MOVIE REVIEW: THE TRAGEDY OF MACBETH

 

A Scottish lord becomes convinced by a trio of witches that he will become the next King of Scotland. His ambitious wife will do anything to support him in his plans of seizing power.

Director: Joel Coen

Cast: Denzel Washington, Frances McDormand, Bertie Carvel, Alex Hassell, Corey Hawkins, Harry Melling, Brendan Gleeson

Release Date: December 25, 2021

Comedy, Drama, Romance

Rated R for violence

Runtime: 1h 45m

Review:

Joel Coen's The Tragedy of Macbeth is a fascinating amalgam of stage minimalism and cinematic grandeur.  The resulting concoction echo's Ingmar Bergman's The Seventh Seal and Akira Kurosawa's Throne of Blood itself an adaption of Macbeth.  It's visually arresting and engaging from it's opening frame.  Stage actress Kathryn Hunter eerie turn as the witches gives the film an air of urgency and kinetic energy and she contorts unnaturally in her introduction.  The familiar but dense Shakespearean dialogue is performed with emotional precision from it's stellar cast.  Denzel Washington's older Macbeth hits all the right notes especially as the film progresses and his character's mental state declines into madness.  Frances McDormand is just as strong as his calculating Lady Macbeth.  They both deliver lines in such a naturalistic fashion that it's easy to get lost in their individual performances, when the pair share a scene their energy burns through the screen.  Supporting turns from Alex Hassell as Ross and Corey Hawkins as Macduff leave the biggest impact outside of the central duo.  The Tragedy of Macbeth is a visually striking, narratively efficient adaptation that's sure to leave an impression for years to come. 

A

Cindy Prascik's Holiday Wrap-up Part II: The Christmas Ball, A Boy Called Christmas & Father Christmas is Back

My dear reader(s), as promised, in part two of my holiday viewing wrapup, we will take a look at some seasonal offerings. Expectations for this sort of movie aren't necessarily the same as other movies, so I shall make every effort to distinguish between seasonal frivolity and avoidable stupidity.

Since Christmas films are so often cut from the same cloth, I'm not sure it's possible to spoil much here, but I'll do my best to keep it generic.

First on my holiday agenda: The Christmas Ball.

Following a disappointing development on the job front, a Boston ballerina agrees to spend Christmas in England with her favorite aunt.

Anyone who knows me in real life, and probably anyone who's ever read a word I've written here, will know I avoid romance like the plague. However, when a holiday romance features one, two, three, FOUR people who have been on Midsomer Murders, including the reigning DS, well, my hand has been forced.

The Christmas Ball is a by-the-numbers holiday romance, complete with independent woman not looking for love, handsome stranger ripe for the picking, and even a perfectly festive castle. The movie ticks along entirely as expected, silly but inoffensive, but a couple things got under my skin: First, the main character has to be early- to mid-40s if she's a day. While I'm sure somewhere there's a ballerina still dancing lead at that age, I'd guess it's not the norm. She also parks on the couch with a handy tin of shortbread cookies, which also seems unrealistic for a professional dancer. As innocently dumb as the rest is, that kind of lazy stupidity is frustrating.  Still, Nick Hendrix is so handsome and charming it's easy to forgive the rest, it's always lovely to see Caroline Langrishe and Richard Lintern, and the castle setting is stunning.

The Christmas Ball runs a quick 90 minutes and is rated PG13.

The Christmas Ball is a benign bit of holiday cheer that might cost you a few brain cells, but the appealing cast makes it watchable. Of a possible nine Weasleys, the Christmas Ball gets four.

The Christmas Ball premiered Christmas Eve on Lifetime, and is now available via Lifetime On Demand.

Next up: A Boy Called Christmas.

A Father Christmas origins story.

A Boy Called Christmas boasts a delightful cast, including youngster Henry Lawfull (fantastic as the titular boy), Joel Fry, Michiel Huisman, Jim Broadbent, Stephen Merchant, Toby Jones, Sally Hawkins, and the always wonderful Maggie Smith. Sets, costumes, and music are simply magical, and well suited to a tale that, like the holiday itself, is special even when it's not precisely joyful. The picture is set (and partially filmed) in stunning Finnish Lapland, and there's even a little twist that I didn't see coming. A social/political message is sometimes inelegantly delivered, but A Boy Called Christmas is so charming you probably won't mind.

A Boy Called Christmas clocks in at 106 minutes and is rated PG for "peril, action, and thematic elements."

A Boy Called Christmas is a sweet holiday tale that's suitable for the whole family. Of a possible nine Weasleys, a Boy Called Christmas gets eight.

A Boy Called Christmas is now streaming on Netflix.

My final (I think) bit of holiday fare for this season was Father Christmas is Back.

Four warring sisters reluctantly reunite for Christmas, and find the holiday full of surprises.

I was drawn to Father Christmas is Back by yet another cast full of my British mystery favorites. I'll not soon forgive them for it.

Father Christmas is Back is predictable, but not in the harmless way of The Christmas Ball. It's brash and offensive and lacks even the tiniest bit of genuine holiday cheer. The four sisters range from irritating to downright grotesque, and most of the characters in their orbit are equally awful. Kris Marshall, Caroline Quentin, and Ray Fearon provide some tolerable respite, but they are very much on the periphery. The story holds no surprises, and its familiar turns are annoying rather than comfortable. I struggle to imagine how Kelsey Grammer's agent talked him into this one, truly. One character's obsession with the Beatles at least gave me something to look forward to, since the Fab Four's names came up a number of times, but honestly the only thing I really got out of this one was annoyance with myself for wasting the time. 

