Cindy Prascik's Reviews of The Beatles Let It Be & The Idea of You

My dear readers: With apologies for the lengthy radio silence, this Mother's Day weekend I offer my takes on a pair of streaming options: Let It Be and the Idea of You.

Spoiler level here will be mild.

First on my weekend agenda, a restoration of the maligned 1970 Beatles documentary, Let It Be.

A disclaimer: The Beatles are my whole life, and I debated whether to watch the new Let It Be. I remember being traumatized by the movie's depiction of strife within the band when I was a kid, but - with the context provided by Peter Jackson's Get Back documentary, and with an adult understanding of the complexities of adult relationships - I hoped the film might hit differently. I'm pleased to say it absolutely did. The members of the Beatles often were at cross-purposes during this time, but their disagreements seem much less the focus of the movie than I remember. Truly, the film spends most of its time on the birth of now iconic songs from the Beatles' Let It Be and Abbey Road albums, culminating on the rooftop with their final live performance. It is not a particularly well-crafted documentary, especially in light of last year's Get Back, but it is an important piece of Beatles history, and I'm grateful to see it restored for the next generation of Beatlemaniacs...and the next and the next.

On the heels of Get Back, Let It Be feels like the CliffsNotes version of this story, but you can't go wrong with 90 minutes of Beatles music.

Of a possible nine Weasleys, Let It Be gets seven.

Let It Be is now streaming on Disney+.

Next on the docket, the May-December romance the Idea of You.

A young pop star and an older art museum owner become romantically involved.

A qualifier on this one, too: A rumor persists that this film is based on a Harry Styles fanfiction. I refute this picture based on it being sourced from a Harry Styles fanfiction that is not Tired Tired Sea. However, Anne Hathaway is a perpetual favorite of mine, and Nicholas Galitzine is a new favorite of mine, and the movie is free on Prime, so who am I to say no?

The Idea of You is a big ol' cliche, or, more specifically, a bunch of littler ones. There are a many cringey artistic choices (the lingering stares physically hurt me), and more cringey dialogue. The film survives on the charm of its leads, but even this much charm barely gets it off life support. It's certainly not something I could see making it to the big screen in "the before times."

There are no surprises in the Idea of You, but maybe when you settle in with a movie like this you want comfortable more than surprising. Of a possible nine Weasleys, the Idea of You gets four.

The Idea of You is now streaming on Prime Video.

Until next time...

Cindy Prascik's Review of The Last Thing He Wanted

This weekend the never-ending Quest for Quality Home Viewing lead me to a Netflix nugget called the Last Thing He Wanted. While the Last Thing He Wanted boasts a hilariously discouraging five (5) percent rating on Rotten Tomatoes, it stars Oscar winners Ben Affleck and Anne Hathaway, both of whom I adore. How bad could it be? Well...

Spoiler level here will be mild-ish.

Hathaway portrays Elena McMahon, a journalist who, thanks to her no-good father, gets mixed up in her own story about Central American arms dealing.

The Last Thing He Wanted has many moving pieces. SO many moving pieces. Rather than shifting them craftily around a chess-board of a film, the movie throws them in the air a-la 52 Pickup. I'm not sure they all come down. Players move in and out of frame — revealing and concealing motives — as the picture's various paths attempt to converge on one cohesive road. Hathaway does a good job in the lead. Some of her dialogue is clunky, but she's a bit of a bright spot in a movie that has few enough. A weirdly-shiny Affleck "enjoys" less screen time, and certainly does less with it. His character is pretty obvious, so most or even all of that may not be his fault. The picture boasts an impressive list of supporting talent, including Willem Dafoe, Rosie Perez, Edi Gathegi, and the always wonderful Toby Jones. As terrifying as McMahon's trip down the rabbit hole is, the Last Thing He Wanted never sustains much tension, as most of the characters prove to be exactly what you suspect they are from the first time you see them. A political thriller like this obviously features its share of violence, and one particularly disturbing scene will bother me long after I've forgotten the rest. I am here to warn you, this movie offers you nothing that's worth having this image in your head forever. Having said ALL of that, I didn't hate the Last Thing He Wanted. I didn't hate it right up to the last minute...when it did exactly what I knew it was going to do from the first minute. Then I hated it.

The Last Thing He Wanted runs 115 minutes and is rated R for "language, some violence, disturbing images, and brief nudity."

At risk of stealing a phrase I feel certain already must have been used to describe this movie, the Last Thing He Wanted truly is the last thing any of us wanted. (But Anne and Ben, I still love you and will always watch whatever you do!) Of a possible nine Weasleys, the Last Thing He Wanted gets two.

Until next time, dear reader(s), I hope you all are staying safe and sane as this crisis drags on, and I hope to see you at the cinema very soon!

Cindy Prascik's Reviews of Dark Waters & Cats

The weekend before Christmas provided an opportunity to catch up with my sorely neglected cinema. First priorities: Dark Waters and Cats.

Spoiler level for Dark Waters will be mild, nothing you wouldn't know from the trailers or the news. I don't think there are proper spoilers for a film like Cats--it's not exactly rife with plot twists--but I'm going to talk about it in excruciating detail. If you really don't want to know anything before you see it, or if you really don't want to read 1500 words on one of the year's worst movies, please proceed accordingly.

