MOVIE REVIEW: SOUND OF METAL

 

A heavy-metal drummer's life is thrown into freefall when he begins to lose his hearing.

Director: Darius Marder

Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff, Mathieu Amalric

Release Date: December 4, 2020

Genre: Drama, Music 

Rated R for language throughout and brief nude images 

Runtime: 2 h 10 min

Review:

Sound of Metal, Darius Marder's directorial debut, is a evocative, gritty drama that's simplistic on it's surface but emotionally dense.  It's conceit is fairly simple and Marder's approach gives the film an lived in almost documentary feel to it.  The pacing is leisurely but intense at the same time with Riz Ahmed's performance pulling you into his character's pain instantly.  Ahmed displays a simmering frustration and anger especially in the early portion of the film but subtly softens it as the story moves along.  He's able to emote so much via gestures or looks that you feel everything his character is going through as he learns to live with his situation.  This is a film that doesn't have a lot of large movements to the story but Marder uses sounds to put us in the main character's head, its a deft move that brings a tangible connection to his situation.  There's a sense of melancholy that permeates the entire film that makes it feel more authentic as we follow Ruben's journey of self realization.  As such, we feel those highs and lows he experiences throughout the story.  In lesser hands this kind of story might have felt too Hollywoodish or artificial but Marder and Ahmed deliver something meaningful and impactful.  

A

MOVIE REVIEW: SOUL

 

Joe is a middle-school band teacher whose life hasn't quite gone the way he expected. His true passion is jazz -- and he's good. But when he travels to another realm to help someone find their passion, he soon discovers what it means to have soul.

Director: Pete Docter

Cast: Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Donnell Rawlings, Questlove, Angela Bassett

Release Date: December 25, 2020

Genre: Animation, Adventure, Comedy 

Rated PG for thematic elements and some language

Runtime: 1 h 40 min

Review:

Pixar's latest Soul pushes the boundaries of abstraction and metaphysical meditation especially for what's considered a kids movie.  Pete Docter, who directed the equally abstract Inside Out, delivers a beautiful film, each frame is visually dense and detailed whether it occurs in the real world or on the astral plane.  The story's meditation on what makes life worth living is an interesting subject to tackle for a children's film and the story never dumbs it down.  As such, a bevy of references will fly right over smaller children's heads but the candy colored afterlife which is populated by abstract Picasso like overseers and adorable newborn souls puffs will offer plenty to keeps kids interested.  Throw in a fun bit of body swapping comedy in the middle act which should give them lots to enjoy even if the larger themes seemed aimed at their middle aged parents.  Those themes are handled with great care and consideration which the film brings to a thoughtful conclusion.  The voice cast is excellent across the board with Jamie Foxx & Tina Fey doing the largest part of the heavy lifting. They share a good rapport together which shines throughout the film.  The supporting cast of is made up of excellent actors and actress such Richard Ayoade, Phylicia Rashad and Angela Bassett which each leaving their mark with their distinctive tenors.  Soul is a heady film that will probably linger with the adults longer than the children they see it with, it's a testament to the kind of storytelling that Pixar can pull off as they continue to push the envelope as to what these type "kids" movies can be.   

A-

Cindy Prascik’s Reviews of The Midnight Sky, Wonder Woman 1984, Soul, Ma Rainey's Black Bottom & The Bee Gees: How Can You Mend a Broken Heart

 Four Movies That Aren't What They Could Have Been...and One That Is Perfect

My dear reader(s): December has finally slowed to a pace that allows for catching up on movies. Sadly, that does not mean the cinema for me right now, but there are some promising titles available for home viewing. Herein I shall offer brief (for me) opinions on a few.

Spoiler level here will be mild, nothing you wouldn't know from the trailers or if you're familiar with actual events and/or the source material where applicable.

First on my Holiday Catch-Up Docket: The Midnight Sky.

Resigned to riding out the end of the world at his arctic outpost, Scientist!Clooney tries to keep a crew of astronauts from returning to a planet that's beyond saving.

The Midnight Sky is one of those movies that passes muster in 2020, but that might have been a more epic product in a normal year. With George Clooney at the helm (both starring and directing), and featuring decorated co-stars like Felicity Jones and David Oyelowo, I have to think somewhere along the line it was meant to be more than it is. What it is, is...fine, I guess? Clooney et al. are more than up to the challenges of their somewhat thinly painted roles. The story has been told before and undoubtedly will be told again and again as panic about the state of our planet sets firmly at the front of people's minds. It's not a new or different tale, but it's respectably told and not as dull as I expected from things I'd seen online before watching it. Neither is the movie's message as overtly heavy-handed as I anticipated, but sketchy effects, too many wasted minutes, and hokey ending make this a slow film without much impact.

The Midnight Sky clocks in at 118 minutes and is rated PG13 for "some bloody images and brief strong language."

If the daily news isn't satisfying your appetite for apocalyptic stories, and you like George Clooney, the Midnight Sky makes a decent bit of holiday viewing. Of a possible nine Weasleys, the Midnight Sky gets five and a half.

The Midnight Sky is now streaming on Netflix.

Next up, the week's big release: Wonder Woman 1984.

Diana Prince battles 80's fashion and a dangerous megalomaniac.

Regular reader(s) will know, I'm a DC girl. Wonder Woman gave us DC folks real hope that DC was getting back on track after a disastrous skid. Wonder Woman 1984 derails that hope almost entirely. A boring, repetitive opening sequence sets the tone by eating up far more time than it earns. The subsequent story is pointless, goofy, and all over the place. Most performances are cringe-worthy. There's even a full-on Macavity moment towards the end that channels last year's Christmas tragedy, Cats. The Wonder Woman brand is well-loved enough that many fans will find something to like here. For those people, I am happy. Me, I was more annoyed with each minute I wasted on this. Only the combined charm of Gal Gadot and Chris Pine, a rousing score by Hans Zimmer, and a delightful mid-credits scene keep Wonder Woman 1984 from being a total loss.