Father Christmas is Back runs 105 minutes and is rated PG13 for "sexually suggestive material and some language."

Father Christmas is Back will make you wish you'd stayed away. Of a possible nine Weasleys, Father Christmas is Back gets two.

Father Christmas is Back is now streaming on Netflix.

My dear reader(s), I hope you all have found peace and joy in these December holidays, and that 2022 will be a happier and calmer year for us all.

Until next time...

Cindy Prascik's Holiday Wrap-up Part I: The Matrix Resurrections & The Power of the Dog

 

My dear reader(s), following another lengthy absence, I've managed to squeeze a few movie screenings into my holiday break. Here in part one, I shall tackle a couple non-seasonal films: The Matrix Resurrections and The Power of the Dog. In part two, we'll have a peek at some Christmas offerings.

Spoiler level will be mild, nothing you won't have learned from trailers and advertisements.

First on my agenda: The Matrix Resurrections. 

New and familiar faces fight for reality...but what is the real reality?

It's fair to say science fiction and I are taking a break. We definitely don't love each other like we used to, and I'm not sure we ever will again. I elected to give the Matrix Resurrections a try anyway, based on: a.) my love of Keanu Reeves, and b.) being able to watch without leaving the house. If it's not as bad as I thought it was, I'm pretty sure it's not good, either.

Keanu has made a career of locking into roles ideally suited to his acting style. That's a backhanded compliment, but know I offer it with great affection. Carrie-Anne Moss is an inspiration, an action hero a mere year younger than I am. (Note: That's "old" in most people's books!) Despite my aversion to anything with the stink of Glee on it, Jonathan Groff is a pleasant surprise. Always. In everything. Effects are about 50/50, decent and comically bad. Callbacks to previous installments might be entertaining if this one didn't insist on pointing out each one so explicitly. Action is repetitive and gets old quickly, and — at nearly two and a half hours — the picture is extremely bloated. Anymore I'm never sure if social and political undertones are really present, or if I just see them everywhere because I so desperately want to avoid them for a hot minute, but I found them here...and I was well and truly bored before the halfway point.

The Matrix Resurrections clocks in at a whopping 148 minutes, and is rated R for "violence and some language."

If you're deeply invested in the Matrix series, you'll probably love the Matrix Resurrections; otherwise, you can give it a pass and rest assured you won't miss it. Of a possible nine Weasleys, the Matrix Resurrections gets three.

The Matrix Resurrections is currently playing in cinemas worldwide, and streaming on HBO Max through January 21.

Fangirl points: Freema Agyeman!

Next on the docket: The Power of the Dog.

Exploring the contentious relationships among a contrary cowboy, his more agreeable brother, and the brother's wife and son.

The Power of the Dog is a deliberately-paced western that's in no real hurry to get anywhere. Benedict Cumberbatch carries the film with a mighty turn that may well win him his first Academy Award. Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee are all terrific in support. Dusty western settings and a gloomy score reinforce the movie's uneasy atmosphere. The film tells an interesting enough tale, but I can't say it's one I'm glad I watched. Oh, and if you're an animal lover, maybe take a pass. Too many ugly moments to get past in that regard.

The Power of the Dog runs 126 minutes and is rated R for "brief sexual content and full nudity."

The Power of the Dog is a miserable little film, but worth checking out for some exceptional performances. Of a possible nine Weasleys, the Power of the Dog gets five.

The Power of the Dog is now streaming on Netflix.

Fangirl points: Keith Carradine!

Stay tuned for some cinematic Christmas cheer!!

MOVIE REVIEW: LICORICE PIZZA

 

Alana Kane and Gary Valentine grow up, run around and fall in love in California's San Fernando Valley in the 1970s.

Director: Paul Thomas Anderson

Cast: Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie

Release Date: November 26, 2021

Comedy, Drama, Romance

Rated R for language, sexual material and some drug use.

Runtime: 2h 13m

Review:

Paul Thomas Anderson’s Licorice Pizza is the type of film where the plot is secondary as it focused more on capturing a time period’s feel and essence.   While the film is very much set in the 70’s it does manage to capture something timeless about the random adolescent adventures that nearly everyone experienced growing up.  The central romance of the film is rather chaste onscreen but still a bizarre choice since it’s made explicit multiple times that Cooper Hoffman’s Gary Valentine is underage as he pursues Alana Haim’s 25-year-old Alana Kane.  It’s a distracting choice that detracts from the two linchpin performances from Haim and Hoffman who both bring an unmistakable on-screen charisma and chemistry to their role.  Both actors deliver nuanced turns that are never showy or over the top but ultimately serve as the heart of the film as we follow their series of adventures in San Fernando Valley.  They are fascinating to watch together onscreen because they both carrying an air of authenticity.  Hoffman captures the character’s hustler mentally while Haim does equally impressive work portraying her character’s state of arrested development as she tries to find her place in the world.  Famous faces pop up in small supporting turns with Sean Penn and Bradley Cooper each having a ball in their limited screen time.  Anyone unfamiliar with Paul Thomas Anderson’s style might not like the pacing which isn’t in any rush to get anywhere even if the two central characters run quite a bit throughout.  Licorice Pizza will connect with some people more than others depending on personal experiences but there is something universal about the moments it captures. 

