MOVIE REVIEW: THE BANSHEES OF INISHERIN

 

On a remote island off the coast of Ireland, Pádraic is devastated when his buddy Colm suddenly puts an end to their lifelong friendship. With help from his sister and a troubled young islander, Pádraic sets out to repair the damaged relationship by any means necessary. However, as Colm's resolve only strengthens, he soon delivers an ultimatum that leads to shocking consequences.

Director: Martin McDonagh

Cast: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan

Release Date: October 21, 2022

Genre: Comedy, Drama

Rated R for language throughout, some violent content and brief graphic nudity.

Runtime: 1h 49m

Review:

The Banshees of Inisherin, the latest black comedy from Martin McDonagh, it’s a funny, compelling fable that's simplistic on the surface but one the will likely stick with you as you ruminate the meaning of it all.  McDonagh creates an authentic ecosystem of people and relationships that brings life to the mundane something he's done to great effect in previous films.  The script is sharply written with plenty of dialogue that pops off the screen which makes the character's interplay the film's highlights.  What's more impressive is that the story is thematically dense, functioning on multiple levels which leaves the door open for a multitude of metaphorical interpretations.  A strong script pair with excellent performances from its two leads makes this film incredibly watchable and easy to digest unlike the majority of awards fodder.  Colin Farrell and Brendan Gleeson reunite with McDonagh for the first time since they collaborated in 2008's In Bruges and again bringing out the best in each other.  Farrell and Gleeson have a natural chemistry together which serves as the film's life blood.  Farrell leaning into the happy go lucky attitude early on in order to watch him emotionally degrade as the film wears on.  Gleeson makes his character's stubbornness tangible as he drops hints desperation as he tackles his impending mortality.  They are fascinating throughout because they give you a real sense that there is so much more simmering under the surface for both men.  They deserve the lion's share of the credit here but supporting turns from Kerry Condon and Barry Keoghan leave a memorable impression as well.  Fans of Martin McDonagh know that his film's use black comedy to explore larger issues and The Banshees of Inisherin does so in spades. 

A

Cindy Prascik's Review of The Batman

 

My dear reader(s) and fellow Batfans, today I bring you a review of Matt Reeves' The Batman.

Spoiler level here will be mild, nothing plot-related that isn't evident in the trailers. Emo!

Batman faces off with Survivalist!Riddler in a bid for Gotham's very survival. 

Snarky synopsis aside, The Batman is a great Batman movie, and, yes, a great movie without the Bat-qualifier. I'm going to try not to let this get *too* long, but Batman is one of my most beloved characters, so...buckle up. 

The Batman is a dark film, and I mean in every way. It's never daytime. It never stops raining. There is no levity in dialogue or in action. Neither Bruce Wayne nor Wayne Manor enjoys much screen time; the film is wholly centered in Batman, the Batcave, and other similarly gloomy locales. When seen outside the cape and cowl, Bruce Wayne remains shrouded in darkness, both literally and figuratively. 

The Batman showcases a younger Bruce Wayne, ably portrayed by Robert Pattinson, but one who shares the physical exhaustion and world-weariness of his older predecessor (Ben Affleck). While many if not most Batman movies make a point of showing Batman's physical scars (he is, after all, only human, with no real "super powers"), this one also focuses on his mental scars: his torment, his jadedness, and even his vulnerability. Pattinson is the perfect actor for this role in this film. Even lacking Affleck's physical bulk, his Batman is dark and properly menacing. He is magnificent. 

A younger Bruce Wayne means a younger Alfred, personified in this outing by Lord of the Rings alum Andy Serkis. Serkis is a man of many faces, and this is hardly a stretch of his considerable talent, but his Alfred somehow seems less imperative than previous incarnations of the character. Zoe Kravitz is a little flat as Serena Kyle, definitely missing the spark of some others who have worn the catsuit. Colin Farrell, Paul Dano, and John Turturro are serviceable if unexceptional baddies. Finally, of course I found fault with Jeffrey Wright's Commissioner Gordon, not because I have anything against Jeffrey Wright (on the contrary, I'm a fan), but because he's not Gary Oldman and that's just a cross borne by all of us who aren't Gary Oldman. If only the whole world could be Gary Oldman. But I digress........ 

The Batman features a new Batman, but it is careful to avoid repeating the Batman origins story. It adds layers to Bruce Wayne's history without asking the audience to relive the pearls. Again. The plot is more detective thriller than superhero tale, with new twists built around familiar characters. At nearly three hours long, the film could use a trim, but I never felt the length, never checked the clock, and I'd go so far as to say it absolutely needs at least two and a half hours to bring its story from beginning to end properly. (That's 30 minutes' indulgence over what I'd normally allow!) 

The Batman has a few moments that struck me funny, mostly things that too closely mirror specific moments in The Dark Knight, and one scene that was so Blues Brothers-esque I almost laughed out loud. The narration is hokey early on, but gets less so as the movie progresses. There's plenty of action, yet The Batman is mercifully lacking the endless fight and chase scenes that plague most films of the genre. Michael Giacchino's exceptional score pairs poorly with certain scenes, making the music so melodramatic as to seem almost silly at times (or maybe that's vice-versa). Kudos to hair and makeup--turning Colin Farrell, the planet's most attractive human, into something ugly is no small feat! 

Following middling critical and audience reception for the Batfleck movies, many would call The Batman a redemption for DC in general and for Batman in particular. I'm enough of a Batfan that I'd argue the point (despite the mediocre films, Affleck remains my all-time favorite Batman), but I'll happily take this as a vote in DC's favor from the court of general opinion. 

The Batman clocks in at a whopping 176 minutes and is rated PG13 for "strong, violent, and disturbing content, drug content, strong language, and some suggestive material." 

Anyone who says it's as good as or better than The Dark Knight is delusional or blowing smoke (it's not even close), but The Batman is a great, fresh take on an oft-resurrected character, and I look forward to seeing where this Bat flies. Of a possible nine Weasleys, The Batman gets eight. 

