MOVIE REVIEW: THE FALL GUY

 

After leaving the business one year earlier, battle-scarred stuntman Colt Seavers springs back into action when the star of a big studio movie suddenly disappears. As the mystery surrounding the missing actor deepens, Colt soon finds himself ensnared in a sinister plot that pushes him to the edge of a fall more dangerous than any stunt.

Director: David Leitch

Cast: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, Winston Duke

Release Date: May 3, 2024

Genre: Action, Comedy, Drama

Rated PG-13 for action and violence, drug content and some strong language.

Runtime: 2h 5m

Review:

David Leitch's The Fall Guy is a breezy sort of blockbuster, packed with massive stunts and a pair of perfectly matched stars.  The film uses its madcap set up as an excuse for Leitch to lovingly show his appreciation for the stunt side of the movie business which he came from.  The plot serves as little more than an excuse to move from one action sequence to another with the central romance serving as the propulsive force behind the whole thing.  There's a heavy rom-com feel to the quieter moments that relies heavily on its two leads to carry the momentum.  Thankfully, the film is blessed with Ryan Gosling and Emily Blunt's inherent charm and charisma.  Gosling brings his goofy, likable energy to the lovelorn stuntman who's willing to do what it takes to get the girl.  The film noticeably perks up when he and Blunt share the screen, be it in person or by way of old school split screen.  Their interchanges possess the kind of natural ease that makes it easy to believe the two care for each other in spite of the artificial obstacles the plot presents them with.  The onscreen couple are destined to be together from the start which is sort of refreshing in its lack of contrived conflict that usually pops up in rom-coms.  It’s a fun pairing that makes the film far better than it should be since the story's twists aren't terribly surprising since they are telegraphed fairly early on.  This is a film that leans heavily on its cast with the supporting players made up of familiar faces like Aaron Taylor-Johnson, Hannah Waddingham, Winston Duke and Stephanie Hsu.  Johnson and Waddingham are clearly having a ball hamming up it as Hollywood stereotypes.  Winston Duke makes for a solid wingman for Gosling’s character but the film doesn't make the most of the pairs natural chemistry.  Stephanie Hsu makes the most of her limited screen time, especially in one big action sequence.  It all makes for a fun film that's never too deep or weighty which makes it the kind of disposable summer blockbuster that might not linger in your memory too long afterwards. 

B-

Cindy Prascik's Review of Oppenheimer

 

My dear reader(s), if you have been with me for any length of time, you will know that I’ve gone from a twice-a-week movie-goer to a twice-a-year movie-goer, and my reviews these days are mostly limited to streaming options. If ever there were a person who could get me to face the talkers, the seat-kickers, the popcorn-bag-rattlers, and the straw-slurpers at the cinema again, that person is Christopher Nolan, who last week presented us with yet another masterpiece, Oppenheimer.

Spoiler level here will be mild, nothing you wouldn’t know from the trailers, possibly from real life, and from the paragraph above, wherein I pretty much spoiled my entire review. D’oh!

Yes, Oppenheimer is a masterpiece, among Christopher Nolan’s best work, and that’s a very high bar. It’s early goings yet, but people are already throwing around the “O” word (no, not *that* O-word, though Florence Pugh is pretty hot), and, with half the year behind us, I’d say that’s probably going to stick. Nolan makes a three-hour movie seem like three minutes, with mesmerizing storytelling, sharp dialogue, and a glorious visual landscape. Robert Oppenheimer is painted neither hero nor villain, but rather a man so consumed by whether a thing *could* be done, he failed to consider whether it *should* be done…until it was too late. While there are some gruesome images in Oppenheimer, there’s nothing over-the-top or gratuitous, and the movie never takes lightly the grave ramifications of the choices it depicts.

Cillian Murphy, of course, is brilliant in the title role. He’s never been less, and if anyone didn’t know that by now, this is their education. The whole cast really couldn’t be more perfect, and it’s a testament to the Power of Nolan how many big people took little roles just to be part of this project. Expect awards season to be lucrative for at least Murphy, Robert Downey, Jr., Emily Blunt, and (depending on the field) Ms. Flo, although her role is comparatively small. Exceptional work to a person, Oppenheimer left me breathless.

Oppenheimer clocks in at 180 minutes and is rated R for “some sexuality, nudity, and language.”

Oppenheimer is a masterclass in storytelling and performing, making fascinating work of a grim tale. Of a possible nine Weasleys, Oppenheimer gets all nine.

Oppenheimer is now playing in theaters worldwide.

Until next time…

MOVIE REVIEW: OPPENHEIMER

A feature biography from director Christopher Nolan, explores how one man's brilliance, hubris, and relentless drive changed the nature of war forever, led to the deaths of hundreds of thousands of people, and unleashed mass hysteria. 