B+

MOVIE REVIEW: SING 2

 

Can-do koala Buster Moon and his all-star cast of animal performers prepare to launch a dazzling stage extravaganza in the glittering entertainment capital of the world. There's just one hitch -- he has to find and persuade the world's most reclusive rock star to join them. What begins as Buster's dream of big-time success soon becomes an emotional reminder of the power of music to heal even the most broken heart.

Director: Garth Jennings

Cast: Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Taron Egerton, Tori Kelly, Nick Kroll, Jennings, Peter Serafinowicz, Jennifer Saunders, Nick Offerman, Bobby Cannavale, Pharrell Williams, Halsey, Chelsea Peretti, Letitia Wright, Eric André, Adam Buxton, Bono

Release Date: December 22, 2021

Genre: Animation, Adventure, Comedy, Family, Musical

Rated PG for some rude material and mild peril/violence

Runtime: 1h 50m

Review:

Garth Jennings's Sing 2 is a fun breezy family film that's easy to enjoy.  Sing 2 doesn't break any new ground or really dig deep into any big themes so it's not quite as impactful as some of Pixar's films.  It understands what it is and provides a fizzy, colorful jukebox musical that's always fun and entertaining regardless of how old you are.  Matthew McConaughey leads the film as the go getter koala Buster Moon.  Much like in the original, you get the feeling that McConaughey really enjoys voicing this character because he disappears into the role so much so that you occasionally forget it's him behind the microphone.  Reese Witherspoon, Scarlett Johansson, Taron Egerton and Tori Kelly all return with each getting a chance to show off their impressive singing voices.  Newcomers Bobby Cannavale, Chelsea Peretti and Halsey are all great fun with the latter clearly having a great time.  Bono who plays the reclusive rock star lion is far better than expected in his limited role.  Sing 2 is an easily digestible family film that works well as mindless entertainment for kids and parents alike.

B+

MOVIE REVIEW: THE KING'S MAN

 

One man must race against time to stop history's worst tyrants and criminal masterminds as they get together to plot a war that could wipe out millions of people and destroy humanity.

Director: Matthew Vaughn

Cast: Ralph Fienne, Gemma Arterton, Rhys Ifans, Matthew Goode, Tom Hollander, Harris Dickinson, Daniel Brühl, Djimon Hounsou, Charles Dance

Release Date: December 22, 2021

Genre: Action, Adventure, Comedy, Crime, Thriller

Rated R for sequences of strong/bloody violence, language, and some sexual material

Runtime: 2h 28m

Review:

The King's Man is one of the strangest and unnecessary prequels in recent memory.  Matthew Vaughn's film is tonally off kilter with the previous entries, deciding to go for a more self serious tone that's sure to confuse fans who come in expecting a loose goofy bit of fun.  Ralph Fienne leads the film ably even if it does feel like he's a in a different franchise all together.  To his credit, Fiennes seems fully committed to the role and he makes the entire thing much more watchable than it deserves to be.  Rhys Ifans seems to be the only one who's aware of the franchise hallmarks and he hams it up as Rasputin.  His character big action sequence is a dizzying death ballet that outlandish, goofy and one of the sole bits of fun in the entire film.  Sadly, he comes and goes far to quickly and are left with a so so WW1 drama that isn't ashamed to steal scenes from Wonder Woman.  Gemma Arterton and Djimon Hounsou do solid supporting work but you get the distinct feeling that the film would have benefited from using their talent far more than it does.  Even worse, the film cast Daniel Brühl and decides to have him do nothing for the better part of the film.  The King's Man is a bizarre follow up that doesn't fit in the franchises tone or spirit and ultimately feels like a bad misstep.

C

MOVIE REVIEW: THE MATRIX RESURRECTIONS

 

To find out if his reality is a physical or mental construct, Mr. Anderson, aka Neo, will have to choose to follow the white rabbit once more. If he's learned anything, it's that choice, while an illusion, is still the only way out of -- or into -- the Matrix. Neo already knows what he has to do, but what he doesn't yet know is that the Matrix is stronger, more secure and far more dangerous than ever before.

Director: Lana Wachowski

Cast: Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Jessica Henwick, Jonathan Groff, Neil Patrick Harris, Jada Pinkett Smith, Priyanka Chopra Jonas, Christina Ricci

Release Date: December 22, 2021

Genre: Action, Sci-Fi

Rated R for violence and some language

Runtime: 2h 28m

Review:

The first two sequels to the Matrix were a prime example of the law of diminishing returns.  Each entry became more entrenched in philosophical musings and mythology that ultimately weighed them down.  Eighteen years later Lana Wachowski revives the franchise with a more meta approach, echoing what Wes Craven did with Freddy Kruger in 1994's A New Nightmare, in the first half of her film.  It's a fun and fascinating take that sure to set a lot of fans off kilter initially.  This approach gives the story and franchise a spark of life it desperately needed in order to warrant another sequel.  There are plenty of story threads that could have been explored from that vantage point but Wachowski just can't pull the trigger before falling into what the previous sequels did before them.  The film hits some very familiar beats from the original film before moving into more standard sci-fi fare which isn't nearly as engaging.  The action is plentiful if rather uninspired mainly due to the fact that the film turns into a slog due to it's unnecessarily long runtime.  The back half of the film is a pseudo love story between the franchises main two characters.  It's undeniably fun to see Keanu Reeves and Carrie-Anne Moss slip back into their iconic roles especially when they do it with such ease.  Reeves, deservedly, gets the lion share of the screen time but Moss and her inherent strength and ferocity shine through in her limited screen time.  The newcomers to the franchise are a mixed bag with Jessica Henwick making the best impression.  Yahya Abdul-Mateen II is solid as Morpheus 2.0 but he can't quite capture Fishburn's sage cyber sensei the same way. Jonathan Groff does the best he can as the new Agent Smith but like Abdul-Mateen II he doesn't bring the same energy of his predecessor.  Neil Patrick Harris and Jada Pinkett Smith, in some embarrassingly terrible old people make up, are shockingly bad with their turns leaving you wonder if they were in a different movie all together.  The Matrix Resurrections had the chance to trying something riskier and more engaging but it ultimately falls back on it's safety net which isn't terribly innovative and groundbreaking.

