MOVIE REVIEW: CRY MACHO

 

A onetime rodeo star and washed-up horse breeder, in 1978, takes a job from an ex-boss to bring the man's young son home and away from his alcoholic mum. Crossing rural Mexico on their back way to Texas, the unlikely pair faces an unexpectedly challenging journey, during which the world-weary horseman may find his own sense of redemption through teaching the boy what it means to be a good man.

Director: Clint Eastwood

Cast: Clint Eastwood, Dwight Yoakam, Eduardo Minett, Natalia Traven, Fernanda Urrejola, Horacio Garcia Rojas

Release Date: September 17, 2021

Genre: Drama, Thriller, Western

Rated PG-13 for language and thematic elements.

Runtime: 1h 44min

Review:

Clint Eastwood’s latest film plays like a swan song of his cinematic persona.  Its ready made to be a moving meditation on his iconic western character in a neo western send off.  Eastwood has shown an impressive ability to deconstruct the western drama and delve deeper into the tough guy psyche.  Unfortunately, Cry Macho is a shockingly inert piece of a filmmaking from an acclaimed director and actor.  Eastwood’s film moves at a molasses pace with very little actually happening in terms of action or character development.  The film clocks in at an hour and forty four minutes but it feels much longer than that due to its inability to connect you to these characters.  The main issue is that newcomer Eduardo Minett just isn’t a capable actor at this time. He’s the lynch pin of the entire film and serves as the primary motivating force for the entire story.  He and Eastwood share little to no on screen chemistry which hampers the film as their interactions are far more painful than touching.  Eastwood himself is surprisingly ineffective as a performer in this piece leaving a massive emotional disconnect for the entire film.  It’s a shame that Cry Macho failed on its main emotional story thread because the story is so simplistic that it can’t prop up the uninspired performances. 

D

MOVIE REVIEW: RICHARD JEWELL

During the 1996 Summer Olympics in Atlanta, security guard Richard Jewell discovers a suspicious backpack under a bench in Centennial Park. With little time to spare, he helps to evacuate the area until the incendiary device inside the bag explodes. Hailed as a hero who saved lives, Jewell's own life starts to unravel when the FBI names him the prime suspect in the bombing.

Director: Clint Eastwood

Cast: Paul Walter Hauser, Sam Rockwell, Kathy Bates, Jon Hamm, Olivia Wilde

Release Date: December 13, 2019

Genres: Drama

Rated R for language including some sexual references, and brief bloody images

Runtime: 2h 9min

Review:

Clint Eastwood’s Richard Jewell is an engaging but flawed filmed even though the performances and direction is strong all around.  Eastwood crafts an engrossing film about the truth life event with Paul Walter Hauser delivering a singular performance.  Hauser gives Jewell a sort of Forrest Gump vibe from the get go even though it’s readily apparent that certain aspects of Jewell’s life reeked of warming signs.  He’s painted as an earnest if somewhat delusional individual who ultimately wanted to do the right thing.  His interplay with Sam Rockwell and Kathy Bates really gives the film a spark that gives the understated film life its beating heart.  Unfortunately, the film’s script takes massive liberties with another real life person and their actions.  It’s a glaring misstep that damages the film’s credibility by deciding to go for a clichéd and misogynistic take on the female reporter who is the defacto villain in the film.  It’s a bit puzzlingly that Olivia Wilde would take the role in the first place and then give the character nearly no depth.  Having Jon Hamm do Don Draper with an FBI badge only exasperates how problematic the characterization is.  The fact that Clint Eastwood and his screen writer have no issue taking such an antiquated approach really keeps the film from being some truly special if they’d just gone for a more nuanced approach to the story.  As is, it’s a well acted drama that tells the story of a true life event with fictionalized elements.

B-

Cindy Prascik's Reviews of Mortal Engines and The Mule

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

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

First up: Mortal Engines.

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

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

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

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

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

Next on my agenda: The Mule.

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

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

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

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

Of a possible nine Weasleys, the Mule gets four.

Until next time...