Wonder Woman 1984 runs a bloated 151 minutes and is rated PG13 for "sequences of action and violence."

Wonder Woman 1984 represents yet another missed opportunity for DC. Of a possible nine Weasleys, Wonder Woman 1984 gets four.

Wonder Woman 1984 is now playing in cinemas, and streaming through mid-January on HBO Max.

The middle slot on my holiday catch-up is occupied by the Disney/Pixar offering Soul.

During a near-death experience, a man obsessed with jazz music tries to find his way back, and ends up helping a young soul along the way.

Soul is a solid movie that (lightly) ticks all the Disney/Pixar boxes, though it's missing the qualities that distinguish their truly special pictures. The diverse cast, led by Jamie Foxx and Tina Fey, is terrific. The focus on music is welcome. The art and animation are gorgeous. The story is engaging enough to teach its lessons organically. Still...I had a hard time figuring out exactly where Soul was aiming. Its premise seems too scary for kids, especially younger ones, but it never seems quite enough for anyone older. It's not as pretty as Finding Nemo. It's not as smart as WALL-E. It doesn't tug the heartstrings nearly as effectively as Coco. Ultimately, it's a good movie that just suffers by comparison to its predecessors.

Soul runs 100 minutes and is rated PG for "thematic elements and some language."

Soul is a heartwarming bit of family entertainment that deserves a spot in your 2020 holiday planner, even if it never quite finds its spark. Of a possible nine Weasleys, Soul gets six and a half.

Fangirl points: Graham Norton and Richard Ayoade!

Soul is now playing in theaters and streaming on Disney+.

My penultimate picture this weekend was the Netflix Original Ma Rainey's Black Bottom.

In the sweltering Chicago summer of 1927, tensions run high during a recording session with the "Mother of the Blues," Ma Rainey.

Ma Rainey's Black Bottom features exceptional performances by Viola Davis and (in his final role) Chadwick Boseman. When I say Davis is exactly as good as you'd expect, know that I mean you'd always expect her to be the best, and she is nothing less. Boseman, posthumously, is sure to earn some of the awards he's deserved since starring in 42. For a year that specialized in kicks to the gut, 2020 has given none more devastating than the loss of Chadwick Boseman. The story packs an emotional wallop — mostly due to the characters' efforts to buck a system designed to confine them — but the movie never really takes off, due, in my opinion, to its failure to focus on Ma Rainey's music. We're told Ma Rainey is the "Mother of the Blues." We're told many legends found their influence in her. Yet we don't hear much of the music that earned her this lofty status. What that leaves is an hour and a half of sweaty people yelling at each other. Good acting, though. Very good acting.

Ma Rainey's Black Bottom clocks in at 94 minutes and is rated R for "language, some sexual content, and brief violence."

While Ma Rainey's Black Bottom isn't the movie it could have been, two of the year's best performances make it worth a look. Of a possible nine Weasleys, Ma Rainey's Black Bottom gets six and a half.

Ma Rainey's Black Bottom is now streaming on Netflix.

With no small bit of personal bias, I saved the best for last in my Holiday Picture Show: the Bee Gees: How Can You Mend a Broken Heart.

This documentary from director Frank Marshall serves not only to tell the story of the Brothers Gibb, but to justify and underscore their status in the pop music stratosphere. 

The film starts reflectively, with a pensive Barry Gibb noting that he is the only one left, the last surviving Gibb brother. It doesn't take long to shake off the melancholy mood with fantastic pictures and video clips of the very young brothers, and relies on such photos, film snippets, and interviews with the Gibbs and assorted spouses and associates to tell a mostly linear story of the trio's early days, rise to fame, meteoric success in the Saturday Night Fever era, fall from popular favor during the disco backlash of the early 80s, and subsequent success as songwriters and collaborators with other artists. It touches on difficulties with drink and drugs, but never wallows in misery or self-pity. The movie succeeds, not chiefly because this is a great story (though it is), but because it focuses on music, music, and more music. The genesis of songs. The backstory of songs. The creative process used in fashioning songs. So. Many. Great. Songs. Testimonials from artists — all kinds of artists, from every era in the Gibb brothers' musical lifetime — who felt and feel their influence to this day. The movie notes the passing of, and pays tribute to, Andy, Maurice, and Robin Gibb, coming full circle with Barry musing that he would "rather have them all back here and no hits at all." In between a somber start and finish, How Can You Mend a Broken Heart offers a joyful celebration of one of the greatest catalogues in music history, a special trip down memory lane for fans, and a timely reminder that being against anything will never matter as much as being for something. Oh, and To Love Somebody is legitimately one of the greatest songs ever written by anyone, anywhere. Don't forget that.

The Bee Gees: How Can You Mend a Broken Heart runs 111 minutes and is rated TVMA.

The Bee Gees: How Can You Mend a Broken Heart tells the story of the Brothers Gibb, focusing on their extraordinary musical legacy and unbreakable brotherly bond. Current Bee Gees fans and not-yet Bee Gees fans should consider it the year's must-watch documentary. Of a possible nine Weasleys, How Can You Mend a Broken Heart gets all nine.

Fangirl points: the Beatles and Ed Sheeran both turn up in this. Yay!

The Bee Gees: How Can You Mend a Broken Heart is now streaming on HBO Max.

Until next time...

MOVIE REVIEW: NEWS OF THE WORLD

 

Five years after the end of the Civil War, Capt. Jefferson Kyle Kidd crosses paths with a 10-year-old girl taken by the Kiowa people. Forced to return to her aunt and uncle, Kidd agrees to escort the child across the harsh and unforgiving plains of Texas. However, the long journey soon turns into a fight for survival as the traveling companions encounter danger at every turn -- both human and natural.