Until next time...

MOVIE REVIEW: THE BATMAN

 

Batman ventures into Gotham City's underworld when a sadistic killer leaves behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator's plans become clear, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the metropolis.

Director: Matt Reeves

Cast: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, Colin Farrell

Release Date: March 4, 2022

Genre: Action, Crime, Drama, Mystery, Superhero

Rated PG-13 for strong violent and disturbing content, drug content, strong language, and some suggestive material

Runtime: 2h 55m

Review:

Matt Reeves' The Batman is a mash up of inspirations which results in a gritty noir detective thriller that takes the character back to his pulpy roots.  Reeves draws inspiration from excellent Batman graphic novels like The Long Halloween and Hush while also pulling cinematic inspiration from Se7en, Zodiac and Christopher Nolan's run.  The end result is a moody, atmospheric mystery that's as self serious as they come.  This take on the character focuses more on his deduction skills, even though there are a handful of action set pieces, which gives the film a more meticulous and methodical pace as the story unfolds.  Its the type of story that takes its time to reveal itself as we follow the characters down the rabbit hole.  Robert Pattinson, playing a much younger version of the character, brings the intensity and a simmering uncontrolled rage which hasn't been focused.  Pattinson gives us glimpses of the more unhinged aspects of the character as we see a character still finding his way, it's an impressive take on the character.  Jeffrey Wright, whose never been more earnest, works well onscreen with Pattinson which makes their interactions and relationship feels authentic.  Colin Farrell's take on The Penguin is one of the few character in the that feels like he's having fun with him providing a few moments of levity in the film.  Zoë Kravitz turn as Selina Kyle/Catwoman is excellent but underutilized since the script has her appear and disappear throughout the film.  Paul Dano and John Turturro play their characters a bit too over the top in comparison to the rest of the cast, its not jarring per say but noticeable.  Dano's character in particular would have been better served with a more subtle, understated and cerebral turn.  Overall, you have to appreciate Reeves holding the moody horror vibe for nearly three hours but it can become oppressive in spots which makes the case that some edits could have made this entry a sleeker more streamlined affair.  There are also portions of the final act that feel less like homages with scenes and sequences being lifted from other films almost verbatim which comes off as lazy.  Issues aside, The Batman is an impressive take on the character from a different lens which works on a different level than previous iterations. 

B+

MOVIE REVIEW: VOYAGERS

 

Set in the near future, the film chronicles the odyssey of 30 young men and women who are sent deep into space on a multi-generational mission in search of a new home. The mission descends into madness, as the crew reverts to its most primal state, not knowing if the real threat they face is what's outside the ship or who they're becoming inside it.

Director: Neil Burger

Cast: Tye Sheridan, Lily-Rose Depp, Fionn Whitehead, Colin Farrell, Chanté Adams, Isaac Hempstead Wright, Viveik Kalra, Archie Renaux, Archie Madekwe, Quintessa Swindel

Release Date: April 9, 2021

Genre: Adventure, Sci-Fi, Thriller

Rated PG-13 for violence, some strong sexuality, bloody images, a sexual assault and brief strong language

Runtime: 1 h 50 min

Review:

Voyagers is a glossy looking film that uses a variety of cinematic inspirations to deliver a paint by the numbers plot with no surprises or innovations.  Neil Burger film, doused in electric blue, has plenty of promise with an interesting set up.  Burger moves his film at a steady pace from the start as we are introduced to Colin Farrell's protector figure and a quick expositional opening which lays out the groundwork for the premise.  Farrell is there simply to set off the plot which leads to him having rather limited screen time.  Once the film gets rolling, plenty of intriguing themes and mysteries are set up but none of them really payoff in a meaningful or thought-provoking way.   Burger, who also wrote the script, doesn't seem interested or capable of delving deeper into any of the fertile thematic elements presented from male aggression, gaslighting, social structures amongst others.  As a result, you are left feeling there is a better story and film in there somewhere had it been handled by somebody else.  What we are left with is a fairly straight forward Lord of the Flies riff that hits nearly all the same beats as the classic book.  The cast is populated by a fairly diverse group of upcoming actors and actresses but Burger manages to use his POC in the worse possible way. Tye Sheridan, whose face is set to forever pout, leads the film along with Lily-Rose Depp with Fionn Whitehead playing the primary villain.  Sheridan & Depp are both rather bland and emotionally distant since neither has the type of screen presence to carry a film.  Whitehead has manic flashes here and there but it's never sustained so the conflict never hits the way it should.  Instead, it all feels perfunctory with a climax that feels like it's ripped from Alien. 

C

MOVIE REVIEW: AVA

 

An assassin becomes marked for death by her own black ops organization after questioning orders and breaking protocol.

Director: Tate Taylor

Cast: Jessica Chastain, John Malkovich, Common, Geena Davis, Colin Farrell, Ioan Gruffudd, Joan Chen

Release Date: September 25, 2020

Action, Crime, Drama

Rated R for violence and language throughout, and brief sexual material

Runtime: 1h 36m

Review:

Ava has all the hallmarks of Luc Besson’s late career films, a betrayed assassin fighting for survival with extreme prejudice and a bass heavy techno beat playing the background.  Throw in a nonsensical plot and this is the type of movie you probably end up watching during a sleepless night on Showtime simply due to a lack of options.  The oddity here is that this isn’t a Besson film, Tate Taylor directs this overly busy femme fatale cliché minefield, led by some model turned actress instead it stars Jessica Chastain.  Chastain also produced the film which leads me to believe it might be a bit of a vanity project where she could try her hand as an action hero.  As usual, Chastain is the most interesting person on screen and she handles herself well in the action portions of the film, making for a believable killer.  The supporting cast is also filled with name stars all making what’s onscreen far more interesting than it should be.  The main problem is the film’s script is so hackneyed that once you get past Chastain killing 30 armed guards with her bare hands in a spaghetti strapped cocktail dress you start to notice the film and characters are all kind of ridiculous.  Chastain’s character for example doesn’t just have one thing haunting her instead she’s got a bevy of them, she’s an alcoholic, a terrible sister with daddy issues.  The fact that Chastain makes this all passable is a testament of her strength as an actress but by the point you have John Malkovick karate fighting Colin Farrell it’s a bit tough to overlook the issues with the script.  I can’t say Ava isn’t fun in a trashy sort of way because it is in its own way especially watching all the grade A talent slumming it because of a overcooked script.

