Cindy Prascik’s Reviews of The Midnight Sky, Wonder Woman 1984, Soul, Ma Rainey's Black Bottom & The Bee Gees: How Can You Mend a Broken Heart

 Four Movies That Aren't What They Could Have Been...and One That Is Perfect

My dear reader(s): December has finally slowed to a pace that allows for catching up on movies. Sadly, that does not mean the cinema for me right now, but there are some promising titles available for home viewing. Herein I shall offer brief (for me) opinions on a few.

Spoiler level here will be mild, nothing you wouldn't know from the trailers or if you're familiar with actual events and/or the source material where applicable.

First on my Holiday Catch-Up Docket: The Midnight Sky.

Resigned to riding out the end of the world at his arctic outpost, Scientist!Clooney tries to keep a crew of astronauts from returning to a planet that's beyond saving.

The Midnight Sky is one of those movies that passes muster in 2020, but that might have been a more epic product in a normal year. With George Clooney at the helm (both starring and directing), and featuring decorated co-stars like Felicity Jones and David Oyelowo, I have to think somewhere along the line it was meant to be more than it is. What it is, is...fine, I guess? Clooney et al. are more than up to the challenges of their somewhat thinly painted roles. The story has been told before and undoubtedly will be told again and again as panic about the state of our planet sets firmly at the front of people's minds. It's not a new or different tale, but it's respectably told and not as dull as I expected from things I'd seen online before watching it. Neither is the movie's message as overtly heavy-handed as I anticipated, but sketchy effects, too many wasted minutes, and hokey ending make this a slow film without much impact.

The Midnight Sky clocks in at 118 minutes and is rated PG13 for "some bloody images and brief strong language."

If the daily news isn't satisfying your appetite for apocalyptic stories, and you like George Clooney, the Midnight Sky makes a decent bit of holiday viewing. Of a possible nine Weasleys, the Midnight Sky gets five and a half.

The Midnight Sky is now streaming on Netflix.

Next up, the week's big release: Wonder Woman 1984.

Diana Prince battles 80's fashion and a dangerous megalomaniac.

Regular reader(s) will know, I'm a DC girl. Wonder Woman gave us DC folks real hope that DC was getting back on track after a disastrous skid. Wonder Woman 1984 derails that hope almost entirely. A boring, repetitive opening sequence sets the tone by eating up far more time than it earns. The subsequent story is pointless, goofy, and all over the place. Most performances are cringe-worthy. There's even a full-on Macavity moment towards the end that channels last year's Christmas tragedy, Cats. The Wonder Woman brand is well-loved enough that many fans will find something to like here. For those people, I am happy. Me, I was more annoyed with each minute I wasted on this. Only the combined charm of Gal Gadot and Chris Pine, a rousing score by Hans Zimmer, and a delightful mid-credits scene keep Wonder Woman 1984 from being a total loss.

Wonder Woman 1984 runs a bloated 151 minutes and is rated PG13 for "sequences of action and violence."

Wonder Woman 1984 represents yet another missed opportunity for DC. Of a possible nine Weasleys, Wonder Woman 1984 gets four.

Wonder Woman 1984 is now playing in cinemas, and streaming through mid-January on HBO Max.

The middle slot on my holiday catch-up is occupied by the Disney/Pixar offering Soul.

During a near-death experience, a man obsessed with jazz music tries to find his way back, and ends up helping a young soul along the way.

Soul is a solid movie that (lightly) ticks all the Disney/Pixar boxes, though it's missing the qualities that distinguish their truly special pictures. The diverse cast, led by Jamie Foxx and Tina Fey, is terrific. The focus on music is welcome. The art and animation are gorgeous. The story is engaging enough to teach its lessons organically. Still...I had a hard time figuring out exactly where Soul was aiming. Its premise seems too scary for kids, especially younger ones, but it never seems quite enough for anyone older. It's not as pretty as Finding Nemo. It's not as smart as WALL-E. It doesn't tug the heartstrings nearly as effectively as Coco. Ultimately, it's a good movie that just suffers by comparison to its predecessors.

Soul runs 100 minutes and is rated PG for "thematic elements and some language."

Soul is a heartwarming bit of family entertainment that deserves a spot in your 2020 holiday planner, even if it never quite finds its spark. Of a possible nine Weasleys, Soul gets six and a half.

Fangirl points: Graham Norton and Richard Ayoade!

Soul is now playing in theaters and streaming on Disney+.

My penultimate picture this weekend was the Netflix Original Ma Rainey's Black Bottom.

