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

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...

MOVIE REVIEW: YOU SHOULD HAVE LEFT

Strange events plague a couple and their young daughter when they rent a secluded countryside house that has a dark past.

Director: David Koepp

Cast: Kevin Bacon, Amanda Seyfried, Avery Essex, Geoff Bell, Lowri-Ann Richards

Release Date: June 18, 2020

Genres: Horror, Mystery

Rated R for some violence, disturbing images, sexual content and language

Runtime: 1h 33min

Review:

You Should Have Left is the definition of a forgettable horror thriller.  David Koepp’s film is interesting enough but it always hints at bigger idea and themes but it never follows through on its promise.  Koepp’s visual style is striking enough to keep things engaging especially once the house starts opening up.  Kevin Bacon is more than capable in the lead but there are weird tonal shifts that pop up throughout the film which makes maintaining any sort of tension a Herculean task.  Amanda Seyfried does what she can but it’s a thinly written role that leaves her feeling more like a plot tool than a fully realized character.   Avery Essex is a surprisingly effective child actress which is to the film’s benefit.  Sadly, the film itself is a mixed bag of clichés and unrealized ideas which leave you with the impression that there is a better film in there somewhere. 

C

MOVIE REVIEW: MAMMA MIA! HERE WE GO AGAIN

In 1979 young Donna, Tanya and Rosie graduate from Oxford University -- leaving Donna free to embark on a series of adventures throughout Europe. On her journeys, she makes the acquaintances of Harry, Bill and Sam -- the latter whom she falls in love with, but he's also the man who breaks her heart. In the present day, Donna's pregnant daughter, Sophie, dreams of renovating a taverna while reuniting with her mother's old friends and boyfriends on the Greek island of Kalokairi.

Director: OI Parker

Cast: Lily James, Amanda Seyfried, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Dominic Cooper, Cher, Meryl Streep

Release Date: July 20, 2018

Genres: Comedy, Musical

Rated PG-13 for some suggestive material

Runtime: 1h 54min

Review:

Mamma Mia! Here We Go Again is a surprisingly strong sequel to the fizzy original.  Getting the bad out of the way, the film feels the loss of it’s A List cast from the original, the majority of them appear but with limited screen time.  Lily James carries the majority of film as the young Donna and she’s more than capable.  I do wonder if they asked Grace Gummer, one of Streep’s daughters, to play the role since she bears such a striking resemblance to her when she was younger.  Still Lily James pulls off an impressive performance, capturing most of Streep’s mannerisms from the original film.  The rest of the younger cast is equally as effective portraying their older, legendary counterparts.  The song selections here aren’t as strong as the original film which is understandable since the original used nearly all the greatest hits.  Still they are catchy enough to keep any ABBA fan smiling.  The strangest thing about Mamma Mia! Here We Go Again is how reflective and heartfelt the film is.  It’s far more emotional than you’d expect from a sequel to a light fizzy original.  Meryl Streep appears in what is an extended cameo but her appearance packs an emotional punch and really brings the film full circle.   

B

MOVIE REVIEW: GRINGO

Mild-mannered U.S. businessman Harold Soyinka finds himself at the mercy of backstabbing colleagues, local drug lords and a black ops mercenary after traveling to Mexico. Crossing the line from law-abiding citizen to wanted criminal, Harold fights to survive an increasingly dangerous situation that raises the question -- is he out of his depth or two steps ahead?

Director: Nash Edgerton

Cast: David Oyelowo, Charlize Theron, Joel Edgerton, Amanda Seyfried, Thandie Newton, Sharlto Copley

Release Date: March 9, 2018

Genres: Action, Comedy, Crime

Rated R for language throughout, violence and sexual content

Runtime: 1h 50min

Review:

Gringo is a weird mismash of knock off Tarantino films that seemed to litter the cinematic landscape after Pulp Fiction hit in the late 90s.  Nash Edgerton film is overly busy and needlessly complex.  The characters themselves are interesting and eccentric enough but none of them have any tangible depth to them to make them overly interesting.  To its credit, the film boast a stellar cast who make the film far more watch able than it deserves to be.  David Oyelowo is the main attraction since he’s clearly having a great time playing against type.  Oyelowo who’s usually a dramatic actor has some solid comedic chops and provides of the films best moments.  Charlize Theron & Joel Edgerton are terribly underused especially in the second half of the film.  The same goes for Sharlto Copley’s character who’s interesting but he’s introduced late in the film leaving you wanting more.  Gringo as a whole feels like a missed opportunity, it’s not an unenjoyable film but you can’t help but feel like there is a much better film there.