Director: Paul Greengrass

Cast: Tom Hanks, Helena Zengel, Michael Covino, Bill Camp, Michael Covin, Fred Hechinger, Neil Sandilands, Thomas Francis Murphy

Release Date: December 25, 2020

Genre: Action, Adventure, Drama

Rated PG-13 for violence, disturbing images, thematic material and some language

Runtime: 1 h 58 min

Review:

 News of the World is Paul Greengrass and Tom Hanks second collaboration and it couldn't be anymore different than Captain Phillips.  News of the World won't leave your nerves frazzled like that film and Greengrass pulls back his usual kinetic style in favor or a slower more pensive approach.  There are plenty of dusty vistas on display along with a plethora of scenic sunsets to appreciate throughout.  The story itself is a fairly basic conceit and this film is more about the journey than the destination.  Its easy to get some strong True Grit vibes throughout especially with Tom Hanks paternal but grizzled performance here. His Captain Kidd is a weather worn man whose haunted by his past, it's a measured and layered turn. Newcomer Helena Zengel turns in an impressive naturalistic performance which is the linchpin to the entire film.  Zengel and Hanks have a natural repour together and they serve as the lifeblood of the film.  Their relationship is central to the entire film even though you won't find many surprises as the film plays out in a fairly predictable path.  In their trek they meet the kind of characters that typically populate these type of westerns with the good and bad guys being instantly recognizable.  News of the World isn't a film that's interested in trailblazing any new territory but that doesn't take away from the fact that it's a well made western that feels like comfort food.

B+

MOVIE REVIEW: PROMISING YOUNG WOMAN

 

Nothing in Cassie's life is what it appears to be -- she's wickedly smart, tantalizingly cunning, and she's living a secret double life by night. Now, an unexpected encounter is about to give Cassie a chance to right the wrongs from the past.

Director: Emerald Fennell

Cast: Carey Mulligan, Bo Burnham, Alison Brie, Clancy Brown, Jennifer Coolidge, Laverne Cox, Connie Britton

Release Date: December 25, 2020

Genre: Comedy, Crime, Drama

Rated R for strong violence including sexual assault, language throughout, some sexual material and drug use

Runtime: 1 h 53 min

Review:

Promising Young Woman is a wickedly sharp dark comedy/revenge thriller from first time filmmaker Emerald Fennell.  Fennell writes and directs her film with an impressive bit of visual flair.  Certain scenes are framed with such meticulous care that you have to appreciate the talent and craftmanship on display.  Her script is equally impressive with biting dialogue that pops from the opening sequence.  At the center of the whole thing is a career defining performance from Carey Mulligan who delights in playing against type.  Her Cassie is a force of vengeful nature whose laser focused on her task.  Mulligan is clearly enjoying herself in the role but she and the script are savvy enough to open up Cassie and give her some semblance of happiness during the middle of the film.  Fennell and Mulligan lull you into an uncomfortable sense of calm before ripping the rug right from under your feet.  It's one of the most searing gut punch of a finale of the year that's bound to stay with you long after the film ends.  The ending is a bit too tidy for my taste but you can't deny that it's a cathartic release and the indictment of the bro/rape culture especially in our current environment.

A-

MOVIE REVIEW: WONDER WOMAN 1984

 

Diana Prince lives quietly among mortals in the vibrant, sleek 1980s -- an era of excess driven by the pursuit of having it all. Though she's come into her full powers, she maintains a low profile by curating ancient artifacts, and only performing heroic acts incognito. But soon, Diana will have to muster all of her strength, wisdom and courage as she finds herself squaring off against Maxwell Lord and the Cheetah, a villainess who possesses superhuman strength and agility.

Director: Patty Jenkins

Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen

Release Date: December 25, 2020

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of creature action and violence throughout

Runtime: 2 h 31 min

Review:

 Patty Jenkins follow up to the her wildly successful original is a film that has soaring ambitions but the execution doesn't land perfectly. That being said she accomplishes so much during her trek through the 80s.  She manages to hit on every 80s trope you can imagine while never losing focus on her characters.  It's a fun trek that's surprisingly light on actual superhero action outside of rousing action set pieces.  Jenkins focuses far more on the the characters as the work through living their wish fulfillment.  The trope that the script uses to bring back Pine is an interesting choice but it does sort of fit in with the goofy 80s vibe and it allows the film to explore more of the characters desires and wants.  In a weird way sort of plays out like a superhero version of the Last Temptation of Christ.  Kristen Wiig seemed like  a strange choice to play Barbara Minerva originally but it works as she plays the nerdy dork who turns into a fox of cheetah in this case.  Wiig and Gadot have great chemistry together which makes their friendship more believable and grounded.  Gadot at this point is just the walking embodiment of Diana Prince, she has the ability to pull off the mixture of grace, empathy and strength so effortlessly that you just have to sit back and appreciate it.   Pedro Pascal plays the primary villain and he does so with a crazy amount of gusto.  His turn as Lord has some overt Trumpian tones taken to the extreme which makes him more of a caricature than a fully realized character.  Its a shame since it would have have given the film's conflict a bit more heft than it has but you have to wonder if it's intentional since the overall theme is much more internal and personal.  The film was written and filmed more than a year ago but there is something in it's incredibly hopeful message about selflessness that seems incredibly precedent in 2020.  Once the required battle between Diana and Barbara's newly born Cheetah, the script sadly doesn't really explain this transformation so it feels like it's just checking a box, the story turns into one of the more interesting superhero finales.  Instead of a massive showdown it's more of a reflective message that grounds the story with its hopeful sense.  It's a lofty ambition which doesn't quite work as well as it should onscreen because the story has a hard time connecting it all together. Its easy to appreciate the intention but it doesn't quite stick the landing.  Still, Wonder Woman 1984 is very much on brand with ideal that they established in the original about what the character stands for.  Longtime fans will find plenty to love here like Diana sporting the Golden Eagle armor and other treats, be sure to stay through the credits for a fun surprise.   

B

MOVIE REVIEW: MANK

 

1930s Hollywood is reevaluated through the eyes of scathing wit and alcoholic screenwriter Herman J. Mankiewicz as he races to finish "Citizen Kane."