C+

MOVIE REVIEW: THE GENTLEMEN

Mickey Pearson is an American expatriate who became rich by building a marijuana empire in London. When word gets out that he's looking to cash out of the business, it soon triggers an array of plots and schemes from those who want his fortune.

Director: Guy Ritchie

Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant

Release Date: January 24, 2019

Genres: Action, Crime

Rated R for violence, language throughout, sexual references and drug content

Runtime: 1h 55min

Review:

The Gentlemen is a fun return to the genre that made Guy Ritchie a name back in the early 2000s.  It’s easy to forget how fun his older films like Lock Stock and Smoking Barrel and Snatch were because his subsequence films have fallen into a general blandness that’s made unmemorable.  That’s not to say that certain films like his Sherlock Holmes movies or his underrated The Man from U.N.C.L.E. aren’t fun but they felt way too polished and glossy.  The Gentlemen is a film that’s far better than it deserves to be.  The plot isn’t quite as clever as it thinks it is but the cast of characters and actors make the film so incredibly fun and watchable that you can overlook some of those failings.  Each of the cast delivers performances that make it clear that they are having the time of their lives in this film.  McConaughey gives us a solid mix of charm and underling menace with Charlie Hunnam delivering one of best film work thus far.  The supporting cast shines throughout with Hugh Grant, playing against type with great gusto, and Colin Farrell leaving the biggest impressions.  The story drags here and there but when the cast is clicking it’s the kind of throwback that makes you remember why people noticed Guy Ritchie’s type of filmmaking in the first place instead of something like Aladdin.

B

Cindy Prascik's Review of The Gentleman

Yesterday it was off to the pictures for back-to-back screenings of Guy Ritchie's the Gentlemen.

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

The kingpin of Britain's largest marijuana enterprise attempts to ease into retirement and finds there's nothing easy about it.

Dear reader(s), it's important for me to note that I saw the Gentlemen twice yesterday. While I often see movies more than once (hey there, Jack Sparrow!), seldom do I see them more than once before I write about them. In this case, it made a difference of a half to a full point improvement on the film's final Weasley score, so that's material enough to warrant a mention.

The Gentlemen is a rollicking tale that's as clever as it is crass. A wordy script is liberally seasoned with swearing and slurs, weaving its way from twist to unexpected turn. The movie gets off to a bit of a slow start (which I found much less noticeable the second time around), but once it gets rolling, it is ROLLING, through a tense, violent, funny, and often surprising tale. The Gentlemen is blessed with a cast that is perfect in every way. Matthew McConaughey is crafty, dashing, and just the right amount of menacing as the mogul with an eye on retirement. Hugh Grant is hilarious as a sleazy PI looking out for number-one, while Henry Golding impresses as an up-and-comer with his eye on the prize. Downton Abbey's Michelle Dockery holds her own with the guys, no refined Lady Mary, this one, but, per usual, it's Colin Farrell who steals the show with a smart, funny turn. Annnnnnnd...to my Charlie People (and all you future Charlie People): this is a GREAT role for Charlie Hunnam. He gets just about the most screen time of anyone in the terrific ensemble, and he absolutely nails it. One of the reasons I'm proud to call myself a Charlie Person (and why I continue to evangelize new Charlie People) is because, despite his obscenely good looks, Charlie Hunnam has never traded on that commodity. He takes interesting roles in interesting projects, almost always aiming higher than he really has to. As McConaughey's smart, stoic, sweatered wing man, Hunnam is given a great opportunity to shine in the Gentlemen, and shine he does. One of my favorite performances from him to date.

The Gentlemen clocks in at 113 minutes and is rated R for "violence, language throughout, sexual references, and drug content." (I really, really feel like the "drug content" should be first there, but oh well.)

The Gentlemen is a humorous, exciting, well-crafted, and perfectly-cast film that takes viewers on a wild ride and effectively corrals an almost impossible number of moving pieces.

Of a possible nine Weasleys, the Gentlemen gets eight. Until next time...

MOVIE REVIEW: DUMBO

Struggling circus owner Max Medici enlists a former star and his two children to care for Dumbo, a baby elephant born with oversized ears. When the family discovers that the animal can fly, it soon becomes the main attraction -- bringing in huge audiences and revitalizing the run-down circus. The elephant's magical ability also draws the attention of V.A. Vandevere, an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life entertainment venture.

Director: Tim Burton

Cast: Colin Farrell, Michael Keaton, Danny DeVito, Eva Green, Alan Arkin

Release Date: March 29, 2019

Genres: Family, Fantasy

Rated PG for peril/action, some thematic elements, and brief mild language

Runtime: 1h 52min

Review:

Dumbo, the latest live action money grab from Disney, is a film that’s visually lush but fairly sterile and bland.  Tim Burton seems like a solid fit for this retelling of this tale of an outsider, something Burton excels at.  The odd thing is that it’s a visually impressive film but it fails to connect on an emotional level consistently.  The CGI creation that is Dumbo is impressive but it’s difficult to connect to the character since it doesn’t talk like in the original film.  Going for a more grounded approach is a bit of a misstep since you’re supposed to connect with your lead character in order for the whole thing to work.  To compound the issue, Tim Burton seems far more focused on the visuals of the film than the performances of his A list cast.  As a result we get some fairly stilted performances that come off as overly broad and soulless which is just startling considering the fact that you have such a strong and likable cast.  They each manage to shine in spots but it never comes together to create a cohesive story since their characters are so thinly written.  As a result, this live action redux feels fairly unnecessary and uninspired.

