Cindy Prascik's Triple Feature Weekend: Sherlock Gnomes / Peter Rabbit / Pacific Rim: Uprising

Dearest Blog: Yesterday it was off to Marquee Cinemas for that rarest of treats: a triple feature. On the docket: Sherlock Gnomes, Peter Rabbit, and Pacific Rim: Uprising.

 

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

 

First up: Sherlock Gnomes.

When all of London's garden gnomes go missing, it's up to the world's greatest detective to solve the case.

 

Like it's predecessor Gnomeo and Juliet, Sherlock Gnomes banks on good-nature and likability for its appeal. It's not a game-changer and and it won't be remembered by awards voters when that time rolls around again, but it's the most enjoyable movie I've seen in a good long while. The movie is blessed with a terrific cast, including newcomers Johnny Depp and Chiwetel Ejiofor, returning favorites James McAvoy and Emily Blunt, and...yes...Ozzy Osbourne, whom the filmmakers are wise enough to use in moderation. The art and animation are pretty, bright, and colorful, if not revolutionary, and the cute story bounces along to a cheerful score by Chris Bacon, peppered with familiar snippets of Elton John songs. Sherlock Gnomes expertly rides a fine line, working for kids of all ages while also entertaining adults. There is nothing here that will disturb or upset the young ones, but, in addition to the tunes, there are several adult gags that aim far enough over kids' heads that parents won't be left answering uncomfortable questions afterward. If the message is familiar, the movie delivers it in such charming fashion you won't even mind. Sadly, there's no Jason Statham gnome this time around (*sobs*), but I still loved Sherlock Gnomes exactly as much as I expected, and I expected a LOT.

Sherlock Gnomes runs a quick 86 minutes and is rated PG for "some rude and suggestive humor." (Though the more crass bits from the trailer are missing from the finished product.)

 

Sherlock Gnomes is great fun for all ages. Of a possible nine Weasleys, Sherlock Gnomes gets eight.

 

Next on my agenda: Peter Rabbit.

 

Rabbits and humans jockey for territory in a somewhat abrasive fairytale.

 

Well, dear reader(s), if there's one thing I want you to know right off the bat, it's that Peter Rabbit probably isn't as bad as you'd think from the trailers or from everything you've heard. Make no mistake, it has BIG problems, but it overcomes most of them for an enjoyable outing.

 

Getting the bad news out of the way first, we'll begin with the obvious: Those damn rabbits. They are utterly insufferable, like the brattiest, most annoying kids you've ever met. It makes rooting for them impossible, even when the film hits that "delivering the message" point where the relevant parties are supposed to become the best versions of themselves. While the physical comedy mostly works, and Domhnall Gleeson's expressions and timing are impeccable (more on that later), the film's "jokes" are painfully bad, especially a couple awkward attempts at social commentary. The movie struggles mightily to settle on a tone, doubling-down on unfunny attempts at humor and, especially towards the beginning, coming across rather nasty. Finally, though the parental guidelines don't mention it, there are a couple things in this movie that may be upsetting to younger kids. At one point when the rabbits' well being is threatened, there was a small boy in my screening screaming, "I don't like it! I DON'T LIKE IT!" so...um...take care with those little ones, will ya?

 

Now the good news, and there's more of it than I expected. Leads Domhnall Gleeson and Rose Byrne are ridiculously adorable and have great chemistry. Gleeson, who seems to be in every single movie these days and continues to prove he's pretty amazing at everything, shows off some solid comic chops, working mostly opposite a tennis ball on a stick that would later become the film's talking woodland creatures. An almost-unrecognizable Sam Neill is also great (as always) in too little screen time. The story never really goes anywhere you don't expect, but I'm not sure you'd want it to. Songs pop up awkwardly throughout the movie, but there are some great pop nuggets that are no less enjoyable for the weird placement. Ultimately, the charm of Gleeson and Byrne outweighs the negatives just enough to make Peter Rabbit worth your while.

 

Peter Rabbit clocks in at 95 minutes and is rated PG for "some rude humor and action."

 

I'd taken a pass on Peter Rabbit weeks ago, and only saw it this week by virtue of a cinema schedule that left a huge gap between Sherlock Gnomes and Pacific Rim. In the finest example of backhanded praise you're likely to find today, I can tell you it was certainly better than spending two hours sitting in the hallway. 

 

Of a possible nine Weasleys, Peter Rabbit gets five.

