to the Jungle.

 

Four high schoolers are sucked out of detention and into the world of an old video game, where their avatars must play for their very lives.

 

Dear reader(s), full disclosure: I have no special affection for the original Jumanji, so I was never as appalled as the Internet-at-large over the idea of a remake/reboot/sequel. However you may feel about the original, I suggest you give the fun, funny 2017 version a try; I don't think you'll be sorry.

 

Jumanji: Welcome to the Jungle has end-to-end action and plenty of laugh-out-loud moments. Dwayne Johnson, Kevin Hart, Karen Gillan, and Jack Black have great chemistry and do a remarkable job of channeling their real-world, younger selves. It's a testament to the four youngsters--Alex Wolff, Ser'Darius Blain, Morgan Turner, and Madison Iseman--that you'll actually miss them when they're replaced by their more famous "avatars." Johnson leads with his usual easy charm; it would be impossible not to enjoy a film with him in the lead. (Yes, I even liked Tooth Fairy!) Bobby Cannavale chews the scenery in a terrific turn as the picture's primary baddie, and Karen Gillan only gets more and more amazing with every movie. The movie's effects are solid, and a lively score by Henry Jackman perfectly underscores all the action. The crowd at my screening broke into applause multiple times over the course of the film.

 

Jumanji: Welcome to the Jungle runs 119 minutes and is rated PG13 for "adventure action, suggestive content, and some language."

 

It can be a hard pill to swallow when the things we love reach the age of being re-done for a new generation, but Jumanji: Welcome to the Jungle got a better reaction from my theater than The Last Jedi, Justice League, and Thor...combined. It's an action-packed family comedy with a little something for everyone. Of a possible nine Weasleys, Jumanji: Welcome to the Jungle gets eight.

 

Dear reader(s), I hope you enjoy these final, festive days of December, and I'll look forward to seeing you at the movies.

 

Until next time...

MOVIE REVIEW: STAR WARS: THE LAST JEDI

Luke Skywalker's peaceful and solitary existence gets upended when he encounters Rey, a young woman who shows strong signs of the Force. Her desire to learn the ways of the Jedi forces Luke to make a decision that changes their lives forever. Meanwhile, Kylo Ren and General Hux lead the First Order in an all-out assault against Leia and the Resistance for supremacy of the galaxy.

Director: Rian Johnson

Release Date: Dec 15, 2017

Cast: Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Laura Dern

Rated PG-13 (for sequences of sci-fi action and violence)

Runtime: 2 hr. 32 min.

Genres: Action, Adventure, Fantasy

Review:

Star Wars: The Last Jedi is an enjoyable entry into the long running series.  It has some moments that feel iconic but as a whole it never really captures a consistent feel that some of the better Star War films like The Empire Strikes Back and Rogue One.  Rian Johnson delivers a solid entry that doesn’t deliver a bevy of familiar beats like The Force Awakens did three years ago.  Instead we get some interesting story choices that don’t necessarily hit as well as they should have.  I do give Johnson credit for trying something different instead of playing it safe but none of the choices really make for any sort of memorable moments.  Instead we get 3 disparate storylines that run concurrently but never seem naturally cohesive.  Separating the 3 new leads robs the story of letting these new generation characters form any sort of ongoing chemistry.  Daisy Ridley is just as energetic and magnetic as she was in The Force Awakens.  Ridley and Mark Hamill share solid chemistry together with Hamill adding impressive range and depth to Luke Skywalker.  Oscar Issac is given more screentime, to the films benefit, this go around and Issac takes full advantage.  He brings a strong sense of bravado and charm to the role which feels like a new generation’s Han Solo.  John Boyega is still a little broad for my taste, it’s not his fault.  The character is written very broadly much to Boyega’s detriment because he’s a solid actor but he isn’t given much to do here until the final act.  Carrie Fisher delivers her final bow on film and it’s very much a fitting swan song even if her character is taken off the board for a large chunk of the film.  My biggest issue is still Adam Driver’s Kylo Ren whose character is nothing more than a whiny emo man baby.  There are a few choice bits written into his character which posits some interesting ideas about legend and legacy but it not enough for me to get past the fact that’s the character is eerily similar to Anakin Skywalker in the prequel trilogy.  The film does boast some impressive set pieces sprinkled throughout even though you can’t help but think it all could have been trimmed down by a good 45 minutes.  One subplot in particular feels like it could have been excised entirely while finding something slightly more interesting than a casino planet or the worlds slowest space chase.  Star Wars: The Last Jedi is at the very least better than The Force Awakens in that if finds its own path.  It’s not the perfect entry some have made it out to be but it’s an enjoyable entry.