Director: Christopher Nolan

Cast: Cillian Murphy, Matt Damon, Emily Blunt, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh

Release Date: July 21, 2023

Genre: Biography, Drama, History

Rated R for some sexuality, nudity and language

Runtime: 3h 0m

Christopher Nolan's Oppenheimer is a heady, engrossing biopic that makes a series of conversations feel just as thrilling as any large scale action set piece.  Nolan's meticulous eye is laser focused throughout as he unveils a bendy narrative that jumps from two separate time periods and view points.  His sweeping visual style is more focused here, taking plenty of time on faces and subtle ruminations from the main characters as they tackle some truly world changing concepts and the repercussions they bring.  Cillian Murphy leads the film with a nuanced measured performance that maybe the best of his career.  Murphy's hundred yard stare conveys a bevy of emotions as the character carries the weight of the world as his mind juggles through the countless challenges and ultimate ramifications of what his work creates after the fact   Nolan uses his faces and expressions on more than a few occasions to communicate a slew of information occasionally without a single line of dialogue being uttered.  He's the driving force in the film but he benefits from some truly impressive turns from a stellar supporting cast.  Robert Downey Jr. gets the meatiest role as Oppenheimer's post war rival who is trying to secure a cabinet position.  Downey Jr. sinks his teeth into the role with impressive ease as he reveals the character's duplicitous nature.  His scenes play well in contrast against Murphy's more subdued, internalized sequences.  Matt Damon and Emily Blunt have smaller supporting roles with each doing the most with their screen time with the latter playing against time with great effect.  Florence Pugh is equally solid as Oppenheimer's mistress even if she is a bit young for the role.  A slew of other familiar faces pepper the film giving it a rich textured quality, Tom Conti, in particular, is fascinating in his limited screen time as Albert Einstein.  Their conversation revealed near the end of the film is particularly revelatory and devastating in its implications.  Its these kind of moments that Oppenheimer revels and delivers in a steady stream throughout with the cast and crew all working in top form.

A

MOVIE REVIEW: JUNGLE CRUISE

 

Dr. Lily Houghton enlists the aid of wisecracking skipper Frank Wolff to take her down the Amazon in his ramshackle boat. Together, they search for an ancient tree that holds the power to heal -- a discovery that will change the future of medicine.

Director: Jaume Collet-Serra

Cast:  Dwayne Johnson, Emily Blunt, Édgar Ramírez, Jack Whitehall, Jesse Plemons, Paul Giamatt

Release Date: July 30, 2021

Genre: Action, Adventure, Comedy, Fantasy

Rated PG-13 for sequences of adventure violence

Runtime: 2 h 7 min

Review:

Disney's Jungle Cruise desperately wants to harken back to classic adventure romances like The African Queen and Romancing the Stone.  Jaume Collet-Serra's film is a relentlessly aggressive film that moves from one action set piece to another, leaving you with nary a chance to catch your breath.  He and the script are trying to capture the spirt of those films, Johnson and Blunt's outfits are straight out of The African Queen, its execution is closer to a latter day Pirates of the Caribbean sequel.  It's an FX heavy film that's set in an exotic locale but its possible that there isn't a single shot filmed on location, as such its has an artificial feel throughout.  The script doesn't help matters much with a clunky old school feel where you can see every joke and punch line coming a mile away.  The strange thing about the entire production is that it's a fairly enjoyable albeit mindless watch mainly due to it's central stars.  Dwayne Johnson and Emily Blunt make the goofy script work even with some of the sillier conceits, Johnson's Frank loves dad jokes.  Their natural screen magnetism is the film's biggest assets even if they don't share any sort of believable romantic chemistry.  Their character's are broadly drawn with Frank being a charismatic rascal and Blunt's Lily being irrepressibly plucky and headstrong.  Jesse Plemons hams it up as the film's cartoonish villain who is only missing a German pickelhaube to complete his ensemble.  The film does start to wear out it's welcome in its final act showcasing the fact there is no reason this film couldn't be a half hour shorter.  Disney's Jungle Cruise emulates great films but ends up being a fun but hallow imitation. 

B-

MOVIE REVIEW: A QUIET PLACE PART II

 

Following the deadly events at home, the Abbott family must now face the terrors of the outside world as they continue their fight for survival in silence. Forced to venture into the unknown, they quickly realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path.

Director: John Krasinski

Cast: Emily Blunt, Millicent Simmonds, Noah Jupe, Cillian Murphy, Djimon Hounsou

Release Date: May 28, 2021

Genre: Drama, Horror, Sci-Fi

Rated PG-13 for terror, violence and bloody/disturbing images.