Director: David Fincher

Cast: Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, Joseph Cross, Jamie McShane, Toby Leonard Moore, Monika Gossmann, Charles Dance

Release Date: November 13, 2020

Genre: Biography, Comedy, Drama

Rated R for some language

Runtime: 2 h 11 min

Review:

David Fincher’s Mank is a labor of love through and through.  Written by Fincher’s late father, it has been a passion project of Fincher’s since the late 90’s when he intended to film it after 1997’s The Game.  The fact that it has made its way to the screen after so much time is a testament to Fincher and the result is technically impressive and rather engaging especially for people who enjoy a bit of cinematic history.  Fincher gives the film a distinctive style by using cues and techniques in line with the golden age of cinema.  The dialogue also has a snappy back, and forth which make the film sing with a certain kind of lyricism.  It is a fascinating bit of cinematic alchemy which recalls 2011 Academy Award winning film, The Artist, where style is part of the character of the film.  It rises about that film with a stronger cast who are clearly having a blast in their roles.  Gary Oldman leads the film with great gusto using a voice inflection that sounds like Burgess Meredith in the Twilight Zone in the 50’s.  Oldman’s Mank is always the smartest man in the room, even when it is to his detriment.  The snappy dialogue flows naturally from Oldman as you follow this fascinating if somewhat tragic tale, he generally the most interesting person on screen but that is not to say his supporting cast isn’t more than up to the cast.  Amanda Seyfried turns in one of her best performances here, totally losing herself in the role.  She’s generally a capable actress but he she just seems far more committed than usual.  Charles Dance makes for a formidable Randolph Hearst but his scenes are few and far in between.  Similarly, I would have enjoyed a bit more screen time for Tom Burke’s Orsen Welles whose one scene with Oldman’s Mank is a late act treat.  Whether that interaction or any of them ever happened in real life is left up to the more dedicated viewer to research.  If there is a failing here is that’s while we follow Mank’s journey through his memories we are always kept at an emotional distance so that when the final scene plays you don’t feel the emotional punch as intended.  

B

MOVIE REVIEW: MONSTER HUNTER

 

Behind our world, there is another -- a world of dangerous and powerful monsters that rule their domain with deadly ferocity. When Lt. Artemis and her loyal soldiers are transported from our world to the new one, the unflappable lieutenant receives the shock of her life. In a desperate battle for survival against enormous enemies with incredible powers and unstoppable, terrifying attacks, Artemis teams up with a mysterious hunter who has found a way to fight back.

Director: Paul W. S. Anderson

Cast: Milla Jovovich, Tony Jaa, Tip "T. I." Harris, Meagan Good, Diego Boneta, Josh Helman, Jin Au-Yeung, Ron Perlman

Release Date: December 18, 2020

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of creature action and violence throughout

Runtime: 1 h 39 min

Review:

Paul W. S. Anderson and Milla Jovovich collaborations produce certain types of films, the entire Resident Evil franchise is a testament to that.  Monster Hunter could probably fit in that franchise if you just changed the name because it’s so sparse on plot and mythology that it feels intentionally unfinished.  Anderson delivers some big dumb CGI battles which are surprisingly fun but don’t expect any sort of explanation on what’s going or why.  In fact, there’s nary an attempt at explaining any sort of a plot until about halfway through the film when Ron Perlman, sporting a gloriously massive blonde wig, and a cat cook show up on the screen.  Even then it’s mostly throwaway lines about some sort of ancient race and a tower that looks like it was lifted from Mordor.  I’ve seen my share of terrible movies but I can’t say this is the worst thing I’ve ever sat through.  Jovovich and Jaa actually have some fun chemistry during the first half of the film which mixed with the big battles makes for utterly mindless cinema.  The supporting cast is dispensed with early on so there’s no reason to get attached since they are mostly fodder for the fire.  You almost marvel at how unapologetically brazen Monster Hunter is delivering loud dumb fun, it’ll never be considered a good film but the worst kind of fast food.    

C-

MOVIE REVIEW: ALL MY LIFE

 

Jennifer Carter and Solomon Chau are a sweet, fun-loving, newly engaged couple who are ready to start their lives together. But when Solomon is diagnosed with terminal liver cancer, their hopes for a summer wedding become impossible. With time running out, their friends and families soon devise an inspirational plan to help Jennifer and Solomon realize their dream wedding.

Director: Marc Meyers

Cast: Jessica Rothe, Harry Shum Jr., Kyle Allen, Chrissie Fit, Jay Pharoah, Marielle Scott, Keala Settle

Release Date: December 4, 2020

Genres: Drama, Romance

Rated PG-13 for brief language

Runtime: 1h 33min

Review:

All My Life won’t win any prizes for realism or depth but it works because of the charisma and chemistry of its two leads.  Marc Meyers directs the film with a generally rose tinted hue even when the film hits some of its more tragic notes.  As such some people might be disappointed the film didn’t delve into the pain of cancer with a bit more realism in fact Harry Shum Jr.’s Sol never displays any sort of physical decline during the course of the film.  It feels like the film would have packed a bit more of a punch had given that aspect of the story a more realistic arch.  That issue aside Jessica Rothe & Harry Shum Jr. make the film far more watchable than it deserves to be because it’s schmaltzy with a clear intention to pull at your heart strings.  As a light breezey romantic comedy / tragedy hybrid it works because Rothe & Shum are incredibly easy to like and they both give their character more depth than what’s actually written on the page.  They make you care about their story and journey even though the film itself is a step up from a Lifetime movie of that week.  That being said, once you reach the finale nearly everyone will be reaching for the tissues over this glossy retelling of love story cut tragically short, 

B

MOVIE REVIEW: PROM

 

Down-on-their-luck Broadway stars shake up a small Indiana town as they rally behind a teen who wants to go to the prom with her girlfriend.

