My 10 Favorite Films of 2020

 

2020 was a strange year on many levels but for movie lovers it was a particularly strange one.  This year was probably the first time I didn’t lurk the halls of my beloved theaters for months at a time.  Still there were plenty of films that stood out, since I’m terrible at making and sticking with a top 10 ranking, here are my 10 favorite films of the year in no particular order. 

Birds of Prey

Cathy Yan’s Birds of Prey was one of the early victims of the Covid Pandemic which is a shame since the film is one of the comic book films that truly found its own voice.  Birds of Prey never feels formulaic or cookie cutter as we see Margot Robbie’s Harley evolve into her own. 

Gretel & Hansel

Oz Perkin’s film went under the radar but those looking for a striking horror film will find plenty to like with the mind bending remaining of the classic fairy tale.  Sophia Lillis continues to rack up impressive performances, films like this should make her big break feel like inevitable. 

The Invisible Man

Leigh Whannell’s remake of The Invisible Man seemed ready made for forgettable horror fodder.  What Leigh Whannel and Elisabeth Moss were able to accomplish is quite an impressive feat.  They take a fascinating angle on the concept which made it fresh and timely, paired with a stellar turn from Moss turned this retread into a taut thriller. 

Wonder Woman 1984

Patty Jenkin’s follow up is a overstuffed and unfocused but that doesn’t keep her film from being fun and trying for something meaningful.  Even if she didn’t quite stick the landing you have to respect Jenkin’s attempt to create a 80s superhero film in tone as opposed to just placing it in the 80s.  Gadot was born to play Diana but Kristen Wiig and Pedro Pascal both put in memorable turns.

Promising Young Woman

There are some films that just stick with you long after you’ve left the theater.  Emerald Fennell’s meticulously crafted debut film fits the bill in spades.  Carey Mulligan delivers a career best performance playing against type as the tragic protagonist.    

Palm Springs

Andy Samberg & Cristin Milioti time loop rom/com seemed tailor made for 2020.  The concept has been done plenty of times before but there’s a sweetness and reflective insight that makes this love story work. 

Sound of Metal

Riz Ahmed has built up a solid resume of strong performances but Sound of Metal might be his best.  Ahmed’s work here is a raw, gritty and authentic, so much so that he’s sure to earn best actor nods come award season. 

Soul

Pixar has tackled some big concepts over the years but Soul feels like another step up.  While the candy colored film still has the hallmarks of a kids movie this is the first one that feels like it’s aimed more at the parents than the kids. 

Freaky

Christopher Landon’s third film continues to show how much a horror fan he is while showing that it’s ok to have fun with some of the concepts.  Freaky’s body swap concept works because Vince Vaughn and Kathryn Newton both go all in with the concept to great effect.

Mank

David Fincher’s labor of love is sure to get plenty of awards nods when the season comes simply because Hollywood loves Hollywood.  Still Fincher’s film is a loving homage to the golden era of Hollywood led by strong performance from Gary Oldman who could make these kinds of films for the rest of his career as far as I’m concerned. 

MOVIE REVIEW: MANK

 

1930s Hollywood is reevaluated through the eyes of scathing wit and alcoholic screenwriter Herman J. Mankiewicz as he races to finish "Citizen Kane."

Director: David Fincher

Cast: Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, Joseph Cross, Jamie McShane, Toby Leonard Moore, Monika Gossmann, Charles Dance

Release Date: November 13, 2020

Genre: Biography, Comedy, Drama

Rated R for some language

Runtime: 2 h 11 min

Review:

David Fincher’s Mank is a labor of love through and through.  Written by Fincher’s late father, it has been a passion project of Fincher’s since the late 90’s when he intended to film it after 1997’s The Game.  The fact that it has made its way to the screen after so much time is a testament to Fincher and the result is technically impressive and rather engaging especially for people who enjoy a bit of cinematic history.  Fincher gives the film a distinctive style by using cues and techniques in line with the golden age of cinema.  The dialogue also has a snappy back, and forth which make the film sing with a certain kind of lyricism.  It is a fascinating bit of cinematic alchemy which recalls 2011 Academy Award winning film, The Artist, where style is part of the character of the film.  It rises about that film with a stronger cast who are clearly having a blast in their roles.  Gary Oldman leads the film with great gusto using a voice inflection that sounds like Burgess Meredith in the Twilight Zone in the 50’s.  Oldman’s Mank is always the smartest man in the room, even when it is to his detriment.  The snappy dialogue flows naturally from Oldman as you follow this fascinating if somewhat tragic tale, he generally the most interesting person on screen but that is not to say his supporting cast isn’t more than up to the cast.  Amanda Seyfried turns in one of her best performances here, totally losing herself in the role.  She’s generally a capable actress but he she just seems far more committed than usual.  Charles Dance makes for a formidable Randolph Hearst but his scenes are few and far in between.  Similarly, I would have enjoyed a bit more screen time for Tom Burke’s Orsen Welles whose one scene with Oldman’s Mank is a late act treat.  Whether that interaction or any of them ever happened in real life is left up to the more dedicated viewer to research.  If there is a failing here is that’s while we follow Mank’s journey through his memories we are always kept at an emotional distance so that when the final scene plays you don’t feel the emotional punch as intended.  

