MOVIE REVIEW: NOBODY

 

Hutch Mansell fails to defend himself or his family when two thieves break into his suburban home one night. The aftermath of the incident soon strikes a match to his long-simmering rage. In a barrage of fists, gunfire and squealing tires, Hutch must now save his wife and son from a dangerous adversary -- and ensure that he will never be underestimated again.

Director: Ilya Naishuller

Cast: Bob Odenkirk, Connie Nielsen, RZA, Aleksei Serebryakov, Christopher Lloyd

Release Date: March 26, 2021

Genre: Action, Crime, Drama

Rated R for strong violence and bloody images, language throughout and brief drug use

Runtime: 1 h 32 min

Review:

Nobody isn’t a John Wick spin off but it sure feels like one since it’s written by John Wick scribe Derek Kolstad. Ilya Naishuller’s film hits a lot of the same beats as the Wick franchise but there are some distinctive flourishes that allow it to stand on its two feet.  A sequence early on which displays Hutch’s everyday drudgery that shows some directorial talent and these types of sequences are used to great effect.  The entire film wouldn’t work if we couldn’t buy Bob Odenkirk as a believable action star and on paperwork it shouldn’t work but somehow it does.  Odenkirk does a strong job of playing his character as a pent up powder keg of furiosity in an unassuming vessel reminiscent of Ed Norton in Fight Club.  Connie Nielsen does solid work but her character is terribly underwritten which is a shame since she’s such a capable actress.  Aleksei Serebryakov villain is just as underwritten but he leaves a bigger impression through seer screen presence.  Serebryakov captures the unhinged madman frighteningly well which is aided by a particularly effective introductory scene.  Christopher Lloyd and RZA have fun supporting parts which come together in a bloody but incredibly fun finale which plays like Home Alone with a lot more kill shots.  Kolstad peppers the scripts to a larger world at play much like he did in the Wick series which points to franchise building.  As a standalone film, Nobody is a bloody mindless fun that begs you not to think about anything for too long and just enjoy the fireworks. 

B

MOVIE REVIEW: WONDER WOMAN 1984

 

Diana Prince lives quietly among mortals in the vibrant, sleek 1980s -- an era of excess driven by the pursuit of having it all. Though she's come into her full powers, she maintains a low profile by curating ancient artifacts, and only performing heroic acts incognito. But soon, Diana will have to muster all of her strength, wisdom and courage as she finds herself squaring off against Maxwell Lord and the Cheetah, a villainess who possesses superhuman strength and agility.

Director: Patty Jenkins

Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen

Release Date: December 25, 2020

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of creature action and violence throughout

Runtime: 2 h 31 min

Review:

 Patty Jenkins follow up to the her wildly successful original is a film that has soaring ambitions but the execution doesn't land perfectly. That being said she accomplishes so much during her trek through the 80s.  She manages to hit on every 80s trope you can imagine while never losing focus on her characters.  It's a fun trek that's surprisingly light on actual superhero action outside of rousing action set pieces.  Jenkins focuses far more on the the characters as the work through living their wish fulfillment.  The trope that the script uses to bring back Pine is an interesting choice but it does sort of fit in with the goofy 80s vibe and it allows the film to explore more of the characters desires and wants.  In a weird way sort of plays out like a superhero version of the Last Temptation of Christ.  Kristen Wiig seemed like  a strange choice to play Barbara Minerva originally but it works as she plays the nerdy dork who turns into a fox of cheetah in this case.  Wiig and Gadot have great chemistry together which makes their friendship more believable and grounded.  Gadot at this point is just the walking embodiment of Diana Prince, she has the ability to pull off the mixture of grace, empathy and strength so effortlessly that you just have to sit back and appreciate it.   Pedro Pascal plays the primary villain and he does so with a crazy amount of gusto.  His turn as Lord has some overt Trumpian tones taken to the extreme which makes him more of a caricature than a fully realized character.  Its a shame since it would have have given the film's conflict a bit more heft than it has but you have to wonder if it's intentional since the overall theme is much more internal and personal.  The film was written and filmed more than a year ago but there is something in it's incredibly hopeful message about selflessness that seems incredibly precedent in 2020.  Once the required battle between Diana and Barbara's newly born Cheetah, the script sadly doesn't really explain this transformation so it feels like it's just checking a box, the story turns into one of the more interesting superhero finales.  Instead of a massive showdown it's more of a reflective message that grounds the story with its hopeful sense.  It's a lofty ambition which doesn't quite work as well as it should onscreen because the story has a hard time connecting it all together. Its easy to appreciate the intention but it doesn't quite stick the landing.  Still, Wonder Woman 1984 is very much on brand with ideal that they established in the original about what the character stands for.  Longtime fans will find plenty to love here like Diana sporting the Golden Eagle armor and other treats, be sure to stay through the credits for a fun surprise.   