Runtime: 1 h 37 min

Review:

A Quiet Place Part II is a solid if flawed follow up to beloved original.  John Krasinski turns in another impressive directorial effort with this well constructed exercise in a tension building.  The pretense of not seeing the monsters being exhausted in the original leave the door open for more monster action.  Smartly, Krasinski doesn't go totally overboard by forgoing tension for all out action.  The set pieces are impeccably constructed with a smart use of setting and sound to deliver jump scares that feel anything but cheap.  The cast is equally strong with Millicent Simmonds taking a more central role in this entry.  Simmonds displays some impressive acting chops even when she's onscreen with actors like Emily Blunt and Cillian Murphy.  Blunt's character takes more of a secondary role here but she still manages to shine in her limited screen time.  Cillian Murphy is appropriately intense even though his character feels terribly underwritten.  Murphy does what he can with the role but the character is simply there to advance the story and little more even though there are nuggets of backstory which are never expanded on.  Djimon Hounsou is just as underused in what amounts to a throw away role, written with little to no depth.  Ultimately, the script is this sequels biggest drawback by delivering thinly written supporting characters and character who simply do incredibly stupid things for no good reason.  The original benefited from Krasinki's strong direction, excellent central performances and a simple but efficient script with some logical leaps you could overlook.  A Quiet Place Part II works on most of the same levels but the script and story here are far more lacking.

B-

Cindy Prascik's Reviews of Vice & Mary Poppins Returns

Dearest Blog: Yesterday I made my last trip of 2018 to Marquee Cinemas for a final holiday catch-up double-header.

On the docket: Vice and Mary Poppins Returns. Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First up: Vice. A look at the personal life and political rise of former Vice-President Dick Cheney.

Vice is a tough film to get through, but I need to call out the positives, because the movie's difficulties do not lie with the quality of the filmmaking. Vice's primary draw is the caliber of its cast. Much has been made of Christian Bale's physical transformation for this role, but frankly we've seen enough of that from Bale in the past that it loses a bit of its impact. More impressive is the ability of such familiar actors to disappear so thoroughly into equally-well-known political figures. Hair and makeup offer valuable assists, but it's the performers' skills that convince our eyes we're looking at George Bush when we can see Sam Rockwell's face. Amy Adams gives a particularly terrific turn as Cheney's wife Lynne, but, again, it's something Adams does so often that it's easy to take it for granted. Actual news footage is cut with the film to illustrate the impact of Cheney's influence and decisions. Flashbacks--not generally a favorite of mine--are smartly used to emphasize the ex-Veep's path to power. Vice is a very clever, very, very well-done movie...and I would never, ever watch it again. I actually walked out in the middle to got some popcorn, because I was so uncomfortable I couldn't stand it. (Spoiler alert: I didn't even want popcorn.) News footage of atrocities both against and by the United States is impossible to watch without feeling sick. Behind-the-scenes machinations are appalling, even if only half are true. Vice is, quite simply, a sobering tale of the worst of us.

Vice clocks in at 132 minutes and is rated R for "language and some violent images."

Vice is a very good movie about some very bad people; it's exhausting but imperative viewing.

Of a possible nine Weasleys, Vice gets seven and a half. Fangirl points: Justin Kirk! And...it's awards season so you know what that means: Shea Whigham all 'round!!

Next on my agenda, a welcome change of mood with Mary Poppins Returns.

The Banks family again finds itself in need of a magical nanny's particular talents. Mary Poppins Returns is one of those movies that probably works as well as it does thanks to being released into the warm and fuzzy holiday season. That's not to say it isn't a good movie--I think it is--but its success will definitely be aided and abetted by Christmas cheer and maybe some spiked eggnog. There's an all-new soundtrack to enjoy, but familiar musical cues never miss an opportunity to remind the viewer: You already love this! I, personally, found the songs a bit La La Land-blah, but the production of the musical numbers is extraordinary and the choreography is exquisite. Emily Blunt is a delight as Mary Poppins, a role she seems to have been born to play. Lin-Manuel Miranda infuses every second of his screen time with a joy that runs through him like his very blood, and Ben Whishaw does his usual superb work as a grown-up Michael Banks. Kid actors can be a crapshoot, but Pixie Davies, Nathanael Saleh, and Joel Dawson aren't too annoying. In supporting roles, Julie Walters, Colin Firth, and Meryl Streep are great if underused, though Streep still manages to steal the show. Mary Poppins returns is filled with striking scenery, beautiful costumes, and eye-popping colors, and it sticks firmly to its old-school musical roots. While there's no mistaking the movie's overall good vibe, it also stresses the importance of each of us--young and old--doing what we can to bring our own positivity to every situation.

Mary Poppins Returns runs 130 minutes and is rated PG for "some mild thematic elements and brief action."

Mary Poppins Returns is a breezy bit of holiday cheer that should be a staple for years to come.

Of a possible nine Weasleys, Mary Poppins Returns gets eight.

Fangirl points: Well, not naming names, but as soon as I heard the Coachman's voice, I kept waiting for him to say, "Have you tried turning it off and back on again?"