B

Cindy Prascik's Review of Mank

 

My dearest reader(s): One of the sad casualties of 2020 has been what I will snobbishly call "cinema-worthy" movies, that is, movies that don't feel like they were made for TV. Sure, there have been some, but the pickings have been slim. I am pleased to report that last week Netflix threw a solid entry into the skimpy awards season fray with its original picture, Mank, the reasonably true story behind the writing of Citizen Kane.

Spoiler level here will be mild, nothing you wouldn't know from the trailer or if you're familiar with actual events, which, I assure you, I am not.

Disclaimers, away!

Folks, I hate old movies. That may seem like a weird thing to hear from someone who spends three-quarters of her free time watching movies, but it is the gods' honest truth. If it was made before 1970 and it's not the Wizard of Oz or something with the Marx Brothers, no thank you. Citizen Kane is frequently cited as one of the greatest — if not *the* greatest — films of all time. I couldn't be less interested. Mank is made in the style of those classic, old, black-and-white movies, and that certainly didn't help me warm to it.

On the flip side, Gary Oldman remains my favorite actor in the known universe, and my life has been way too short on Gary Oldman lately. Heck, for the last two years I haven't even had time to make my (in?)famous Gary Calendar; instead I've had to buy premade calendars, and I can assure you, those don't come in "Gary Oldman." A new Gary Oldman movie definitely represents one of 2020's few bright spots.

Art is, by nature, subjective, but, by any objective criteria I can mark, Mank is a pretty good movie. The story is interesting and well-told, jumping from Herman Mankiewicz toiling over the film's screenplay while recuperating after an automobile accident to flashbacks (always notated as they would be in a script) that give us the backstory: Who is Mankiewicz, and how did he end up where he is? Gary Oldman is nothing short of brilliant (she says with maybe a hint of bias), and I think Oscar buzz around his performance is well founded. The supporting cast is very much up to snuff as well, with solid work from Amanda Seyfried, Lily Collins, Tuppence Middleton, Sam Troughton, Tom Burke (yay!), and the always brilliant Jamie McShane. Directed by David Fincher, with a score by Trent Reznor and Atticus Ross, Mank also represents a little reunion of some people who helped create the film that *I* consider the greatest of all time: the Social Network. Other than running a little longer than it needs to, there's nothing practical I can call out as a negative, BUT...I struggled to get through Mank all the same. I was bored enough that at one point I had to put my phone in a drawer I couldn't reach to keep from goofing off instead of paying attention. If you're reading this, I guess you're interested in my honest opinion, so there it is: Mank is a good movie that I didn't like very much, but Gary Oldman makes it worth watching (as he always does).

Mank clocks in at 131 minutes and is rated R for "some language."

Give Gary Oldman another Oscar now, please and thank you. Of a possible nine Weasleys, Mank gets seven.

Until next time...

Cindy Prascik's Review of The Courier

Greetings, movie fans!

As COVID_19 Rules kept me confined to my own four walls on the High Holy Day of Gary Oldman's birthday last Saturday, I celebrated by watching the only Gary project I hadn't seen already, The Courier. I must say, his birthday deserved better.

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

A London courier finds herself at the center of a plot to assassinate a valuable witness.

Gary Oldman is no stranger to taking sketchy projects for the paycheck; this is a well-documented fact. With an Academy Award under his belt (if you think it's ever NOT going to be mentioned, you're mistaken), I am equally impressed and disappointed that he still doesn't mind tackling a script that leaves me wondering how it ever got past his agent. The Courier is so very bad from the outset, I kinda wonder how it got past *anyone's* agent.

The Courier lays its groundwork broadly, through news clippings shown over the opening credits. Following is such a by-the-numbers outing that it's not only easy to guess every twist and turn, but I caught myself saying dialogue out loud before the characters did. (The beauty of home viewing, I guess?) Though the stakes are high, there's nary a hint of tension; it's that predictable. The film is as violent as you might expect, with plenty of up-close beatings and kills for your viewing "pleasure." Transitions among three primary locations — New York City, London, and Washington, DC — are choppy and awkward, and the acting can only be described as Shatner-esque. Gary gets a fair bit of screen time, though not nearly enough to make it worth enduring the rest. Two weird things that worked my nerves worse than the rest: the young woman who had her handbag on her arm at all times, even though she was mostly just walking around her house, and the guy who appeared to be channeling (poorly) Stansfield, Gary's character in 1994's The Professional.

The Courier clocks in at 99 minutes that feel like 99 years.  It is rated R for "strong violence, including bloody images, and language throughout."

Hollywood has already been trending towards the quicker release of bigger and better films for home viewing, and the current health crisis is only hastening that trend. Let's hope it will soon let movies like The Courier be mercifully lost in the shuffle.

Of a possible nine Weasleys, the courier gets one, for my Gary.

Until next time, stay well movie fans!

Cindy Prascik's Review of Mary

CINDY PRASCIK·SATURDAY, NOVEMBER 2, 2019·2 MINUTES As anyone with even a passing familiarity with me or my writing or my Instagram will know: I have a real soft spot for Academy Award winner Gary Oldman. (Yes, you have to say it like that now.) When Gary is in a movie or show, I see it. If I can, I own it. I own a Gary movie that's in Japanese, one where he plays a guy who puts Chapstick on his butt, and one that Gary, himself, has called "the worst movie ever made." (Those are Rain Fall, Nobody's Baby, and Sin, respectively, if you didn't know and were interested.) Today I am a little bit horrified to report on a movie that will be right at home with lemons like Tiptoes, the Backwoods, and that revisionist version of the Scarlet Letter that co-starred Demi Moore. Friends, I give you: Mary.