MOVIE REVIEW: THE MULE

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

Director: Clint Eastwood

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

Release Date: December 14, 2018

Genres: Crime, Drama, Mystery

Rated R for language throughout and brief sexuality/nudity

Runtime: 1h 56 min

Review:

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

B-

MOVIE REVIEW SULLY

Tom Hanks stars in this portrait of airline pilot Chesley "Sully" Sullenberger, which depicts his successful emergency landing of an Airbus A320 on the Hudson River in January 2009. In the aftermath of this unprecedented and heroic feat, the traumatized pilot must endure second-guessing by investigators, the weight of sudden fame, and his own doubts about his actions that fateful day. Anna Gunn, Laura Linney, and Aaron Eckhart co-star. Directed by Clint Eastwood. ~ Violet LeVoit, Rovi

Director: Clint Eastwood

Cast: Tom Hanks, Laura Linney, Aaron Eckhart, Autumn Reeser, Sam Huntington.

Release Date: Sep 09, 2016

Rated PG-13 for some peril and brief strong language.

Runtime: 1 hr. 36 min.

Genres: Drama 

Review:

Sully is an impressive piece of filmmaking that showcases the type of heroism that’s rarely shown.  Clint Eastwood directs his film with a steady hand showing the dichotomy of emotions that Captain Sullenberger was going through after his miraculous landing.  Tom Hanks is perfectly cast as Sullenberger, displaying the levels of introspection and self doubt that his character was going through.  It’s a thoughtful piece of filmmaking which screams award season contention.  It’s an impressive character study that’s well acted and directed through even though there is a sense that film has been padded a bit.  It’s an odd sensation to watch an hour and a half film that feels much longer than it is.

B+

Cindy Prascik's Review of Sully

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: Today it was off to Marquee Cinemas to kick off Awards Season with Sully. Spoiler level here will be mostly mild, nothing you haven't seen in a trailer or on the news. Sully is based on the true story of pilot Chesley "Sully" Sullenberger, who made an emergency water landing on the Hudson River when his plane lost both engines shortly after departing Laguardia Airport. 

 

Sully is an entertaining movie, but probably a bonafide awards contender for Tom Hanks' performance only. The true story is compelling enough, but this telling is painted with such broad strokes as to be almost comical at times. 

 

The picture is hampered by awkward dialogue and cartoonish good and bad guys. Even when Sully's decisions come into question, the movie wants to make sure you remember whose side you're *supposed* to be on. A good movie lets you make up your own mind, and a truly good movie gets you where it wants to without beating you over the head; that seems well beyond Sully. 

 

On the plus side, Hanks carries the film with his usual flair, a performance that should be good enough to land him on most of the Best Actor shortlists, especially considering the Academy really owes him one for the Captain Phillips snub. 

 

Aaron Eckhart leads a solid supporting cast full of faces you'll recognize even if you may not know the names. Anything--and I do mean anything--having to do with the flight itself is beautifully filmed, from takeoff to unexpectedly-damp touchdown. There's one glorious moment when that nose-diving aircraft seems to be coming right off the screen...made me a little wistful for 3D! Finally, the movie is smart enough to recognize the limitations of the story it has to tell, and clocks in with a very reasonable runtime. 

 

Sully runs 95 minutes and is rated PG13 for "some peril and brief strong language." Though it occasionally strays into Airplane! territory, Sully is an inspiring outing built on another stellar leading turn by Tom Hanks. 

 

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

 

Fangirl points (there are a lot of 'em this time): The USS Intrepid! Sam Huntington! Holt McCallany! Valerie Mahaffey! My beautiful New York City!! 

 

Until next time...

MOVIE REVIEW: AMERICAN SNIPER

Biopic of Chris Kyle (Bradley Cooper), the most-celebrated sniper in American military history. In the aftermath of 9/11, Kyle decides to serve his country by becoming a Navy SEAL. But with each tour of duty, he grows more detached from his wife and children. ~ Jeremy Wheeler, Rovi

Director: Clint Eastwood 

Cast: Bradley Cooper, Luke Grimes, Sienna Miller, Kyle Gallner, Ben Reed

Release Date: Jan 16, 2015

Rated R for some Sexual References, Language Throughout and Strong Disturbing War Violence

Runtime: 2 hr. 12 min. 