First on my weekend docket: Dark Waters, a based-on-actual-events tale of the attorney who took on chemical giant DuPont over poisoned water in Parkersburg, West Virginia.

Dark Waters is a compelling story told in pedestrian fashion, a disappointment considering the names involved. It's weirdly edited in places, with some shots lingering overlong while others cut off so abruptly it seems like somebody forgot to come back and finish it. The movie wears its agenda on its sleeve, with broadly-drawn good guys and bad guys, chugging along at a deliberate pace that makes it seem longer than it is. Some good tension builds towards the end, as the case comes to a head, but it's pretty late in the game. The big-name cast includes Mark Ruffalo in a fine but unremarkable turn as Robert Bilott, David to DuPont's Goliath. Anne Hathaway and Tim Robbins are up and down as Bilott's wife and boss/mentor, respectively. Bill Pullman turns in the only performance I really enjoyed, and his screen time is, sadly, rather limited. West Virginia doesn't necessarily get the worst cinematic treatment it's ever had, though certainly Dark Waters doesn't have an opportunity to show our state at its best, even if it effectively portrays the resilience of our people. (Some would say "bull-headedness," but we'll stick with "resilience" here.) Dark Waters is a movie worth seeing, but maybe more worth seeing on Netflix or as a rental, rather than with the full cinema pricetag.

Dark Waters runs 126 minutes and is rated PG13 for "thematic content, some disturbing images, and strong language."

Dark Waters is a serviceable telling of a great story, one that's all the sadder as West Virginia continues to sell itself to the highest bidder with little regard for its own well-being. 

Of a possible nine Weasleys, Dark Waters gets seven.

Next up: the big-screen adaptation of Andrew Lloyd Webber's much loved musical, Cats. Buckle up, kids. We're gonna TALK about this one.

On the night of the Jellicle Ball, the Jellicle Leader chooses one Jellicle cat to elevate to a new Jellicle life.

Think that synopsis makes no sense? You aren't alone. Many would say (and have said) Cats makes no sense, there's no story. The plot is a thin one, more a series of vignettes, with each cat making his or her case to win the Jellicle Leader's favor.

Now, the disclaimer: I love Cats. It's one of my top three musicals of all time, and my favorite Andrew Lloyd Webber property. When I see the current national tour of Cats in February, it will mark my 30th visit to the junkyard. Certainly some productions are better than others (the 1993 national tour that featured now-Tony-winning choreographer Christopher Gattelli as Mr. Mistoffelees and Mad Men's Bryan Batt as Munkustrap is a favorite), but I've yet to crawl away disappointed...until this movie. Herein we shall discuss where the film goes wrong, and those few things it actually gets right.

We'll start with some of the big misses: Despite its best-known number being a proper belter, Cats is a dance-oriented show, yet this film has eliminated the most impressive dance sequences: Mr. Mistoffelees' solo, Jennyanydots' tap number (represented, but not properly), and the Invitation to the Jellicle Ball. Each of those pieces is included, but the best dance bits have been cut or bastardized by an over-abundance of CGI. (Anybody else weirded out by those perpetually-erect tails??) The stage production has always gone to great lengths to get makeup, costumes, and feline movement spot-on, but here not a care was taken...in fact, these things are so bad as to appear willfully wrong. Most costumes stop at the ankles, leaving obviously human bare feet on display, though some Jellicles (in their sensible, everyday forms) wear high-top sneakers, boots, overalls, and even a top hat. Human garb in the stage production is a storytelling tool, and generally is crafted to fit with the cat's pattern, such as Misto's vest and bowtie and Grizabella's dress and coat. The film's makeup leaves its very famous faces very recognizable and looking like A-list actors in dollar-store Halloween costumes. It's distracting. Finally, for a barely-there plot that requires no explanation, this movie does an awkward amount of explaining.

By the numbers, Act I:

This movie *almost* gets the Overture right, as there's only a brief frame before its first notes twinkle through the darkened theater. No choreographed Christmas lights, though. Shame. Jellicle Songs for Jellicle Cats fares better than most numbers, though it suffers some unfortunate edits, ditto the Naming of Cats, where they left in the line about cats having three different names, then edited out the stanza about the second name. Hope no one's counting! Robbie Fairchild does a fine job with my second-favorite Jellicle, Munkustrap. Munkustrap is the busiest cat in the junkyard, serving as a sort-of narrator and appearing in nearly every number, so it's important that he's good. This one is good. Rebel Wilson's crass performance as Jennyanydots, the Old Gumbie Cat, renders one of the show's cutest numbers a vulgar exercise. Jason Derulo lacks the chutzpah that makes Rum Tum Tugger so much fun when he's done right, but he's a good singer and has some presence. James Corden as Bustopher Jones is one of the movie's better-cast roles, though the number's adapted rather stupidly. Mungojerrie and Rumpelteazer are deprived of their perk, and neither Danny Collins nor Naoimh Morgan brings any real charm to these audacious felines. Also...there's no tumbling, dammit! Dame Judy Dench is okay as Old Deuteronomy, though I miss the traditionally-male Jellicle Leader's big, booming voice. The new number written by Sir Andrew with Taylor Swift specifically for this film is a dud. It's performed by our Victoria, Francesca Hayward, also something of a dud. Victoria is a featured dancer in the show, so it's baffling that filmmakers chose an accomplished ballerina for the role, then assigned her a bunch of singing and smothered her beautiful dancing in CGI. The Jellicle Ball is a bizarre Furry orgy that again buries its choreography in badly-done effects. Ye gods.