Spoiler level here will be mild, nothing you wouldn't know from a trailer if you've seen one. Odds are you haven't.

In hopes of rebooting his life and his marriage, a man buys a boat and takes his family out to sea...but little does he know of the vessel's cursed history! (DUM DUM DUM!) Mary is one of those movies that makes you think everyone involved should sack their agents posthaste. While it's Gary's name above the title, co-stars Emily Mortimer and Manuel Garcia-Rulfo are no slouches. They all deserve better than this thrill-less thriller that ticks every predictable box in the cheap horror movie lexicon. Startle-scares are so obvious they won't raise even a little jump. A paper-thin backstory has been done to death a thousand times before. The dialogue is simply excruciating. I try mightily to say something nice about everything, but the only nice thing I can say about Mary is that it's mercifully short.

Mary clocks in at 84 minutes and is rated R for "some terror, violence, and language."

Mary is available now on most streaming/download platforms.

Mary is a by-the-numbers thriller that'll make Gary Oldman fans pine for the genius of that 1998 Lost in Space movie.

Of a possible nine Weasleys, Mary gets one (for Gary). Until next time...

Cindy Prascik's Review of The Laundromat

Construction having made local traffic an almost insurmountable headache, this weekend I again leaned on Netflix' original content so that I would have something to write about for you--yes, YOU--dear reader(s).  Our film of the week: Cautionary tale the Laundromat.

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

A woman widowed in a freak boating accident experiences firsthand the duplicity of big insurance and the networks that support it.

Oscar winners Meryl Streep and Gary Oldman (yes, I'm always going to remind you he's an Oscar winner now) head a decorated cast that also includes Antonio Banderas, James Cromwell, Robert Patrick, Jeffrey Wright, and Sharon Stone, as well as a host of other familiar faces. Many appearances amount to little more than cameos, and you get the feeling the Laundromat's message is important enough that some pretty impressive names just wanted to be a part of it. So, why does it seem like Netflix is burying this picture? I mean, when I log on, the first thing it suggests is that Breaking Bad movie that's a week old already. (Sorry, Netflix, that's a no go.) I had to do a full-on search to get a Netflix original STARRING MERYL STREEP to even show up. Sure there were some legal hassles over this picture, but those were resolved in Netflix' favor. I think the problem here is that--for all its star power--the Laundromat is a barely average movie.

Starting with the positives, the Laundromat's talented cast does a terrific job with the material. Streep is heartbreakingly perfect in the lead, as of course one would take for granted. Oldman and Banderas are fantastic together, a pair of slimy lawyers telling their "side" of this based-on-actual-events tale. Each familiar face that turns up in a smaller role is a nice surprise that makes the movie worth watching, despite its flaws. The story itself is compelling, and it's told here with grim humor. You'll feel dirty for laughing at it, but laugh you might. The attorneys serve as narrators, and their spin gives the picture a different vibe. I doubt it will make anyone sympathize with them, but it's a clever enough turn. The movie transitions with animated frames that also give it a lighter feel that it might have had otherwise; in fact, the whole has something of a theatrical sense to it. On the flip side, the Laundromat is extremely heavy-handed with its message and--while I'd agree its lessons warrant firm and regular reinforcement--that doesn't do the movie any favors. The film moves slowly, and there are very few likable or sympathetic characters, ultimately making it rather a tedious exercise that feels like a poor man's Big Short.

The Laundromat clocks in at 95 minutes and is rated R for "language, some sexual content, and disturbing images."

The Laundromat has an important message that might have been more impactful if its story were more deftly told.

Of a possible nine Weasleys, the Laundromat gets six.

Until next time...

Cindy Prascik's Retro-Review: Flashback Cinema Presents Harry Potter and the Prisoner of Azkaban

Dearest Blog: Yesterday it was off to Marquee Cinemas for Flashback Cinema's presentation of Harry Potter and the Prisoner of Azkaban.

As this third installment in the Harry Potter franchise turns 15 years old this summer, I daresay no one is reading this who hasn't formed an opinion by now, so we'll call this a discussion rather than a proper review. In other words: Here be spoilers. Please chime in with your thoughts in the comments!
A dangerous felon escapes from the Wizarding World's most terrifying prison in search of the Boy Who Lived.

The Harry Potter books and movies, to me, seem much like Beatles records: The early ones are very sweet and innocent, and the later ones sometimes almost impossibly heavy; it's those middle ones that find that perfect tonal balance. Prisoner of Azkaban is my favorite HP book and movie, and not just because it introduced my beloved Mr. Oldman to this magical universe. (Shut up, I know you were thinking it!)

Prisoner of Azkaban features major transitions in the Potter universe. As mentioned, the tone begins to turn darker. "Darker" is relative in a story that begins with a baby orphaned in an attempt on his own life, but here the threat seems more constant and fully permeating. Even fun moments are tinged with a hint of worry, like Dementors hovering just outside the Hogwarts grounds.