C

MOVIE REVIEW: TED 2

Ted (voice of Seth MacFarlane) ties the knot with Tami-Lynn (Jessica Barth), and recruits his best friend John (Mark Wahlberg) as a sperm donor in order to start a family in this sequel to the comedy hit about a teddy bear come to life. Later, when the Commonwealth of Massachusetts demands that Ted appear before a judge to prove he's a real person, the frisky bear and his pal vow to fight for their civil rights. Morgan Freeman and Amanda Seyfried co-star. ~ Jason Buchanan, Rovi

Director: Seth MacFarlane

Cast: Mark Wahlberg, Seth MacFarlane, Amanda Seyfried, Jessica Barth, Morgan Freeman.

Release Date: Jun 26, 2015

Rated: R for crude and Sexual Content, Pervasive Language, and Some Drug Use

Runtime: 1 hr. 55 min.

Genres: Comedy

Review:

Ted 2 is a perfect example of diminishing returns on comedy sequels.  That’s not to say that it’s not funny, it’s laugh out loud in parts, but it’s just not nearly as consistent as the original.  Seth MacFarlane seems to sense that the novelty of a hard drinking, cussing teddy bear might be wearing thin so he tries to expound on the idea with the civil rights angle.  I appreciate the attempt but it doesn’t work since the character is basically a living cartoon.  As a result, there are lots of dead spots trying to flesh out the concept leaving the comedy on the side for a good portion of the ride.  It’s a shame because if he stuck to what worked in the first film, it might have made for a funnier overall film.  As is, Ted 2 is an overlong comedy sequel that’s quickly forgettable.

C

MOVIE REVIEW: A MILLION WAYS TO DIE IN THE WEST

Mild-mannered sheep farmer Albert Stark (Seth MacFarlane) feels certain that the Western frontier is trying to kill him, then he loses his girlfriend, Louise (Amanda Seyfried), to the town's most successful businessman. However, a beautiful, pistol-packing woman named Anna (Charlize Theron) rides into town and helps Albert find his inner courage. Then Stark must put his newfound bravery to the test when Anna's outlaw husband arrives with plans to plant him in an unmarked grave.

Director: Seth MacFarlane 

Cast: Seth MacFarlane, Charlize Theron, Amanda Seyfried, Giovanni Ribisi, Liam Neeson

Release Date: May 30, 2014

Genres: Comedy Western, Outlaw (Gunfighter) Film, 

Comedy, Western 

Review:

After the surprising success of Ted, my expectation of Seth MacFarlane next live action film were fairly high.  Sadly, A Million Ways to Die in the West doesn’t live up to expectations.  It plays out like an extended “Road to…” episode of Family Guy with very little in the way of innovation, satire or even laughs.  It will bring a grin to your face from time to time but MacFarlane seems to forget he’s making a comedy and seems more interested in making a clichéd western.  Outside of the occasional MacFarlane riffs on how horrible the old west was, there isn’t a ton to the plot.  As a result the story as a whole lacks forward momentum with noticeable dead spots spread across the bloated run time, most obvious during the climax of the forced storyline with MacFarlane and Theron.  A Million Ways to Die in the West is one of those films that has a few false endings and then it drags on for another 20 minutes longer than it should, essentially wasting  Liam Neeson’s screen time.  A few laughs here and there will never replace Blazing Saddles.

C-

MOVIE REVIEW: LOVELACE

The life of one of the most infamous women in early '70s America gets a dramatization in this offbeat period biopic from co-directors Jeffrey Friedman and Robert Epstein. ~ Nathan Southern, Rovi

Director: Jeffrey Friedman, Robert Epstein

Cast: Amanda Seyfried, Peter Sarsgaard, Sharon Stone, Robert Patrick, Wes Bentley.

Release Date: Aug 09, 2013

Rated R for strong sexual content, nudity, language, drug use and some domestic violence.

Runtime: 1 hr. 33 min.

Genres: Drama

Review:

Lovelace boast an excellent cast and provocative subject matter. Unfortunately, the film’s direction and script takes the path of least resistance. The first half plays out like a love letter to the 70s while the second half screams made for TV Lifetime movie. Long time documentary filmmakers, Jeffrey Friedman and Robert Epstein, can’t find a proper tone for the film so they just split it up, giving us 2 versions of the same events. It might have worked if the script wasn’t so simplistic and clichéd. The characters are all broadly drawn with the titular character relegated to a victim for the better part and then short changing her transformation into a house wife and activist. There’s a better film in there somewhere but the people behind the camera can’t find it, it’s a shame because the cast is excellent. Amanda Seyfriend is excellent in the lead role. Seyfriend shows she’s got the range to show the character’s naivety, fear and strength. Peter Sarsgaard is equally tuned in throughout delivering a sleazy portrayal which just oozes through the screen even as the character gets more and more clichéd. The supporting cast is made up of interesting well known actors putting in strong performance in limited capacities; Sharon Stone Chris Noth and Bobby Cannavale are noteworthy. Sadly, Lovelace just can’t overcome its glaring issues with the script and direction.