Onward to Act II:

Ian McKellen is of Cats' biggest victories as Gus, the Theater Cat. He doesn't have as much to do as you'd like Sir Ian McKellen to do if you were lucky enough to get him for your movie, but he's quite a good fit. Steven McRae is a pretty solid Skimbleshanks, too, though the number itself is disappointing compared to its live cousin. (Skimble is my third-favorite Jellicle; it's important to get Skimble right.) Macavity...uh...where do I even start? Idris Elba, inarguably (for my money) the sexiest man alive, is utterly ridiculous in a role that is, by default, nefariously sexy. First, he does too much talking. There is no talking in Cats. There is only singing and dancing. Secondly, you can see too much Idris Elba (aren't those weird words to put together?) to think he's anything but Idris Elba in a goofy fur suit. That's down to makeup AGAIN. Finally, his Bombalurina is Taylor Swift, an admirable artist for many reasons, but entirely miscast as this very sexy, very mature Jellicle. Macavity is one of the show's best numbers, and one of the film's worst. How very disappointing. Next up is my favorite Jellicle, Mr. Mistoffelees. (It is MOST important to get Mr. Mistoffelees right.) Laurie Davidson is, in fact, quite a good Mr. Mistoffelees. I mean, he's no Jacob Brent, but he's definitely the best part of the movie, despite the filmmakers cutting his big solo. Following Misto's abbreviated number, our Grizabella turns up for the showstopper, Memory, or, as Jennifer Hudson sings it, "Mamwee." Jennifer Hudson has a great voice--that is an indisputable fact--but it's outweighed by her perpetually-running nose, vacant stare, and sloppy diction. This Grizabella ascends to the Heaviside Layer not in an old tire, but rather in a chandelier (perhaps a nod to ALW's other dumpster-fire film adaptation, the Phantom of the Opera?).  The finale, the Ad-Dressing of Cats, feels like an anti-climax minus an Old Deuteronomy with a commanding baritone, but the fact that it's not a complete disaster feels like a win.

A few missing pieces: Growltiger makes a surprise appearance, but his featured number is predictably absent from the film, as it has been from most of the recent Cats productions I've seen (I assume due to its racial insensitivity). There are no Pekes or Pollicles, also frequently axed from the stage production. As mentioned, while the film visits a junkyard, the junkyard isn't its primary home, an artistic choice that won't have much bearing on your enjoyment of the movie unless you really love that junkyard. (I do.) At least they got the "Vivat!" right, I guess.

Here's something I learned about Cats when it was revived on Broadway a couple years back: While shows like Hedwig and Hair really seem to find their audiences in revival--remaining relevant even while painted by the times in which they're set--Cats is not so fortunate. Debuting in London in 1981 and on Broadway in 1982, the nearly-plotless two hours of dancing felines seemed a good fit for the Ferris Bueller and Duran Duran set, even a game-changer for the time. In 2017, alongside Hamilton, Indecent, and even Come From Away, Cats just seemed irrelevant. I still shelled out for a front-row seat on my annual trip to the Big Apple, and I still loved it, but it was definitely a show out of its time. Had this movie been a straightforward adaptation of the stage production (I'd hoped for some improvement on the direct-to-DVD 1998 attempt), it still would be too late for this show to set the world on fire, but a quality big-screen version would have found its audience among the show's fans, of which there still are many. Instead, it's been turned into a punchline, a bad-movie benchmark for the foreseeable future, and here's the thing about that: In "serious" theater circles, Cats is already a punchline. Low-brow theater, tourist fare. It's also a very specific, unique thing that can't be made into something it's not. You can love or hate it for what it is, but you can't effectively change what it is. In attempting to do just that, Tom Hooper and company have made Cats a punchline for what it *isn't,* and that just breaks my heart. If In the Heights weren't already in the can and looking so promising, I'd worry Cats was bad enough to scare Hollywood off the movie musical for some time.

Cats clocks in at 110 minutes and is rated PG for "some rude and suggestive humor."

The 2019 film version of Cats is a travesty, crafted by people who either failed to understand this terrific show on a fundamental level or simply didn't care. Of a possible nine Weasleys, Cats gets three (one for each of my favorite Jellicles).

The current national tour of Cats is in Toronto through January 5th, moving to Boston and Baltimore immediately following. For my locals, the show rolls into Pittsburgh's beautiful Benedum Center from February 25th through March 1st. For a full list of dates and tickets, please check out the link below. Please do not let this abomination of a film deter you from seeing this legendary show in person.

https://ustour.catsthemusical.com/tickets/

Now...who's up for a Starlight Express revival??

Until next time...

Cindy Prascik's Reviews of Ocean's 8 & Hotel Artemis

Dearest Blog: Yesterday it was off to Marquee Cinemas for Oceans 8 and Hotel Artemis, or, how best to waste some of the most talented, interesting, and beautiful actors working today.

Spoiler level here will be mild, almost nothing you wouldn't know from the trailers. (I'm giving away one (1) cameo from Oceans 8. If you don't want to know, read after you've seen it.)