B-

Cindy Prascik's Reviews of Star Wars: The Last Jedi & Ferdinand

Dearest Blog: 'Tis the season where I never work a five-day week, so yesterday I took advantage of a Friday away from the office to beat the (worst) crowds to The Last Jedi and Ferdinand.

Spoiler level here will be mild, nothing you wouldn't know from the trailers, BUT...as people are uber-sensitive about Star Wars I'm gonna say spare us all the stress and just don't read this until you've seen the movie. I might have a thought that hints at an idea that will utterly destroy your experience or something.

Normally I write in the order I see, but as a courtesy I'm going to drop Ferdinand first so parents who are wondering, "Should I take my kid to this?" don't have to wade through 2,000 words on why I've been in love with Luke Skywalker since I was ten before getting their answer.

A gentle bull called Ferdinand has to save himself and his friends from the bullfighter's ring and the Burger King.

Ferdinand is a cute, mostly benign kids' movie. I hesitate to call it a family movie because, really, there's not much here to entertain anyone over the age of ten...or most people over the age of ten, I guess, because I liked it well enough. Ferdinand's art and animation are merely decent, and the predictable story--while enjoyable--is certainly not on par with its most recent animated competition, the extraordinary Coco. A lively score from the brilliant John Powell works especially well with the film's brighter and more colorful bits. Wrestler John Cena isn't overtaxed in the lead, and, oddly, my screening seemed mostly filled with Cena fans, just one little kid among them. There's not much to say about the supporting crew other than Kate McKinnon is marginally less annoying than she was in Ghostbusters, and the animated David Tennant has WAY more lines than the animated David Tennant did in How to Train Your Dragon. To me some of Ferdinand's themes seem a little harsh for smaller kids. The film is pretty clear on what happens to the bulls, whether or not they make it to the ring, so if you still hope to feed your kids that Hamburger Helper on a busy night, maybe take a pass on this one. I don't have children and always assume kids of any age know more than I'd guess, but I also thought the language was somewhat crass for very young audiences, so, again, skip it if your kids aren't already at an age where everything "sucks."

Ferdinand runs 106 minutes and is rated PG for "rude humor, action, and some thematic elements."

Ferdinand is a passable kids' movie that offers little for the rest of the family...but I liked it. 

Of a possible nine Weasleys, Ferdinand gets five.

Fangirl points: David Tennant! Raul Esparza!

Okay, now onward to Star Wars: The Last Jedi.

With hope all but lost, the Resistance seeks a new hope. Erm...hang on.......

When a property is as iconic as Star Wars, it's more important than usual to offer a disclaimer on where these opinions come from, because I feel like most opinions on such things come from more than whether or not the movie itself is any good. So...I was ten when the first Star Wars came out. If memory serves, it was the first movie I ever saw in a theater. I fell in love with Luke Skywalker and have been in love with Luke Skywalker ever since. Thus, even though The Force Awakens is pretty universally well loved (and I, myself, loved much of it), it was also a bitter disappointment to me due to the lack of Luke. You can keep your Han. You can keep your Leia. For me it's all about Luke.

