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Monday, December 31, 2018

Cindy Prascik's 2018: My Year in Movies





Dearest Blog: 2018 was a strange year for movies, as it was a strange year in many, many ways. I only saw 70 new movies during the year that's winding down, which is 20-30 off my normal total. At fault were two main factors: First, there were fewer movies that felt like imperative viewing, and, secondly, the behavior of movie audiences has become so bad that I'm less inclined to get out and see something just to see it, or merely to have content for the blog. I've become much more likely to seek out something I can watch at home than to brave the talkers, texters, seat-kickers, and smuggled-candy rattlers at the cinema.

Normally, year's end finds me trying to whittle 20-25 favorites down into a top-ten list, but this year only 13 movies earned final consideration. This year also may mark the greatest divergence yet between my list and the lists of people who get paid for their movie opinions. As usual, that's due in part to many awards contenders not getting screen time locally until they rack up a pocketful of major nominations, but mostly paid film critics and I just don't agree on what makes a good movie. I hope you'll consider both of our opinions, then get out to the movies and form your own.

Disclaimer: As usual, repeat viewings or the lack of opportunity for same may result in a film's original Weasley rating not being reflected in its year-end position.

Without further ado, my top ten best/favorite movies of 2018:

10. Black Panther (original Weasley rating 9/9) Black Panther is a superhero whose time has come. Marvel once again hits the casting jackpot with Chadwick Boseman, who fronts a compelling tale fleshed out by vibrant visuals and an amazing score. It burns me just a little that Black Panther will be the first of its genre to earn serious awards consideration, an honor deserved by The Dark Knight and/or Captain America: The Winter Soldier, but that's the system's problem and can't be held against the movie. Two claws way up!

9. Sherlock Gnomes (original Weasley rating 8/9) Sherlock Gnomes took a beating from critics and fans alike, but I loved it for its bright colors, boppy tunes, extremely reasonable runtime, and, of course, Johnny Depp. If there hadn't been much good said about it before, upon the release of Holmes and Watson, at the very least it became the best big-screen Sherlock Holmes of 2018.

8. Aquaman (original Weasley rating 8/9) DC's big-screen Aquaman takes a long-ridiculed, B-list hero and makes him a box-office juggernaut, thanks to a well-crafted film and Jason Momoa's effortless coolness. It's not as dark as past DC offerings, nor as silly as garden-variety Marvel; instead Aquaman makes its own niche and is better for it.

7. Hotel Transylvania 3: Summer Vacation (original Weasley rating 8/9) I love the Hotel Transylvania franchise for its ability to bring a little bit of creepiness into any season. The third installment in the series is colorful, bouncy fun, and, as always, benefits from limiting Adam Sandler to just one stupid voice, as opposed to his usual array of MANY stupid voices. Long live Drac!

6. Green Book (original Weasley rating 9/9) Green Book is an "inspired by actual events" story that, if it takes some liberties with real life, its message is no less timely or important for it. Magnificent performances from Mahershala Ali and Viggo Mortensen make Green Book one of the year's true must-see movies.

5. Hunter Killer (original Weasley rating 8/9) Quit laughing, will ya? Hunter Killer is an epic two hours of enormous effects, steely glances, and male posturing, all the things that bring me to the big screen regardless of any other considerations. Throw in my fave, Gary Oldman, and Gerard Butler doing his best meathead hero, and you've got a guaranteed new classic that I'll watch hundreds of times once it hits cable.

4. Darkest Hour (original Weasley rating 9/9) Oscar says this is last year's film, but I didn't see it 'til January, so it makes my 2018 list. An everything-winning turn by Gary Oldman heads a picture that keeps you on the edge of your seat despite knowing how it all turns out in the end.

3. Bohemian Rhapsody (original Weasley rating 9/9) Another based-on-a-true-story that takes some cinematic license with the facts, Bohemian Rhapsody is an uplifting biopic that proves the old saying: a happy ending depends on where you end your story. A star-making turn by Rami Malik makes Bohemian Rhapsody a top contender as we cruise through the heart of Awards Season.

2. Paddington 2 (original Weasley rating 9/9) Paddignton 2 is a delight. The charming and thoroughly-English continuing adventures of an endearing teddy bear and his family boasts a top-notch cast, with a standout performance by Hugh Grant as its villain. Paddington 2 is movie-making at its finest, not to be missed by anyone of any age.