C

Cindy Prascik's Review of Dumbo

Following an extended hiatus, this week Disney’s Dumbo offered me the chance to reconnect with my local cinema.

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

A baby elephant, whose large ears give him the ability to fly, takes a small circus to new heights…but the journey is not without peril.

Well, dear reader(s), I’ll be straight: I’m not much of a Disney fan. Other than that long-ago animated Robin Hood, if it’s Disney and it doesn’t have Jack Sparrow, I’m not all that interested. Having said that, I am *very* interested in Tim Burton, Colin Farrell, and Eva Green, so off to the Thursday sneak-peek of Dumbo I went.

Dumbo has a great deal going for it. Sincere performances from Farrell, Green, Danny DeVito, and Michael Keaton easily sell the fantastic premise, with the old story adapted for live action and new times. Sets, costumes, scenery, and Tim Burton's magical vision create a luscious landscape that is a true feast for the eyes, and, as always, it pairs perfectly with Danny Elfman's spellbinding score. The problem is, when you're done absorbing all that beauty, Dumbo is just...well...kinda boring. The movie clocks in well shy of two hours, but it felt like I was sitting in that theater for days. All the adorable elephants, colorful circus acts, and devastatingly handsome leading men in the world couldn't save it.

Dumbo runs 112 minutes and is rated PG for "peril/action, some thematic elements, and brief mild language."

Disney's Dumbo is a decent bit of Saturday-afternoon entertainment, but don't expect to remember it long after you've left the theater.

Of a possible nine Weasleys, Dumbo gets five.

Until next time...

MOVIE REVIEW: WIDOWS

A police shootout leaves four thieves dead during an explosive armed robbery attempt in Chicago. Their widows -- Veronica, Linda, Alice and Belle -- have nothing in common except a debt left behind by their spouses' criminal activities. Hoping to forge a future on their own terms, Veronica joins forces with the other three women to pull off a heist that her husband was planning.

Director: Steve McQueen

Cast: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Carrie Coon, Robert Duvall, Liam Neeson

Release Date: November 16, 2018

Genres: Crime, Drama, Thriller

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

Runtime: 2h 9 min

Review:

Steve McQueen’s Widows is a densely packed heist thriller.  Beautifully shot and thoroughly engaging, the film is never boring.  McQueen packs so much into his film that it might be necessary to give it multiple viewings.  He touches a multitude of topics from gender and racial politics all while unfurling a well crafted heist film.  The film moves at a methodical pace, never rushing from one scene to the next.  Instead it allows you to enjoy and appreciate the series of fine performances on display.  Viola Davis leads the film with her steady hand which makes you feel every bit of determination commingled with grief.  Elizabeth Debicki is just as impressive playing an abused trophy wife who is left picking up the pieces to her life after her husband’s death.  Michelle Rodriguez delivers as strong a performance as she can turn in but it’s hard not to notice the difference in talent level between her and her cast mates.  Colin Farrell and Robert Duvall make for a fascinating father and son duo and they deliver one of the film’s most impactful moments.  Brian Tyree Henry and Daniel Kaluuya are both just as interesting with limited screen time.  Widows is quiet at the level of Michael Mann’s Heat but its pretty close.

B+

Cindy Prascik's Reviews of Coco & Roman J. Israel, Esq.

Dearest Blog: Yesterday it was off to Marquee Cinemas for a double-bill of Coco and Roman J. Israel, Esq. Talk about mood swings!

 

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

 

First on my agenda was the wonderful animated feature Coco.

 

A young Mexican boy learns the importance of family, and of being true to yourself, on Dia de los Muertos.

 

Coco is preceded by a short called Olaf's Frozen Adventure. It runs about 20 minutes and feels like about 20 years. Outside of an amusing number about different holiday traditions, the songs are pedestrian and the story even more so. The animation is lovely, as you'd expect, but that's really about all this one has going for it. Do yourself a favor, dawdle an extra minute at concessions and turn up late.

 

Once you've survived this latest attempt to cash in on Ana and Elsa, your reward is sweet. Coco is a beautiful, heartfelt story featuring delightful characters, stunning artwork, and a magical score by Michael Giacchino. If the movie is a bit heavy-handed with its message, it's sincere enough that you probably won't mind. Myriad skulls and skeletons could seem a bit macabre to unfamiliar eyes, but bright colors and cheerful patterns keep the tone friendly enough for even very young children. The picture's climax drags just a hair, but it's a petty quibble with a pretty perfect movie.

Coco clocks in at 109 minutes and is rated PG for "thematic elements." Coco is a sweet story brought to life by glorious artwork and enjoyable characters. With just four weeks left in 2017, I’m inclined to call it the year's best animated feature. Of a possible nine Weasleys, Coco gets eight.

 

Next on my agenda, the perplexing legal thriller Roman J. Israel, Esq.

 

When his longtime partner passes away, a brilliant lawyer is thrust from the shadows into the spotlight.

 

Dear reader(s), Roman J. Israel, Esq. is one weird little movie. The titular attorney is a far cry from the cool tough guys Denzel Washington often portrays; instead he's an awkward loner whose odd mannerisms are portrayed by Washington with meticulous attention to detail. Colin Farrell and Carmen Ejogo are both solid in supporting roles, though I'd have liked them both to have a bit more to do. The story is never dull, but clunky pacing and a sense of moral ambiguity make the movie feel awkward and unsatisfying. Complicated characters are one thing, but this is poorly-fleshed-out enough that it's hard to grab onto anyone's real goals or motivations. I saw a headline over the weekend that called this film "one of the most confounding misfires of 2017," and that says it better than I ever could. There's really no excuse for this not being better than it is.