Following Harry Potter & the Chamber of Secrets, Christopher Columbus ceded the director's chair to Alfonso Cuaron. While I think every director did a fine job with his bit of the Potter world, I have long contended that none of the others *truly* understood magic the way Cuaron did. At times I think it meant more butting heads with author J.K. Rowling, who retained a great deal of creative control over the films (I seem to recall a story about her vetoing his wish to have little people dancing on pianos?), but ultimately it resulted in the most magical feel of any of the movies. Despite releasing in the summer, Azkaban's production design boasts a very Halloween-ish atmosphere that fully expresses Cuaron's vision, with especially brilliant use of the Whomping Willow to indicate the change of seasons. Maestro John Williams' final Harry Potter score also reflects the picture's creepier tone. While my favorite piece for any of the Potter movies comes from the previous film (Fawkes the Phoenix), overall I find Azkaban's score to be the most immersive of the franchise, and the best reflection of its film.

In Harry Potter and the Prisoner of Azkaban we see Michael Gambon's first turn as Albus Dumbledore, following the sad loss of Richard Harris. (RIP.) While many prefer Harris' kind-hearted Headmaster, I feel Gambon better captures Dumbledore's kookiness, and the hardness that allowed him to ask the same great sacrifices of others--including children--that he expected of himself. There's a brand new look for Professor Flitwick this outing, and several notable cast additions, including my Gary as the titular jailbird, David Thewlis as Lupin, the new Dark Arts professor, Emma Thompson as flighty Divination professor Trelawney, Timothy Spall as the Potters' childhood friend Peter Pettigrew, and the brilliant Dawn French in an all-too-quick appearance as the Fat Lady.

In POA, Daniel Radcliffe turns in a a more mature performance that really begins to reflect how seriously he takes his craft. Watching him grow up as a fine actor and even finer young man has been such a joy! Rupert Grint and Tom Felton cement their places as the strongest of the young performers, and Emma Watson gets to add a few more layers to her Hermione. The Weasley twins, my favorite characters in the Potter universe, turn up only briefly, but enjoy one of their more defining moments in this installment as well.

Harry Potter and the Prisoner of Azkaban clocks in at 142 minutes and is rated PG for "frightening moments, creature violence, and mild language."

Harry Potter and the Prisoner of Azkaban marks the finest moment in one of the world's best and most beloved movie franchises. Of a possible nine Weasleys--and being the only film that actually features all nine Weasleys (photo evidence below!)--Harry Potter and the Prisoner of Azkaban of course gets nine.

N.B.: My everlasting regrets regarding the Potter franchise are that I never got to see Rik Mayall as Peeves, nor hear Uncle Vernon utter the words, "Dementy-Whatsits."

Fangirl points: You. Guys. I forgot how hard I ship Sirius/Remus. I will go down with that ship!
Until next time...

Cindy Prascik's Review of Hunter Killer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: Yesterday it was off to Marquee Cinemas for the only (*sob*) Gary Oldman movie I'll see in 2018: Hunter Killer.

 

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

 

When a coup attempt within the Russian government threatens to start World War III, it's up to Gerard Butler to save the world...as it so often is.

 

Well, dear reader(s), I flippin' LOVED this movie. I'm going to make fun of it a little, or maybe a lot, because it deserves it and because that's what I do with things I love (just ask the Wheeling Nailers), but let nothing give you any impression other than that it has instantly earned a spot in my year-end top ten from which it cannot be unseated.

 

Hunter Killer has so much testosterone it'll put hair on your chest. An almost exclusively male cast spends a great deal of time posturing and exchanging steely glances to mark territory and convey Man Understanding. Coupled with a whole lotta submarines, torpedoes, and missiles...well...Hunter Killer is basically a Sharpie penis that somebody drew on the forehead of passed-out-drunk Hollywood. By no means should any of that be construed as an insult--on the contrary, it is the very reason I still drag out to the cinema instead of waiting for Netflix--but...well...forewarned is forearmed.

 

If you require further justification for shelling out your big-screen bucks for Hunter Killer, the film features exquisite photography...air, sea, and land. The movie looks just glorious, and the locations and scenery are spectacular. Battles and effects and everything else about the picture are huge, so definitely see it on the biggest screen you can find. Though it's silly and often predictable, Hunter Killer maintains a genuine tension throughout which helps hold interest even through way too many kumbaya moments. As an added bonus, Gerard Butler utters classic lines such as, "When somebody's shooting at you, you know their intentions!" and Gary Oldman chews the scenery with relish. A couple weird little notes: Though everything on the American side is state of the art, the Russian technology appears to have been dragged kicking and screaming from decades long past, and Russian sailors look like they've only just escaped from a 60s Broadway musical. In only their own company, Russians generally speak Russian (no subtitles) but every now and again they're conversing in English with no reason for it other than clearly the filmmakers decided that these were the bits that we, the viewers, really needed to understand. Would have worked better to go all or nothing with accented English or subtitles. Oh, and can we get a dialect coach to teach Linda Cardellini how to pronounce "nuclear" correctly, please?

 

Hunter Killer clocks in at a quick 122 minutes and is rated R for "violence and some language."

 

Hunter Killer won't tax your brain overmuch, but you'll be hard pressed to have more fun at the cinema. 

 

Of a possible nine Weasleys, Hunter Killer gets eight.

 

Until next time...

MOVIE REVIEW: DARKEST HOUR

During the early days of World War II, the fate of Western Europe hangs on the newly-appointed British Prime Minister Winston Churchill, who must decide whether to negotiate with Hitler, or fight on against incredible odds.