Genres: Action/Adventure, Drama 

Review:

American Sniper is an interesting film that manages to be straightforward but complicated at the same time.  Eastwood doesn’t really give us much of a point of view on the Iraq War; he’s more interested in the personal story of Chris Kyle which is refreshing since it could have easily devolved into a jingoistic anthem.  Eastwood’s film alternates between the war and Kyle’s home life but it’s clear that Eastwood is far more comfortable with the war portion of the story.  He delivers some impressive battle sequences with the final one being the most impressive and tense of the entire film.  At the heart of the film is Bradley Cooper who does fine work embodying Chris Kyle and chartering his growing internal struggle as his military career wears on.  Cooper is reserved and understated throughout but he captures the intensity and drive that ran through Kyle’s life.  Even though it’s a biopic the film does seem to focus on Kyle almost exclusively which means that doesn’t get a good feel for his friends or even his wife whose under characterized.  It doesn’t help that she’s played by Sienna Miller who’s not nearly a strong enough actress to believably deliver the emotional moments required.  Some creative choices also left me scratching my head, such as the villainous enemy sniper which was always within earshot of Kyle, regardless of which tour of duty he was on.  Even with its faults, the film does a fine job of honoring Chris Kyle’s memory and legacy. 

B-

Cindy Prascik's Reviews of Big Eyes & American Sniper

Dearest Blog, this week I had a glance at two awards favorites, Big Eyes and American Sniper. How's that for mature viewing? The fact that I saw both of these because the times worked well with additional Hobbit screenings...well, we'll keep that to ourselves, eh?

Spoiler level here will be mild, nothing you wouldn't know from the trailers or, you know, if you occasionally watch the news.

First to the plate: Big Eyes.

The subject of Big Eyes is painter Margaret Keane--noted for her portraits of waiflike children with extraordinarily huge eyes--her marriage, subsequent split, and legal battle with her second husband, who took credit for her work.

I burned a half-day's vacation Thursday to see Big Eyes before it closed here, thinking I'd need it for the Oscars. Oscar nominations were announced Thursday morning, and, as it happens, I don't need it at all ("My luck!" my Dad would have said), but, since the schedule worked perfectly with The Hobbit...well, you know the rest of that story.

Now, dear reader(s), you know how I feel about female-centric stories. I couldn't be less interested.

Even allowing for the Tim Burton factor, I expected to snooze through Big Eyes expressly for the privilege of saying, "Gee, that Amy Adams sure is great, huh?" Great Ms. Adams certainly is, but I couldn't have been more wrong about the rest of it. It's really nice to see something from Tim Burton that isn't inherently wacky. It's been awhile. That's not to say Big Eyes doesn't have its wacky Burton touches, but we're minus the goofy hats, silly songs, and rubber-legged dance numbers this time.

The whole thing still has an air of fairy-tale about it, which keeps a sometimes-less-than-happy story light and easy to watch. Amy Adams is incredible in the lead, a straight-woman to Christoph Waltz' over-the-top turn as her husband. (That's not to say Waltz isn't also great, and given the story, I don't find it hard to believe his performance is entirely accurate.)

Full marks to costumers, set designers, art direction, etc.: the movie looks beautiful, bright, and colorful, even in its toughest moments. It moves at a good pace and never feels slow or long, though it's hardly action packed. It came as a pleasant surprise that I enjoyed every minute.

Big Eyes runs 106 minutes and is rated PG13 for "thematic elements and brief strong language."

Maybe Oscar didn't love it, but I did.

Of a possible nine Weasleys, Big Eyes gets seven and a half.

Yesterday's heavy hitter was American Sniper.

Bradley Cooper stars in the true story of Navy S.E.A.L. Chris Kyle, a legendary sniper through four tours in Iraq, who found difficulty leaving the war behind when he finally returned home.

I always think it's important to be upfront if there's something that colors my opinion of a movie besides the movie itself, so here I need to state that I lost a friend, a Marine, in Iraq. Though I'm usually a notoriously cold fish, since then I can't keep it together if I so much as see a Marine by the Toys for Tots bin at the Mall during Christmastime. There's no way for me to watch or write about this movie minus that baggage.

So... *deep breath*

Bradley Cooper is as good as you've heard in the lead. I can't say he deserved an Oscar nod over Jake Gyllenhaal, but there's certainly nothing bad to say about his work here.

The supporting cast is solid, too, though I confess I'm not entirely sold on Sienna Miller.

The "in country" scenes are brilliantly executed; you can practically feel the heat and smell the dirt, and I'm pretty sure I held my breath for the better part of two hours, waiting for a potential threat from somewhere...anywhere.

For such a grim picture, there's a good bit of laugh-out-loud banter, and very little scene-setting music, which adds to the realistic tone.