1. Den of Thieves (original Weasley rating 8/9) From its first trailer, I started calling Den of Thieves my number-one movie of 2018. If we're being honest, along the way I truly expected some big-budget superhero epic or favorite actor's awards bid to unseat it, but...here we are, and here it is. I re-watched it again the night before last just to be sure this was where I wanted it, and, yeah, it is. Shootouts, car chases, Gerard Butler's chest-thumping anti-hero, and an unexpectedly terrific ending make Den of Thieves the kind of movie that will always draw me to the cinema. (For the record, I noticed upon preparing this list that I saw my number-one and number-two movies on the same day, way back in January, and that about sums up the kind of year it’s been at the cinema.)

So, dear reader(s), another year draws to a close. Many thanks to everyone who reads this blog, who takes the time to like, comment, and share, and especially to Daniel, for letting me be a part of his first-class movie page. Best wishes to everyone in 2019, may it be a better year for us all. Happy New Year!

PS: Where's my Cats trailer??

Sunday, December 30, 2018

MOVIE REVIEW: VICE







































Gov. George W. Bush of Texas picks Dick Cheney, the CEO of Halliburton Co., to be his Republican running mate in the 2000 presidential election. No stranger to politics, Cheney's impressive résumé includes stints as White House chief of staff, House Minority Whip and defense secretary. When Bush wins by a narrow margin, Cheney begins to use his newfound power to help reshape the country and the world.

Director: Adam McKay

Cast: Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Jesse Plemons

Release Date: December 25, 2018

Genres: Biography, Comedy, Drama

Rated R for language and some violent images

Runtime: 2h 12 min

Review:

Vice is an interesting movie to experience.  At its base it’s about a Washington power player who ascends to the highest levels of office and enacting some of worst portions of the Bush presidency.  Vice, though, isn’t interested in a straightforward approach.  Instead Adam McKay opts for something a bit more comedic and much more meta.  As such, the film is  entertaining because of how the story is told even while rooting around in some of the darker parts of the last 10 years.  In addition to McKay’s style, the cast is all stellar with each of them disappearing into their respective roles.  Christian Bale leads the film with one of his body transformations.  But outside of the drastic body transformation, Bale simply dissolves into Dick Cheney utterly inhabiting his skin. It’s the type of performance that’s a shoe in for an Oscar nod.  Amy Adams, in a quieter and less showy role, is equally impressive as Cheney’s Lady MacBeth Lynn Cheney.  The supporting roles are peppered with familiar faces like Sam Rockwell and Steve Carrell all of whom turn in quality performances that make the film all the better.  Ultimately, your enjoyment of the film maybe tempered by your political stance since the film isn’t necessary going to win many approving nods from one side of the isle.  If the film has a major fault it’s that even with all the excellent performances, we are kept at arms length from the characters themselves.  We never get a real sense of who these people are or what truly motivates them.  We see their actions but never truly know why they do what they do and perhaps that’s McKay’s point.

B+

Cindy Prascik's Reviews of Vice & Mary Poppins Returns

































Dearest Blog: Yesterday I made my last trip of 2018 to Marquee Cinemas for a final holiday catch-up double-header.

On the docket: Vice and Mary Poppins Returns. Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First up: Vice. A look at the personal life and political rise of former Vice-President Dick Cheney.

Vice is a tough film to get through, but I need to call out the positives, because the movie's difficulties do not lie with the quality of the filmmaking. Vice's primary draw is the caliber of its cast. Much has been made of Christian Bale's physical transformation for this role, but frankly we've seen enough of that from Bale in the past that it loses a bit of its impact. More impressive is the ability of such familiar actors to disappear so thoroughly into equally-well-known political figures. Hair and makeup offer valuable assists, but it's the performers' skills that convince our eyes we're looking at George Bush when we can see Sam Rockwell's face. Amy Adams gives a particularly terrific turn as Cheney's wife Lynne, but, again, it's something Adams does so often that it's easy to take it for granted. Actual news footage is cut with the film to illustrate the impact of Cheney's influence and decisions. Flashbacks--not generally a favorite of mine--are smartly used to emphasize the ex-Veep's path to power. Vice is a very clever, very, very well-done movie...and I would never, ever watch it again. I actually walked out in the middle to got some popcorn, because I was so uncomfortable I couldn't stand it. (Spoiler alert: I didn't even want popcorn.) News footage of atrocities both against and by the United States is impossible to watch without feeling sick. Behind-the-scenes machinations are appalling, even if only half are true. Vice is, quite simply, a sobering tale of the worst of us.