Director: Ryan Murphy

Cast: Meryl Streep, James Corden, Nicole Kidman, Keegan-Michael Key, Andrew Rannells, Ariana DeBose, Tracey Ullman, Kevin Chamberlin, Mary Kay Place, Kerry Washington, Jo Ellen Pellman

Release Date: December 4, 2020

Genres: Comedy, Drama, Musical

Rated PG-13 for thematic elements, some suggestive/sexual references and language

Runtime: 2h 10min

Review:

Ryan Murphy’s Prom is an over the top musical cornucopia of schmaltz and positive message that’s easy to digest.  Those looking for any deep meaning should probably look elsewhere because this film is all glitz and jazz hands.  Character development is sparse with each character representing more of a type than a fully formed person.  The real trick is that Murphy keeps you engaged with each of these characters throughout each musical number.  The cast, which is made up of A listers, helps mainly because they are all clearly having a great time and it shines through in their performances.  Streep, Kidman and Corden all seem very much in their wheel house belting out Broadway style musical numbers so that shouldn’t come as much a surprise.  Somehow Jo Ellen Pellman finds a way to have her moment even with all the luminaries sharing the same proverbial stage. It’s an impressive understated performance that is sure to draw the attention of more than a few casting directors.  The film itself feels a little like a more musical riff on Footloose with a generally upbeat feel which works for the current situation.  It’s overlong, Netflix seems terribly uninterested in reigning in their talent, and overstuffed but it’s the best kind of comfort food for anybody who loves musicals.  

B-

Cindy Prascik's Review of Mank

 

My dearest reader(s): One of the sad casualties of 2020 has been what I will snobbishly call "cinema-worthy" movies, that is, movies that don't feel like they were made for TV. Sure, there have been some, but the pickings have been slim. I am pleased to report that last week Netflix threw a solid entry into the skimpy awards season fray with its original picture, Mank, the reasonably true story behind the writing of Citizen Kane.

Spoiler level here will be mild, nothing you wouldn't know from the trailer or if you're familiar with actual events, which, I assure you, I am not.

Disclaimers, away!

Folks, I hate old movies. That may seem like a weird thing to hear from someone who spends three-quarters of her free time watching movies, but it is the gods' honest truth. If it was made before 1970 and it's not the Wizard of Oz or something with the Marx Brothers, no thank you. Citizen Kane is frequently cited as one of the greatest — if not *the* greatest — films of all time. I couldn't be less interested. Mank is made in the style of those classic, old, black-and-white movies, and that certainly didn't help me warm to it.

On the flip side, Gary Oldman remains my favorite actor in the known universe, and my life has been way too short on Gary Oldman lately. Heck, for the last two years I haven't even had time to make my (in?)famous Gary Calendar; instead I've had to buy premade calendars, and I can assure you, those don't come in "Gary Oldman." A new Gary Oldman movie definitely represents one of 2020's few bright spots.

Art is, by nature, subjective, but, by any objective criteria I can mark, Mank is a pretty good movie. The story is interesting and well-told, jumping from Herman Mankiewicz toiling over the film's screenplay while recuperating after an automobile accident to flashbacks (always notated as they would be in a script) that give us the backstory: Who is Mankiewicz, and how did he end up where he is? Gary Oldman is nothing short of brilliant (she says with maybe a hint of bias), and I think Oscar buzz around his performance is well founded. The supporting cast is very much up to snuff as well, with solid work from Amanda Seyfried, Lily Collins, Tuppence Middleton, Sam Troughton, Tom Burke (yay!), and the always brilliant Jamie McShane. Directed by David Fincher, with a score by Trent Reznor and Atticus Ross, Mank also represents a little reunion of some people who helped create the film that *I* consider the greatest of all time: the Social Network. Other than running a little longer than it needs to, there's nothing practical I can call out as a negative, BUT...I struggled to get through Mank all the same. I was bored enough that at one point I had to put my phone in a drawer I couldn't reach to keep from goofing off instead of paying attention. If you're reading this, I guess you're interested in my honest opinion, so there it is: Mank is a good movie that I didn't like very much, but Gary Oldman makes it worth watching (as he always does).

Mank clocks in at 131 minutes and is rated R for "some language."

Give Gary Oldman another Oscar now, please and thank you. Of a possible nine Weasleys, Mank gets seven.

Until next time...

Cindy Prascik's Review of The Christmas Chronicles 2

 

My dear reader(s), Netflix has declared the 2020 Holiday Season in full swing with its second new Christmas offering of the year: The Christmas Chronicles 2.

Spoiler level here will be mild, I suppose, but in truth the movie holds few surprises.

Christmas is in jeopardy, and it's up to Kate Pierce to help Santa save the day.

Well, my friends, I have to start by saying I remember very little about the first Christmas Chronicles. I felt a little better when IMDB told me it came out in 2018, because I feared I'd already forgotten it almost completely from just last Christmas. WHEW! Cheery holiday fare tends to make me happy, so I'm pretty sure I liked it, and the sequel holds true to form.

Objectively, I will note that Christmas Chronicles 2 is sometimes almost painfully predictable, right down to individual snippets of dialogue that I said in my head as they were voiced onscreen, though I was watching for the first time. The characters are barely more than cartoons, but they don't need to be for this benign bit of holiday merriment. Darby Camp and Julian Dennison are almost too annoying to bear at times, but Kurt Russell, Goldie Hawn, and Jahzir Bruno are charming enough to carry the movie through its weaker spots. Bright animation works seamlessly with live action, and sets, costumes, and score are all designed to turn up the Christmas Cheer to eleven. A probably unintentional bonus: The ending makes a nice little nod to Tombstone, one of the greatest movies of all time and my favorite project of Kurt Russell's long and storied career.

The Christmas Chronicles 2 runs 112 minutes and is rated PG for "mild action/violence and brief language."

There's nothing new or surprising about Christmas Chronicles 2, but if you're looking for some easily digestible holiday entertainment for the whole family, it'll be just the ticket. Of a possible nine Weasleys, the Christmas Chronicles 2 gets six.