 

Roman J. Israel, Esq. runs 129 minutes and is rated PG13 for "language and some violence."

 

Roman J. Israel, Esq. is a terrific showcase for the acting tour de force that is Denzel Washington, but it doesn't have much else going for it. 

 

Of a possible nine Weasleys, Roman J. Israel, Esq. gets five.

 

Fangirl points: DAMN does Trouble Man sound awesome in that glorious surround sound!

 

Until next time...

MOVIE REVIEW: FANTASTIC BEAST AND WHERE TO FIND THEM

This spin-off of the Harry Potter franchise jumps back in time to explore the wizarding world of 1926 New York, which is being threatened by both mystical acts of destruction and a group of extremist No-Majs (the American term for Muggles, i.e. those unable to use magic). Author Newt Scamander (Eddie Redmayne) arrives in the city as part of a global study of fantastic beasts, but he gets caught up in this conflict when some of the magical creatures in his care are accidentally released. Katherine Waterston, Alison Sudol, Dan Fogler, Colin Farrell, Ezra Miller, and Johnny Depp co-star in this fantasy adventure, which was directed by David Yates (who helmed four of the Harry Potter films) and adapted for the screen by J.K. Rowling from her own book. ~ Jack Rodgers, Rovi

Director: David Yates     

Cast: Eddie Redmayne, Katherine Waterston, Ezra Miller, Colin Farrell, Samantha Morton.

Release Date: Nov 18, 2016     

Rated PG-13 for Some Fantasy/Action Violence 

    

Runtime: 2 hr. 13 min.     

Genres: Action/Adventure, Family, Sci-Fi/Fantasy    

Review:

Fantastic Beast and Where to Find Them is charming entry into Potterverse.  Kicking off a series of prequel films can be a difficult task but director David Yates pulls it off with ease thanks to some strong turns from his cast.  Eddie Redmayne leads the cast with his Newt Scamander.  It’s an understated performance but engaging enough to keep you invested throughout even if some of the plot seems scattered and unfocused.  The film is at best when Redmayne is paired with Dan Fogler, Katherine Waterston and Alison Sudol.  You can feel the energy in the film pick up with the quartet is assembled.  As for the story itself, it’s a tad busy which can make it feel like it’s hitting multiple stops with no clear destination in mind.  It’s a shame the film didn’t make better use of Colin Farrell.  Instead he’s given a generic villain who’s not nearly as interesting as he could be.  Ezra Miller suffers from a similar situation but he does manage to elevate it a bit with some nifty acting.  That being said it’s a hard film not to like, there’s an inherit charm built into the story which makes it a good start for the series.

B+

Cindy Prascik's Reviews of Fantastic Beasts and Where to Find Them & Bleed for This

Dearest Blog: With Potter prequel Fantastic Beasts and Where to Find Them and Oscar hopeful Bleed for This, the pre-Thanksgiving weekend provides a treat that's been all too rare in 2016: a genuinely exciting cinema double-bill. So, with high hopes, I set off once again for Marquee Cinemas. 

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers. First on my agenda, Fantastic Beasts and Where to Find Them. Chaos ensues when a rogue English wizard arrives in New York City with a case full of magical creatures. 

 

While Fantastic Beasts and Where to Find Them is named after a very short Hogwarts textbook, it is not technically "based on" the publication that shares its title; rather, it is an original story written by Potter author J.K. Rowling about her characters, both new and old. Genre fans still smarting from Peter Jackson's ill-advised attempt to stretch a pretty short book into three pretty long movies needn't be concerned; this isn't that. 

 

Admittedly, the film still runs a bit long, and the occasionally-awkward script--on which Rowling has the sole writing credit--might have done with a brush-up from Potter screenwriter Steve Kloves, but the picture's only other real weakness is that the titular "fantastic" beasts are its least-interesting feature. 

 

The good news is Rowling's trademark kind-heartedness and magical imagination are in full effect with Fantastic Beasts. Eddie Redmayne's skittish acting style can be annoying sometimes, but he's perfect as Newt Scamander. 

Redmayne nails traits common in those of us who are more comfortable with four-legged beasts than with two-legged ones; he shuffles and looks at the ground when speaking with another human, but is entirely at ease with even the most intimidating other creatures. Redmayne also gets full marks for some extraordinary physical acting that had to be uncomfortable-to-downright-embarrassing to play off only a green screen. 

 

The solid supporting cast includes Colin Farrell in a menacing turn, and scene-stealer Dan Fogler. Fantastic Beasts boasts glorious effects, good-natured humor, and a charming score by the masterful James Newton Howard. 

 

It's been five years since Harry Potter's final big-screen foray, and if you'd forgotten just how magical it is when that giant "WB" logo appears to the twinkling accompaniment of Hedwig's Theme, Fantastic Beasts will bring it all right back to you. Fantastic Beasts and Where to Find Them clocks in at 133 minutes and is rated PG13 for "some fantasy action violence." 

 

Nostalgic yet standing firmly on its own merits, Fantastic Beasts and Where to Find Them is great fun and a perfectly-worthy addition to the Harry Potter film franchise. 

 

Of a possible nine Weasleys, Fantastic Beasts and Where to Find Them gets seven and a half. 

 

Next up: Bleed for This. A boxing champion faces a long road to recovery after a devastating automobile accident. 

 

Well, dear reader(s), I was going to start by pondering how a sport I dislike as intensely as boxing could spawn movies I love so much, but then I remembered Talladega Nights and figured the question kinda answered itself. 

 

At any rate, boxing movies always seem to be favorites of mine, and I'm pleased to report Bleed for This is no exception. 