 

Closing yesterday's triple-header was the sequel Pacific Rim: Uprising.

 

Hey guys...guys...we're cancelling the apocalypse again, 'kay?

 

Uprising is a big step down from the original Pacific Rim, and I can assure you with a reasonable amount of certainty, dear reader(s), that I didn't find it so only because it's missing Charlie Hunnam and Idris Elba. (Though that won't ever help in my eyes, obvs.) The film suffers from paper-doll characters and painfully bad dialogue, but is salvaged somewhat by its likable cast. Though the action is solid, the plot is weak and filled with predictable twists. Lorne Balfe's score is properly epic, and the effects are as massive as a movie-hugeness junkie like me could hope, but, ultimately, if you want brainless fun with big robots, Transformers is a better option.

 

Pacific Rim: Uprising is a witless good time that you'll forget almost as soon as you exit the cinema. 

 

Of a possible nine Weasleys, Pacific Rim: Uprising gets six.

 

Until next time...

 

MOVIE REVIEW: AMERICAN MADE

Barry Seal, a TWA pilot, is recruited by the CIA to provide reconnaissance on the burgeoning communist threat in Central America and soon finds himself in charge of one of the biggest covert CIA operations in the history of the United States. The operation spawns the birth of the Medellin cartel and almost brings down the Reagan White House.

Director: Doug Liman

Cast: Tom Cruise, Sarah Wright, Domhnall Gleeson, Jayma Mays, Jesse Plemons

Release Date: Sept 29, 2017

Genres: Action, Adventure

Rated R for language throughout and some sexuality/nudity

Review:

American Made, the second collaboration between Doug Linman and Tom Cruise, is a fun fast paced quasi docudramedy.  Linman delivers a fizzy if somewhat light hearted take on Barry Seal’s crazy story.  Tom Cruise is front and center throughout and he’s clearly having a great time in the role.  Sporting a barely convincing southern accent, Cruise is still great.  He’s the driving force of the movie throughout, so your enjoyment of the film will depend on how much you like Cruise.  Personally, I think it’s one of best performances in a good while.  The character is incredibly compromised and not nearly as smart as he thinks he is, so it’s a bit of a change of pace for Cruise and it works well for him and the film.  The supporting cast is a bit under developed and I would have liked to know a bit more about Domhnall Gleeson’s shady CIA character but it’s not a massive misstep.  A tad bit of trimming towards the end would have helped but as is it’s a strong showcase for Cruise and Liman.

B+

Cindy Prascik's Reviews of Flatliners & American Made

 

 

Dearest Blog: Today it was off to Marquee Cinemas for Flatliners and American Made.

 

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

 

First on the docket: Flatliners.

 

A group of med students experiments with death.

 

The original Flatliners is a disturbing exercise that leaves an unsettled hangover long after the picture ends. Its perfect cast, gloomy atmosphere, and graveyard humor make it a classic I never mind revisiting. The new Flatliners is a sloppy collection of paper-doll characters, cringe-worthy dialogue, and jump scares...and, oh, James Norton...you deserve so much better! While the remake's premise is basically the same as the original's, it's hard to muster any interest in this unsympathetic group of newcomers. Jump scares are plentiful but far too easy to anticipate, and the "flatline" experiences look a lot like low-rent haunted attractions. Because things weren't going poorly enough, filmmakers also shoehorned in a couple ill-conceived sexual interludes. Lacking any of the original's humor, Flatliners seems to drag despite clocking in well under two hours, building to one of the more eye-rolling endings in recent memory. Among the few positives, James Norton and Diego Luna are both more than watchable, and a couple callbacks to 1990's Flatliners offer a welcome bit of nostalgia. I've heard some folks say this remake wasn't "necessary," but a thing doesn't have to be necessary to be fun, entertaining, or even worthwhile. Sadly, 2017's Flatliners is none of that, either.

 

Flatliners runs 110 minutes and is rated R for "violence and terror, sexual content, language, thematic material, and some drug references."

 

While I'm not normally opposed to films being remade--even films I love dearly--I kinda wish they'd left this one alone. Of a possible nine Weasleys, Flatliners gets two.

 

Next on my agenda, American Made.

 

An airline pilot is pressed into some shady dealings by the CIA.