Director: Joe Wright

Release Date: Nov 22, 2017

Cast: Gary Oldman, Lily James, Kristin Scott Thomas, Ben Mendelsohn, Stephen Dillane

Rated PG-13 for some thematic material

Runtime: 2 hr. 5 min.

Genres: Biography, Drama, History

Review:

Joe Wright’s Darkest Hour is a perfectly solid historical drama that’s buoyed by an impressive turn by Gary Oldman.  Wright’s movie hits most of the basic points of interest as he covers roughly a month of Winston Churchill’s life as he ascends to the role of Prime Minster as Hilter’s forces close in on Britain.  As such, it makes for an interesting companion pieces to Christopher Nolan’s Dunkirk.  While that film dealt the soldier’s point of view this film is far more concerned with the political landscape that Churchill was dealing with as he took office.  It’s catnip for history buffs even though everyone knows how it ends.  Still, it’s a fascinating situation to examine considering how badly the odds where stacked against the UK.  Wright does a solid job of providing a glossy accounting of darken close quarter rooms where major decisions were being made in the face of impending doom.  The film, though, wouldn’t work nearly as well if it wasn’t for a stellar turn by the film’s star Gary Oldman who disappears into make up and character.  This isn’t the first time Oldman has lost himself into characters behind make up, most memorably in Dracula and an underrated and nearly forgotten turn in the Silence of the Lamb sequel Hannibal.  This film is clearly Oldman’s showcase, so much so that some of sequences might as well have the words “For your Consideration” emblazoned along the bottom of the screen.  Thankfully Oldman doesn’t disappoint as he delivers one of the best performances of his career in a long while.  He’s had better roles in the past but this type of biopic seems ready made for award season. 

B+

Cindy Prascik's Reviews of Darkest Hour & Molly’s Game

Dearest Blog: Yesterday it was off to Marquee Cinemas for a pair of true tales: Darkest Hour and Molly's Game.

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers or, you know, a history book (or maybe a tabloid).

 

First up: Starting off the New Year right with my Gary in Darkest Hour.

 

Winston Churchill does not negotiate with Nazis.

 

Dear reader(s): By now you will have heard that Gary Oldman's transformation into Winston Churchill is nothing short of remarkable. I'm here to tell you, with all the impartiality a person who makes a homemade Gary Oldman calendar every year can muster, that you should believe the hype. Much has been made of the countless hours Gary spent in makeup and prosthetics in order to take on the portly prime minister's appearance--and it is well and truly amazing--but the quality of this performance is not about physical transformation; it's about how well he tends to the details of BEING Churchill: mannerisms, speech patterns, expressions. The look in his eyes at times is just extraordinary. We movie fans are so used to Gary disappearing into his roles that we may take it for granted, but this is a whole other level, a masterful performance for the ages. Darkest Hour's supporting cast is also stellar, with Kristin Scott Thomas, Lily James, Stephen Dillane, and the incomparable Ben Mendelsohn all holding their own opposite Oldman's tour de force turn.

 

Darkest Hour relates an oft-told story with an outcome well known to everyone, but it isn't handicapped by its familiarity; instead it feels like quite the nail-biter right down to the finish. Despite the somber subject matter, the picture steers well clear of misery and self pity; it is hopeful and actually quite funny at times, that rare awards-worthy bit of filmmaking that seems to care as much about entertaining as it does about accolades.

 

Darkest Hour clocks in at 125 minutes and is rated PG13 for "some thematic material."

 

Darkest Hour is a solid historical epic with an Oscar-caliber lead and a sadly-timely message about the dangers of placating tyrants. 

 

Of a possible nine Weasleys, Darkest Hour gets nine.

 

Fangirl points: My Gary (duh)! Ben Mendelsohn! Joe Armstrong!!

 

Next on the docket: Molly's Game.

 

The rise and fall of Molly Bloom, a one-time Olympic contender who made and lost a fortune running an exclusive high-stakes poker game.

 

It won't be news to anyone who's seen so much as a single trailer that Molly's Game rises and falls on Jessica Chastain's outstanding turn in the lead. Chastain seems born to acclaimed writer (and first-time director) Aaron Sorkin's rapid-fire style, and she gets to glam it up as the high-class hostess to elite celebrities, athletes, and world leaders. You will not be able to take your eyes off of her. While the supporting cast is solid, there's not much room for anyone but Chastain as Bloom narrates her own story, with others popping in and out merely as grout to her tile. No disrespect to Chastain, who is entirely Oscar worthy, but I'd be remiss if I didn't take this opportunity to remind filmmakers that more Idris Elba is always better. (Please make a note of it.) Sorkin's direction weaves seamlessly between Bloom's present-day legal battles and her relating of the events leading to said battles. As is Sorkin's trademark, the dialogue is superb, even if the poker language might as well have been some alien tongue for all I understood it. Daniel Pemberton continues his win streak with another striking score. The film slows down just enough that a small trim might have made a more efficient whole, but that's a petty quibble with what is ultimately a couple great hours of cinema.

 

Molly's Game runs 140 minutes and is rated R for "language, drug content, and some violence."

 

Molly's Game is a fascinating story and a worthy showcase for one of the finest actresses of her generation. 

 

Of a possible nine Weasleys, Molly's Game gets eight.

 

Fangirl points: Keep those eyes peeled for for about two seconds of Jose Bautista in newsreel footage at the start of the film. 