So...it's almost 2019, when am I getting a Cats trailer??

MOVIE REVIEW: MARY POPPINS RETURNS

Now an adult with three children, bank teller Michael Banks learns that his house will be repossessed in five days unless he can pay back a loan. His only hope is to find a missing certificate that shows proof of valuable shares that his father left him years earlier. Just as all seems lost, Michael and his sister receive the surprise of a lifetime when Mary Poppins -- the beloved nanny from their childhood -- arrives to save the day and take the Banks family on a magical, fun-filled adventure.

Director: Rob Marshall

Cast: Emily Blunt, Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Dick Van Dyke, Angela Lansbury, Colin Firth, Meryl Streep

Release Date: December 19, 2018

Genres: Comedy, Family, Fantasy

Rated PG for some mild thematic elements and brief action

Runtime: 2h 10 min

Review:

I feel obliged to mention that I’ve never actually watched the original Mary Poppins start to finish.  I’m well aware of it by reputation and honestly I’m more familiar with The Simpson’s parody of it than the actual movie.  As such, I head into this reboot with the ability to take Rob Marshall’s sequel mostly on its own merits.  Keeping with the transparency theme, I’ll state that I’ve been a big fan of Marshall’s work since Chicago and Mary Poppins Returns only further confirms my admiration.  Marshall can stage a song and dance sequence like few others can and here he’s in top form delivering some wonderfully fizzy and enjoyable sequences that will leave a smile on your face.  The film moves at a steady pace, rarely lingering too long much less on the barebone’s plot.  It keeps moving on Marshall’s energy and its stars incredible charm and screen presence.  Emily Blunt is everything you could ask for as she takes over the reins from Julie Andrews.  It’s a role that seems tailor made for her and she plays it with palpable energy and vigor.  Manuel Miranda is a bit of an outlier, no so much that he’s bad but he just feels slightly miscast even though he does add some spice into some of songs.  Ben Whishaw and Emily Mortimer are mostly left by the wayside in thankless supporting roles.  It help that three child actors who spend the most time on screen with Blunt prove to be more capable of carrying their own.  It’s a treat to watch and the film as a whole is about as charming and delightful they come.

A-

MOVIE REVIEW: A QUIET PLACE

A family is forced to live in silence while hiding from creatures that hunt by sound.

Director: John Krasinski

Cast: John Krasinski, Emily Blunt, Millicent Simmonds, Noah Jupe, Cade Woodward

Release Date: April 6, 2018

Genres: Drama, Horror, Thriller

Rated PG-13 for terror and some bloody images

Runtime: 1h 30min

Review:


A Quiet Place is a well crafted horror film that uses tension and sound as a tool with incredible precision.  John Krasinski shows off some serious directorial chops setting up his premise and scenes during this horror thriller.  Nothing is terribly ground breaking, especially for seasoned horror fans, but every sequence is executed so well that you can’t help but admire the craftsmanship.    Fede Álvarez‎ 2016 film Don’t Breathe recently mined a similar trope but Krasinski adds a splash of Aliens into the mix, adding a layer of visceral terror to his film.  The plot itself is paper thin, were given little to no backstory, and if you think about the overall idea too much it’ll fall apart.  Strong performances from Krasinski, Millicent Simmonds and Emily Blunt make it easier to overlook some of the more glaring plot holes.  While there is a plenty to love about this film it does start to feel like it doesn’t know where to go especially in the final act.  The ultimate solution ends up echoing Mars Attack which is strange but somehow appropriate.

B+

MOVIE REVIEW: SHERLOCK GNOMES

After a string of garden gnome disappearances in London, Gnomeo & Juliet look to legendary detective Sherlock Gnomes to solve the case of their missing friends and family.

Director: John Stevenson

Cast: James McAvoy, Emily Blunt, Chiwetel Ejiofor, Mary J. Blige, Johnny Depp

Rated PG for some rude and suggestive humor.

Genres: Animation, Adventure, Comedy

Runtime: 1h 26min

Review:

Sherlock Gnomes is a fun and lighthearted sequel that works more than it doesn’t even though it doesn’t deliver a ton of surprises.  Going through the basic of Sherlock Holmes mythology in gnome form plays out in a fun family friendly manner.  Johnny Depp provides the voice for Sherlock Gnomes and gives him a fun self centered narcissistic voice.  Depp and Emily Blunt spend the better part of the film together and they have some fun chemistry.  McAvoy spends the better part of the film on a separate storyline which means that he and Blunt don’t have a lot of interplay which was the highlight of the original but it’s all in service of the story.  The film has a solid message of not taking loved ones for granted which is a bit more thoughtful than it really needed to be for this type of family film which is refreshing. 

B

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...

 

Cindy Prascik's Reviews of The Girl on the Train & The Birth of a Nation

Dearest Blog: Yesterday it was off to Marquee Cinemas for the buzzkill double-bill of The Girl on the Train and The Birth of a Nation. 