In the sweltering Chicago summer of 1927, tensions run high during a recording session with the "Mother of the Blues," Ma Rainey.

Ma Rainey's Black Bottom features exceptional performances by Viola Davis and (in his final role) Chadwick Boseman. When I say Davis is exactly as good as you'd expect, know that I mean you'd always expect her to be the best, and she is nothing less. Boseman, posthumously, is sure to earn some of the awards he's deserved since starring in 42. For a year that specialized in kicks to the gut, 2020 has given none more devastating than the loss of Chadwick Boseman. The story packs an emotional wallop — mostly due to the characters' efforts to buck a system designed to confine them — but the movie never really takes off, due, in my opinion, to its failure to focus on Ma Rainey's music. We're told Ma Rainey is the "Mother of the Blues." We're told many legends found their influence in her. Yet we don't hear much of the music that earned her this lofty status. What that leaves is an hour and a half of sweaty people yelling at each other. Good acting, though. Very good acting.

Ma Rainey's Black Bottom clocks in at 94 minutes and is rated R for "language, some sexual content, and brief violence."

While Ma Rainey's Black Bottom isn't the movie it could have been, two of the year's best performances make it worth a look. Of a possible nine Weasleys, Ma Rainey's Black Bottom gets six and a half.

Ma Rainey's Black Bottom is now streaming on Netflix.

With no small bit of personal bias, I saved the best for last in my Holiday Picture Show: the Bee Gees: How Can You Mend a Broken Heart.

This documentary from director Frank Marshall serves not only to tell the story of the Brothers Gibb, but to justify and underscore their status in the pop music stratosphere. 

The film starts reflectively, with a pensive Barry Gibb noting that he is the only one left, the last surviving Gibb brother. It doesn't take long to shake off the melancholy mood with fantastic pictures and video clips of the very young brothers, and relies on such photos, film snippets, and interviews with the Gibbs and assorted spouses and associates to tell a mostly linear story of the trio's early days, rise to fame, meteoric success in the Saturday Night Fever era, fall from popular favor during the disco backlash of the early 80s, and subsequent success as songwriters and collaborators with other artists. It touches on difficulties with drink and drugs, but never wallows in misery or self-pity. The movie succeeds, not chiefly because this is a great story (though it is), but because it focuses on music, music, and more music. The genesis of songs. The backstory of songs. The creative process used in fashioning songs. So. Many. Great. Songs. Testimonials from artists — all kinds of artists, from every era in the Gibb brothers' musical lifetime — who felt and feel their influence to this day. The movie notes the passing of, and pays tribute to, Andy, Maurice, and Robin Gibb, coming full circle with Barry musing that he would "rather have them all back here and no hits at all." In between a somber start and finish, How Can You Mend a Broken Heart offers a joyful celebration of one of the greatest catalogues in music history, a special trip down memory lane for fans, and a timely reminder that being against anything will never matter as much as being for something. Oh, and To Love Somebody is legitimately one of the greatest songs ever written by anyone, anywhere. Don't forget that.

The Bee Gees: How Can You Mend a Broken Heart runs 111 minutes and is rated TVMA.

The Bee Gees: How Can You Mend a Broken Heart tells the story of the Brothers Gibb, focusing on their extraordinary musical legacy and unbreakable brotherly bond. Current Bee Gees fans and not-yet Bee Gees fans should consider it the year's must-watch documentary. Of a possible nine Weasleys, How Can You Mend a Broken Heart gets all nine.

Fangirl points: the Beatles and Ed Sheeran both turn up in this. Yay!

The Bee Gees: How Can You Mend a Broken Heart is now streaming on HBO Max.

Until next time...

MOVIE REVIEW: SUBURBICON

Suburbicon is a peaceful, idyllic, suburban community with affordable homes and manicured lawns -- the perfect place to raise a family, and in the summer of 1959, the Lodge family is doing just that. But the tranquil surface masks a disturbing reality, as husband and father Gardner Lodge must navigate the town's dark underbelly of betrayal, deceit and violence.

Director: George Clooney

Release Date: Oct 27, 2017

Cast: Matt Damon, Julianne Moore, Oscar Isaac, Glenn Fleshler, Michael Cohen

Rated R for violence, language and some sexuality

Runtime: 1 hr. 44 min.