C+

MOVIE REVIEW: BEING THE RICARDOS

 

In 1952, Hollywood power couple Lucille Ball and Desi Arnaz face personal and professional obstacles that threaten their careers, their relationship, and their hit television show.

Director: Aaron Sorkin

Cast: Nicole Kidman, Javier Bardem, J. K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, Clark Gregg

Release Date: December 10, 2021 

Genre: Biography, Drama

Rated R for language

Runtime: 2h 5m

Review:

Being The Richardos is a showy biopic that's held together by a wonderful turn from it's cast but it lacks consistency from start to finish.  Writer/director Aaron Sorkin brings his signature dialogue to his film and it drives the narrative as expected.  A strange and unnecessary faux documentary framing device though saps the film of forward momentum by moving the focus off the titular couple. Once onscreen, Nicole Kidman and Javier Bardem make for an interesting couple even if their physical similarities to the real people are less than convincing especially Bardem.  Kidman is fully committed to the role and delivers a strong performance, capturing Ball's signature raspy voice and mannerisms.  There are portions of the film where she just disappears into the role especially in the few scenes where iconic moments from the original show are recreated.  Outside of mere mimicry, Sorkin and Kidman give us moments that display Ball's eye for comedy and others that display her strength as the TV heavyweight she was.  Bardem is solid throughout even though his performance isn't able to escape his gravelly voice and distinct style.  Its a minor issue as Bardem and Kidman share some strong moments together onscreen especially in the film's final act.  The supporting cast is made up of familiar faces like Alia Shawkat, Tony Hale and Jack Lacy who all deliver workman turns.  J.K. Simmons and Nina Arianda though leave the biggest impressions, once you overlook the fact that neither looks anything like their real life counter parts, with memorable turns as William Frawley and Vivian Vance who played the Mertz.  It all makes for an entertaining biopic that uses heavy dramatic license to condenses multiple life events in the Balls life but Being The Richardos is not the homerun it should have been.  

B-

MOVIE REVIEW: NIGHTMARE ALLEY

 

In 1940s New York, down-on-his-luck Stanton Carlisle endears himself to a clairvoyant and her mentalist husband at a traveling carnival. Using newly acquired knowledge, Carlisle crafts a golden ticket to success by swindling the elite and wealthy. Hoping for a big score, he soon hatches a scheme to con a dangerous tycoon with help from a mysterious psychiatrist who might be his most formidable opponent yet.

Director: Guillermo del Toro

Cast:  Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, David Strathairn

Release Date: December 17, 2021

Genre: Action, Crime, Drama, Thriller

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

Runtime: 2h 30m

Review:

Guillermo del Toro's Nightmare Alley is a lavishly directed film noir morality tale that's as engrossing as it is engaging.  Del Toro channel's plenty of classic noir films in this remake of the 1947 original while adding his own personal twist.  The visually lean heavily on art deco designs with tinges of the macabre which fits with Del Toro's style.  Bradley Cooper is at the center of the film and does impressively well as the charlatan who drives the film.  Cooper's performance transforms as the character evolves over the course of the film's runtime with broad and occasionally more subtle choices.  It's a fascinating performance that blooms as the film moves on.  Willem Dafoe, Toni Collette and David Strathairn carry the majority of the supporting load in the first half of the film with each leaving a strong impression before the scene shifts.  The second half though belongs to Cate Blanchett who's the defacto femme fatale of the piece.  Blanchett's angelic yet menacing face fits the role perfectly as she delivers lines with steely precision and intensity.  This film is an actor's playground which makes its leisurely pacing easier to digest as you appreciate the performances on display.  Nightmare Alley isn't going to be everyone's cup of tea but for those who can appreciate meticulous filmmaking with top notch performances will find plenty to love here.  

A-

MOVIE REVIEW: SPIDER-MAN: NO WAY HOME

 

With Spider-Man's identity now revealed, our friendly neighborhood web-slinger is unmasked and no longer able to separate his normal life as Peter Parker from the high stakes of being a superhero. When Peter asks for help from Doctor Strange, the stakes become even more dangerous, forcing him to discover what it truly means to be Spider-Man.

Director: Jon Watts

Cast: Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Jamie Foxx, Willem Dafoe, Alfred Molina, Benedict Wong, Tony Revolori, Marisa Tomei

Release Date: December 17, 2021

Genre: Action, Adventure, Fantasy, Sci-Fi

Rated PG-13 for sequences of action/violence, some language and brief suggestive comments

Runtime: 2h 28m

Review:

Spider-Man: No Way Home is a crowd pleasing trilogy capper for Tom Holland's run as the webslinger.  Jon Watts film is initially chaotic and contrived as he tries to set the table for the plot.  Once the film gets moving in earnest Watts and Holland start hitting that sweet spot with the latter bringing that youthful optimism and naivety to Parker that fits the character perfectly.  Plot threads from there on out become difficult to discuss without spoiling the fan service that's doled out in copious amounts in the film's last two acts.  There's a significant story at play in the background which deals with the characters legacy and future at the same time.  It's a hefty bit of character work and Tom Holland delivers one of his best performances in the role.  His turn here is more nuanced and layered than his previous takes and the film is the better for it.  Zendaya and Jacob Batalon return as Parker's girlfriend and best friend with the script not asking much from them other than playing it light and moving the story along as needed.  Jon Favreau and Marisa Tomei are in a same boat but Tomei does get a moment to really shine for the first time in this series.  Willem Dafoe, Jamie Foxx, Alfred Molina, Thomas Haden Church and Rhys Ifans return to the Spider-Man universe with varying degrees of effectiveness.  Molina who gets the most screen time early on does an impressive job of channeling his original performance.  Willem Dafoe is equally impressive bring back his Green Goblin and even builds on it as the story moves along which is sure to leave an impression.  On the opposite end of the spectrum is Jamie Foxx who decides to ham it up every time he's on screen to a distracting degree.  A minor hiccup considering the amount of effort employed to get all these characters on screen at once.  Spider-Man: No Way Home manages to balance all these story threads while zeroing in the character's heart in the finale.  That being said, it's not perfect since there's a tangible sense that the film could have been streamlined and trimmed by at least a half an hour.  It's also easy to forget that the kicking off point of the entire story is incredibly contrived and nonsensical.  Ultimately, long term fans probably won't care by the time the film ends since it ultimately delivers on multiple levels

B

MOVIE REVIEW: WEST SIDE STORY

 

Love at first sight strikes when young Tony spots Maria at a high school dance in 1957 New York City. Their burgeoning romance helps to fuel the fire between the warring Jets and Sharks -- two rival gangs vying for control of the streets.

Director: Steven Spielberg

Cast: Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, Corey Stoll

Release Date: November 19, 2021

Genre: Crime, Drama, Musical, Romance

Rated PG-13 for some strong violence, strong language, thematic content, suggestive material and brief smoking.

Runtime: 2h 36m

Review:

Steven Spielberg's West Side Story isn't really necessary in the grand scheme of things since the 1961 Robert Wise film is considered cinematic royalty.  Perhaps Spielberg is one of the few directors around who could pull off the amazing feat of delivering a vibrant and relevant refresh of this story. The film pulsates with a palatable verve from it's opening frame.  Each shot is meticulously constructed and composed which displays the amount of care that went into this production.  The songs are instantly recognizable but the choreography and costuming are just breathtaking to behold in terms of size and scope.  Ansel Elgort and Rachel Zegler lead the cast as the star crossed lovers.  Zegler, in her big screen debut, is perfect from the moment she hits the screen with a voice that's sure to leave an impression.  There's an air of authenticity in her performance that bleeds through the screen. Elgort though feels like a weak spot in the cast with his performance and voice coming off flat for large portions of time.  Zegler and Elgort don't share that spark of onscreen chemistry you'd expect from the central couple and in a lesser film it'd probably sink the whole production.  It's a testament to the film that it really doesn't matter in the long run since the supporting cast more than makes up for it.  Mike Faist turn as Riff is a kinetic punch of charismatic juvenile delinquency making him the most interesting person onscreen for a large portion of the film.  David Alvarez is equally strong as Riff's rival Bernardo.  Alvarez reeks of masculinity and machismo which fits perfectly with the character.  Ariana DeBose, who takes on Rita Moreno's role from the original film, manages to leave a huge impression with her energetic and ultimately tragic turn with the centerpiece being her performance of America.  Spielberg's West Side Story is a rare cinematic feat especially for a remake, it's engrossing, uplifting, timely and moving in the best way.

A-

MOVIE REVIEW: C’MON C’MON

 

Johnny is an emotionally stunted and softspoken radio journalist who travels the country interviewing a variety of kids about their thoughts concerning their world and their future. Then Johnny's saddled with caring for his young nephew Jesse. Jesse brings a new perspective and, as they travel from state to state, effectively turns the emotional tables on Johnny.

Director: Mike Mills

Cast: Joaquin Phoenix, Gaby Hoffmann, Scoot McNairy, Molly Webster, Jaboukie Young-White, Woody Norman

Release Date: November 19, 2021

Genre: Drama

Rated R for language

Runtime: 1h 49m

Review:

Mike Mills C’mon C’mon is a simplistic but elegant bit of introspection about life.  It’s the kind of cinema veritas that takes the mundane in life and makes it significant and meaningfully.  It’s a quiet soft spoken film that relies on dialogue more than anything and does so with great effectiveness.  Those looking for a hard charging plot will be left wanting for more here as very little actually happens throughout the majority of the film.  Its leisurely pace rhythm may be off putting for certain audience but there is plenty to enjoy for those that can connect to the interpersonal relationships on display.  The central relationship between Joaquin Phoenix and newcomer Woody Norman provide the beating heart for the film.  Phoenix is understated and authentic from the onset which shouldn’t be a major surprise but Woody Norman is a revelation.  Norman and Phoenix share a rare kind of screen chemistry that’s hard to find and it elevates the film which avoids most of the big clichés of the self discovery genre.  Both should be getting plenty of awards recognition once the time comes.  Gaby Hoffman and Scoot McNairy deliver strong supporting turns with Hoffman getting more time to shine.  C’mon C’mon isn’t the type of film that will appeal to everyone because of it’s pace and methodical approach to the subject matter but for those that can appreciate subtle and delicate storytelling there is plenty to love here.    