The Christmas Chronicles 2 is now streaming on Netflix.

Until next time...

MOVIE REVIEW: THE CROODS: A NEW AGE

 

Searching for a safer habitat, the prehistoric Crood family discovers an idyllic, walled-in paradise that meets all of its needs. Unfortunately, they must also learn to live with the Bettermans -- a family that's a couple of steps above the Croods on the evolutionary ladder. As tensions between the new neighbors start to rise, a new threat soon propels both clans on an epic adventure that forces them to embrace their differences, draw strength from one another, and survive together.

Director: Joel Crawford

Cast: Nicolas Cage, Emma Stone, Ryan Reynolds, Catherine Keener, Clark Duke, Cloris Leachman, Peter Dinklage, Leslie Mann, Kelly Marie Tran

Release Date: November 25, 2020

Genre: Animation, Adventure, Comedy

Rated PG for peril, action and rude humor.

Runtime: 1 h 35 min

Review:

The Croods: A New Age which randomly appears 7 years after the original is more unfocused than the first film but still a fun family film.  The story in this sequel is more straightforward but it allows Joel Crawford to move the story into weird and surprisingly psychedelic areas.  Crawford moves the story along a steady pace getting into the story fairly quickly introducing the new characters/cast.  The returning cast easily gets back into their characters and have great chemistry with newcomers Peter Dinklage and Leslie Mann.  Dinklage and Mann play great foils to the Croods as the hipster Bettermans who are slightly more evolved.  Dinklage and Cage in particular seem to be having a ball throughout the film with it all climaxing with a great Punch Monkey finale.  Stone, Keener, Leachman, Mann & Tran also get their time to shine with a strong girl power story thread that has them all saving the day.  Its message is sweet but it’s not anything revelatory like some of the prestige Pixar films.  This sequel isn’t as consistent as the original but it’s still a lot of fun in parts but be warned some sequences might be a bit too intense or scary for very small children. 

B

Cindy Prascik's Review of Jingle Jangle: A Christmas Journey

 

My dear reader(s): 2020 being devoid of joy as it has, one can forgive Netflix for jumping the gun a bit on the Christmas cheer. Last weekend I checked out their original holiday offering, Jingle Jangle: A Christmas Journey.

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

After the world's most magical inventor is betrayed by his protege, it's up to his equally magical granddaughter to help him get back his mojo.

Jingle Jangle: A Christmas Journey is a joyful delight from start to finish. Academy Award winner Forest Whittaker leads a noteworthy cast that includes Phylicia Rashad, Hugh Bonneville, Anika Noni Rose, and Ricky Martin. As the story's big baddie, Keegan-Michael Key steals the show, and the movie is notably more entertaining when he's onscreen than when he's not. It drags *just* enough in the middle to suggest a trim of its two-plus hours might have been in order, but that's a small quibble with what's otherwise a lively adventure filled with catchy tunes, brilliant costumes, lovely animation, and funky choreography. 

Jingle Jangle: A Christmas Journey runs 122 minutes and is rated PG for "some thematic elements and peril."

Jingle Jangle: A Christmas Journey is an entertaining, uplifting bit of holiday fare that's sure to become a Christmas classic. Of a possible nine Weasleys, Jingle Jangle gets seven and a half.

Jingle Jangle: A Christmas Journey is now streaming on Netflix.

Wishing a happy and safe Thanksgiving to those dear reader(s) who are celebrating!

Until next time...

Cindy Prascik's Review of Jungleland

 

My dear reader(s): Much to my delight, this weekend's home viewing options included a new Charlie Hunnam movie, Jungleland. 

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

Having landed in debt to some very dangerous people, a boxer and his trainer-brother are forced to transport a young woman cross-country. 

Jungleland is an oft-told tale that doesn't really have much new or interesting to recommend it. The story is predictably miserable and moves at a snail's pace, and characters have about as much depth as paper dolls. Bland performances from the noteworthy cast, led by Hunnam and Unbreakable's Jack O'Connell, might be blamed as much on pedestrian writing as on the actors themselves. It's a grim movie about unpleasant people with barely a single redeemimg quality among them. 

Jungleland runs 90 minutes and is rated R for "pervasive language, some sexual content, violence, and nudity." 

Jungleland is a depressing exercise that's disappointing on every level. Of a possible nine Weasleys, Jungleland gets three. 

Jungleland is currently available for digital rental ($9.99) or purchase ($14.99 SD/HD or $16.99 UHD). 

Until next time...

MOVIE REVIEW: FREAKY

 

A mystical, ancient dagger causes a notorious serial killer to magically switch bodies with a 17-year-old girl.

Director: Christopher Landon

Cast: Vince Vaughn, Kathryn Newton, Katie Finneran, Celeste O'Connor, and Alan Ruck.

Release Date: November 13, 2020

Genre: Comedy, Horror, Thriller 

Rated R for strong bloody horror violence, sexual content, and language throughout

Runtime: 1 h 41min

Review:

Christopher Landon obviously loves horror movies it was obvious in his 2017 debut Happy Death Day and even more so in his newest film Freaky.  Horror aficionados will find plenty of little Easter Eggs scattered throughout the film.  The film itself is a fairly hilarious riff on the Freaky Friday trope with Vince Vaughn delivering one of his best performances in recent memories.  Vaughn is thoroughly committed to the role and his comedic timing makes him the best thing on screen throughout the film.  Watching him channel a teenage girl in his massive frame is just comedic gold especially as the situations get more and more absurd.  Kathryn Netwon isn't asked to do much outside of holding a steely gaze and look menacingly at her victims.  She does have a few moments were she lets loose a bit but them moments are few and far between.  It's mostly Vaughn's showcase but that doesn't mean that supporting players like Celeste O'Connor and Misha Osherovich don't get their time to shine with the latter leaving a memorable impression.  Those looking for real scares might be a little let down since there are a handful of jump scares and gore aplenty but you'd be hard pressed to ever call it scary.  Freaky leans much more on the comedy side and it works well as a farcical horror comedy where you can leave your brain at the door.