First on the docket: Oceans 8.

Debbie Ocean carries on the family tradition with an all-female crew, because in 2018 Hollywood, gender-bent versions of old movies pass for new content. For the record, let it be noted that Karina and I had the idea for an all-male Charlie's Angels YEARS ago and will expect full credit when the time inevitably comes. (It's gonna be All Chris, too: Evans, Hemsworth, and Pine or Pratt...we're still agreeing to disagree there.)

Oceans 8 isn't really a good movie, nor is it a terrible movie. The one thing it absolutely *should* be is a fun movie, but, sadly, instead it's rather dull. Bad news out of the way first: These characters are AWFUL...caricatures unworthy of the least of the actresses to embody them, nevermind the goddess that is Helena Bonham Carter. The dialogue is especially awkward at the start, though it improves slightly as the movie progresses. The humor is also spotty, occasionally amusing is about as good as it gets. Even the heist itself is a letdown; it seems clever, yet its execution never feels as edge-of-your-seat as it should.

The good news is Oceans 8 is a pretty easy watch despite all that, thanks to terrific eye candy. If you're thinking I mean the lovely ladies, you're right, but the picture is also set during the annual Met Gala and is filled with all the unique and stunning fashions for which the event is famous. Then there's Richard Armitage, certainly not hard on the eyes. Call me shallow, but the combination was more than enough to hold my interest. If looking out for cameos is your bag, Oceans 8 has plenty of those too, so keep those eyes open. (Move over Kardashians, my favorite was Junior's Cheesecake!)

Oceans 8 clocks in at 110 minutes and is rated PG13 for "language, drug use, and some suggestive content."

With a lesser cast, Oceans 8 would be a passable but forgettable bit of summer escapism. Even as sub-par as it is, there are worse things than than watching some of Hollywood's best actresses punching below their weight. 

Of a possible nine Weasleys, Oceans 8 gets four and a half.

Next up: Hotel Artemis.

In riot-plagued 2028 Los Angeles, a nurse runs a secret, members-only hospital for criminals.

Dear reader(s): Though it's nearly impossible to do in the Internet age, I went into Hotel Artemis cold, save for one headline that crossed my Twitter feed early yesterday: "What Made Jodie Foster Agree to Star in the Worst Movie of the Year?" So...lowered expectations, then?

I feel like I can't be the only one who's at least a little bit over the whole dystopian thing, but Hotel Artemis seemed an interesting enough idea, and a cast that features Jodie Foster, Jeff Goldblum, Sterling K. Brown, Zachary Quinto, Sofia Boutella, and Charlie Day sounds can't-miss. Sadly, like Oceans 8, Hotel Artemis gives its incredible talent only cookie-cutter characters to work with. Even the good guys are unlikable, though (with very limited screen time) Jeff Goldblum is a delight as one of the baddies. If you're squeamish about violence or language, you'll want to check in somewhere else, but if you don't mind a side of blood and F-bombs with your action and criminal machinations, Hotel Artemis is the place for you.

Hotel Artemis runs a quick 93 minutes and is rated R for "violence and language throughout, some sexual references, and brief drug use."

Hotel Artemis takes an interesting premise and turns it into a by-the-numbers thriller. It's not fair to call it the year's worst movie, but it's certainly nowhere near its best. 

Of a possible nine Weasleys, Hotel Artemis gets five.

Until next time...

Ar

MOVIE REVIEW: OCEAN’S 8

Five years, eight months, 12 days and counting -- that's how long Debbie Ocean has been devising the biggest heist of her life. She knows what it's going to take -- a team of the best people in the field, starting with her partner-in-crime Lou Miller. Together, they recruit a crew of specialists, including jeweler Amita, street con Constance, suburban mom Tammy, hacker Nine Ball, and fashion designer Rose. Their target -- a necklace that's worth more than $150 million.

Director: Gary Ross

Cast: Sandra Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna, Helena Bonham Carter

Release Date: June 8, 2018

Genres: Action, Comedy, Crime

Rated PG-13 for language, drug use, and some suggestive content

Runtime: 1h 50min

Review:

Ocean’s 8, the female centeric continuation of the Ocean franchise, is an enjoyable but safe reboot.  Gary Ross tries his best to capture that cool vibe and spirit of the original film.  He delivers a glossy fizzy film that that’s about as lightweight as they come.  Sandra Bullock leads the film ably even if her Debbie Ocean is a far call from Clooney’s Danny Ocean.  Bullock performance is fine but the film undersells its lead without much characterization, leaving her a bit of a cipher throughout.  Cate Blanchett, ever the chameleon, is lots of fun as Bullock’s partner in crime.  Blanchett and Bullock have some solid chemistry together and their plenty of fun when they’re plotting or interacting.  The remaining members of the crew are all good fun in varying degrees of effectiveness.  Anne Hathaway leaves the biggest impression with her self parody performance that people will either love or hate.  Ocean’s 8 is never boring or uninteresting but it’s all so inconsequential that you’ll probably never think about it again.

B-

Cindy Prascik's Reviews of Interstellar & Big Hero 6

 


Dearest Blog, yesterday I set off for the cinema with a chip on my shoulder about excessively-long movies. On the docket: Interstellar (ahem) and Big Hero 6.

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

First up, Christopher Nolan's newest epic, Interstellar.