 

An ice rink PA is playing George Harrison's son singing my favorite George Harrison song. Chris O'Dowd! Justin Kirk! Brian d'Arcy James!

 

Until next time...

Cindy Prascik's Review of The Space Between Us

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: Today it was off to Marquee Cinemas to see my beloved Gary Oldman's latest picture, The Space Between Us.

 

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

 

A boy born and raised on Mars yearns to come to Earth.

 

Well, dear reader(s), I can't sugar coat it: The Space Between Us might be the worst movie I've ever seen. Almost everything about this film is so embarrassingly terrible that it's hard to know where to start, so, just to keep you on your toes, I'll start with the few things I actually liked. First, Gary looks amazing. Like, even-better-than-Air-Force-One amazing. He's in the movie a LOT more than I expected, too. I thought he'd be on the periphery of the main story between the two kids, but actually he's kinda the star, with commensurate screen time (which he already may be regretting). There's some lovely scenery as our kids traverse the country, a handful of genuinely funny/cute moments (though few and far between), and a few bits of the score that really caught my ear. That's the good news. The bad news is this movie is otherwise awful to the last detail. It sells its premise so poorly that you're laughing at the very idea before it really even gets started. Awkward, hokey dialogue sounds like it was written by someone who has never heard a real person speak before. It's hard to fault the actors, given the material, but nobody does anything to elevate this mess, either. Mostly what we've got here is two hours of smitten teens acting all teeny and adults scampering around, overwrought, in the most predictable series of events ever. On the Gary Oldman scale, it's about as bad as Lost in Space.

 

The Space Between us clocks in at an interminable 120 minutes and is rated PG13 for "brief sensuality and language."

 

As always, I encourage everyone to get out to the movies this weekend. Please just go see something besides The Space Between Us. Of a possible nine Weasleys, The Space Between Us gets one, for giving me my Gary on the big screen.

 

Until next time...

Cindy Prascik's Review of Criminal

Dearest Blog: Yesterday it was off to Marquee Cinemas to see my main man Gary Oldman in his new movie, Criminal.

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

In order to thwart a nefarious plot, an experimental procudure is used to transfer the mind of a murdered agent into a notorious criminal.

Dear Reader(s), I had genuinely high hopes for Criminal. It's been awhile (four years, to be exact) since Gary has had a critical and/or box office winner, and this one looked like it might break the chain of disappointments. Alas, it was not to be.

Right off the top, Criminal is saddled with one almost-insurmountable handicap, that is, Kevin Costner's acting abilities...or lack thereof. If he were a bit player, or in any supporting role, really, you might get around it, but not when he's the focal point of the whole picture. Sure, the lead character is meant to be a thug lacking social graces, but the way Costner grunts his way through the movie, he might as well be a gorilla...and that's probably not a very nice thing to say about the acting talent of gorillas.

The supporting cast is solid, in particular an under-used Ryan Reynolds, but it's just not enough. Gary's character does a lot of barking orders at people, a somewhat angrier and less honorable Jim Gordon. It's fine for what it is, but it hardly taxes his talent. (Though, for the record, he looks really, REALLY good!)

Criminal presents an interesting premise that fails in its execution. The writing is atrocious, with allegedly top-notch agents acting so stupidly you'll want to scream at the screen. There are a few laugh-out-loud bits prompted by Costner's character's inappropriate behavior. They're uncomfortable, but, curiously, still one of the more entertaining things about a movie that otherwise sleepwalks its way to one of the most insufferably hokey endings ever.

Criminal clocks in at 113 minutes and is rated R for "strong violence and language throughout."
In my book, Gary Oldman is reason enough to get out and see ANY movie, but, if you're looking for another reason to see Criminal, you won't find it.

Of a possible nine Weasleys, Criminal gets three.

Until next time...

Cindy Prascik's Review of Dawn of the Planet of the Apes

Dearest Blog, today it was off to the cinema for Dawn of the Planet of the Apes.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.

A decade after the events of Rise of the Planet of the Apes, a virus has wiped out most of humanity. What's left attempts an uneasy peace with the apes, but...........

Well, dear reader(s), as usual I have to be upfront and admit I hated Rise of the Planet of the Apes so much I was prepared to take a pass on this one. Then they cast Gary Oldman, and chances of my taking a pass on a Gary Oldman movie are about as much as my saying, "No thank you," if someone offered me a winning lotto ticket. I never go into a movie set on hating it, but in this case it might have saved me some disappointment if I had.

Dawn of the Planet of the Apes is even worse than its predecessor...if such things can be measured. I struggled mightily to stay awake through the first hour, and mostly just prayed for the end through the second. Though the disaster effects are alright, the apes once again look like a bad cartoon.

Andy Serkis is a genius, but he hasn't won me over with his much-lauded portrayal of Cesar, the leader of the apes. Jason Clarke and Keri Russell are about as meh as any movie pairing, ever. Gary is great with what screen time he's got, but it's not nearly enough to salvage anything from this mess. Boring "emotional" scenes alternate with somewhat-less-boring action scenes.

There's a smattering of not-funny humor thrown in for good measure, all leading up to a cheesy, predictable ending. Usually I can at least get a laugh out of poking fun at something this terrible, but right now I just resent that my seven bucks will help this dog turd take the number-one spot at this weekend's box office.

Dawn of the Planet of the Apes runs 130 minutes and is rated PG13 for "intense sequences of sci-fi violence and action, and brief strong language."