 

Miles Teller is simply amazing as boxer Vinny Pazienza. He's had good roles in good movies before, but this is a real star turn. The normally-dashing Aaron Eckhart underwent an astounding transformation to portray Pazienza's balding, paunchy, middle-aged trainer, the kind of physical effort that normally earns guys Oscars as long as they aren't named Johnny Depp or Gary Oldman. 

Eckhart's earnest turn is the movie's backbone, but it's Ciaran Hinds who really steals the show with his emotional portrayal of Pazienza's father. For my money, any or all of the three are awards-worthy, and reason enough to see a movie that has plenty more going for it. 

 

While the boxing scenes aren't quite as authentic as Southpaw or Creed, the matches will leave you holding your breath even when you think you know the outcome. 

 

At a smart two hours, Bleed for This is wise enough not to wear out its welcome, and--between Pazienza's constant underdog status and his touch-and-go recovery--it's a pretty tense ride. Meticulous attention to the fighter's recovery and training might have bogged down in less capable hands, but here it is mesmerizing. 

 

Some solid 80s arena rock combines with the soulful sounds of Willis Earl Beal to flesh out the picture's struggling-but-hopeful tone. Bleed for This runs 116 minutes and is rated R for "language, sexuality/nudity, and some accident images." 

 

It's not quite the Best Picture contender it may have seemed, but Bleed for This is a solid drama bouyed by award-worthy performances. 

 

Of a possible nine Weasleys, Bleed for This gets seven. 

 

Until next time...

 

 

Cindy Prascik's Reviews of Saving Mr. Banks & American Hustle

Dearest Blog, yesterday I braved the holiday throngs for a couple movies I hoped would prove worth it, Saving Mr. Banks and American Hustle.

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

First on my agenda was Saving Mr. Banks, the story behind the story of Mary Poppins, and of Walt Disney's struggle to bring the beloved classic to the big screen.

If ever one of my reviews required a disclaimer, it's this one, so here it is: I HATE Mary Poppins. I hate the character, I hate the story, and if you start singing one of those stupid songs within my earshot, I will pull out your vocal cords through your eye sockets. I was recently scarred by an attempt to watch I'm Not There despite the fact I despise Bob Dylan, so, if I feared my distaste for the subject matter might leave me unable to enjoy this film on its own merits, it's understandable. As it turns out, I needn't have worried.

Saving Mr. Banks is a glorious piece of filmmaking, carried squarely on the shoulders of its magnificent leads, Emma Thompson and Tom Hanks. The two so thoroughly embody P.L. Travers and Walt Disney that it's almost jarring when the old photos used in the end credits don't have their faces. Thompson makes Travers a sympathetic character, even at her stiffest and most difficult, and Hanks...well, if Mr. Disney and Captain Phillips land him two spots on the "Best Actor" lists come year end, that's fair. The supporting cast is also pretty special, with standout performances from Ruth Wilson, Colin Farrell, and Paul Giamatti.The story-within-the-story flows smoothly between flashbacks and present-day happenings, and the costumes and scenery effectively dictate the feel of each sequence and scene. "Nice" is so vanilla that it almost doesn't seem like a compliment even when it's meant as one, but Saving Mr. Banks is just a nice movie that I think pretty much anyone will enjoy. If the film is sentimental, it's in a good way, rather than the eye-rolling way of some of the unfortunate trailers running with it. I cried so much I had to sneak out the back door of the cinema because I was embarrassed to walk through the lobby! If it had that effect on someone so utterly UNsentimental about Mary Poppins, those who love the book and/or the movie had better bring a whole box of Kleenex with them!

Saving Mr. Banks runs 125 minutes and is rated PG13 for "thematic elements including some unsettling images."

Young or old, Mary Poppins fan or not, I don't think a person could help but enjoy this movie. Of a possible nine Weasleys, Saving Mr. Banks gets eight.

Next up was my birthday present from Hollywood, American Hustle.

When a pair of con-artists is busted, they're forced to work with the FBI in an attempt to hook some bigger fish.

It will come as no surprise to anyone when I say awards season movies aren't necessarily my cup of tea. That's not to say I don't often enjoy them, but my taste generally runs more summer blockbuster than Oscar bait. When I start seeing "Academy Award Nominee" and "Golden Globe Winner" before all the names in the trailers, that's exactly what I'm looking for in those movies, performances that knock my socks off. I am pleased to report American Hustle delivers more than a few of those in a fun, exciting ride that will hold your undivided attention from start to finish.

Christian Bale is terrific in the lead, the formerly cut Bruce Wayne barely recognizable as a paunchy fashion nightmare with a bad combover. Bale gained 40 pounds for the role, and, sadly, this movie makes more of a point of showing off his flabby bare belly than the last Batman did of his six pack. His performance is extraordinary, smart and subtle when it needs to be, over the top when it has to be, just all-around perfect. Bradley Cooper is terrific as the FBI agent slowly losing his grip as he tries to make his name on the case, as is my beloved Jeremy Renner as a politician trying to do the right thing in perhaps not quite the right way. On the ladies' side, Amy Adams is fantastic, but can't help be overshadowed by another stellar showing from Jennifer Lawrence. If you were harboring any inexplicable, lingering doubts as to whether Lawrence is actually the most perfect human being in existence, well, this should erase them for good. Finally, I was absolutely delighted to see two of my Boardwalk Empire favorites, Jack Huston and Shea Whigham, who are both great in smaller roles.

American Hustle begins with the warning: "Some of this actually happened." Like Pain & Gain, these people's behavior is sometimes too stupid to believe, and yet...there it is. The movie goes from serious as a heart attack to laugh-out-loud funny in the blink of an eye, the plot zigging and zagging to keep you on the edge of your seat, without getting muddled or confusing. The awesome 70s soundtrack is bound to bring back fond memories for those who remember the era, even if the hairstyles and fashions do not!

American Hustle clocks in at 138 minutes and is rated R for "pervasive language, some sexual content, and brief violence."