B

Cindy Prascik's Review of Fisherman's Friends

 

My dear reader(s): The week being absent any interesting new releases at the cinema, I picked the bones of my streaming services and turned up a 2019 nugget called Fisherman's Friends, which appears to be at least reasonably new to Netflix. 

Spoiler level here will be mild, nothing you wouldn't know from the trailers or by following actual events on which the film is based. 

A group of English fishermen finds its way to unlikely pop stardom. 

Fisherman's Friends features a solid cast led by James Purefoy, Daniel Mays, and Tuppence Middleton. The comedy's a bit forced, and the film's predictability takes any real tension off the table, but Fisherman's Friends boasts lovely scenery, some terrific folk songs, and a uniquely British charm. It's no edge-of-your-seat movie, but it's the perfect antidote for the tensions of the week just passed. 

Fisherman's Friends clocks in at 112 minutes and is rated PG13 for "some strong language and suggestive references." 

If you're looking for some cinematic comfort food this weekend, Fisherman's Friends is the perfect menu option. 

Of a possible nine Weasleys, Fisherman's Friends gets six and a half. 

Fisherman's Friends is now streaming on Netflix. 

Until next time...

MOVIE REVIEW: LET HIM GO

 

Following the loss of their son, a retired sheriff and his wife leave their Montana ranch to rescue their young grandson from the clutches of a dangerous family living off the grid in the Dakotas.

Director: Thomas Bezucha

Cast: Kevin Costner, Diane Lane, Lesley Manville, Will Brittain, Jeffrey Donovan, Kayli Carter, Booboo Stewart

Release Date: November 6, 2020

Genre: Crime, Drama, Thriller

Rated R for violence

Runtime: 1 h 54 min

Review:

Let Him Go is meditative western that’s really heavily on it’s cast since it’s story and plot are decidedly light.  Thomas Bezucha slow burn of a film is an interesting mix of idolized nostalgia and crime drama.  Bezucha takes his time letting us get to know the main couple before moving the film’s plot forward in earnest.  Kevin Costner & Diane Lane make for a believable and good looking pair of grandparents.  They both add far more subtle and nuance to their characters than what’s in the actual script.  Through their talents they give us a relationship that feel real and lived in, making it the cornerstone of the entire film.  Lesley Manville’s villainous Blanche is a much showier role and she’s excellent in limited screen time.  The film would have been wise to give us a tad more depth or history to her character and the Weboy clan as a whole.  As is, they’re thinly drawn evil ciphers whose sole purpose is to terrorize the protagonist.  The lack of depth wouldn’t be such an issue if you couldn’t spot story threads in the early part of the film that are presented and ultimately abandoned.  Ultimately, the performances alone make this a rewarding watch even with its pedestrian pacing and thin characters. 

B-

MOVIE REVIEW: COME PLAY

 

Parents fight to save their son when a mysterious creature uses his electronic devices to break into our world.

Director: Jacob Chase

Cast: Gillian Jacobs, John Gallagher Jr., Azhy Robertson and Winslow Fegley

Release Date: October 30, 2020

Genre: Drama, Horror, Mystery 

Rated PG-13 for terror, frightening images and some language

Runtime: 1h 45m

Review:

Jacob Chase's debut is a serviceable horror film that works better if you'd never been exposed to movies it emulates like The Babadook or The Ring.  If you have seen those film it's effectiveness is dulled a bit because it never finds it's own footing.  The disappointing part is that there's a sliver of an interesting idea to play with which would make for an interesting take on the creation of a monster.  Sadly, it never explores or expands the mythology as they only give it a passing mention before moving on.  The main story thread plays out in a fairly predictable manner anchored by some strong performances with Azhy Robertson leaving a strong impression.  Gillian Jacobs though feels miscasted as the frazzled mother with the role's requirements feeling like it's outside of her wheelhouse.  Ultimately, there are enough quality set ups and shots to make for a passable, albeit sanitized, horror film that could announce a new directorial voice in the genre.  

C

MOVIE REVIEW: THE EMPTY MAN

 

On the trail of a missing girl, an ex-cop comes across a secretive group attempting to summon a terrifying supernatural entity.

Director: David Prior

Cast: James Badge Dale, Marin Ireland, Stephen Root, Ron Canada, Robert Aramayo, Joel Courtney, Sasha Frolova

Release Date: October 22, 2020

Genre: Crime, Drama, Horror

Rated R for violence, disturbing images, language, some sexuality and nudity

Runtime: 2 h 17 min

Review:

The Empty Man is surprisingly engaging horror film that echoes The Ring with dashes of A Nightmare on Elm Street.  David Prior lets his film’s mystery unfurl organically allowing it to slowly wrap you into the central mystery.  There are a few tantalizing hints dropped here and there to keep you engaged.  Thankfully this horror film doesn’t rely on cheap jump scares with only a handful used for maximum effect.  As the twist and turns reveal themselves and the characters make for a fun watch.  James Badge Dale leads the film, initially stoic but he loosens up as the film moves along.  As the audience’s proxy he’s a believable and likable lead even with the film’s dark tone.  The rest of the cast is made up of recognizable character actors and fresh faces which let the story be the central focus.  It’s to the film’s benefit that the mystery is good fun and it’s wrapped up in a solid and satisfying way.  This film marks the final 20^th Century Fox release after the Disney merger.  The Empty Man has been quietly released during the current pandemic with little to no fanfare, it’s a shame since it’s a well made film that will likely become a hidden gem once it hits VOD and Bluray. 

B

MOVIE REVIEW: BORAT SUBSEQUENT MOVIEFILM

 

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan is a 2020 American mockumentary comedy film directed by Jason Woliner in his feature directorial debut.