Vice clocks in at 132 minutes and is rated R for "language and some violent images."

Vice is a very good movie about some very bad people; it's exhausting but imperative viewing.

Of a possible nine Weasleys, Vice gets seven and a half. Fangirl points: Justin Kirk! And...it's awards season so you know what that means: Shea Whigham all 'round!!

Next on my agenda, a welcome change of mood with Mary Poppins Returns.

The Banks family again finds itself in need of a magical nanny's particular talents. Mary Poppins Returns is one of those movies that probably works as well as it does thanks to being released into the warm and fuzzy holiday season. That's not to say it isn't a good movie--I think it is--but its success will definitely be aided and abetted by Christmas cheer and maybe some spiked eggnog. There's an all-new soundtrack to enjoy, but familiar musical cues never miss an opportunity to remind the viewer: You already love this! I, personally, found the songs a bit La La Land-blah, but the production of the musical numbers is extraordinary and the choreography is exquisite. Emily Blunt is a delight as Mary Poppins, a role she seems to have been born to play. Lin-Manuel Miranda infuses every second of his screen time with a joy that runs through him like his very blood, and Ben Whishaw does his usual superb work as a grown-up Michael Banks. Kid actors can be a crapshoot, but Pixie Davies, Nathanael Saleh, and Joel Dawson aren't too annoying. In supporting roles, Julie Walters, Colin Firth, and Meryl Streep are great if underused, though Streep still manages to steal the show. Mary Poppins returns is filled with striking scenery, beautiful costumes, and eye-popping colors, and it sticks firmly to its old-school musical roots. While there's no mistaking the movie's overall good vibe, it also stresses the importance of each of us--young and old--doing what we can to bring our own positivity to every situation.

Mary Poppins Returns runs 130 minutes and is rated PG for "some mild thematic elements and brief action."

Mary Poppins Returns is a breezy bit of holiday cheer that should be a staple for years to come.

Of a possible nine Weasleys, Mary Poppins Returns gets eight.

Fangirl points: Well, not naming names, but as soon as I heard the Coachman's voice, I kept waiting for him to say, "Have you tried turning it off and back on again?"

So...it's almost 2019, when am I getting a Cats trailer??


Friday, December 28, 2018

Cindy Prascik's Reviews of Bumblebee, Aquaman, and Holmes & Watson


Holiday Catch-Up Triple Feature!


Dearest Blog: Yesterday it was off to Marquee Cinemas for the catch-up triple-bill of Bumblebee, Aquaman, and Holmes & Watson.

Spoiler level here will be mild, including a couple non-plot-specific things not revealed by trailers (far as I remember).

First on the docket: Bumblebee, a Transformers origins story.

Bumblebee is a pretty great film that, for me, was ruined by a really bad audience. I'll keep this review as objective as possible, but I know I didn't love it half as much as it deserved due to the poor theater experience.

Bumblebee represents a bit of a reset for the much-maligned Transformers franchise. Gone are the male leads and testosterone-driven action, replaced by Hailee Steinfeld as our young heroine with extensive auto-repair skills and an impressive collection of concert tees. Though Bumblebee doesn't diverge from the Transformers mold, Steinfeld carries the acting and action almost entirely on her tiny shoulders. Second-fiddle John Cena is amusing, and Jorge Lendeborg, Jr. is quite charming, but mostly it's down to Steinfeld and giant alien robots. Bumblebee's effects are sufficiently huge, and thankfully minus the dodgy bits that plague many CGI-heavy blockbusters these days. Sound mixing and editing are extraordinary. The picture boasts a hot 80s soundtrack that helps it accurately capture the feel of the decade. I didn't enjoy Bumblebee as much as the previous two entries in the franchise, but even I must admit it is, objectively, an improvement and a nice step in a positive direction.

Bumblebee runs 114 minutes and is rated PG13 for "sequences of sci-fi action and violence."

Bumblebee feels longer than it is and I enjoyed it less than I should have, but it can fairly be called not just a good Transformers movie, but a good movie all 'round.

Of a possible nine Weasleys, Bumblebee gets seven and a half.

Fangirl points: Lovin' that Damned tee! And Save a Prayer in digital surround-sound? Yes, please!