 

American Made sells like an action-comedy in its trailers, so viewers might be excused for forgetting its story is serious as a heart attack and likely to end badly for anyone it makes you care about. The picture is a Tom Cruise vehicle through and through, and Cruise carries it with his usual ease. If you're having a hard time forgiving him for The Mummy, maybe this is a better reminder of how masterful he is in even sub-par projects. The suddenly-ubiquitous Domhnall Gleeson is also brilliant as the CIA mentor who drags Cruise's character into all the hot water. Now...for the hard part. I can't say I didn't like American Made, and I can't say I did. It's action packed, yet somehow I was bored. The supporting cast isn't standout like Cruise and Gleeson, but there are plenty of fine performances to go around. It could have used a small trim, but it's not really all that long. While the tale is no doubt embellished for the big screen, the film remains a sobering reminder of what's considered "acceptable" when you're doing it for the "good guys" (and as long as nobody finds out). And, yes, it *is* quite funny at times. So...where, exactly, does American Made go wrong? I honestly can't say, I can only say that it does, and thus is nowhere near the thrill-ride you'd expect from its trailer.

American Made clocks in at 115 minutes and is rated R for "language throughout and some sexuality/nudity." (Anybody else find it weird that a film about a cartel doesn't get a certification for drug content?)

 

American Made is a passable way to spend a couple hours, easily digested and easily forgotten. 

 

Of a possible nine Weasleys, American Made gets five.* (*Includes one bonus Weasley for having an actual Weasley in the cast.)

 

Until next time... 

 

Cindy Prascik's Review of The Revenant

Dearest Blog: After suffering through The Hateful Eight on New Year's Day, a short-and-cheery flick would have been welcome this week. 

Alas, Oscar nominations drop Thursday, so instead I found myself at Marquee Cinemas for another marathon of misery, The Revenant. Spoiler level here will be mild, nothing you wouldn't know from the trailers. Survival and revenge are a long and painful road for a man who has lost everything. 

Dear reader(s): When I tell you The Revenant is miserable, I mean that happy is not in its dictionary. I do not mean I didn't like it; on the contrary, I absolutely loved it. 

Most news about The Revenant focuses on the physical difficulties of making the picture, no doubt to convince the Academy that Leonardo DiCaprio deserves that elusive Best Actor trophy. DiCaprio's Oscar desperation is so palpable the movie might as well have been called, "Please Let Me Win This Time." 

Luckily, his performance is mostly brilliant, dipping only the occasional toe into unintentional comedy with his overacting. (To clarify, Leo's deserved an Oscar since Gilbert Grape, but he definitely sells it a little too hard at times.) Tom Hardy, Domhnall Gleeson, and Will Poulter are equally fantastic, with far less histrionics. 

The story is fascinating, beautifully told, but full of deception and brutality. A lovely score underlines the film, taking a quiet backseat but for its powerful climax. The Revenant's real stars, however, are its stunning locations and the expertise with which they're filmed. Magnificent snowy mountains, icy rivers, and majestic forests are presented in such striking big-screen glory it takes your breath away. 

I'd ordinarily complain about a runtime so far in excess of two hours, but I happily could have watched two more hours of this beauty. The Revenant runs 156 minutes and is rated R for "strong frontier combat and violence, including gory images, a sexual assault, language, and brief nudity." The Revenant doesn't have many flaws, but, if we're being honest, I'd have forgiven it just about anything for its visual splendor alone. 

Of a possible nine Weasleys, The Revenant gets eight and a half. 

(Small bonus for having an actual Weasley!) Until next time... 

MOVIE REVIEW: THE REVENANT

In 1820s America, frontiersman and fur trapper Hugh Glass (Leonardo DiCaprio) joins a pelt-gathering expedition along with his teenage son Hawk (Forrest Goodluck). When attacks by Arikara Indians claim the lives of many of the men in the party, Glass leads a small group on a new path back to a U.S. fort. While attempting to hunt game on the journey, Glass is mauled by a grizzly bear and horribly wounded. Assumed he'll be dead soon, Glass is left under the care of roughneck John Fitzgerald (Tom Hardy), and the young and inexperienced Jim Bridger (Will Poulter) as Hawk watches on in horror. Fitzgerald betrays Glass and leaves him for dead, alone and unarmed. Glass nurses himself back to health and charts a course of revenge. Alejandro González Iñárritu directed this pulse-pounding epic. ~ Daniel Gelb, Rovi

Director: Alejandro González Iñárritu

Cast: Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter, Lukas Haas

Rated R for strong frontier combat and violence including gory images, a sexual assault, language 

and brief nudity

Runtime: 2 hr. 36 min.