With Earth falling to ruin, a group of scientists heads into space to find mankind some new digs.
My reaction to the announcement of Interstellar's runtime: "Are you %&$#@!& kidding me??" Most movies that exceed two hours don't do much to earn the extra screentime, and I well and truly feared I might be lulled to sleep by three hours of Matthew McConaughey's lazy drawl. I repentantly admit I should have trusted in the Genius of Nolan.

Interstellar is not a perfect movie. It's VERY long and, while it's too complex to say, "Cut that ten-minute car chase and we're good!" a bit of cropping here and there would have served it well. The performances are solid across the board, but three hours of McConaughey IS a lot to take, and I can't remember the last time I wanted to punch a fictional character in the face as much as I did Anne Hathaway's. (I'm not among that curious lot who despises Hathaway; on the contrary, she's a favorite of mine, but this character...not so much). Some dialogue is inexcusably cheesy for a movie that so wants and expects to be taken seriously. The score is strangely and obtrusively loud at times.

The good news is none of that keeps Interstellar from being a very, very good movie that easily holds your attention for the duration. Performances are solid across the board. Hans Zimmer's score is beautiful, despite those few jarring blasts. I suspect those even may be intentional, as they create a stark contrast with the absolute silence that follows. Interstellar boasts a smart, intricate plot that takes many turns I did not expect. The pacing is deliberate--almost a full hour is devoted to the setup--but it doesn't feel slow or even all that long. Finally, Interstellar makes Gravity look like a first-year film-school project; it is absolutely magnificent and should be seen on the biggest screen you can find.

Interstellar clocks in at 169 minutes (you heard me) and is rated PG13 for "some intense perilous action and brief strong language."

Interstellar won't be everyone's cup of tea.

The length may seem not just daunting, but pretentious to some, and the story perhaps too convoluted.

To me, though, it's a stroke of pure cinematic brilliance that has (for the moment, at least) cured me of questioning the wisdom of Christopher Nolan.

Of a possible nine Weasleys, Interstellar gets eight.

Next on the agenda was Disney's animated feature Big Hero 6.

A group of young scientists teams with the world's cuddliest robot to solve a mystery that strikes close to home.

Well, dear reader(s), you know how I'm always saying low expectations are the key to a happy life? Throw that out the window and have the highest expectations you can imagine for Big Hero 6 and you still won't be disappointed. I loved this so much I hardly know where to start, but.......
...I guess we'll start with the obvious. When it comes to animation, the biggest thing for me is always going to be: How good does it look?

Big Hero 6 looks so amazing it jumps right off the screen, and that's just in 2D. In 3D, I daresay it would be a feast for the eyes like no other. The artwork and colors are stunning, and the action sequences are possibly the most eye-catching I've ever seen. Big Hero 6 has plenty of great messages for kids (and adults), but it never feels like one of those Message Movies that beats you over the head with its point. The characters are terrifically diverse; I can't imagine there's a kid anywhere who won't see himself and his own potential in at least one of them.

The storyline is sad at times--though realistically, not morosely, sad--but a hopeful tone runs throughout. Big Hero 6 is smart, interesting, and laugh-out-loud funny, a perfect movie cocktail for children and adults alike. Annnnnnnd...most importantly, Baymax is the cutest animated lead since Nemo. I want one.

Big Hero 6 runs 108 minutes and is rated PG for "action and peril, some rude humor, and thematic elements."

Big Hero 6 is my favorite animated film of 2014. I liked it even better than the Lego Movie, and it's guaranteed a spot in my year-end top ten.

Of a possible nine Weasleys, Big Hero 6 gets eight and a half.

Until next time...

PS: Ever notice you can always spell "McConaughey" correctly if you only remember there's an "ugh" in the middle?  ;-)

MOVIE REVIEW: INTERSTELLAR

In Earth's future, a global crop blight and second Dust Bowl are slowly rendering the planet uninhabitable. Professor Brand (Michael Caine), a brilliant NASA physicist, is working on plans to save mankind by transporting Earth's population to a new home via a wormhole. But first, Brand must send former NASA pilot Cooper (Matthew McConaughey) and a team of researchers through the wormhole and across the galaxy to find out which of three planets could be mankind's new home. ~ Jason Buchanan, Rovi

Director: Christopher Nolan    

Cast: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine, Casey Affleck.

Release Date: Nov 07, 2014    

Rated PG-13 for some intense perilous action and brief strong language    

Runtime: 2 hr. 49 min.    

Genres: Action/Adventure, Drama    

Review:

Interstellar aspires to be great but Christopher Nolan’s newest film never reaches such heights.  It’s a solid film even if it tugs at hearts strings a bit too much for my liking.  The cast deliver somber, serious performances which is a clear reflection of how dedicated they are to their director.  Nolan delivers some majestic visuals which will remind even casual movie goers of a certain sci-fi classic.  The biggest problem with all the nods to 2001 is that it begs the comparison to the Kubrick classic.  A comparison it never stands a chance to win.  On its own terms it’s a weird hodgepodge of Contact, 2001 & the Lost in Space remake from 1998.  That’s not to say it’s not an enjoyable ride which is the good news especially considering the nearly 3 hour runtime.  It’s bloated and could have been trimmed substantially without losing any of its punch.  Instead it’s a film that thinks it’s a lot better than it actually is.