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers. First on the docket: The Girl on the Train. An unhappy divorcee makes up stories about the people she sees on her daily commute, then becomes entangled in the case when one of them goes missing. 

 

The Girl on the Train is such a pedestrian mystery that, never having been anywhere near the novel, it took me approximately 23 minutes to clock exactly how it was going to play out...and that was far from my final check of the time, believe me. 

 

Emily Blunt plays the titular girl as a sloppy, irritating drunk, and the supporting characters are so odious it's impossible to care what happens to any of them. (Though I'd forgive Luke Evans for pretty much anything once he started peeling off those clothes.) 

 

A few laughable bits--including a full-on Cameron Frye moment in a gallery--spell a miserable whole that plods along with varying versions of events. Who's telling the truth? Who's lying? 

 

You'll stop caring long before this mess crawls to its predictable finish. About the only things The Girl on the Train has to recommend it are a properly menacing score by Danny Elfman and a couple frames of Evans' glorious bod. 

 

The Girl on the Train runs an excruciating 112 minutes and is rated R for "violence, sexual content, language, and nudity." The Girl on the Train is a slow, dull exercise that made me want to throw myself on the tracks. 

 

Of a possible nine Weasleys, The Girl on the Train gets four. 

Fangirl points: Luke Evans. Luke Evans' abs. Luke Evans' bottom. 

 

Also, a girl in a Damned shirt...yay! Next up: The Birth of a Nation. The true story of Nat Turner, a slave and preacher who orchestrated a rebellion in 1831. 

 

The Birth of a Nation is difficult to watch, and more than once I had to look away from the brutality and abuse. Performances are fantastic across the board, with Nate Parker and Aja Naomi King outstanding in the leads, and Armie Hammer his usual reliable self in an important supporting role. 

 

Turner's Christian faith is central to the story, but the movie also exposes the contradictory nature of the Bible and those who presume to speak for their gods. 

 

The subject matter is unpleasant enough to make the film feel much longer than it is; for the duration I kept thinking the last thing we really need right now is yet another reminder of how horrible people can be to one another. 

 

Only afterward did it occur to me, maybe exactly what we need right now is a reminder of what happens when people are encouraged to treat others as less than themselves. 

 

The Birth of a Nation clocks in at an even two hours and is rated R for "disturbing violent content and some brief nudity." The Birth of a Nation is a well-acted picture with a timely, important message, but, sadly, none of that makes it a truly great movie. 

 

Of a possible nine Weasleys, The Birth of a Nation gets five. .

 

 Fangirl points: The aforementioned Armie Hammer. Mark Boone Junior (Bobby Elvis)! 

 

Until next time... 

 

MOVIE REVIEW: THE GIRL ON THE TRAIN

In the thriller, Rachel (Blunt), who is devastated by her recent divorce, spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day, until one morning she sees something shocking happen there and becomes entangled in the mystery that unfolds. Based on Paula Hawkins’ bestselling novel, The Girl on the Train is adapted for the screen by Erin Cressida Wilson and Taylor. The film’s executive producers are Jared LeBoff and Celia Costas, and it will be released by Universal Pictures.

Director: Tate Taylor

Cast: Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans

Release Date: Oct 07, 2016

Rated R for violence, sexual content, language and nudity

Genres: Suspense/Thriller

Review:

Is it possible to make an interesting movie with a cast of characters who are all unlikable and fairly terrible?  The Girl on the Train tries really hard to pull it off and has a decent amount of success even if the “mind blowing” twist is telegraphed fairly early on.  Tate Taylor is clearly trying to emulate David Fincher’s Gone Girl but he’s not as talented a filmmaker to make it work.  As is, the film is a surprisingly engrossing tale of bad people doing bad things repeatedly.  Taylor’s real talent is getting some truly impressive performances out of his cast especially Emily Blunt.  Blunt is incredibly impressive throughout with multiple scenes set up to showcase her acting chops.  Haley Bennett, who looks distractingly like a Jennifer Lawrence clone, is just solid even though her character feels unwritten.  It’s a shame because the character seems to be most interesting of the group.  The Girl on the Train is trying it’s hardest to be some special but it never quite gets there.

B-

Cindy Prascik's Review of The Huntsman: Winter’s War

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: Last night I did that rarest of things for people my age, I made plans to be out on a work night. On my agenda: Marquee Cinemas' sneak-peek of The Huntsman: Winter's War.

 

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

 

I enjoyed Snow White and the Huntsman, but confess I was underwhelmed by the idea of a sequel. In the four years since the original was released, I've even convinced myself it only seemed good due to being released in close proximity to the unfortunate Mirror Mirror, which did such an awful job of (re)telling the same story. However, I have good news for you, dear reader(s): This sequel does NOT suck!