Genres: Crime, Drama, Mystery

Review:

Suburbicon is an odd hodgepodge of a film from director George Clooney.  It’s a film that has multiple things going on but they never mesh into a coherent story thread.  The film’s script was a reworked from the Coen’s brother’s original draft and the film does seem to be at war with itself for the better part of its runtime.  On one hand you have the Matt Damon lead murder mystery which feels very much like a Coen’s creation with its high body count and black comedy seeping from its veins.  On the other hand there’s a thoroughly uncooked subplot about a black family dealing with increasingly hostile neighbors.  The entire subplot feels incredibly underdeveloped even though I think it’s a well intentioned effort to give the film some added weight and depth.  The issue is that the characters on display are never developed with barely a few lines of dialogue thrown their way.  Both these plots don’t really mesh well as the tone changes abruptly in a moments notice.  Oscar Issac is the most interesting thing in the whole film but sadly he comes and goes way too soon.  Suburbicon feels like it should be a much better film than it actually is.  Sadly, it just never jells into an enjoyable whole. 

C+

Cindy Prascik' s Review of Money Monster

Dearest Blog: Yesterday it was off to Marquee Cinemas for the entertaining-as-it-is-depressing Money Monster. 

Spoiler level here will be mild, nothing you wouldn't know from the trailers or if you've personally been hosed in the Market, I guess. 

When one of his stock tips proves to be a bust, a brash TV presenter and his crew are taken hostage by an unhappy investor. Money Monster is a bit hokey at times, but that's about its only shortcoming. 

Blessed with two of Hollywood's most capable and engaging leads, George Clooney and Julia Roberts, and edge-of-your-seat storytelling, the movie grabs your attention and does not let go. 

Jack O'Connell is also terrific, and it's a credit to his performance how easily you'll begin to side with the guy waving the gun around. 

Money Monster expertly maintains tension throughout, spelled with perfectly-timed humor, and is smart enough not to wear out its welcome. 

The movie's very obvious message is about greed and corruption, but also paints an uncomfortable picture of today's society, as as the hostage situation plays out on live television as "entertainment." 

Money Monster clocks in at a smart 98 minutes and is rated R for "language throughout, some sexuality, and brief violence." It may not bring much new to the table, but Money Monster is an exciting and well-acted picture that's well worth your movie dollar. 

Of a possible nine Weasleys, Money Monster gets seven (and fangirl points for Giancarlo Esposito). 

Until next time... 

Cindy Prascik's Reviews of Pride & Prejudice & Zombies & Hail, Caesar!

 

 

 

Dearest Blog: Yesterday it was off to Marquee Cinemas for unlikely bedfellows Pride & Prejudice & Zombies and Hail, Caesar! 

 

Spoiler level here will be mild, nothing important that you won't have gotten from a couple of pretty awesome trailers. First on the docket: Pride & Prejudice & Zombies. A bit of classic literature gets the Walking Dead treatment. 

 

Oh, Jack Huston, the things I do for you. Nevermind the things I *would* do for you...the things I *do* do for you. Zombies are kind-of the "it" monster these days, but, being more of a vampire girl myself--and not having gone anywhere near Jane Austen since a forced high-school acquaintance--I might have taken a pass on PPZ if not for the presence of the talented and dashing Mr. Huston. 

 

Not surprisingly, though, it was a far less annoying experience than that Nicholas Sparks disaster I was forced to watch last year. Getting the obvious out of the way first: If you look at the name "Pride & Prejudice & Zombies" and think "That's stupid!" well...this isn't the movie for you. 

 

Like Abraham Lincoln: Vampire Hunter, the concept's chief appeal is in its utter ridiculousness. PPZ isn't quite as tongue-in-cheek as one might expect, but it's still good fun. Highlights include a strong leading turn by Lily James, a solid array of impressive female heroes, nice costumes, good fight choreography, and some sweet zombie effects. 

 

Like World War Z, these undead don't just shuffle along; if you're running, odds are they can catch you. Of all the non-traditional aspects of PPZ, that one is, perhaps, the most disquieting! On the downside, it takes a full 39 minutes for Jack Huston to appear onscreen. (Did I clock it? Yes, I did.) Sam Riley is so miserable looking throughout I feel sure he'll be tapped to play Athos in some future version of The Three Musketeers. 

 

The movie's not overlong, but it does feel slow at times; a little trim might have served it well. Pride & Prejudice & Zombies clocks in at 108 minutes and is rated PG13 for "zombie violence and action and brief suggestive material." 

 

A definitive answer to Hollywood's female problem, Pride & Prejudice & Zombies is a good time that's well worth a look. 

 

Of a possible nine Weasleys, PPZ gets seven. 

 

Next on my agenda: Hail, Caesar! In 1950s Hollywood, a studio "fixer" has his hands full when a marquee name goes missing. 