B

Cindy Prascik's Review of Wonder Woman

Dearest Blog, yesterday it was off to Marquee Cinemas to see Wonder Woman...with a side of Pirates of the Caribbean.

 

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

 

If your world (or your franchise) needs saving...ask a woman.

 

Regular reader(s) will know I generally don't read reviews until I've written mine, though of course I've seen headlines, most of which run along the lines of "DC Finally Gets It Right!" I'm of the rare opinion that DC always gets it right (yes, even Green Lantern!), so, if this review seems somewhat less gushing than most, it's only because the awesomeness was entirely expected.

 

Beginning with the obvious, our Wonder Woman is, indeed, a wonder. Strong and stunning, charming and smart, Gal Gadot carries this picture like it's old hat; she is perfect in every way. And how about Chris Pine?? I mean, if you're only catching onto the fact that he's more than just blue eyes and a dreamy smile, well...shame on you!! He's always great, but this might be his finest performance yet. The supporting cast is extremely solid, although...does Danny Huston play Nazis weirdly often, or does he just look like someone who does? How great to see Robin Wright in a badass role like this! As Wonder Woman's super support team, Said Taghmaoui, Ewen Bremner (yay!), and Eugene Brave Rock are the picture's unsung heroes, thoroughly engaging. I'm not a huge fan of all the super-slo-mo, but otherwise Wonder Woman's action sequences are well choreographed and don't run on too much. Thanks to spot-on humor, the movie never feels too dark, despite the high stakes, and I think we can all agree Wonder Woman has the coolest theme of any superhero! If I had one small complaint outside the overuse of slow-motion, it's that the movie definitely would have benefited from at least a small trim. It also feels a bit preachy at times, a side effect of its resolutely hopeful tone. 

 

Wonder Woman clocks in at 141 minutes and is rated PG13 for "sequences of violence and action, and some suggestive content."

 

Wonder Woman (movie) often debates whether humanity deserves Wonder Woman (hero). I guess we probably don't, but I'm sure glad we got her anyway. 

 

Of a possible nine Weasleys, Wonder Woman gets eight.

 

Until next time...

MOVIE REVIEW: WONDER WOMAN

An Amazon princess (Gal Gadot) finds her idyllic life on an island occupied only by female warriors interrupted when a pilot (Chris Pine) crash-lands nearby. After rescuing him, she learns that World War I is engulfing the planet, and vows to use her superpowers to restore peace. Directed by Patty Jenkins (Patty Jenkins). ~ Violet LeVoit, Rovi

Director: Patty Jenkins

Cast: Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, David Thewlis

Release Date: Jun 02, 2017

Rated: Rated pg-13 Some Suggestive Content, Sequences of Violence and Action

Runtime: 2 hr. 21 min.

Genres: Action/Adventure, Sci-Fi/Fantasy

Review:

I’ll start off by saying that I’m terribly biased when it comes to Wonder Woman thanks to reruns of Lynda Carter’s iteration from the 70’s which led to a lifelong fandom.  Wonder Woman has always been my favorite superhero and I’ve actually read a handful of comics and watched endless amounts of Bruce Timm produced animation.  Needless to say, I can understand why it’s so difficult to nail the character.  Patty Jenkins and Batman vs. Superman scene stealer Gal Gadot had a large task in front of them.  Thankfully they nailed it.  Wonder Woman’s first foray onto the big screen is a rousing success.  Patty Jenkins layers the film with a handful of themes but they are done subtly and organically throughout.  Most importantly, it’ll all feel right for long time fans of the character.  Wonder Woman is a tough blend since she’s a warrior but also incredibly compassionate and caring.  Gal Gadot is able convey all of this with relative ease throughout, all the while showing off glimpses of some fine comedic talent.  

Gadot has a magnetic energy about her that’s just incredibly infectious.  Moving the film’s setting to World War 1 is an incredibly smart move since it gives us and Gadot a chance to show off an innocence in Diana’s character as she explores man’s world for the first time.  Chris Pine comes off as a pleasant surprise, in what is easily my favorite performance from him.  Pine and Gadot have an undeniable and realistic chemistry that’s as playful as it’s heartfelt.  Once the action moves into the battlefield, Jenkins and her cast show off an excellent handle on how to do action sequences properly.  There are 2 sequences that are sure to give longtime fans goosebumps.  If there is a minor complaint, it’s a tab bit of overuse of slow mo.  The sequences would have been better served if they’d held back on that just a tad.  Some of the minor drawbacks are the villains, Danny Huston’s character is about as one note as they come and Dr. Maru aka Dr. Poison comes a bit too cartoony for my taste.  Additionally, the third act does fall into the big battle trope most superhero films use.  A tad bit of trimming could have helped it since it overstays its welcome by a few minutes.  Regardless, when the film is done you can’t help but be impressed by how fun, emotionally layered and loving crafted Wonder Woman is by all those involved.