A-

MOVIE REVIEW: ENCANTO

 

The Madrigals are an extraordinary family who live hidden in the mountains of Colombia in a charmed place called the Encanto. The magic of the Encanto has blessed every child in the family with a unique gift -- every child except Mirabel. However, she soon may be the Madrigals last hope when she discovers that the magic surrounding the Encanto is now in danger.

Director: Byron Howard, Jared Bush

Cast: Stephanie Beatriz, María Cecilia Botero, John Leguizamo, Mauro Castillo, Jessica Darrow, Angie Cepeda, Carolina Gaitán, Diane Guerrero, Wilmer Valderrama

Release Date: November 24, 2021

Genre: Animation, Adventure, Comedy, Family, Fantasy, Musical

Rated PG for some thematic elements and mild peril.

Runtime: 1h 42m

Review:

Encanto walks that fine balances between being a colorful animated musical that'll keep children entertained while also being thematically dense and engaging enough for adults to enjoy.  Byron Howard and Jared Bush's film displays vibrancy right from the start as the lush animation and catchy songs take hold.  The overall animation design looks simplistic at first but as the film goes on you can't help but appreciate the level of detail and artistry on display.  When the animation is paired with musical numbers from Lin-Manuel Miranda the film envelopes you with its effervescent energy that's hard to ignore.  That alone would probably make for a passable family film but Encanto's story makes it memorable and touching.  Themes of family, legacy and self-affirmation stream throughout the film as we follow Mirabel, voiced by a wonderfully earnest Stephanie Beatriz, on her journey.  The script touches on some deep and thoughtful ideas with impressive care and subtly.  The cast all feel perfectly suited for their roles with Stephanie Beatriz, John Leguizamo and María Cecilia Botero, who plays the Madrigal's matriarch, leaving the biggest impression.  Encanto is a multilayered family film that can be enjoyed from multiple levels.  

A

Cindy Prascik's Reviews of Last Night in Soho & tick...tick...BOOM!

My dearest reader(s), Last weekend I had the opportunity to catch up with two hot titles: Last Night in Soho and tick...tick...BOOM!

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

First up: Edgar Wright's psychedelic fever dream Last Night in Soho.

An aspiring fashion designer is transported nightly to the London of the 1960s, but it isn't always the wonderful time she'd imagined.

Full and fair disclosure: Edgar Wright is my favorite director, in my eyes, a person whose artistic vision is 20/20 at all times. I honestly hoped to see Last Night in Soho at the cinema, but circumstances didn't allow, so I rented it when it became available for streaming last week. I don't think this is a movie that suffered for my having seen it on my pretty-big TV instead of a really-big movie screen, but be armed with the knowledge when considering my opinion.

While the idea of someone accidentally landing in another era is hardly unique, Last Night in Soho skips the Life on Mars routine; our heroine is as much observer as participant on her nightly trips. When the misdeeds of decades previous start to haunt her present-day, the movie begins to feel more like a standard thriller. It's not particularly difficult to figure out it's heading, but Last Night in Soho is a good story, well told, and it doesn't waste time. Wright's typical expertise in use and placement of music is in full effect, and the makeup and costumes are gorgeous. The movie is violent at times, but most effects are creepy and sinister, rather than gory; overall, a victory for anyone who thinks horror should be more than a gross-out.

Last Night in Soho clocks in at 116 minutes and is rated R for "bloody violence, sexual content, language, brief drug material, and brief graphic nudity."

Last Night in Soho is a stylish, well-paced thriller that's well worth the price of admission (or rental). Regular reader(s) will know that my rating scale is based on nine Weasleys, but I'm forced to give Last Night in Soho nine and a half: seven and a half for the movie, plus two bonus Weasleys for having two *actual* Weasleys (James and Oliver Phelps) in the cast. Fangirl Points for the twins, as well. Bonus points all 'round!

Last Night in Soho is still playing in cinemas worldwide, and is now available for rental via Amazon and other outlets.

Next on my weekend agenda was tick...tick...BOOM!, based on Jonathan Larson's semi-autobiographical musical of the same name.

A composer tackles life's ups and downs as he faces off with his impending 30th birthday.

Okay, more full and fair disclosure: No disrespect to Jonathan Larsen, but I barely tolerate Rent. I love theatre, and I respect Rent for all it is to so many people, but I like exactly one character (Collins) and two songs (Santa Fe and What You Own). It's basically a hipster's Wicked. Pretty much everything that irritates me about Rent is, predictably, prevalent in tick...tick...BOOM!, so it's fair to say I found it something of a slog.

Having said that, if you're looking for positives, there's Andrew Garfield, a magnificent performer who never fails to elevate any project lucky enough to have him. AGarf's tour de force performance is probably the only thing that kept me from turning off the movie before the halfway point. (He's the best Spider-Man as well. I shall hear no argument.) Also fun is a cool number that features so many Broadway legends (oh hai, Brian Stokes-Mitchell!) that you couldn't throw a rock without hitting one. (But please don't throw rocks at Broadway stars. Or at anyone.) Otherwise, tick...tick...BOOM! is a collection of mediocre songs sung by people being wayyyyyyy too dramatic about pretty much everything. If you love Rent, you'll probably love it. I do not and I did not.

tick...tick...BOOM! runs an almost insufferable 115 minutes and is rated PG13 for "some strong language, some suggestive material, and drug references."

tick...tick...BOOM! is worth watching, if only for another incredible performance by Andrew Garfield and a lively game of "Spot the Broadway Star." Of a possible nine Weasleys, tick...tick...BOOM! gets three.

tick...tick...BOOM! is now streaming on Netflix.