If you're a fellow Gary Oldman addict, you'll understand when I say I'd rather re-watch Tiptoes or Nobody's Baby than sit through this EVER again.

Of a possible nine Weasleys, Dawn of the Planet of the Apes gets one.

Until next time..

MOVIE REVIEW: DAWN OF THE PLANET OF THE APES

This follow-up to Rise of the Planet of the Apes concerns the next step in the genetically advanced primates' takeover of the world as a virus begins to wipe out the human race. Let Me In's Matt Reeves handles directing duties, with Gary Oldman, Jason Clark, and Kodi Smit-McPhee headlining the human cast. ~ Jeremy Wheeler, Rovi

Director: Matt Reeves 

Cast: Andy Serkis, Jason Clarke, Kodi Smit-McPhee, Gary Oldman, Keri Russell

Release Date: Jul 11, 2014

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

Rated PG-13 for intense sequences of sci-fi violence and action, and brief strong language

Review:

Rise of The Planet of the Apes is one of those rare reboots that actually worked.  Against all odds, and a failed Tim Burton attempt, it set up a prequel franchise properly so the sequel had a lot to live up to.  Dawn of The Planet of the Apes succeeds on various fronts with Andy Serkis, Hollywood’s most underappreciated actor, front and center this go around.  The apes are fully realized creations with definitive personas and motivations.  The script delivers some wonderfully fleshed out characters from the opening sequences with a big chunk of the characterization done without spoken dialogue, its true testament to the work done by the motion capture actors.  In an odd reversal, the human characters get the short end of the stick.  Most of them, even the criminally underused Gary Oldman, are just types there to serve the script.  Jason Clake is appropriately stoic and noble throughout but never given anything meaningful to do.  Oldman is asked to be paranoid and scream Jim Gordon style which he does well but I just wish there was more to the character.  Thankfully the ape characters are interesting enough to keep the film thoroughly engaging even if the actual plot is a run of the mill coup d'état.  Even with it’s faults Dawn of The Planet of the Apes is one of the better summer films of the season with more heart than most other films out.

B

Cindy Prascik's Reviews of Robocop & Winter's Tale

Dearest Blog, yesterday I braved the Valentines' weekend crowds for Robocop and Winter's Tale.

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

First on the agenda was MY Valentine, Gary Oldman, in Robocop.

A critically-injured Detroit police officer is saved by technology...but at what cost?

Dear Blog, I must confess I don't have the same reverence for the original Robocop as many folks do. I like it well enough, but it's nothing special to me. Though I generally avoid press 'til I've written my own review, I have seen some reviews for this remake because they popped up in my daily Gary Oldman Alerts...not that I have daily Gary Oldman Alerts, mind you. Many folks who DO revere the original seemed unable to hate the remake as much as they expected to, so I took that as a good sign.

Due to the filmmakers' determination to hold onto a PG13 rating, the Robocop remake is less brutal than its predecessor. There are explosions and shootouts a plenty, but also very human moments. I haven't seen Joel Kinnaman in too much before, but I always thought he deserved an Emmy for The Killing, and I was interested to see him as a big-screen lead. He does a terrific job of keeping the lead character sympathetic, even when his behavior is more Robo than Cop. While I needn't mention that the best thing about the movie is Gary Oldman, Michael Keaton and Jackie Earle Haley are both better than they needed to be as well. I was also delighted to see two of my TV faves: Boardwalk Empire's Michael Kenneth Williams and Dexter's Aimee Garcia.

So, dear readers, how much would YOU sacrifice in the interest of your safety? Like the original, the Robocop reboot hits you over the head a bit with its social commentary, but, for my money, if it gets credit for any socially-relevant achievement, it'll be introducing a whole new generation to the awesome 70s jam Hocus Pocus! The movie has solid effects, and there's no denying the new Batman...er...Robocop suit looks pretty slick. The action is fast-paced, and a super cast helps make up for any other shortcomings.

Robocop clocks in at a very reasonable 108 minutes and is rated PG13 for "intense sequences of action violence including frenetic gun violence throughout, brief strong language, sensuality, and some drug material."

Robocop is the remake the world deserves, but not the one it needs right now. (See what I did there?) Of a possible nine Weasleys, Robocop gets six and a half.

Next on my agenda was the maligned Valentines' Day love story Winter's Tale.

A man awakes in present-day New York City with no idea who he is, but soon discovers the connection between past and present.

I haven't read any reviews of Winter's Tale, but I'm told they're brutal, like 13% at Rotten Tomatoes brutal. As the sappy romance is front and center in the trailers, I was fully prepared to hate the movie, but I just couldn't. I didn't precisely love it, either, but 13%?? Harsh.

Winter's Tale is too schizophrenic to be the movie anybody wants or expects. An uneasy marriage of time travel, the Bible, and the most vomit-inducing love story ever, Winter's Tale is too schmaltzy a romance for fantasy fans, and too fantastic for folks looking for a simple love story. The movie never manages to find a comfortable balance between romantic tearjerker and fantasy epic, then it further muddies the water with a shot of morality tale.

If the movie is so-so, Colin Farrell, in the lead, is not. Farrell is a heaping helping of phenomenal actor with a double side of devastatingly handsome, and he salvaged the movie even when it bored me a little. Downton Abbey's Jessica Brown Findlay is charming as Farrell's lost love, and Russell Crowe remains immeasurably good, always.