The filling in yesterday's cinema sandwich was the latest entry in DC Comics' cinematic universe, Aquaman.

Who lives in a pineapple under the sea? Well, it's not Aquaman, though for years a yellow cartoon sponge has been laughed at only slightly more than DC's waterlogged hero. That ends now.

I am a DC girl through and through, and I'd been giving big-screen Aquaman the side-eye for some time. Between Arthur Curry's comic-relief role in Justice League and a wisecrack-heavy trailer, I expected a full-on attempt to mimic Marvel's "funny" superhero films. While Aquaman is neither as grounded as the Nolan Bat-verse nor as grim as Batman v. Superman, I'm pleased to report it finds a solid balance and is quite the enjoyable outing.

Jason Momoa is terrific as the would-be King of Atlantis, carrying the picture with his super-heroic buffness and easy charm. The dude-bro act from Justice League has been toned wayyyyyyy down, leaving a very human, very 2018 hero who hugs his pa, cries over his ma, and even makes a reasonable facsimile of that awful classic Aquaman costume look pretty rad. Patrick Wilson appears to be having the time of his life as Curry's half-brother and nemesis, gleefully overacting at every turn.The film is all the better for having names like Willem Dafoe, Dolph Lundgren, and Nicole Kidman in supporting roles. The only real negative is a dull turn by Amber Heard, who occupies just enough screen time to be annoying, but thankfully not enough to ruin the film. Aquaman boasts magical visuals, and natural comedy that flows well and doesn't feel forced. The movie does run a bit long, and the second act starts feeling like one run-on fight; like most superhero movies, by the time it hit the two-hour mark, I was ready to jump in and save the damn world myself.

Ultimately, though, Aquaman is enough fun that the need for a trim is a small quibble. Though I'm still jonesing for a really good Batman movie starring my favorite Bruce Wayne, Ben Affleck*, I'm happy to let Arthur Curry and Diana Prince get DC back on solid cinematic footing.

Aquaman clocks in at 143 minutes and is rated PG13 for "sequences of sci-fi violence and action, and some language."

Aquaman is a redeeming big-screen outing for an overdue hero and an unlikely win for DC. Of a possible nine Weasleys, Aquaman gets eight.

Finally, yesterday's closer was the Will Ferrell/John C. Reilly comedy, Holmes & Watson.

A comedic take on the world's greatest detective and his sidekick.

Here I shall go on record as a fan of Will Ferrell and John C. Reilly, both individually and as a team. Talladega Nights is a top go-to movie in my house; we watch it religiously and quote it relentlessly. I mention that only to be clear: There's nothing that made me pre-disposed to dislike an idiotic comedy; it was quite the unpleasant surprise that I hated Holmes & Watson so, so much. The sad fact of the matter is: It just isn't funny.

Holmes & Watson hopes to earn laughs by exaggerating Sherlock Holmes' insufferable arrogance and John Watson's sometimes pitiful devotion. Ferrell's trademark ridiculousness is in full effect, but the film is more gross-out than slapstick. Proving that resistance turns up in the unlikeliest of places, Holmes & Watson takes a few swipes at He Who Must Not Be Named and American gun culture. While both are easy marks, that sort of poke only works if it's funny and/or clever, and this is most emphatically neither. Even more unforgivably, the movie is a criminal waste of two of my best girl crushes, Rebecca Hall and Kelly MacDonald. There's one solid gag at the end, but it's way too little, way too late.

Holmes & Watson runs a painful 90 minutes and is rated PG13 for "crude sexual material, language, some violence, and drug references."

If you really need a Sherlock Homes fix for 2018, your better big-screen bet is the one where he's a garden gnome.

Of a possible nine Weasleys, Holmes & Watson begrudgingly gets one.

Fangirl points: He must've lost a bet to turn up in this garbage, but great to see Hugh Laurie!

Until next time...

*Shut up. I won't believe he's not coming back until they cast someone else.

Monday, December 24, 2018

MOVIE REVIEW: BIRD BOX







































When a mysterious force decimates the population, only one thing is certain -- if you see it, you die. The survivors must now avoid coming face to face with an entity that takes the form of their worst fears. Searching for hope and a new beginning, a woman and her children embark on a dangerous journey through the woods and down a river to find the one place that may offer sanctuary. To make it, they'll have to cover their eyes from the evil that chases them -- and complete the trip blindfolded.