For all the time I spend at the cinema, I think I deserved a really great movie for my birthday and, with American Hustle, I got it. Of a possible nine Weasleys, American Hustle gets eight and a half.

So, dear Blog, that's all the news that's fit to print for now. If time and the listings cooperate, and if I can manage to make myself see something besides The Hobbit, I've got a half-dozen new releases to squeeze in over the next seven days before I can finalize my year-end top ten. Fingers crossed!

Until next time...



Would you believe me if I said these are three of Hollywood's hottest leading men??

MOVIE REVIEW: DEAD MAN DOWN

Director Niels Arden Oplev (The Girl With the Dragon Tattoo) makes his eagerly anticipated English-language-feature debut with this action thriller about a tough New York City enforcer and an alluring blackmailer who both put their lives on the line to seek vengeance against one of the city's most powerful crime bosses. ~ Jason Buchanan, Rovi

Director: Niels Arden Oplev

Cast: Colin Farrell, Noomi Rapace, Terrence Howard, Dominic Cooper, Isabelle Huppert

Release Date: Mar 08, 2013

Rated R Violence, Language Throughout and A Scene of Sexuality

Runtime: 1 hr. 58 min.

Genres: Suspense/Thriller

Review:

By Cindy Prascik


Dearest Blog, yesterday I escaped my miserable workday existence for a couple blissful hours at the cinema. On my agenda was the Colin Farrell thriller Dead Man Down, which I just couldn't squeeze in on its opening weekend. (Hindsight: "Oz? Really??")
Spoiler level here will be mild, nothing you wouldn't know from the trailer.

Colin Farrell is a man on a mission, but will his agenda be derailed by a mysterious woman (Noomi Rapace) with her own plan?
Dead Man Down is a double-barrel crime thriller, two stories running side by side, connected by a single character's involvement in both.

The bullets fly early and often, but quieter scenes between the two damaged leads are awkwardly perfect. Colin Farrell is as magnetic a leading man as Hollywood has to offer, and though the movie has a well-known and decorated supporting cast, it's his to carry, and he does so with his usual brilliance. Noomi Rapace is perfect as a broken woman who would add her burden to his. Terrence Howard's crime lord is cool, brutal, and defiant, even under siege, and Dominic Cooper is great as a young thug looking to work his way up the criminal ladder.

This might normally be the part, dear Blog, where I complain that not enough stuff blows up, but...well...lots of stuff blows up. And lots of folks get killed. And even when those things aren't going on, this film has so much to recommend it that I don't even mind...ummm...I don't even mind much!

Dead Man Down clocks in at a well-paced two hours, and is rated R for "violence, language throughout, and a scene of sexuality."
Feels a little hokey to throw down such a high rating so early in the 2013 game, but of a possible nine Weasleys, it wouldn't be fair to give Dead Man Down less than eight.

Until next time...

It wasn't easy, but we got the Black Friday deals at Wal-Mart!

MOVIE REVIEW: TOTAL RECALL

IN THEATERS

TOTAL RECALL



Originally adapted by director Paul Verhoeven in 1990, author Philip K. Dick's classic sci-fi short story We Can Remember It for You Wholesale returns to the big screen in this remake starring Colin Farrell, Bryan Cranston, and Kate Beckinsale, and directed by Underworld's Len Wiseman. The planet has been decimated by nuclear war in the late 21st century, leaving only two nations -- the United Federation of Britain and the Colony. Douglas Quaid (Farrell) is a factory worker with a stable job and a loving wife (Beckinsale), but upon learning that a company named Rekall could grant him the memory of the ultimate espionage adventure, he decides that a virtual vacation is better than no vacation at all. But in the midst of having the new memories implanted, something goes haywire. Still strapped to the chair as the system breaks down, he's branded a spy as the authorities close in, and quickly flees for his life. Later, Quaid discovers that he has a secret identity, and he joins forces with rebel soldier Melina (Jessica Biel) on a mission to track down Matthias (Bill Nighy), the head of a fierce resistance movement that's been labeled a terrorist organization by the tyrannical Chancellor Cohaagen (Bryan Cranston). Cohaagen seeks to control the entire free world, and now the harder Quaid fights to defeat him, the clearer it becomes that his memory had been altered long before he walked into Rekall. ~ Jason Buchanan, Rovi

Director: Len Wiseman

Cast: Colin Farrell, Kate Beckinsale, Jessica Biel, Bryan Cranston, Bokeem Woodbine

Release Date: Aug 03, 2012

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

Runtime: 1 hr. 49 min.

Genres: Action/Adventure

Review:

The 1990 Total Recall was one of the few Arnold Schwarzenegger films I’ve always had a real affection for, the other being Predator. With Paul Verhoeven inspired direction it was on of those classic 90’s sci-fi films that just worked on so many levels. To say that this remake is pointless and ultimately soulless kind undersells the point. Les Wiseman has made a career of “borrowing” styles from other better films and for this he seems to have just lifted entire visual styles from other directors and films (Minority Report, Blade Runner & J.J. Abrams wonderful lens flare amongst the most obvious). His film has a polish but it’s about as hacky as it gets. The plot is roughly the same from the 1990 film except Mars and air have been replaced with Blade Runner-esque Australia and invasion. Outside of that the plot hits the basic bullet points and even replicates some of the scenes with the shiny new veneer except everything feels rushed, lacking any depth. Colin Farrell is in cruise control for the better part of the film and honestly he isn’t asked to do much, ditto for Jessica Biel whose character is about as one dimensional as they come. Kate Bekinsale works her badass chick routine while looking steely the entire time. Considering her character was the combination of 2 characters from the 1990 film, you’d think there’d be more depth to her but like everybody else in the move she’s just asked to follow the threadbare script and look good posing for the camera. On the bright side, you can make a great drinking game out of the number of time she’s got her mouth slightly open while eye banging the camera. Bryan Cranston’s Cohaagen barely registers, wasting the wonderful talents of a fine actor. Bill Nighy appears and disappears from the screen so quickly you’d barely notice him. There are some visually fun action sequences here but nothing close enough to justify the remake. Occasionally remakes surprise you, other times they remind you that just because it’s new doesn’t mean its better.