Genres: Action/Adventure, Suspense/Thriller

Review:

Alejandro González Iñárritu’s follow up to last years Oscar winning Birdman is beautiful film which shows you a lot more than it ever tells you.  Iñárritu leans on symbolism and some quasi spiritual visions more than outright exposition throughout, leaving us with a soulful, if grittier, Jack London style story.  The bear attach scene and the opening attach sequence, which looks like it’s shot in a single take, will leave the biggest impression but at its base it’s a straightforward revenge tale with very little else going on.  Its bear bones approach might turn off some since it only gives us passing details of DiCaprio’s character but never goes into much detail about it.  DiCaprio’s performance is mostly based off grunts and screams intermixed with passing bits of dialogue.  He’s impressively committed to the roles especially through the adverse conditions he went through while filming the movie.  While, DiCaprio is excellent, I left the film more impressed by Tom Hardy’s performance.  Hardy is a given a slightly meatier role, so much so that sometimes he feels like the main character more so than DicCaprio’s.  It’s an interesting juxtaposition to watch, each succeeds, along with the film.  The Revenant falls just short of reaching the level of Birdman but still an impressive bit of film making none the less.

B

Cindy Prascik's Review of Star Wars: The Force Awakens

Dearest Blog: yesterday it was off to Marquee Cinemas to see--you guessed it!--Star Wars: The Force Awakens. Spoiler level here will be mild, nothing you wouldn't know from the trailers. 

 

In a post-Empire galaxy far, far away, the resistance fights the tyrannical rule of the First Order. Dear Reader(s): Is there anything quite so magical as being in a dark theatre when that crawl starts and the iconic Star Wars theme kicks on? 

 

I think not. Fortunately, Star Wars: The Force Awakens is extraordinary from the theme's opening note to the end credits' final line. The Force Awakens is littered with enough nostalgia to keep the die-hards happy, but it's far from just a stroll down memory lane. 

 

The new story and new characters fit the universe with nary a hiccup, well crafted enough to stand on their own without upsetting the whole galactic applecart. New leads Daisy Ridley and John Boyega (Attack the Block...YEAH!) are so terrific the naysayers will be forced to come 'round, if they haven't already, and I'd be lying if I said I didn't get a little teary through the biggest smiles ever when my old favorites appeared. 

 

The Force Awakens has terrific effects that seem to come right off the screen, even in 2D, and it goes without saying the score is majestic. 

 

The movie's a hair on the long side, but that's a minor quibble with a picture that manages to please old and new fans alike, garner nearly universal support for a very polarizing director, and effectively redefine Hollywood's definition of "blockbuster." Star Wars: The Force Awakens runs 135 minutes and is rated PG13 for "sci-fi action violence." 

 

That rare item that lives up to the hype, of a possible nine Weasleys, Star Wars: The Force Awakens gets eight and a half. (Small bonus for having an actual Weasley in the cast!) Also, I want a BB-8!! 

 

Until next time... 

 

MOVIE REVIEW: STAR WARS: THE FORCE AWAKEN

In this continuation of the epic space opera, a downed stormtrooper (John Boyega) goes on a journey that brings him face-to-face with heroes from the past (Harrison Ford, Carrie Fisher, and Mark Hamill). Directed by J.J. Abrams. ~ Violet LeVoit, Rovi

Director: J.J. Abrams

Cast: Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Domhnall Gleeson, Harrison Ford, 

Mark Hamill, Carrie Fisher

Release Date: Dec 17, 2015

Rated PG-13

Runtime: 2 hr. 16 min.

Genres: Action/Adventure, Sci-Fi/Fantasy

Review:

Star Wars: The Force Awakens is probably one of the most hyped movies in recent memory and the question quickly arises, can it possibly live up to the hype.  It does to a certain extent but it’s far from a perfect delivery.  The good news is that J.J. Abrams brings back the sense of fun and wonderment to the series that was sorely lacking from the prequels.  Abrams has a clear affection for the franchise, countless youtube videos will soon be dedicated to dissecting shots that reference the original trilogy, and it shines through the screen and through the plot.  It’s both a love letter to Star Wars: A New Hope and a redux of it.  Even if the nostalgia is a bit much at times, Abrams knows how to keep the film fun with plenty of space battles and adventure.  The new and old characters mesh surprisingly well even if the Daisy Ridley and John Boyega scale closer to Luke Skywalker than Han Solo.  Boyega does stand out with his comedic timing which is used throughout the film.  A persistently sweaty Ridley does a solid if unremarkable job.  Oscar Isaac on the other hand plays the most intriguing new character in the film.  He’s so impressive that you can’t help but wish that he was the main character instead of a supporting one.  The returning cast does well as expected with Harrison Ford impressively easing back into his Solo character and providing a solid center to the whole film.  Adam Driver on the other hand is a mixed bag as the new baddie Kylo Ren.  He’s world more effective when he’s in full character.  The mystique they work to create during the first two acts is kind thrown to the wayside when he’s unmasked and we’re left with an all too familiar whiny child with Driver’s face.  This is part of the persistent problem with the film, it lack any real surprise because it telegraphs “surprises” from miles away.  The only way you’d really not see them coming would be if you showed up late or fell asleep for some reason.  That’s not even to mention the Death Star, hey lets make it huge this time that’ll work, device that used again.  Still, even with it’s faults The Force Awakens delivers what people expected from the prequels, a fun adventure back in this universe.

B+

Cindy Prascik's Review of Brooklyn

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: Awards Season means sacrifices. 

 

Anyone who suffered through Boyhood can tell you that. Thus, yesterday I found myself at the icky cinema where my feet stick to the floor and the toilets never work to catch Brooklyn before Star Wars chases it out of town for good.

 

Spoiler level here will be mild, probably nothing you wouldn't know from the trailers if you've seen any, which I haven't.

 

A young Irish girl seeks opportunity in 1950s Brooklyn.

 

A list of the sort of films I most despise would look something like this:

 

1.) Movies about women;

 

2.) Movies for women;

 

3.) Movies by women;

 

4.) Movies about romance;

5.) Movies where nothing blows up.

 

Brooklyn is most of those things, but, somehow, I liked it anyway.

 

Brooklyn manages to tell its love story sans the manufactured angst that dumbs down most romances to a Nicholas Sparks level. 

 

The movie is an effective reminder of a time when going away meant *really* being apart from everyone and everything you knew and loved...no Facebook or Skype for keeping up with the folks back home. The heartache is palpable, as is the joy at finding that special someone that turns a new place into "home." 

 

Sincere, engaging performances by Saoirse Ronan and Emory Cohen, and fantastic supporting turns by Julie Walters and Jim Broadbent, make it easy to see why this little love story is considered one of the year's best pictures.

 

Brooklyn clocks in at 111 minutes and is rated PG13 for "a scene of sexuality and brief strong language." 

 

A romance that could make me forget I hate romances, Brooklyn is a wonder to behold. 

 

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

 

Until next time...

MOVIE REVIEW: EX MACHINA

Alex Garland, writer of 28 Days Later and Sunshine, makes his directorial debut with the stylish and cerebral thriller, EX MACHINA. Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company’s brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test—charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence. That experiment is Ava (Alicia Vikander), a breathtaking A.I. whose emotional intelligence proves more sophisticated––and more deceptive––than the two men could have imagined.

Director: Alex Garland

Cast: Alicia Vikander, Oscar Isaac, Domhnall Gleeson, Corey Johnson

Release Date: Apr 10, 2015

Rated R for Graphic Nudity, Language, Sexual References and Some Violence Runtime: 1 hr. 50 min.

Genres: Sci-Fi/Fantasy, Suspense/Thriller

Review:

Alex Garland’s directorial debut is one of the smartest and sleekiest sci-fi films in recent memory.  Garland’s film is beautifully shot, delivering some stunning imagery throughout.  Thematically, it covers some well worn sci-fi tropes but it does it in a wonderfully engaging manner that rarely bores.  The actors and characters are all fascinating throughout with each actor delivering some multifaceted performances.  Oscar Isaac is quickly becoming a personal favorite of mine and he delivers as the reclusive tech genius.   Alicia Vikander is just mesmerizing as Ava.  The performance is measured and subtle, rarely overselling any moments but thoroughly engaging.  Domhnall Gleeson is solid but sadly he’s overshadowed by Vikander and Isaac.  The film is provocative and thoughtful until the final act where things devolve and starts to feel a bit too paint by the numbers.  Thankfully, Ex Machina is impressive enough to overcome that small misstep and make a big splash for Alex Garland.

A