Director: Susanne Bier

Cast: Sandra Bullock,  Trevante Rhodes, Jacki Weaver, Rosa Salazar, Danielle Macdonald, Lil Rel Howery, Tom Hollander, BD Wong, Sarah Paulson, Colson Baker John Malkovich

Rating: R for violence, bloody images, language and brief sexuality

Release Date: December 21, 2018

Genres: Drama, Horror, Sci-Fi

Runtime: 2h 4 min

Review:

Bird Box the film is one of those film's that ultimately suffer from comparisons to another better film from this year, The Quiet Place.  The interesting thing is that the film only shares a handful of conceits with that film instead it feels much closer to a slightly elevated version of M. Night Shyamalan god awful The Happening.  That proximity doesn't do the film any favors especially since both expect you to take people running away from wind seriously and dramatically.  Bird Box, at the very least, gives a passing mention of a more supernatural explanation for the situation but it's clearly not interested in exploring the cause with any depth.  What works for the film is its direction and cast which make the film far more watchable than it should be.  Sandra Bullock carries the film with ease even if her character isn't the most likable character of the group.  Trevante Rhodes character comes off slightly better but his character isn't explored enough to come off as a fully formed character.   The remaining cast is filled with well known names and faces, all of whom elevate what amounts to fodder to get picked off as the film proceeds.  Its a missed opportunity since the cast, had they been given meatier roles, could have made for a more impactful film.  As is, Bird Box is a passable genre entry that will be quickly forgotten the instant it's over.

C 

Sunday, December 23, 2018

MOVIE REVIEW: ROMA








































A story that chronicles a year in the life of a middle-class family's maid in Mexico City in the early 1970s.  From Academy Award winner Alfonso Cuarón, director of "Gravity" & "Children of Men." Written and directed by Alfonso Cuarón.

Director: Alfonso Cuarón

Cast: Yalitza Aparicio, Marina de Tavira, Marco Graf, Daniela Demesa, Enoc Leaño, Daniel Valtierra

Rated PG for frenetic sequences of animated action violence, thematic elements, and mild language

Release Date: November 21, 2018

Genres: Drama

Runtime: 2h 15min

Review:

Alfonso Cuarón’s Roma is an experience and one of those films that truly captures a slice of life in an authentic and meaningful way.  Roma plot is simplistic by nature but it’s deceptively deep at the same time.  Cuarón frames each shot with such an impressive technical mastery that you’d need to revisit the film a few times to capture everything he’s laid out for you.  Your enjoyment of the film will depend on your connection to its characters and Yalitza Aparicio does a fine job of carrying the better part of the film.  There’s an air of authenticity about every movement and reaction that makes the film a special quality that’s rarely seen.  Roma’s themes are deep and universal but it’s hard to overlook that Cuarón has made a decidedly Mexican film which speaks to the culture and heritage in a meaningful way while tackling larger human moments that define a life.

A

MOVIE REVIEW: MARY POPPINS RETURNS








































Now an adult with three children, bank teller Michael Banks learns that his house will be repossessed in five days unless he can pay back a loan. His only hope is to find a missing certificate that shows proof of valuable shares that his father left him years earlier. Just as all seems lost, Michael and his sister receive the surprise of a lifetime when Mary Poppins -- the beloved nanny from their childhood -- arrives to save the day and take the Banks family on a magical, fun-filled adventure.

Director: Rob Marshall

Cast: Emily Blunt, Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Dick Van Dyke, Angela Lansbury, Colin Firth, Meryl Streep

Release Date: December 19, 2018

Genres: Comedy, Family, Fantasy

Rated PG for some mild thematic elements and brief action

Runtime: 2h 10 min

Review:

I feel obliged to mention that I’ve never actually watched the original Mary Poppins start to finish.  I’m well aware of it by reputation and honestly I’m more familiar with The Simpson’s parody of it than the actual movie.  As such, I head into this reboot with the ability to take Rob Marshall’s sequel mostly on its own merits.  Keeping with the transparency theme, I’ll state that I’ve been a big fan of Marshall’s work since Chicago and Mary Poppins Returns only further confirms my admiration.  Marshall can stage a song and dance sequence like few others can and here he’s in top form delivering some wonderfully fizzy and enjoyable sequences that will leave a smile on your face.  The film moves at a steady pace, rarely lingering too long much less on the barebone’s plot.  It keeps moving on Marshall’s energy and its stars incredible charm and screen presence.  Emily Blunt is everything you could ask for as she takes over the reins from Julie Andrews.  It’s a role that seems tailor made for her and she plays it with palpable energy and vigor.  Manuel Miranda is a bit of an outlier, no so much that he’s bad but he just feels slightly miscast even though he does add some spice into some of songs.  Ben Whishaw and Emily Mortimer are mostly left by the wayside in thankless supporting roles.  It help that three child actors who spend the most time on screen with Blunt prove to be more capable of carrying their own.  It’s a treat to watch and the film as a whole is about as charming and delightful they come.

A-

Monday, December 17, 2018

Cindy Prascik's Reviews of Mortal Engines and The Mule



Dearest Blog: On Friday it was off to Marquee Cinemas for Mortal Engines and the Mule.

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

First up: Mortal Engines.

In a dystopian future where "predator" cities devour lesser cities whole, a young lady seeks revenge for her mother's death.

Well, you guys, I'd call this Divergent Hunger Maze thingy a disappointment, but for that to be the case I'd have had to expect something, and, truly, I did not.

Beginning with a couple small positives: Anything that is meant to be terrifyingly, impressively huge in Mortal Engines is just that. Even in 2D, the predator cities appear ready to roll right off the screen to crush the assembled...erm...half-dozen paying customers. There's also the matter of Robert Sheehan, who, for the record, is entirely to blame for my seeing this instead of the Spider-Man cartoon. A cookie-cutter role doesn't give him much to work with, but he is the most interesting thing about the movie, as he generally is in any project fortunate enough to have him. Sadly, the good news ends there. In the unlikely event this film could have overcome it's wooden, unlikable lead, Hera Hilmar, there's dodgy green screen, painful dialogue, and some weirdly out-of-synch ADR to make absolutely certain it falls on its face. The thing runs over two hours (Hollywood, please explain yourself!) and consists mostly of pointless running around and Hilmar scowling at things. If Lord of the Rings fans were hoping for something to indicate Peter Jackson was back on the right track, I guess we'll just have to keep hoping.

Mortal Engines clocks in at a bloated 128 minutes and is rated PG13 for "sequences of futuristic violence and action."

If you want to watch something from the people who made Lord of the Rings, well, maybe just stay home and watch Lord of the Rings again. Of a possible nine Weasleys, Moral Engines gets two.

Next on my agenda: The Mule.

When an elderly horticulturist falls on hard times, he accepts a job "driving" for a drug cartel.
Unlike Mortal Engines, I *did* have some expectations for The Mule, and, sadly, it failed to meet even the barest minimum. What trailers sold as genuine awards fodder instead turned out to be a couple hours of aiming for the lowest common denominator. Clint Eastwood stars as an Archie Bunker caricature whose cluelessness and bigotry are played for laughs at every available turn.

Pedestrian storytelling holds no surprises, and performances from a pretty noteworthy cast are anything but noteworthy; however, most unforgivable is the film's criminal waste of the brilliant Clifton Collins, Jr. I'd considered The Mule to be the weekend's "must see," but I think Spidey would have been the better call here.

The Mule runs 116 minutes and is rated R for "language throughout and brief sexuality/nudity."

Nestled deep in the heart of awards season, The Mule can only be considered a bitter disappointment.

Of a possible nine Weasleys, the Mule gets four.

Until next time...







Sunday, December 16, 2018

MOVIE REVIEW: AQUAMAN








































Once home to the most advanced civilization on Earth, the city of Atlantis is now an underwater kingdom ruled by the power-hungry King Orm. With a vast army at his disposal, Orm plans to conquer the remaining oceanic people -- and then the surface world. Standing in his way is Aquaman, Orm's half-human, half-Atlantean brother and true heir to the throne. With help from royal counselor Vulko, Aquaman must retrieve the legendary Trident of Atlan and embrace his destiny as protector of the deep.