 

My smarter, funnier cousin once said that the Coen brothers' idea of a comedy is about the same as Iron Tail's idea of coloring Easter eggs. (If you're young, look it up.) I don't find that as true here as it sometimes is, but their humor is an acquired taste; if you don't love Hail, Caesar!, you'll probably hate it. 

 

Though the movie's been touted as a love letter to Hollywood's Golden Age, if we're being honest, it's more of a hate letter, spotlighting everything hilariously stupid about the big studio experience of the 50s. Josh Brolin is fantastic in the lead and, even after all these years, it does my tiny heart good to see his name atop such a list of Hollywood A-Listers. 

 

George Clooney's buffoonish superstar is a laugh every time he's onscreen. Channing Tatum continues to surprise as a real asset to seemingly every movie that'll have him. (And does he have the MOVES!) 

 

I wouldn't be me if I didn't name check a couple of my favorites who turn up in roles so small the characters don't even have names: Fisher Stevens and Patrick Fischler. 

 

Great to see ya, guys! Hail, Caesar! features a solid mystery that ties together the various movies within the movie. The film is consistently funny, with some laugh-out-loud moments, and boasts top-notch performances from a bunch of top-notch names, as well as charming choreography from the master, Tony winner Christopher Gattelli. 

 

There's also a small cameo by Mr. Jack Huston, which allows me to deem yesterday a "Jack Huston Film Festival." Day = Made! Hail, Caesar! runs 106 minutes and is rated PG13 for "some suggestive content and smoking." 

 

The finished product falls a little short of its stellar trailer's promise, but Hail, Caesar! is a fun, clever picture that should please most moviegoers. 

 

Of a possible nine Weasleys, Hail, Caesar! gets seven. 

 

Hope everyone enjoys their Super Bowl Sunday. Until next time...........yay, football!! 

 

MOVIE REVIEW: HAIL, CAESAR!

Slick Hollywood fixer Eddie Mannix (Josh Brolin) is pressed into action when superstar actor Baird Whitlock (George Clooney) is kidnapped and held for ransom by a mysterious group. Mannix races to quietly collect the ransom money without gossip columnists Thessaly and Thora Thacker (Tilda Swinton in a dual role) catching wind of the scandal. Alden Ehrenreich, Ralph Fiennes, Scarlett Johansson, Jonah Hill, Frances McDormand, and Channing Tatum co-star in this comedy set in Hollywood's golden age. Directed by Joel and Ethan Coen. ~ Daniel Gelb, Rovi

Director: Ethan Coen, Joel Coen

Cast: George Clooney, Josh Brolin, Ralph Fiennes, Tilda Swinton, Jonah Hill

Release Date: Feb 05, 2016

Rated PG-13 Some suggestive content and smoking.

Runtime: 1 hr. 40 min.

Genres: Comedy, Drama, Music/Performing Arts

Review:

Hail, Caesar is the Coen’s brother loving tribute to old Hollywood with a healthy dose of laughter.  Its plot is almost an afterthought since the Coen’s seem more concerned with recreating some of the golden eras favorite genres.  It’s an enjoyable trek with enough laughs to keep you entertained for the better part of its runtime.  Josh Brolin is fine as the studio fixer who’s just trying to keep all the proverbial plates spinning.  He mostly serves as your guide through the fictional studio so we have an excuse to wander through some wonderfully choreographed sequences like Scarlett Johansson water based musical or Channing Tatum’s fun Gene Kellyesque sailor sequence.  Alden Ehrenreich does impressive work as the cowboy star turned dramatic actor, it helps that he shares a fantastic little sequence with an underused Ralph Fiennes.  It’s all light wacky fun which is going to leave you smiling even if the film would have been better if it’d been just a tad more focused.

B+

Cindy Prascik's The Lego Movie & The Monuments Men

Dearest Blog, yesterday it was off to the cinema for two flicks about which I'd been very excited: The Lego Movie and The Monuments Men.

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

So, dear Blog, you may ask WHAT THE HELL WAS I THINKING going to the Lego Movie on a Saturday afternoon that was nice enough for people to GET out, but not nice enough for people to BE out, thus ensuring I'd be sharing the experience with a roomful of kids? I suppose my answer would be: No. Earthly. Idea.

The Lego Movie follows an ordinary Lego guy on his adventure as he tries to save the universe from an evil Lego tyrant...with a little help from some familiar Lego faces.

The Lego Movie was, indeed, packed wall-to-wall with young 'uns (including two birthday parties, if my eavesdropping skills are accurate). They talked, they ran around, they slammed into my seat, and one little boy directly in front of me stood, hand on hip, waving his drink at his mother and yelling, "There's no straw!" until I'm pretty sure I wasn't the only one considering stuffing him in the bin. That being said, they didn't ruin the movie for me, which can mean only one thing: it's a damn good movie.