B-

Cindy Prascik's Review of The Grand Budapest Hotel and Rio 2

Dearest Blog, yesterday it was off for what I hoped would be a quiet afternoon at the cinema. On the docket: The Grand Budapest Hotel and Rio 2.

Spoiler level here will be mild-ish, almost nothing you haven't seen in the trailers. I do have to mention one specific thing from Grand Budapest Hotel, which, while not a plot spoiler, might be more than some want to know before seeing it.

The Grand Budapest Hotel was first on my agenda.

A former lobby boy recounts his adventures with his mentor, a concierge at the Grand Budapest Hotel.

I guess it's first and foremost important to point out that I'm neither an expert nor the number-one fan of Wes Anderson. I've seen a couple of his previous films and liked them, but none ranks among my favorites. Still, I loved the Grand Budapest Hotel trailer and expected great things.

The Grand Budapest Hotel is quirky and clever, full of humorous little twists and great dialogue. It boasts a fine cast, including Ralph Fiennes, who is phenomenal in the lead. The scenery and set pieces are so glorious they almost deserve top billing themselves. Why, then, did the movie leave me a little flat? I really couldn't say. Other than pointlessly playing a dead cat for laughs (an automatic deduction of one-half Weasley on the final grade), there wasn't anything specific I didn't like; on the contrary, I liked all of it very much...yet I didn't walk out of the theatre with that feeling I get when I've seen a really great movie. Due to my unusually high expectations, maybe that feels more disappointing than it should.

The Grand Budapest Hotel runs 100 minutes and is rated R for "language, some sexual content, and violence."

Smart and funny, well written and well acted, somehow The Grand Budapest Hotel is still less than inspiring. Of a possible nine Weasleys, The Grand Budapest Hotel gets six and a half.

Closing yesterday's double-bill was the animated sequel Rio 2.

Blu and family leave their comfortable Rio home to fly to the aid of Linda and Tulio in the Amazon jungle, but the jungle, they find, is full of surprises.

Rio is one of my all-time favorite animated films. It's not special, like How to Train Your Dragon, but it's so pretty and lively you can't help but be happy while watching it. I had high hopes for Rio 2, but, alas, it falls very far short of the bar set by its predecesser.

Rio 2 is as beautifully drawn, colored, and animated as the original. It throws in a bouncy tune here and there to keep the kids' attention, though, as an adult, it feels more like uncomfortable, contrived attempts to show off the alleged singing talents of certain cast members. Jesse Eisenberg is a delight as Blu, and would easily stand out even if the rest of the cast weren't so...meh. It was no surprise to me that a cartoon Kristin Chenoweth is just as annoying as a live-action one, but Rio 2's chief problem goes beyond petty annoyances; the sad truth is it's just plain boring. It's not an overly long movie, yet it seems to go on forever, and a few good laughs and some nice-looking artwork are by no means enough to recommend it. If I had to say one good thing, it'd be that a Friday afternoon screening spared me the eight-year-olds' birthday parties with which I've been cursed at my other recent animation outings.

Rio 2 clocks in at 101 minutes and is rated G.

An unworthy sequel to its delightful predecessor, of a possible nine Weasleys, Rio 2 gets four.

Until next time...

If I play my cards right, there might be room for me in that dragon movie!

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 REVIEW: THE DARK KNIGHT RISES [Spoiler Free]

IN THEATERS

THE DARK KNIGHT RISES




Christopher Nolan's Batman trilogy concludes with this Warner Brothers release that finds The Dark Knight pitted against Bane, an unstoppable foe possessed of tremendous physical and intellectual strength. Nearly a decade after taking the fall for Harvey Dent's death and disappearing into the darkness, a fugitive Batman (Christian Bale) watches from the shadows as the Dent Act keeps the streets of Gotham City free of crime. Meanwhile, an elusive cat burglar seizes the chance to strike, and a masked anarchist plots a devastating series of attacks designed to lure Bruce Wayne out of the shadows. Determined not to abandon the people who he once risked his life to protect, The Dark Knight emerges from his self-imposed exile ready to fight. But Bane (Tom Hardy) is ready, too, and once Batman is within his grasp, he will do everything in his power to break Gotham City's shadowy savior. Oscar-winner Michael Caine and Gary Oldman return in a sequel also starring Anne Hathaway, Marion Cotillard, and Joseph Gordon-Levitt. ~ Jason Buchanan, Rovi

Director: Christopher Nolan

Cast: Christian Bale, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-
Levitt, Michael Caine , Gary Oldman, Morgan Freeman

Release Date: Jul 20, 2012

Rated PG-13 Intense Sequences of Violence, Intense Sequences of Action, Language and some Sensuality

Runtime: 2 hr. 45 min.