Director: Jason Woliner

Cast: Sacha Baron Cohen, Maria Bakalova

Release Date: October 23, 2020

Genre: Comedy

Rated R for raw language, nudity and general filthiness.

Runtime: 1 h 35 min

Review:

In Borat Subsequent Moviefilm pulls off the same magic trick he did in the original film with such an audacious fearlessness that once you stop laughing you’ll be left wondering how he pulled it all off.  The story itself is the thinnest grating that holds the whole thing together.  Its biggest gift is adding a new character to proceeding in the form of his daughter played by Maria Bakalova.  Going into this you’d expect Cohen to go all in with the performance like he’s done his whole career but Bakalova is just as impressive here.  She’s just as committed as Cohen and they make for a hilarious pair as they traverse the underbelly of Trump’s America much in the way the original held a mirror to the Bush era.  It’s consistently hilarious and rather terrifying when you step back from it for a minute especially since much of what is presented is happening now.  The situations are incredibly outlandish and dangerous with the much talked about Rudy Giuliani sequence is even more gross in live action than described.  If there is a minor drawback its that the character and tropes have been done by Cohen as recently as his own 2018 Showtime’s Who is America.  This sequel feels more like that show than the original movie because the American landscape has changed from the Bush era and not in a good way but you might as well laugh at it exposed.

B

MOVIE REVIEW: HONEST THIEF

 

Hoping to cut a deal, a professional bank robber agrees to return all the money he stole in exchange for a reduced sentence. But when two FBI agents set him up for murder, he must now go on the run to clear his name and bring them to justice.

Director: Mark Williams

Cast: Liam Neeson, Kate Walsh, Robert Patrick, Anthony Ramos, Jeffrey Donovan, Jai Courtney

Release Date: October 16, 2020

Genre: Action, Crime, Drama

Rated PG-13 for strong violence, crude references and brief strong language

Runtime: 1 h 39 min

Review:

Honest Thief serves as a fine encapsulation of Liam Neeson’s late career action star turn.  The main issue is this entry lacks any real flair or gusto, instead it all feels kind of perfunctory.  Mark Williams seems to come from the generic filmmaking school since the film is impressively bland and generic.  Liam Neeson goes through the motions while still trying to infuse some gravitas to the proceedings.  The main issue is that the characters are all so thinly written that there is only so much these actors can do with them.  Kate Walsh is given the thankless love interest role that seems to just go along with all the increasingly insane situations with nary a question or concern.  Jai Courtney character is so over the top that the only thing he’s missing is a villainous mustache to twirl throughout the film.  Those expecting some Taken style action to cover up the script’s failings will be left wanting since there’s not much to be found.  Honest Thief seems tailor made for that random mindless cable watching when you put zero effort into your entertainment choices.

C

Cindy Prascik's Review of The Boys In The Band

 

Dear reader(s): Last weekend offered no real excuse for getting out to the cinema, but fortunately my friendly neighborhood streaming services had me covered. On my agenda: The Boys in the Band.

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

In late 1960s New York City, eight gay friends gather for the worst birthday party ever.

Netflix' the Boys in the Band is a remake of the 1970 film of the same name. Anyone who watches this space regularly won't waste time wondering whether I bothered to revisit the original before opining on its successor; of course I did not. This updated rendering features the company of the Tony Award-winning 2018 revival of the off-Broadway groundbreaker from 1968.

The Boys in the Band takes place in a time when homosexuality was still outlawed, and even dancing or socializing with a partner of the same sex could get a person thrown in jail. The whole thing should feel very dangerous, but, sadly, this telling is mostly missing the feel of another era. Excepting Zachary Quinto's unfortunate hairstyle, the movie feels more like a modern story with characters who are into retro fashion, which leaves the film with less edge than it could have had. Jim Parsons enjoys the most screen time, but his is an unsympathetic take on an abrasive character. Also on the character note (back to the actors later), the question I kept asking myself was: "Why do these people even hang out together?" Their disdain for one another is obvious, and it only becomes more so the more they drink. The underlying theme of self-loathing is critical to the story, but most of these people seem to hate each other more than they hate themselves. A few characters ultimately prove decent and aware enough to start trying to repair the damage, but - given the things that are said and done throughout - it feels like too little, too late. There's an nasty awkwardness to the whole that makes it a difficult watch, BUT...

Difficult or not, the Boys in the Band is definitely a worthwhile watch, for a number of reasons. The cast is so good I'd be hard-pressed to pick a standout. Zachary Quinto is an obvious choice, but Robin de Jesus is also terrific, and on- and off-screen couple Andrew Rannells and Tuc Watkins are heart-wrenching. The extraordinary Matt Bomer is a bit underused. Understandable, since his character doesn't feed into any of the major conflicts, but disappointing because featuring him more prominently might have made the whole an easier watch. (And not just because Matt Bomer is quite easy to watch, if ya know what I mean.) For whatever reason, we humans tend to be fascinated by others' trials, and here there is an aspect of watching something awful unfold without risk of being dragged into it personally...rather like reading all 500 comments in a Facebook argument among people you don't know! Finally, while the impact of this play in the late 1960s must have been monumental, it continues to carry a feeling of immense release and freedom. Seeing a story that reflects your own - warts and all - is an all too uncommon experience for many. I'm reminded of a moment when the the National Tour of Rent stopped in my city a few years back. As the theatre emptied out after the show, two people stood at the front for the longest time, crying and hugging each other, so deeply moved they were oblivious to anything around them. Long before Rent, the Boys in the Band would have been the first time many folks had seen someone like themselves on page, stage, or screen, and that emotion runs through even its bitchiest moments. 

The Boys in the Band runs 121 minutes and is rated R for "sexual content, language, some graphic nudity, and drug use."

The Boys in the Band isn't a perfect movie by any means, but its fantastic cast and emotional wallop make for worthwhile viewing. Of a possible nine Weasleys, the Boys in the Band gets seven.

The Boys in the Band is now streaming on Netflix.

Until next time...