 

The Huntsman gets off to a bit of a slow start, but once it gets rolling, it doesn't stop. The movie's not going to land on anyone's Academy Awards shortlist, but a good cast, nice special effects, and great fight choreography help the thin storyline earn its two-hour runtime. 

 

Chris Hemsworth is charming and easy on the eyes, and Charlize Theoron, though too little used this go-round, is the highlight of the movie as she reprises her evil queen role with wicked relish. Emily Blunt and Jessica Chastain are troopers despite seeming weirdly miscast, and supporting players Nick Frost, Rob Brydon, and Sheridan Smith are especially entertaining in smaller roles. 

 

There are some dodgy Scottish accents to work around, but the players are otherwise more than solid. A fantastic score by James Newton Howard, some very pretty sets and locations, and an ever-changing assortment of stunning evil-queen dresses all help make The Huntsman worth your movie dollar.

 

The Huntsman: Winter's War clocks in at 114 minutes and is rated PG13 for "fantasy action violence and some sensuality."

 

It's not buzzy, nor is it the sort of picture you won't be able to stop talking or thinking about, but if you're looking for an entertaining couple hours filled with action and eye candy, The Huntsman is well worth your time. 

 

Of a possible nine Weasleys, The Huntsman: Winter's War gets six.

 

Until next time...

 

Cindy Prascik's Reviews of Sicario & The Martian

 

 

 

 

Dearest Blog: Yesterday it was off to the pictures for a promising pair, Sicario and The Martian.

 

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

 

First on my agenda: Sicario.

 

A tactical specialist for the FBI is recruited for a multi-agency operation targeting a drug kingpin.

 

Dear Reader(s), I was a HUGE fan of the TV series The Bridge, so when I started seeing trailers for Sicario, I thought, "The Bridge on the big screen, with a li'l Josh Brolin stirred in for good measure? SIGN ME UP!" The movie does have its twists, but it definitely includes all the "law vs. cartel" aspects you'd expect, too.

 

To wit: It will surprise exactly no one that a film about running down a cartel boss is not for the faint-hearted. Sicario is brutal, and it does not flinch in its presentation of violence and gore, though torture is mercifully more implied than explicitly shown. It's all about ugliness, with the occasional surprisingly pretty moment. In a world of dirt and shacks, suddenly there's a silhouette framed against a stunning sunset, a frame of breathtaking beauty. Emily Blunt is fantastic in the lead, a competent, confident woman who lands in a situation she doesn't fully understand and can't control. For the second time in as many weeks, Josh Brolin turns up as a vaguely obnoxious guy that you'll kinda like anyway, and Benicio Del Toro all-but steals the show. The proceedings are accompanied by a menacing, magnificent score (composed by Johann Johannsson) that perfectly enhances the movie's tense tone. There are many moving pieces in Sicario, but, at almost an even two hours, it never feels muddled, slow, or long.

 

Sicario clocks in at 121 minutes, and is rated R for "strong violence, grisly images, and language."

I anticipated greatness from Sicario, and I'm pleased to report it exceeded my expectations. 

 

Of a possible nine Weasleys, Sicario gets eight.

 

Next up: Ridley Scott's The Martian.

 

A space mishap leaves a presumed-dead astronaut alive and alone on Mars.

 

Box office reports indicate that, if you went to the movies this weekend, you probably saw The Martian. And you loved it, didn't you? Seems everyone did. Well, almost everyone...

 

First, the positives: The Martian is a great story, and very well acted. A strong supporting cast is uniformly solid, but it's essentially up to Matt Damon to ensure you aren't rooting against astronaut Mark Watney's rescue. Damon does a fine job; he's believably smart, funny, and likable, yet also beautifully plays those moments of despair bound to beset a person in his situation. It's worth noting that, for all the movie's meant to be taken seriously, it does not hesitate to get a shirtless Matt Damon onscreen as early and as often as possible. There's a shortage of Sebastian Stan (would you even believe I wrote this if I didn't say it?), but it's nice to see Stan, an excellent actor in his own right, in something worth watching. I'm a long-standing Stan Fan, but outside Marvel projects, I'm pretty sure he hasn't done a decent movie or show since the short-lived NBC series Kings. The Martian's effects are big and sweeping, not in the same universe (see what I did there?) as the visual magnificence of Interstellar, but certainly worth seeing on the big screen. It's played for laughs, but there's also a proper disco-stompin' soundtrack that'll leave you humming ABBA's Waterloo for the next week or so.

 

The negatives? Despite all that, The Martian is pretty boring for pretty frequent and pretty significant stretches. You've no reason to care whether anyone outside of Watney lives or dies. The off-Mars sequences at NASA are actually far more interesting and entertaining than the movie's galactic bread and butter. If we're being honest, I looked at the clock a LOT and was fidgetingly anxious to wrap it up before the movie's halfway point.