My screening of Winter's Tale was fairly crowded, and it sounded like pretty much all the women were crying and all the men were sleeping. No matter what I write here or what you read elsewhere, that's probably as fair an assessment of the movie as you're going to find.

Winter's Tale runs 118 minutes and is rated PG13 for "violence and some sensuality."

In the end, I thought Winter's Tale was a better Cloud Atlas than Cloud Atlas. Of a possible nine Weasleys, Winter's Tale gets five.

Until next time...

[Trailer] RoboCop

The first trailer for Jose Padilha's upcoming RoboCop remake is out and it gives us plenty to chew on in terms of visuals and tone.

Personally, I think this one feels just like the insipid and soulless Total Recall remake from last year...

Cindy Prascik’s Review of Paranoia

Dearest Blog, a day of lunacy, with an unexpected detour to the DMV, left me time for only one movie on this weekend of four major new releases. Since one of the four has Gary Oldman and the other three do not, I believe the technical term for this decision is "a gimmie." Paranoia it is!

Spoiler level here will be mild, nothing you wouldn't know from the trailers. I'm going to have to comment on the film's ending, but I won't give it away.

A tech whiz-kid is used as a pawn in two industry giants' bitter feud.

I am sorry to report that Paranoia does not break the mold in this summer of movies that have been less than expected. It's fairly entertaining, but definitely not the smartly twisting thriller I expected.

Star Liam Hemsworth matches his big brother Chris in the looks department, but lacks the magnetism that allows Chris to share a screen with the likes of Robert Downey, Jr. and not be utterly invisible. Oscar-nominated supporting cast notwithstanding, it's up to Hemsworth to carry Paranoia, and, sadly, the task is beyond him. Hemsworth is a fine physical specimen, and his charms are randomly and gratuitously on display throughout the movie. (That's not a complaint, more a warning...you know, if you have a weak heart or something.) His performance is passable, but not strong enough to salvage a so-so film.

Supporting players Oldman, Harrison Ford, and Richard Dreyfuss are the movie's goldmine and are surprisingly well-used. When any one of the three is onscreen, Paranoia becomes infinitely more engaging. For supporting roles, I can't really complain about Oldman's or Ford's screentime, but the movie noticeably loses its spark when neither is present. In these days of Sirius Black and Jim Gordon,

Paranoia is a nice reminder of just how good Gary Oldman is at being bad!

Paranoia has relatively few attempts at humor, and most of what it has falls flat. The film consistently fails to sustain any tension or suspense, and there were zero (0) twists that I didn't see coming from a mile out. I rolled my eyes so much at the ending I was afraid they might stick. Even allowing for its many faults, though, Paranoia didn't bore me, and I wouldn't say it's a terrible movie...just not anywhere near as good as I'd hoped.

For my fellow Gary Fangirls and Fanboys, Paranoia sees Gary looking extra-fine, dapper in grey suits with mostly purple ties (though they went for blue at the end), very handsome. His screentime is more than acceptable for a supporting role and, as I'm sure I don't need to say, his scenes represent all the movie's high points. This is Gary's only big-screen appearance of 2013, so I enthusiastically suggest everyone get out and see him while you can!

Paranoia clocks in at 106 minutes and is rated PG13 for "some sexuality, violence, and language."

Paranoia is carrying a rating of just 4.5 at IMDB, and an embarrassing two-percent at Rotten Tomatoes. Before seeing it yesterday, I heard it called "the worst movie of Harrison Ford's career," all of which I think is unnecessarily harsh. Paranoia is a bit of pointless summer brain candy, to be enjoyed and forgotten.

It's far from brilliant, but I wasn't bored either.

Of a possible nine Weasleys, Paranoia gets five.

Until next time...





Forget about rich. Make me Mrs. Oldman, dammit! ;-)

[Final Trailer] THE DARK KNIGHT RISES

An early gift has presented itself, maybe because Nolan doesn’t want fanboys to forget his little film with all The Avengers hype leading up to this Friday.

This final trailer is incredible, probably up there with the Prometheus trailer. It’s quiet, dark and full of foreboding mixed with plenty of new images to just make a fan like me go batty…..

[Trailer] The Dark Knight Rises

The full trailer for The Dark Knight Rises is finally out on the web. I saw it on IMAX this weekend before Mission Impossible: Ghost Protocol and after watching it again I’ve had the same reaction.

The hairs on my arm just stand up as I witness the epic-ness that on display…..

"Dark Knight Rises" Villains Revealed

A press release from Warner Bros. Pictures has confirmed the two key members of Batman's Rogues Gallery that will appear in the much-anticipated upcoming "The Dark Knight Rises" - Catwoman and Bane. Check it out below:

"Warner Bros. Pictures announced today that Anne Hathaway has been cast as Selina Kyle in Christopher Nolan’s “The Dark Knight Rises.” She will be starring alongside Christian Bale, who returns in the title role of Bruce Wayne/Batman. Christopher Nolan stated, “I am thrilled to have the opportunity to work with Anne Hathaway, who will be a fantastic addition to our ensemble as we complete our story.”

In addition, Tom Hardy has been set to play Bane. Nolan said, “I am delighted to be working with Tom again and excited to watch him bring to life our new interpretation of one of Batman’s most formidable enemies.”

http://www.darkhorizons.com/news/19122/-dark-knight-rises-villains-revealed