C-

MOVIE REVIEW: LES MISERABLES

The King's Speech's Tom Hooper directs this adaptation of Cameron Mackintosh's successful musical version of Victor Hugo's classic novel. The drama surrounds the obsessive quest of Inspector Javert (Russell Crowe) as he spends years in an effort to capture escaped convict Jean Valjean. Hugh Jackman co-stars in the Universal Pictures production. Anne Hathaway, Amanda Seyfried, and Sacha Baron Cohen also star. ~ Jeremy Wheeler, Rovi

Release Date: Dec 25, 2012

Rated PG-13 for suggestive and sexual material, violence and thematic elements

Runtime: 2 hr. 38 min.

Genres: Drama, Music/Performing Arts

Director: Tom Hooper

Cast: Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Sacha Baron Cohen,
Helena Bonham Carter

Review:

The cinematic version of Les Misérables will give you goose bumps one moment then have readjusting in your chair as the barrage of bombastic yet bold musical numbers beat you into submission. It’s all wonderfully staged by a dedicated Tom Hooper. He treats this beloved musical with a tenderness and love throughout. Everything is wonderful to look at and listen to. Hooper just lets you dive right in and never really lets you take a breath. His A+ cast belts out tune after tune with impassioned veracity and emotional heft. At its center is Hugh Jackman who anchors the entire production with his impressive vocals and performance. Jackman’s stage talent and experience is readily apparent, making his casting a real win for film. Anne Hathaway has garnered plenty of attention because of her turn as Fantine and its well deserved. Her screen time is incredibly limited but she leaves a strong emotional impression. Less impressive is a miscast Russell Crowe. I’ve been a fan of Crowe for years and while he looks the part, his vocal chops are just all wrong for this type of film and character. It’s a major misstep, one that detracts from the film’s quality as a whole which is a real shame. An angelic Amanda Seyfried is strong if limited as the older Cosette. She’s outshined by her character’s counterpart played by Samantha Barks. Barks oozes melancholy as she belts out her songs about unrequited love. Hooper moves his film at a methodical pace but the story does leave you feeling a bit disjointed as it changes from intimate to global back to intimate. Flaws aside, it’s an opulent piece of musical filmmaking which keeps your eyes glued to each actor’s soulful eyes as they sing about dreams lost and found.

B+

Movie Reviews: JENNIFER’S BODY

Sunday, September 20, 2009
Movie Reviews: JENNIFER’S BODY
IN THEATERS

JENNIFER’S BODY

From the production team behind "Juno" is a new film about one teenager's uncontrollable appetite for teenager boys. When a demon takes possession of her, high-school hottie Jennifer (Megan Fox) turns a hungry eye on guys who never stood a chance with her before. While evil Jennifer satisfies her appetite for human flesh with the school's male population, her nerdy friend, Needy (Amanda Seyfried), learns what's happening and vows to put an end to the carnage.


Cast: Megan Fox, Amanda Seyfried, Adam Brody, J.K. Simmons, Amy Sedaris


Director: Karyn Kusama


Opened ..September 18, 2009..


Runtime: 1 hr. 42 min.


Rated R for sexuality, bloody violence, language and brief drug use.


Genres: Horror Comedy, Horror


Review:





Jennifer’s Body is a fun little horror comedy that delivers more laughs than scares but it isn’t without its flaws. Written by Diablo Cody, who also penned Juno, the script is pepper with plenty of overly complicated dialogue which you’ll either enjoy of despise. Personally I find it enjoyable even if it’s removes any semblance of realism but then again this film doesn’t really need it. Cody borrow or pays homage, depending on how you look at it, to plenty of classic horror conceits but give them a nice shot of estrogen which is a refreshing turn. Director Karyn Kusama moves her film along as a brisk pace but she does throw in some visual flourishes that make this stand out versus other generic horror films. Megan Fox doesn’t have to try to hard here as she’s isn’t asked to do anything but look incredibly hot and occasionally utter a few lines of dialogue. Fox is shot like she’s starting in some classic 80’s horror fest. Amanda Seyfried does the majority of acting and is good fun as the nerdy best friend who has to deal with her friend’s demonic turn. Both have some good scenes together but their relationship doesn’t feel authentic. It’s a fairly prevalent issue because there’s a disconnect with the characters throughout, as if each is in their own little world. While Cody’s flower dialogue is fun it does make the characters feel robotic and unnatural. As the film heads towards it’s finale it begins to drag a bit and we given a few scenes that feel like the end but they aren’t. It’s mildly bothersome but doesn’t detract from the overall enjoy in store for genre fans.





B-