 

The Martian runs an excessive 141 minutes, and is rated PG13 for "some strong language, injury images, and brief nudity."

 

It's a good movie, maybe even a great movie, but on the heels of Sicario, 

 

The Martian just didn't feel all that special. 

 

Of a possible nine Weasleys, 

 

The Martian gets six and a half.

 

Until next time...

 

MOVIE REVIEW: SICARIO

An idealistic FBI agent (Emily Blunt) is assigned to work a dangerous stretch of the US-Mexico border by her superior officer (Josh Brolin). She's exposed to the brutality of the Mexican drug cartel, and becomes partners with a defector from the cartel (Benicio Del Toro) who possesses keen knowledge about the organization. As she gets deeper into the ruthlessness and corruption surrounding the FBI sting to find the organizations leaders, her moral and professional boundaries are pushed to their breaking point. Denis Villeneuve directs this pulse-pounding crime drama, which competed for the Palme d'Or at the 2015 Cannes Film Festival. ~ Daniel Gelb, Rovi

Director: Denis Villeneuve

Cast: Emily Blunt, Benicio Del Toro, Josh Brolin, Jon Bernthal, Daniel Kaluuya

Release Date: Sep 18, 2015

Runtime: 2 hr. 1 min.

Genres: Action/Adventure, Drama

Review:

Sicario is the type of action thriller that leans towards the adult audience more so than the blockbusters.  It’s a moody mix of suspense peppered with action and compelling characters.  Denis Villeneuve’s is beautifully shot film that never shies away from the ugly side of violence and vengeance.  Still it’s not nearly as bleak as his previous film Prisoners which seemed intent on showing the closing darkness.  That’s not to say that this film is a bright and uplifting sing along, far from it.  Its characters are various shades of gray.   Emily Blunt’s performance here shores up her transformation from rom-com to ruthless but with a touch of subtle vulnerability.  The supporting cast is headline by Josh Brolin who is having a good time playing a CIA spook that is out for his own interest but Benicio Del Toro is the star of the show.  Del Toro is a fascinating mix of cool and dangerous throughout.  His character doesn’t say much but the performance lets you know there’s plenty going on behind those eyes.  It’s an intriguing drug war drama throughout Villeneuve’s most accessible film yet.

A

MOVIE REVIEW: INTO THE WOODS

Stephen Sondheim's Into the Woods is adapted in this musical from director Rob Marshall and Walt Disney Studios. Inspired by a choice selection of Brothers Grimm fairy tales, this plot centers on a baker (James Corden) and his wife (Emily Blunt) who incur the wrath of a witch (Meryl Streep) while attempting to start a family. Subsequently cursed by the vengeful hag, the hapless couple find their fates linked with those of Cinderella (Anna Kendrick),Little Red Riding Hood (Lilla Crawford), Rapunzel (MacKenzie Mauzy) and Jack (Daniel Huttlestone) of Jack and the Beanstalk. Johnny Depp, Chris Pine, and Lucy Punch co-star. ~ Jason Buchanan, Rovi

Director: Rob Marshall 

Cast: Meryl Streep, Emily Blunt, James Corden, Anna Kendrick, Chris Pine

Release Date: Dec 25, 2014

 

Rated PG for Thematic Elements, Some Suggestive Material and Fantasy Action and Peril

Runtime: 2 hr. 4 min.

Genres: Music/Performing Arts, Sci-Fi/Fantasy

Review:

Into the Woods is this year’s entry into the big budget musicals and it fairly solid success.  Rob Marshall, who directed one of my favorite movie musicals Chicago, delivers an energetic film that just enjoyable to watch and listen to.  James Corden and Emily Blunt anchor the film with the latter showing off some impressive pipes.  They share an adorable sort of chemistry together and really bring the film together on multiple levels.  Meryl Streep energetic performance as the witch shouldn’t come as much of a surprise.  Anna Kendrick and a hilarious Chris Pine make for a fun Cinderella and Prince Charming.  Lilla Crawford leaves a solid impression as a head strong Red Riding Hood.  Her encounter with Johnny Depp’s Big Bad Wolf is by far the film’s most subversive segment.  Into the Woods has great energy while we’re running through the mash up of the fairytales but then we hit the 3^rd act where the film comes to a grinding halt.  It’s not horrible by any stretch but it doesn’t have the energy of the first 2 acts as we move from the fairytales to the story’s finale.  A bit of trimming on the film adaptation would have done wonders.

B-

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Until next time..

MOVIE REVIEW: EDGE OF TOMORROW

Tom Cruise stars as a soldier who lives out the last day of his life over and over again in this Warner Bros. sci-fi production from driector Doug Liman. Emily Blunt and Bill Paxton co-star, with Dante Harper and Joby Harold providing the script. ~ Jeremy Wheeler, Rovi

Director: Doug Liman 

Cast: Tom Cruise, Emily Blunt, Bill Paxton, Jonas Armstrong, Kick Gurry.