Genres: Action/Adventure, Suspense/Thriller

Review:

In a summer of movies where one anticipated film is followed by another, there was only one that truly and deeply had me waiting desperately and impatiently. After having digested The Dark Knight Rises twice now, I can say that Christopher Nolan has created one of the best trilogies of all time for one of the seminal character in pop culture. With TDKR Nolan has made the Avengers look quaint in comparison. Incredibly satisfying and emotionally impactful, this finale ends the series with a real bang. Borrowing pieces from graphic novels like The Dark Knight Returns, No Man’s Land, a sampling of Batman Beyond and even a bad Batman The Animated Series episode, TDKR is a cornucopia of delights for Batfans like me. Little winks and nods of fan service are peppered into the film making me about gleeful as an unsupervised child in a candy store. The story meshes incredibly well with the overall arch of the first 2 films especially Batman Begins. Bale is given the spotlight here, rightfully so, and he’s incredible. Bale portrays Wayne, Batman himself is actually only in about a third of the overall film, as a man dealing with the after effects of the 2nd film’s finale. He displays Bruce’s struggle to find meaning and direction in his life with textured nuance. Tom Hardy, who looks like Brian Urlacher dressed for an S&M party, is quiet impressive as the primary villain here. Sounding like a cross between Darth Vader and Sean Connery, his Bane is a shark to Heath Ledger’s wild dog Joker. Bane is menacing and intimating, brimming with confidence in every scene which is impressive considering Hardy only has his hands and eyes to act with because of the face mask. Equally impressive and perhaps more surprising is Anne Hathaway’s Catwoman. Hathaway just nails the character’s essence and persona right from the start. This is a more traditional Catwoman than the S&M Burton version. As such it feels more in keeping with her character from the comic and animated sources, a real delight. Joseph Gordon-Levitt & Marion Cotillard both do solid work in roles that are vital to the story arch. With all the new faces in this entry some of the series standby take a bit of a back seat but still leave their mark such as Oldman perfect pitch Gordon which is always a joy, as is Morgan Freeman’s Lucius Fox. Michael Caine though deserves special recognition as Alfred even though he’s in this film a lot less than previous entries. Caine has a few scenes that deliver potent emotional punches in his roles as Bruce’s paternal figure. Together this cast creates a lush and vivid Gotham that’s alive and earned through the other film’s set up. The film rolls towards it’s final act which itself is an impressive piece of directing by Nolan since it’s pretty much a very well orchestrated version of the 1966 Batman finale where Adam West was running around with a bomb over his head. Of course that’s an exaggeration but it’s a testament to the strength of the film that it works so well as a thrilling finale giving me many a goose bumps throughout. If there are a few nitpicks they are very minor. Some of the dialogue feels clunkier that the previous entries and some character’s like Matthew Modine’s Assistant Chief serve little to no purpose. Minor issues but apparent. Regardless, you’ll leave the theater wondering how that nearly 3 hour run time passed by so fast and when you can see it again.

A

[Trailer] Les Miserables

I was a little unsure of what to make of this latest adaptation when I first heard about it. Casting rumors ran wild and thankfully they settled on some impressive names, with an impressive proven director.

This first trailer sure does set the stage for what to expect with Anne Hathaway showing off some impressive vocals to go along with some strong looking sets and visuals…..

[Final Trailer] THE DARK KNIGHT RISES

An early gift has presented itself, maybe because Nolan doesn’t want fanboys to forget his little film with all The Avengers hype leading up to this Friday.

This final trailer is incredible, probably up there with the Prometheus trailer. It’s quiet, dark and full of foreboding mixed with plenty of new images to just make a fan like me go batty…..

[Trailer] The Dark Knight Rises

The full trailer for The Dark Knight Rises is finally out on the web. I saw it on IMAX this weekend before Mission Impossible: Ghost Protocol and after watching it again I’ve had the same reaction.

The hairs on my arm just stand up as I witness the epic-ness that on display…..

QUICK HIT MOVIE REVIEWS: LOVE AND OTHER DRUGS & SKYLINE

ON DVD

Love and Other Drugs



Handsome and charming pharmaceutical rep Jamie (Jake Gyllenhaal) falls head over heels for radiant free spirit Maggie (Anne Hathaway), and together the two people who never thought they would fall in love discover that their intense chemistry is more powerful than any drug on the market. ~ Jason Buchanan, Rovi

Director: Edward Zwick

Cast: Jake Gyllenhaal, Anne Hathaway, Oliver Platt, Hank Azaria, Josh Gad

Release Date: Nov 24, 2010

Rated R for Strong sexual content, nudity, pervasive language and some drug material

Runtime: 1 hr. 53 min.

Genres: Drama

Review:

Love and Other Drugs is a madding type of film. The first act starts off strong and sharply written and well acted. The second act features a massive tonal shift, becoming dreary and overly serious while the last act become a paint by the numbers sugary sweet romantic comedy with each of the usual tropes being touched as they round for home. It’s so incredibly imbalanced across the board that you could almost make a case for different people liking different parts of the movie while hating as a whole. Part RomCom, part satire, part sex comedy, it’s the type of film that you couldn’t pin down if you tried. A real shame as there’s some strong material hidden in there and it’s mostly wasted, along with strong turns from it’s mostly naked leads.

C-


Skyline



A series of blindingly bright lights appear all over Los Angeles, mesmerizing the citizens of the city while luring them to an uncertain fate in this sci-fi thriller from sibling filmmakers Greg and Colin Strause. As speculation regarding the origin of the mysterious lights runs rampant, a Los Angeles entrepreneur (Donald Faison), his best friend, Jarrod (Eric Balfour), and Jarrod's frightened girlfriend (Scottie Thompson) struggle to resist temptation as they seek out the source of the luminous threat. ~ Jason Buchanan, Rovi

Director: Colin Strause, Greg Strause

Cast: Eric Balfour, Brittany Daniel, Neil Hopkins, David Zayas, Donald Faison

Release Date: Nov 12, 2010

Rated PG-13 for sequences of intense sci-fi action and violence, some language and brief sexual content

Runtime: 1 hr. 40 min.