Kyle very much embodies the prevalent American attitude of the time, so American Sniper presents quite the black-and-white view of the war, with little, if any, grey area.

The movie runs just a little longer than it needs to, and it feels somewhat wrong allowing it to present as truth so many things that have since been called into question. (The war itself aside, Kyle's Estate has been the subject of several lawsuits over the book on which the movie is based.*)

When it was over, I sprinted from the room in tears, bowling over a couple Marquee friends in my haste to go hide in a bathroom stall for a minute. (All I could see were maroon vests, so whoever it was I hope you're reading this and I apologize.)

I don't think I stopped shaking until the Elves arrived in Dale. I'm not sure how much blame/credit for that goes to the movie and how much to personal experience, but from the number of sniffles I heard around the room, this film is doing a bang-up job striking a nerve with more than just me.

American Sniper clocks in at 132 minutes and is rated R for "strong and disturbing war violence and language throughout, including some sexual references."

There are many reasons I hate American Sniper, none of which keep me from realizing it's a very good movie.

Its unflinching depiction of the cost of war is essential viewing. Of a possible nine Weasleys,

American Sniper gets seven.

Until next time...

*Thanks to Melissa Bradley for bringing this to my attention.

 






































"Tim...you made a movie WITHOUT ME??"

Cindy Prascik's Reviews of Edge of Tomorrow & Jersey Boys

Dearest Blog, yesterday it was off to the pictures for the strange-bedfellows double bill of Edge of Tomorrow and Jersey Boys.

Spoiler level here will be mild, nothing you wouldn't know from the trailers or, you know, if you lived through the 60s.

After weeks of missing out due to my Winter Soldier obsession, yesterday's opener was Edge of Tomorrow.

In the midst of an alien invasion, a US military officer finds himself reliving the same day over and over again. As synopses go, that one's a bit over-simplified, but, dear reader(s) you gotta give me some credit for not saying "Groundhog Day."

Edge of Tomorrow is a clever sci-fi pic that is surprisingly fun. I say "surprisingly" only because I think comparisons to Tom Cruise's last outing, Oblivion, are unavoidable, and though Oblivion was a good movie, it was also pretty joyless. Edge of Tomorrow is anything but.

Cruise is fantastic in the lead, an action hero's action hero who can also be a little bit scared or confused or funny or (*gasp*) not afraid to let a chick to the heavy lifting sometimes. Said "chick" is Emily Blunt, who...um...well, it's fair to say wouldn't have been the first person I'd think of for a role like this, but who does a mighty fine job of it nonetheless. I'm embarrassed to confess I didn't even recognize Jonas Armstrong, despite the fact that I own (and religiously watch) the box set of the BBC's Robin Hood. What's become of me?? Edge of Tomorrow boasts solid effects and scary aliens.

If it bogged down ever-so-slightly a couple times, I can't complain since it clocks in under the two-hour mark...AND they tie it up without getting contrived or being a buzzkill.

Edge of Tomorrow runs 113 minutes and is rated PG13 for "intense sequences of sci-fi action and violence, language, and brief suggestive material." It's a smart, fun shoulda-been-a-blockbuster that deserves your attention.

Of a possible nine Weasleys, Edge of Tomorrow gets seven and a half.

Next on my agenda was the big-screen rendering of the 2006 Tony Award winner for Best Musical, Jersey Boys.

Four kids from the wrong side of the tracks form a band that goes on to make some of the world's best-loved and most enduring music.

In the interest of full and fair disclosure, I admit this movie ticked all the boxes for me before I ever saw a single second of a single trailer. A movie musical about a group I love, that stars actual stage vets rather than big Hollywood names? Yes, please. Of course, the downside is such high expectations could have led to disappointment, but I'm happy to report that's not even close to the case.

I've been to IMDB and Rotten Tomatoes this morning. I've seen that Jersey Boys is carrying middling ratings and has been trounced at the box office by Think Like a Man 2. (Really?) I am confounded by this state of affairs.