Release Date: Jun 06, 2014

Rated PG-13 for intense seq. of sci-fi action, brief suggestive material, intense seq. of sci-fi violence and language 

Genres: Action/Adventure 

Review:

Doug Liman’s Edge of Tomorrow maybe the biggest surprise of the summer.  An odd thing to say considering it stars Tom Cruise and Emily Blunt, believably badass throughout, during the middle of blockbuster season.  Cruise’s last sci-fi epic, Oblivion, failed to impress because of how much it borrowed from other sources while never really adding much to the mix.  Edge of Tomorrow also borrows heavily from other sources, think Groundhog Day meets Starship Troopers, but it’s just a film that’s a lot more enjoyable to watch especially the first 2 acts.  Cruise and Blunt are wonderful together with the latter really leaving you with a different impression of her overall.  Cruise isn’t overly serious, having fun with the role that doesn’t place him in the hero role right away, instead making him earn it.  Massive set pieces are revisited various times but some sharp editing keeps it from becoming too tedious.  The last act falters a tad because it falls into some standard sci-fi territory which gives you time to start nitpicking the story’s premise and the endless plot holes at play.  That’s when you kind of wish Liman would have trimmed the film just a tad.   

B+

[Trailer] Edge of Tomorrow

The new trailer for Doug Liman’s Tom Cruise led sci-fi epic looks visually impressive with a derivative plot, much like Cruise’s recent Oblivion. The idea doesn’t seem original because it feels like a hodgepodge of the Starship Troopers (book), The Forever War (book) and Groundhog Day. The oddest thing is that I found it all rather intriguing, check out the trailer below…

MOVIE REVIEW: LOOPER

IN THEATERS

LOOPER



A hired gun from the future discovers that his greatest adversary is himself in this twisting sci-fi mindbender starring Bruce Willis and Joseph Gordon-Levitt, and directed by Rian Johnson (Brick, The Brothers Bloom). In the year 2047 time travel has yet to be invented. Thirty years later, however, it has. Though immediately outlawed, time-travel technology is quickly appropriated by the mob, and used to cleanly dispose of anyone deemed a threat. The process is simple: When the mob wants someone to disappear, they simply send them back to the year 2047, where an assassin known as a "looper" quickly carries out the hit, and disposes of the body. Joe Simmons (Gordon-Levitt) is one of the most respected loopers around. Each kill earns him a big payday, and he's got big plans to retire to France. Then, one day, as Joe patiently awaits the appearance of his next target near the edge of a remote corn field, he's shocked to come face-to-face with his future self (Bruce Willis). When the younger Joe hesitates, the older Joe makes a daring escape. Now, in order to avoid the wrath of his underworld boss (Jeff Daniels), young Joe must "close the loop" and kill his older counterpart. Meanwhile, the revelation that a powerful crime boss in the future has set the underworld ablaze pits the two Joes on a violent collision course, with the fate of a devoted mother (Emily Blunt) and her young son hanging in the balance. Paul Dano and Piper Perabo co-star. ~ Jason Buchanan, Rovi

Director: Rian Johnson

Cast: Bruce Willis, Joseph Gordon-Levitt, Emily Blunt, Paul Dano, Noah Segan

Release Date: Sep 28, 2012

Rated R for some Sexuality/Nudity, Language, Drug Content and Strong Violence

Runtime: 1 hr. 59 min.

Genres: Suspense/Thriller

Review:

Looper is the type of sci-fi film that makes a life long genre fan smile. Smart and well thought out, its world is brought to life with vibrant energy and depth that usually missing from most recent fare. Rian Johnson directs this mind bending film with a steady hand and keeps the action moving at a steady pace. He allows things to unfurl in an authentic manner; it’s a methodical process which settles you into the proceedings. In doing so, Johnson creates an atmosphere which lets you feel the grim and despair of this dystopian future. Joseph Gordon-Levitt performance here is a perfect match for this world. He does a fine job showcasing the characters soulless, aimless nature. The heavy prosthetics which are supposed to make him look like Bruce Willis are a tad distracting, sometimes more than others. Willis as the older version of the same character brings a world weariness to it that incredibly appropriate all while being on full vengeance mode. Emily Blunt’s role is kind of disorienting and against type but effective. Pierce Gagnon as her son is as creepy as he is mature for a child actor. Rian Johnson makes a wise decision in casting the impressive Jeff Daniels and Paul Dano in small supporting roles, rounding out his film. If there is small complaint is the film does start to drag a bit in the early part of the 3rd act. Additionally, it takes a somewhat unexpected turn which may turn off some people. Still as a whole is one of the more impressive films genre films in recent memory.

B