Genres: Suspense/Thriller

Review:

Pretty much anything would be an improvement over the Strause Brother first film, Alien vs Predator Requiem, and I supposed Skyline counts as something. Visually impressive but impressively inert and flaccid, Skyline gives you nothing outside of a few nice FXs. The plot and characters are both incredibly stupid and uninteresting. The cast looks visibly embarrassed, some looking as if they just want to be killed off as soon as possible just so they can cash their check and forget they ever did this film. The plot freely borrowing from other alien invasion films to give us the most generic of plots. The Strause Brothers are more concerned with showing off their cool alien designs and want to leave you marveling at the effects, hoping you’d be so mesmerized you wouldn’t notice your brain and wallet being sucked dry.

D-

"Dark Knight Rises" Villains Revealed

A press release from Warner Bros. Pictures has confirmed the two key members of Batman's Rogues Gallery that will appear in the much-anticipated upcoming "The Dark Knight Rises" - Catwoman and Bane. Check it out below:

"Warner Bros. Pictures announced today that Anne Hathaway has been cast as Selina Kyle in Christopher Nolan’s “The Dark Knight Rises.” She will be starring alongside Christian Bale, who returns in the title role of Bruce Wayne/Batman. Christopher Nolan stated, “I am thrilled to have the opportunity to work with Anne Hathaway, who will be a fantastic addition to our ensemble as we complete our story.”

In addition, Tom Hardy has been set to play Bane. Nolan said, “I am delighted to be working with Tom again and excited to watch him bring to life our new interpretation of one of Batman’s most formidable enemies.”

http://www.darkhorizons.com/news/19122/-dark-knight-rises-villains-revealed

MOVIE REVIEWS: ALICE IN WONDERLAND 3D

Sunday, March 07, 2010

IN THEATERS



ALICE IN WONDERLAND 3D

Director Tim Burton and screenwriter Linda Woolverton (Beauty and the Beast, The Lion King) team up to deliver this visually-dazzling take on the classic Lewis Carrol tale. Nineteen year old Alice (Mia Wasikowska) is attending party at a lavish country estate when she sees a White Rabbit with a pocket-watch dart into the bushes. Curious, she follows the rabbit to an enormous tree, and tumbles down a hole that takes her to Underland, a strange world inhabited by anthropomorphic creatures in search of someone to save them from the dreaded Red Queen (Helena Bonham Carter), who has assumed control of the kingdom by decapitating anyone who dares disagree with her. According to a scroll detailing a historical timeline of Underland - including events that have not yet taken place - it is Alice who will set the kingdom free by defeating the Jabberwocky, a powerful, dragon-like creature under the control of the Red Queen. But is this Alice the same Alice who appears in the scroll? While some of the creatures of Underland have their doubts, the Mad Hatter (Johnny Depp) and his friends are certain she's the same girl who previously visited them years ago. When the Red Queen kidnaps the Mad Hatter, Alice attempts to free her friend and locate the one weapon with the power to slay the Jabberwocky, thereby restoring the White Queen (Anne Hathaway) to the throne, and bringing peace back to Underland. ~ Jason Buchanan, All Movie Guide

Director: Tim Burton

Cast: Mia Wasikowska, Johnny Depp, Anne Hathaway, Helena Bonham Carter, Matt Lucas.

Release Date: ..Mar 05, 2010..

Rated PG for scary situations, scary images, fantasy action violence and a smoking caterpillar

Runtime: 1 hr. 49 min.

Genres: Fantasy

Review:


Alice in Wonderland and Tim Burton should be a match made in creative head trip heaven. Sadly, Burton’s adaptation comes to the screen feeling terribly inert and unoriginal. Visually, Burton adds his usual flair to the proceedings and occasionally the film has some inspired moment. Those moments keep you hoping the film will find its stride but it never finds its footing. The story, written by Linda Woolverton, borrows pieces from Alice in Wonderland and its literary follow up Through the Looking Glass feels uninspired and derivative coming off closer to The Chronicles of Narnia than something original. Mia Wasikowska does well in the lead role providing the necessary curiosity and strength. Johnny Depp is surprisingly one note as the Mad Hatter and is probably the biggest disappointment on the acting side. Helena Bonham Carter is good fun as the Red Queen but the character, like the Mad Hatter, is terribly underwritten. Anne Hathaway suffers a similar fate with the White Queen but she does provide some fun moments especially how she moves around. Crispin Glover feels very comfortable in his role as Stayne the Knave of Hearts bringing his usual oddness. The voice talents for the CGI creations are adequate with Stephen Fry making the best impression as the Cheshire Cat. Once the film’s climactic battle comes and goes you can’t help but be left feeling a tad under whelmed. The film’s use of 3D was equally unimpressive with Burton only using it for the occasional trick scenes, something popping towards the audience, and nothing more. Sadly, it’s a symptomatic of the general state of this film. The subject matter could have been a treasure trove for Burton to add his typical spin on but the execution never achieves anything above mediocre.

C-