Director: James Wan

Cast: Jason Momoa, Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II, Nicole Kidman

Release Date: December 14, 2018

Genres: Action, Adventure, Fantasy

Rated PG-13 for sequences of sci-fi violence and action, and for some language

Runtime: 2h 23 min

Review:

Aquaman is one of those properties that could have gone off the rails fairly easily much like Marvel’s Thor.  The best thing DC did was nail the casting much like they did with Gal Gadot as Wonder Woman.  Jason Momoa has great screen presence and he never takes himself overly serious.  He’s had a trial run with him making an impressive debut in Justice League and he proves that he’s more than capable of carrying his own film here.  The combination of James Wan and Jason Momoa make for an incredibly fun film which has a massive scope but it never loses its focus even as it becomes more and more ridiculous.  Wan does a healthy bit of world building delivering some incredibly impressive visual set pieces and action sequences.  After a bit of a slow start the film revs up and never let’s down, its energy is palpable through out even at nearly two in half hours.  The supporting cast rounds out the film with Amber Heard leaving the biggest impression with Nichole Kidman coming in a strong second.  It’s a testament to how well crafted the film is that you can overlook a few missteps like a bland villain, Black Manta would have worked better as the primary baddie, and some formulaic story beats.  Even so Aquaman is a superhero film that’s sure to please nearly everyone especially long suffering DC fans.  

A-

Saturday, December 15, 2018

MOVIE REVIEW: SPIDERMAN INTO THE SPIDERVERSE








































Bitten by a radioactive spider in the subway, Brooklyn teenager Miles Morales suddenly develops mysterious powers that transform him into the one and only Spider-Man. When he meets Peter Parker, he soon realizes that there are many others who share his special, high-flying talents. Miles must now use his newfound skills to battle the evil Kingpin, a hulking madman who can open portals to other universes and pull different versions of Spider-Man into our world.

Director: Peter Ramsey, Robert Persichetti Jr., Rodney Rothman

Cast: Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna 
Lauren Velez, John Mulaney, Nicolas Cage, Liev Schreiber

Rated PG for frenetic sequences of animated action violence, thematic elements, and mild 
language

Genres: Animation, Action, Adventure

Runtime: 1h 57min

Review:

Spiderman into the Spiderverse is one of those animated films that is instantly striking due to it’s visual style and energy.  The visual style is so striking that it takes a little while to adjust to it in action.  Once you settle into it it’s a cornucopia of visual delights.  The character designs and lush backgrounds make for a beautifully vivid film.  Thankfully the story is just as strong as the visual.  The story is a fun superhero tome filled with great messages for kids and adults alike.  The voice cast all fit their characters perfectly with Shameik Moore and Jake Johnson sharing great chemistry.  Hailee Steinfeld as a SpiderGwen has spinoff written all over it but it’s not nearly as fun as John Mulany as Spider Ham and Nicholas Cage as Spiderman Noir.  Ultimately, Spiderman into the Spiderverse is a fun film which offers a fresh version of animation which makes it pop.

B

MOVIE REVIEW: THE MULE










































Broke, alone and facing foreclosure on his business, Earl Stone takes a job as a drug courier for a Mexican cartel. His immediate success leads to easy money and a larger shipment that soon draws the attention of hard-charging DEA agent Colin Bates. When Earl's past mistakes start to weigh heavily on his conscience, he must decide whether to right those wrongs before law enforcement and cartel thugs catch up to him.

Director: Clint Eastwood

Cast: Bradley Cooper, Laurence Fishburne, Michael Peña, Dianne Wiest, Andy García

Release Date: December 14, 2018

Genres: Crime, Drama, Mystery

Rated R for language throughout and brief sexuality/nudity

Runtime: 1h 56 min

Review:

The Mule is surprisingly funny, occasionally reflective entry into Clint Eastwood’s resume.  Eastwood’s film is impressive for its measured approach at making an unlikable character incredibly likeable.  Eastwood can be credited for this since he’s the star and director.  His performance is heavy on grandpa-ism which makes Earl Stone easy to like.  There are a few odd moments in the film where you get the feeling that Eastwood is trying to say something about race but he never really commits to that thread.  As a self reflective film, you get the sense that this subject matter hits close to home for him.  So much so that he beats you over the head with the “family is what matters” message.  Still the film offers a bevy of strong performances from Eastwood and his supporting cast even if the story itself is a bit simplistic.  

B-

Sunday, December 9, 2018

MOVIE REVIEW: BUMBLEBEE







































On the run in the year 1987, Bumblebee the Autobot seeks refuge in a junkyard in a small California beach town. Charlie, on the brink of turning 18 years old and trying to find her place in the world, soon discovers the battle-scarred and broken Bumblebee. When Charlie revives him, she quickly learns that this is no ordinary yellow Volkswagen.