As advertised, The Last Jedi features a fair bit of Luke. Surly, difficult, fed up, conflicted, heroic Luke. Mark Hamill turns in an epic performance worthy of an epic installment in an epic series. Luke Skywalker, you remain my hero. The rest of the cast is great and terrible and a little bit in between. Kudos to John Boyega (who needs more to do) and Oscar Isaac, who engage with honesty and charisma. Of course Carrie Fisher is amazing, though her every appearance is a kick-in-the-gut reminder of what we've lost. Domhnall Gleeson's General Hux is a moustache-twirl away from a cartoon, but for my money is a more entertaining and menacing baddie than Kylo Ren, who always feels more like a kid sulking in his room with a comic book than a genuine threat to the galaxy. Much of that may have to do with Adam Driver, who is ineffective at portraying the conflict within this tormented character. Despite her closet full of awards, Laura Dern is about as exciting as a paper doll, and I'm only grateful her screen time is limited enough that it didn't ruin more of the movie for me. Annnnnnnd...Daisy Ridley is somewhere in between all that. Rey is so critical--both to Star Wars in particular and movies in general--sometimes I feel like the actor just doesn't do the character justice. 

The Last Jedi starts fast out of the gate, but suffers great lags across its bloated runtime. In addition to my usual complaints (really, there are only so many moves that are interesting and necessary in any fight or chase scene), there are a couple places where the picture drops asides that seem extraneous and could have been eliminated with no real damage to the end result. The effects and CGI look pretty great, and much of the film is simply stunning, visually. The action is exciting and often takes unexpected turns, and there's a good bit of humor that mostly hits the mark without feeling forced. It goes without saying that John Williams' score is once again the very definition of iconic. The Last Jedi does a fine job of giving new players their due, while never seeming to shaft the old favorites, then tying both together in such a way that fans can probably envision this series going on forever, passing the baton from one generation of rebels to the next.

Star Wars: The Last Jedi clocks in at a massive 152 minutes and is rated PG13 for "sequences of sci-fi action and violence."

The Last Jedi has won over critics, while leaving the fandom bitterly divided. I found a lot to love about it, but was left without the euphoria I expected when the end credits rolled. As always, though, I beg you, dear reader(s), not to let the Internet make up your mind about this movie. Get on out to the theater and see it for yourself. 

Of a possible nine Weasleys, Star Wars: The Last Jedi gets eight and a half, which includes one (1) bonus Weasley for having an actual Weasley in the cast.

Fangirl points: You guys...ADRIAN FREAKING EDMONDSON is in this movie!

Until next time...

Cindy Prascik's Review of Three Billboards Outside Ebbing, Missouri

Dearest Blog: Having returned from the Big City, yesterday I utilized my recovery day to sneak in another Justice League screening, justified by pairing it with likely awards favorite Three Billboards Outside Ebbing, Missouri.

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

A grieving mother finds a unique way of holding local law enforcement to account for its failure to find her daughter's killer.

Dear reader(s), Three Billboards left me adrift, so the following may seem disjointed and even contradictory at times. Know that this movie is, without question, worth your time, but it is challenging.

The quality of the performances in Three Billboards is breathtaking. It seems almost unfair to call out anyone individually when the ensemble as a whole is so extraordinary, BUT...Sam Rockwell. Just give this man an Oscar already! Frances McDormand and Woody Harrelson are magnificent beyond words, and Peter Dinklage will manage to break your heart with less than 15 minutes total screen time. Incredible all 'round.

Much of Three Billboards is laugh-out-loud funny, despite the somber subject matter and sad consequences of the characters' actions. For the most part, said characters are are bigoted rubes who behave badly and selfishly, yet they aren't unlikable. The story is riveting, but the picture moves slowly and seems quite a lot longer than it actually is. Language throughout is nearly as brutal as the incident that propels the film, not just your garden-variety swearing, but also racial and homophobic slurs. While it may be realistic, it's also jarring and wears thin very quickly, ultimately making the film feel a lot like work. Without divulging any specifics about the ending, I will say simply that it is sure to be one of those controversial love-it-or-hate-it endings that leaves folks talking for months to come. (For the record, I loved it.)

Three Billboards Outside Ebbing, Missouri runs 115 minutes and is rated R for "violence, language throughout, and some sexual references."

Three Billboards Outside Ebbing, Missouri has been called the best movie of the year. For my money it's not that, but it is a thought-provoking exercise and an acting master class that's well worth your movie dollar.

Of a possible nine Weasleys, Three Billboards Outside Ebbing, Missouri gets eight.

Fangirl points: Zeljko Ivanek! John Hawkes!

Until next time...