Until next time...

MOVIE REVIEW: GHOSTBUSTERS: AFTERLIFE

 

When a single mother and her two children move to a new town, they soon discover they have a connection to the original Ghostbusters and the secret legacy their grandfather left behind.

Director: Jason Reitman

Cast: Carrie Coon, Finn Wolfhard, Mckenna Grace, Paul Rudd, Bill Murray, Dan Aykroyd, Ernie Hudson, Sigourney Weaver, Annie Potts

Release Date: November 19, 2021

Genre: Adventure, Comedy, Fantasy

Rated PG-13 for supernatural action and some suggestive references

Runtime: 2h 4m

Review:

Ghostbusters: Afterlife peddles heavily in nostalgia but unfortunately it doesn’t bring much new to the table.  Jason Reitman’s film decides to follow the J. J. Abrams template of franchise revivals by lifting memorable moments from the original film and repackaging them with a new cast.  That’s not to say the film doesn’t have it’s moments where it comes to life due to a capable cast but it never really hits the sweet spot. Mckenna Grace is the film’s best addition as she delivers a fun, enjoyable performance as Ego’s granddaughter.  She has an air of authenticity and earnestness that works in the film’s favor.  Logan Kim is her defacto sidekick and they share some solid comedic chemistry which is rare among younger performers.  Paul Rudd and Carrie Coon deliver workman like performances unfortunately the script doesn’t take advantage of their talents.  The original cast appears in what amounts to extended cameos and the film works in the late Harold Ramis with mixed results.  Ultimately, Ghostbusters: Afterlife feels like it should have left a bigger impression but it’s mostly forgettable. 

C

MOVIE REVIEW: HOUSE OF GUCCI

When Patrizia Reggiani, an outsider from humble beginnings, marries into the Gucci family, her unbridled ambition begins to unravel the family legacy and triggers a reckless spiral of betrayal, decadence, revenge -- and ultimately murder.

Director: Ridley Scott

Cast: Lady Gaga, Adam Driver, Jared Leto, Jeremy Irons, Salma Hayek, Al Pacino, Reeve Carney, Jack Huston

Release Date: November 12, 2021

Genre: Crime, Drama, Thriller

Rated R for language, some sexual content, and brief nudity and violence.

Runtime: 2h 37m

Review:

Ridley Scott's House of Gucci is a massive Shakespearian soap opera that indulges in its opulent excesses to a fault.  Scott's directs his film with a steady hand, delivering a glossy vision of the 80's that uses every cliched song imaginable.  The shots are meticulously constructed which allow you to appreciate the incredibly lavish fashion and art direction on display.  There isn't the usual grittiness typically associated with Scott, here he's clearly going for a very specific look and feel that's reflective of the fashionista royalty on display which fits perfectly for the film.  It should come as no surprise to anyone that Lady Gaga fits perfectly as real life femme fatale Patrizia Reggiani.  Gaga is clearly committed to the role as she channels Lady MacBeth in 80's couture.  It’s a showy role for her, more so than her turn in A Star is Born, and she does well delivering a steely, ferocious turn that works as the anchor of the entire film.  Adam Driver delivers one of his better performances by playing against type and not relying on his masculinity like he usually does.  

Driver is surprisingly believable as Maurizio Gucci who starts out being overly naïve before he becomes more savvy to his wife's machinations in the family business.  Jared Leto's much talked about transformation is cartoonish but in the film it works since the film is populated with performers going big with their characters.  Al Pacino and Jeremy Irons are prime examples of this with each delivering some fun but hammy turns as the Gucci partners.  Jack Huston, Reeve Carney and Salma Hayek round out the cast with more measured turns which flesh out the world.  If this all sounds like a lot, well it is and narratively speaking its overstuffed with Scott cramming 30 years of story into a two and half hour film.  The performances and production make it easy to overlook the fact that there isn't much palpable tension or drama even with all the betrayals and backstabbing going on. 

B

Cindy Prascik's Reviews of The Harder They Fall & Red Notice

My dear reader(s), these past two weeks I'd have liked to go to the cinema and didn't get there, so I threw myself on the mercy of Netflix for a couple new releases. 

First on my agenda, the Harder They Fall. An outlaw puts his gang back together to seek revenge on an old enemy. The Harder They Fall is an okay movie with a cast it doesn't quite deserve. Idris Elba, Regina King, LaKeith Stanfield, and Edi Gathegi are standouts in a group that has no weak links. Outside the exceptional actors, the rest - story to humor to music - works about half the time. Sadly, any time the movie gets good enough to feel invested, it derails itself with hokey or contrived choices, and the overlong run time only exacerbates its problems. 

The Harder They Fall clocks in at 139 minutes and is rated R for "strong violence and language." The Harder They Fall is worth a look for its incredible cast, but otherwise is nothing special. 

Of a possible nine Weasleys, the Harder They Fall gets five. The Harder They Fall is now streaming on Netflix. 

Next on the docket, Red Notice. The world's greatest art thief attempts to steal a rare treasure while on the run from the law. Red Notice is the kind of dumb fun I feared Covid had cost me my ability to enjoy. I am well pleased to report that is not the case. The movie's goofy humor is pitch perfect for stars Dwayne Johnson and Ryan Reynolds, Action sequences are well choreographed and don't run on too long. Plenty of twists keep the story moving at a good clip, and Gal Gadot is simply a delight. Red Notice runs 118 minutes and is rated PG13 for "violence and action, some sexual references, and strong language." 