D+

MOVIE REVIEW: FRIGHT NIGHT

IN THEATERS

FRIGHT NIGHT



A suburban teenager realizes that his new neighbor is a charismatic vampire in this remake of the 1985 horror comedy hit. After years of climbing to reach the top of the social ladder, high school senior Charley Brewster (Anton Yelchin) finally rules the roost. Just as Charley ditches his best pal, "Evil" Ed (Christopher Mintz-Plasse), and starts dating the most popular girl in their class, however, a handsome new face appears in the neighborhood. It belongs to Charley's new neighbor Jerry (Colin Farrell), an outwardly amiable guy with a quick smile and a sharp wit. But when Charley sees a side of Jerry that everyone else seems to miss, he quickly becomes convinced that the nice-guy act is a cover for something truly sinister. Unable to convince his charmed mother (Toni Collette) that Jerry is a genuine bloodsucker, the suspicious teen turns to Las Vegas magician Peter Vincent (David Tennant) to help exterminate the demon before he drinks the entire neighborhood dry. ~ Jason Buchanan, Rovi

Director: Craig Gillespie

Cast: Colin Farrell, Anton Yelchin, Christopher Mintz-Plasse, David Tennant, Imogen Poots

Release Date: Aug 19, 2011

Rated R for bloody horror violence and language including some sexual references

Runtime: 1 hr. 46 min.

Genres: Comedy, Horror

Review:

The Fright Night remake is one those of those remakes that could have gone terribly wrong. Luckily with a strong script, cast and director it succeeds in properly updating a cult classic respectfully but giving it enough new shine to entertain. Craig Gillespie directs his film with the right sense of horror and comedy, something the original did fairly well. He also gives the film a brisk feel that keeps the proceedings moving at a steady pace and never lets the film lag. Anton Yelchin is solid if somewhat unmemorable in his general blandness, it’s not overpowering or detrimental just noticeable. Colin Farrell though is magnetic and electric throughout. He exudes charisma, masculinity and a primal ferocity, it’s an impressive turn that the rest of the film revolves around. Christopher Mintz-Plasse is strong in the limited but pivotal role of Ed. David Tennant is also lots of fun as Peter Vincent, he leaves you wishing he was given more screen time. The 2 talented ladies that make up the rest of the cast, Toni Collette & Imogen Poots, are fairly underused and in all honesty anybody could have played either role. While I watched the film in 2D there was a noticeable sense of 3D set ups using some incredibly tired popout at you techniques. I’ve never hate the 3D thing as much as most but it looks like a massive ripoff here. As for the film itself, it’s fun and well executed showing that if you must remake films at least makes sure all parties involved are bringing their A material.

B

[Trailer] Horrible Bosses

From the look at this trailer it’s almost impossible to figure out how this film could disappoint.

An allstar cast, Jennifer Anniston thrown in there as well and according to chatter she might go topless...desperation anyone...

Anyway back to the movie, it looks like it'll be a more twisted version of the 80’s flick 9 to 5.

Movie Reviews: THE IMAGINARIUM OF DOCTOR PARNASSUS

Sunday, January 10, 2010
Movie Reviews: THE IMAGINARIUM OF DOCTOR PARNASSUS
IN THEATERS

THE IMAGINARIUM OF DOCTOR PARNASSUS


Dr. Parnassus (Christopher Plummer), the leader of a traveling show, has a dark secret. Thousands of years ago he traded the soul of his daughter, Valentina, to the devil. Now the devil has come to collect his prize. To save her, ..Parnassus.. must make a final wager: Whoever collects five souls first will win Valentina. Tony (Heath Ledger), a man saved from hanging by ..Parnassus..' troupe, agrees to help collect them, with his eye on marrying Valentina.


Cast: Heath Ledger, Christopher Plummer, Tom Waits, Johnny Depp, Jude Law, Colin Farrell


Director: Terry Gilliam


Opened ..December 25, 2009..


Runtime: 2 hr. 2 min.


Rated PG-13 for language, violent images, some sensuality and smoking


Genres: Fantasy


Review:


The Imaginarium of Doctor Parnassus is more than Heath Ledger’s final performance. It’s a bit difficult to separate him and the film at the outset especially once Ledger makes his first appearance, hanging from a noose no less. Gilliam does the smart thing in this sometime choppy but very imaginative fantasy. He addresses Ledger’s passing and devotes a scene to eulogizing him in a surprising effective way that works well within the story. Gilliam’s creative eye and his distinctive style is very much on display and the fantasy element that occur inside the imaginarium are the real high points of the film where you can sense the energy coming from the screen. The film falters in the more mundane real world sequences which creates an uneven flow throughout even though the cast does it’s best to keep you interested. Christopher Plummer performance as the titular doctor is appropriately sagely yet he’s able to also show how deeply flawed the character is as well. Plummer is clearly having a good time playing this Faustian character. Heath Ledger does fine work as the amnesic Tony, giving him a nice dose of huckster charisma while keeping an air of enigma throughout. Johnny Depp, Jude Law and Colin Farrell do well as the different aspects of Tony’s psyche within the imaginarium all the while channeling Ledger in homage. Virtual newcomer Lily Cole provides a nice sense of innocence while looking like a Botticelli model. Tom Waits and Vern Troyer both have fun in broadly written caricatures. Andrew Garfield barely registers even when he’s front and center. Even though it’ll be remembered more as Ledger’s final act, Imaginarium is an impressive bit of creative filmmaking from a director who’s never been afraid to test limits of classical story telling. Gilliam’s film is far from perfect but you’d be hard pressed to deny it’s creative energy during it’s more inspired segments.


B-