Jersey Boys runs slightly longer than two hours, but it never feels slow or boring. A couple numbers from the stage show were eliminated, and a couple more songs relegated to the background; I certainly wouldn't have cut another thing. Telling the story from several points of view means it never patronizes by painting any one person strictly the bad guy or strictly the good guy. John Lloyd Young, who won a Tony Award as Best Leading Actor in a Musical for originating the role of Frankie Valli on Broadway, embodies his part like few actors ever do. He is mesmerizing. Other than Boardwalk Empire's Vincent Piazza, all members of the band are portrayed by actors who have performed in one or more stage versions of the show. This is a good thing, Hollywood! And the songs...OH! The songs!!

If you weren't a fan of the Four Seasons before seeing the movie, you certainly will be after. At both my screening and the one before it, everyone exiting the theatre was smiling and singing, and the movie earned TWO big rounds of applause at the end of my show. I can't speak for the people who rate movies at IMDB and Rotten Tomatoes (nor for those who saw Think Like a Man 2 instead), but, if I'm making movies, that right there is the reaction I'm going for. If there's one tiny negative, I thought there were an awful lot of f-words for a movie whose median audience member easily qualifies for the AARP discount.

Jersey Boys runs 134 minutes and is rated R for "language throughout."

Jersey Boys is a well written, well acted story that is filled with great, iconic music. For my money, it's easily as good as or even better than the screen version of Chicago that won the 2003 Best Picture Oscar.

Of a possible nine Weasleys, I am pleased to award Jersey Boys 2014's first perfect nine.

Until next time..

MOVIE REVIEW: J. EDGAR

IN THEATERS

J. Edgar



Acclaimed actor Leonardo DiCaprio stars in Academy Award-winning director Clint Eastwood's richly detailed biopic exploring the life and career of controversial FBI Director J. Edgar Hoover. For nearly 50 years, Hoover (DiCaprio) fought crime as one of the most powerful law enforcers in America. During Hoover's extended stint as Director of the FBI, however, his penchant for bending the law in the name of seeking justice and using the secrets of high profile leaders to gain personal leverage won him just as many supporters as detractors. Little did many other than his loyal colleague Clyde Tolson (Armie Hammer) and faithful secretary Helen Gandy (Naomi Watts) know, however, that Hoover himself was a man with many secrets to hide. Josh Lucas, Judi Dench, and Stephen Root co-star in film written by Oscar-winning Milk scribe Dustin Lance Black. ~ Jason Buchanan, Rovi

Director: Clint Eastwood

Cast: Leonardo DiCaprio, Naomi Watts, Armie Hammer, Josh Lucas, Judi Dench

Release Date: Nov 09, 2011

Rated R for brief strong language

Runtime: 2 hr. 17 min.

Genres: Drama

Review:

Clint Eastwood’s J. Edgar is a solid biopic even if it occasionally turns into a chore to watch as it slowly recounts the highlights of Hoover’s life. Eastwood work on screen is precise and deliberate but surprisingly detached as well. Usually Eastwood has a strong emotional connection with his subject matter but it’s strangely missing here. What he delivers is a slightly unfocused hodgepodge of snippets from Hoover’s life, bouncing around from the past to the present, not always with a clear purpose. The script comes off as more informational than thought out; the main characters are fleshed out but only to a certain degree. The audience is kept at arms length for the most part; a few scenes allow us into Hoover’s psyche a bit more but not enough. In the titular role Leonardo DiCaprio is impressive, working a strong accent throughout, breaking out of his traditional mold. His performance showcases the massive contradictions of the man and he tries to give us as many layers as possible. A well groomed Armie Hammer is the film’s heart and soul. It’s a shame the script doesn’t allow him to do more because I’m sure he could have really expanded on this role if he’d been allowed to. His and DiCaprio’s interactions lay the ground work for so much of the inner turmoil that Hoover experience, one can’t help but feel that it could have been explored more thoughtfully. Naomi Watts is left on the sidelines for the most part, more of a spectator than an actual player in the grand scheme of things. The real crime is that her character, especially in the final years of Hoover’s life, seemed fertile for exploration. Since this is one of those films that travels across nearly half a century, heavy make up and prosthetics play a prominent role. DiCaprio and Watts seem to have the best luck with the make with poor Armie left with some the looks like a bad burn victim with liver spots. As a whole J. Edgar engages but lacks the emotional punch you’d expect.

B-

Bluray quality; Video is excellent really showcasing the muted visual tone of the film; Sound is basic with very little flair to make it stand out.

I was hand-selected to be a member of Blu-ray Elite, a beta program from Warner Home Video which has graciously sent me this free Blu-ray disc.