Red Notice is dopey good fun that will keep you smiling and won't overtax your brain. Of a possible nine Weasleys, Red Notice gets seven. Fangirl points: Red Notice earns some BIG fangirl points for something that might be considered a spoiler, so I'll just say keep your eyes open for a "perfect" cameo! 

Red Notice is now streaming on Netflix. Until next time...

MOVIE REVIEW: BELFAST

 

A semi-autobiographical film which chronicles the life of a working class family and their young son's childhood during the tumult of the late 1960s in the Northern Ireland capital.

Director: Kenneth Branagh

Cast: Caitríona Balfe, Judi Dench, Jamie Dornan, Ciarán Hinds, Colin Morgan, Jude Hill

Release Date: November 12, 2021

Genre: Drama

Rated PG-13 for some violence and strong language

Runtime: 1h 38m

Review:

Kenneth Branagh’s Belfast is a heartfelt rose colored spat of nostalgia that’s touching and occasionally harrowing.  Branagh wrote and directed the film which feels incredibly personal from the start, it’s a more ground approach from the renown director.  The black and white approach echoes Alfonso Cuaron’s Roma which ran the same semibiographical gamut from a different part of the world.  This film balances the heartwarming memories with sparks of real world violence which permeated the era.  Jude Hill is one of those rare child actors that carries an air of authenticity.  He’s the lynch pin of the entire film which is peppered with award worthy performances from its supporting.  Caitríona Balfe and Jamie Dornan almost make you forget that best looking working class couple ever with sincere performances that are grounded and not overly showy.  Balfe in particular delivers the kind of performance that feels universally recognizable no matter where you are from.   Ciarán Hinds and Judi Dench play doting grandparents with Hinds being the film’s secret weapon.  Hinds steals every scene he’s in with a singular turn which should garner some awards consideration.  Belfast is the type of film that tugs at your heart strings in the best way possible, it’s uplifting and harrowing as it captures a moment in time that feels relatable regardless of where you are from. 

A

MOVIE REVIEW: ETERNALS

 

The Eternals, a race of immortal beings with superhuman powers who have secretly lived on Earth for thousands of years, reunite to battle the evil Deviants.

Director: Chloé Zhao

Cast: Gemma Chan, Richard Madden, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Lauren Ridloff, Barry Keoghan, Don Lee, Harish Patel, Kit Harington, Salma Hayek, Angelina Jolie

Release Date: November 5, 2021

Genre: Action, Adventure, Drama, Fantasy, Sci-Fi

Rated PG-13 for fantasy violence and action, some language and brief sexuality.

Runtime: 2h 37m

Review:

Chloé Zhao’s Eternals is one of the more interesting entries in the ongoing Marvel series.  The mash up of Zhao’s naturalistic style and superhero tropes results in a character focused film that’s more interested in the smaller moments than big action sequences.  As such, it has a different feel than most of these films do while still accomplishing the usual Marvel albeit at a glacial pace.  It has an odd pace that drains the proceedings of any urgency even though it’s literally dealing with end of the world stakes.  Intermixing flashbacks with present day events drains the film of any sense of forward momentum since neither section get enough time to gain any sort of real traction.  Luckily the incredibly diverse cast makes the slog more bearably with earnest performances.  Gemma Chan and Richard Madden do the heavy lifting for the majority of the film with each providing a steady stoicism to their duo. The large supporting cast each get their moments to shine during the film with Lia McHugh, Brian Tyree Henry and Barry Keoghan leaving the biggest impressions.  Angelina Jolie does well as the tortured warrior whose being crushed under the weight of her memories.  Salma Hayek gets a scant few moments to shine but ultimately the film waste her with an underwritten role.  Eternals tries hard to be sweeping and epic but it never really achieves it, only skirting with it during it’s hefty runtime. 

B-

MOVIE REVIEW: SPENCER

 

In 1991, while spending the Christmas holiday with the royal family at Sandringham House, Princess Diana decides to leave Prince Charles.

Director: Pablo Larraín

Cast: Kristen Stewart, Jack Farthing, Timothy Spall, Sean Harris, Sally Hawkins, Stella Gonet, Richard Sammel

Release Date: November 5, 2021

Genre: Biography, Drama, Romance

Rated R for some language

Runtime: 1h 51min

Review:

Pablo Larraín's poetic nightmare opens with the preamble "A fable from a true tragedy."  Those expecting a more tactile grounded approach to Princess Diana will likely be frustrated by Spencer since it plays more like a fever dream.  Larraín's film delivers a disquieting disorienting experience from the onset and it rarely lets up.  Long tracking shots mixed with an unnervingly but effective soundtrack echo sequences from Kubrick's The Shining or even Polanski's Rosemary's Baby.  He builds Diana's mental claustrophobia and paranoia with expert precision but the film hinges on Kristen Stewart's turn as Diana.  Stewart's performance bleeds through the screen as she makes you feel every moment of Diana's mental tightrope walk on the edge of madness through whispered words and outburst of rebellion.  She shares believable chemistry with Jack Nielen and Freddie Spry who play Diana's children with those moments working as anchors for the character's state.  Sean Harris and Sally Hawkins deliver strong supporting turns as supportive confidants while Timothy Spall is ever present and menacing throughout.  The film's script is dense with thematic undercurrents and meaning which it subtly weaves into the story early on however it decides to hammer home the point by spelling out metaphors in the final act.  It's a minor complaint to an otherwise mesmerizing film which takes you on an unexpected journey into Diana's psyche.   

A-