Director: Travis Knight

Cast: Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker, Pamela Adlon,  Dylan O'Brien

Rated PG-13 for sequences of sci-fi action violence

Genres: Action, Adventure, Sci-Fi

Runtime: 1h 53min

Review:

The Transformers movie series was in need of jump start since The Last Knight was easily the worst of the Michael Bay’s run.  Travis Knight takes the helm for this prequel/reboot and he does so with gusto.  Knight clearly knows the 80s cartoon and finally delivers the kind of Transformers film that we fans have been asking for all along.  Knight and his team redesign the Transformers removing a lot of the more insect like look of the Bay era with designs that look much closer to the original cartoon design.  It’s a simple change but one that makes longtime hearts feel all warm and fuzzy.  There is quite a bit of nostalgia mining going on but in doing so Knight never loses focus of what really matters, the actual characters.  Bumblebee is front and center with Hailee Steinfeld making for a likable lead.  At its base it’s a simpler story, one that isn’t overly busy which is a welcome change of pace from the hectic Bayhem we’ve come to expect from these films.  The story shares a lot with The Iron Giant which is a good thing.  The villains of the pieces are slightly underwhelming since they’re fairly non descript and unmemorable.  It’s a shame since they cast Angela Bassett and Justin Theroux.  Still, this film is just what the franchise needed in order to make fans happy, hopefully it’s a sign of better films to come.

B+

MOVIE REVIEW: ANNA AND THE APOCALYPSE







































A zombie apocalypse threatens the sleepy town of Little Haven - at Christmas - forcing Anna and her friends to fight, slash and sing their way to survival, facing the undead in a desperate race to reach their loved ones. But they soon discover that no one is safe in this new world, and with civilization falling apart around them, the only people they can truly rely on are each other.

Director: John McPhail

Cast: Ella Hunt, Malcolm Cumming, Marli Siu, Sarah Swire, Christopher Leveaux, Ben Wiggins

Release Date: November 30, 2018

Genres: Comedy, Fantasy, Horror

Rated R for zombie violence and gore, language, and some sexual material

Runtime: 1h 37 min

Review:

Anna and the Apocalypse is a fun and audacious genre mash up that nearly hits it out of the park.  John McPail’s film has a fun energy to it even though it takes a little while to get moving.  Once it hit’s its stride creative songs and well choreographed dance sequences provide some of the film’s best moments.  It helps that Ella Hunt is instantly likable as the lead.  Her and her best friend, played charmingly by Malcolm Cumming, provide the film with a healthy bit of heart.  The film and its songs do get noticeably darker and more melancholy as the film moves into the final reel which makes for a strange tonal shift.  It would have served the film if it’d had embraced it’s zaniness a bit more. Still, it’s an impressive film that will probably end up being lumped together with other British imports like Shaun of the Dead or Attach the Block with it being a launching point for its star.      

B-

Cindy Prascik's Review of Green Book



 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Dearest Blog: Yesterday it was off to Marquee Cinemas for recent Golden Globe Best Picture nominee (and National Board of Review winner) Green Book.
 
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
 
In the early 1960s, a white bouncer from the Bronx accepts a job as driver/security for a brilliant black pianist embarking on a tour of the deep south.
 
Dear reader(s), this review will be sorta short (for me, anyway), because all I can really do is embellish on the sentiment: GO SEE THIS MOVIE NOW.
 
Green Book addresses the very serious subject of racism with humor and heart. The larger theme is obvious, but--without smashing anyone over the head--the movie also smartly tackles those little ways people convince themselves they aren't part of the problem. If it is ungracious to expect accolades, well, Viggo Mortensen and Mahershala Ali should be extremely ungracious right about now. Terrific performances all 'round, led by two of the year's best. Though it exceeds two hours and it's hardly action packed, Green Book engages fully, earning every minute of its runtime. I laughed far more than I expected to, and I'm not sure I'll ever stop crying.
 
Green Book clocks in at 130 minutes and is rated PG13 for "thematic content, language including racial epithets, smoking, some violence, and suggestive material."
 
A timely reminder of how far we've come and why even a small slip backwards is unacceptable, Green Book is warm and funny enough that people might get the message without even realizing it. 
 
Of a possible nine Weasleys, Green Book gets nine.
 
Until next time...

Sunday, December 2, 2018

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+
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