A-

Cindy Prascik's Reviews of 3 Days to Kill & Pompeii

Dearest Blog, yesterday it was off to the pictures for a pair of too-late-for-awards-season/too-early-for-summer-blockbuster-season throwaways, 3 Days to Kill and Pompeii.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on my agenda was Kevin Costner's unlikely action thriller 3 Days to Kill.

A terminally ill CIA agent is persuaded to take one final job in exchange for an experimental treatment that could extend his life.

Oh, dear Blog, where do I even start? I guess I should start by saying the fact that this is a terrible movie in no way diminished my enjoyment of it; on the contrary, I quite liked it. BUT...........

Beginning at the beginning, nobody is buying Amber Heard in her role as a top CIA agent. She has neither the years nor the bearing to pull it off. It's not a poor performance, by any means, she's just entirely unsuitable for the part. Having said that, ain't nobody complainin' about looking at Amber Heard for two hours, either!

Kevin Costner is just...Kevin Costner. What else can I say? I like the guy, I do, but he's about as emotive as Joan Rivers' terminally botoxed face. He gets away with it here, as he always does, by being just that likable. I'm sitting there thinking, "God, that was bad.......but, you know what, I actually don't mind." And there's Kevin Costner for ya.

The movie itself provides so much backstory on Costner's character that it's really more like two movies. I want some depth, some rationale for the characters' situations and choices, but TWO hokey subplots that never really tie into the actual story? It's a bit much. The humor is lowbrow and predictable--but I laughed anyway--and the songs the director (McG) plops here and there are poor choices, terribly timed, or both. Maybe I'm just spoiled because nobody's as good at that as Edgar Wright, but I can't be the only one who was creeped out by an old dude like Costner slow-dancing with his teenage onscreen daughter to Bread's Make it With You...even if it is supposed to be her mother's favorite song. The action is solid, though, the characters mostly sympathetic, and there's a small, decent twist that I did not see coming for one minute.

3 Days to Kill runs 113 minutes and is rated PG13 for "intense sequences of violence and action, some sensuality, and language."

3 Days to Kill provides a couple hours of forgettable fun. Even during awards season, that's not a crime.

Of a possible nine Weasleys, 3 Days to Kill gets five.

Rounding out yesterday's double-header was Paul W.S. Anderson's latest bit of eye candy, Pompeii.

Do we really need a synopsis for this one? Volcano goes "boom," and even Kit Harington's spectacular abs can't save the day for the doomed city of Pompeii.

In addition to the volcano, this version of Pompeii offers its own forbidden love story, in the form of Harington's slave/gladiator, who falls for a princess (Emily Browning), unwillingly betrothed to a Roman senator (Kiefer Sutherland). Though he enjoys top billing, Harington has the fewest lines of any of the main cast, and is mostly called on to stand around looking fit while casting longing looks at the princess or withering looks at the Senator and his thugs. Sutherland spends 90 minutes falling in and out of the same half-assed English accent he used in 1993's The Three Musketeers, and, surprisingly, is the worst thing about a movie that's pretty resoundingly terrible. What little challenge this script provides isn't beyond most of the cast, but nobody does anything in particular to elevate it, either. In the most backhanded of backhanded compliments, I suppose Sasha Roiz and Jared Harris made me cringe the least.

Pompeii's effects strictly adhere to the "go big or go home" credo, with plenty of flying fireballs and crumbling buildings. Sadly, the costumes and set pieces look like something out of a high-school production of Jesus Christ Superstar, and I was not impressed with the overall look of the movie. Having said that, I'm a woman of simple tastes, and if you give me a couple hours of big explosions, hot, shirtless dudes in tiny skirts, and a few glorious 3D shots of one lady-in-waiting's bodacious bosom, well, I'm probably not going to complain too much.

Pompeii clocks in at a quick 98 minutes and is rated PG13 for "intense battle sequences, disaster-related action, and brief sexual content."

As with 3 Days to Kill, the fact that Pompeii isn't a very good movie didn't stop me having a good time with it, so I'll say for the final time this season: if you're looking for a break from all the uber-serious awards bait, Pompeii just might be the movie for you.

Of a possible nine Weasleys, Pompeii also gets five.

Until next time...

Wait...what was I saying??