The Lego Movie is, first and foremost, a unique experience; the art and animation are extraordinary. This is a movie that grabs your attention in the first minute and never lets go, and I think that would be the case even if nobody ever said a word. Luckily, the little Lego people do say words, and they're funny words at that. The Lego Movie is "family entertainment" that really does entertain the whole family and, while my 200 kidlets brought down the house over pantsless Lego people, there were plenty of jokes for the grownups, too. The cast is comprised of notable folks that, even if you don't know their names, you'll surely know their voices. Will Arnett is particularly effective as a grumpy, Bale-esque Batman, and Charlie Day's spastic 80s robot is a treat. The movie smartly doesn't wear out its welcome, and I think I speak for the 200 kids when I say it left us all wanting more.

The Lego Movie clocks in at 100 minutes and is rated PG for "mild action and rude humor."

Though 2014's Oscars haven't even been handed out yet, it's hard for me to imagine something that's going to beat this as Best Animated Feature at 2015's. (Disclaimer: With How to Train Your Dragon 2 on the way this year, I fully anticipate having to eat those words.) Of a possible nine Weasleys, The Lego Movie gets seven and a half.

The second half of yesterday's double-feature was George Clooney's The Monuments Men, based on the true story of a group of unlikely soldiers tasked with saving stolen art from the Nazis and returning it to its rightful owners.

When I first started seeing trailers for The Monuments Men, the cast and the subject matter had me thinking it would be an awards-season favorite. The release date and the Internet (which never lies, right?) tell me that's not the case, and for the life of me, I just don't get why not.

While it may be about as historically accurate as Argo, The Monuments Men does its job as a movie; it presents a relevant, interesting story in an entertaining way. The film moves at a good pace, holds your attention for the duration, and reinforces a message that's important even 70 years later. In addition to Clooney (who also handled directing and co-writing duties), the terrific cast includes Matt Damon, Cate Blanchett, Bill Murray, John Goodman, Jean Dujardin (that's "dude from The Artist that I'm still mad at for stealing Gary Oldman's Oscar," in case anyone didn't know), Hugh Bonneville, and Bob Balaban. It's a smart, moving, and, yes, sometimes funny look at a not-at-all-funny historical event, and the reaction around my theatre tells me I'm not the only one who thinks it's getting shortchanged by critics.

The Monuments Men runs 118 minutes and is rated PG13 for "some images of war violence and historical smoking." (Is that really a thing..."historical smoking??")

While it may not be setting the world on fire like the Oscar-hopeful it once seemed, for my money, The Monuments Men is a total success, no less entertaining for having an important point. Of a possible nine Weasleys, The Monuments Men gets seven.

So, dear Blog, that's all the news that's fit to print for now. Next weekend brings the year's first Gary Oldman Cinema Experience, so there will be swooning a-plenty on this front.

Until next time...



Your efforts are futile in the face of my box-office prowess!

Cindy Prascik's Review’s of Runner Runner and Gravity

Dearest Blog, today I slogged to the cinema for the ho-hum double bill Runner Runner and Gravity.

Spoiler level here will be mild...ish, I guess. Mostly nothing that's not in the trailers, though I gotta say one thing about Gravity that doesn't give away anything specific, but may be more than some want to know before watching.

First on my agenda was a movie I was actually pretty interested in despite poor reviews, Runner Runner.

Brilliant but broke whiz-kid Richie Furst (Justin Timberlake) gets sucked into the business empire of online gambling kingpin Ivan Block (Ben Affleck).

Timberlake and Affleck both turn in solid performances in Runner Runner, but their characters are sorely underdeveloped. I had a hard time buying that Furst was smart enough to discover what brought him to Block's attention, not due to any shortcomings on Timberlake's part, but because the movie just didn't convince me. Ditto how Block got to where he is. In both cases the movie makes mention of the past without doing enough to make it feel real.

Gemma Arterton fares even worse as Block's business partner and ex-flame. There's no denying she looks hot as ever, but I'd have liked to see her with more to do. Anthony

Mackie is solid as usual as an FBI agent out to take down Block's operation.
If there are hiccups in the way online gambling is presented, or the means used to discover certain things, well, I don't know enough about any kind of gambling for those to have bothered me, as they have apparently bothered some.

The movie does a good job of maintaining tension throughout, and sets up a suitable, if predictable, ending.

Runner Runner run(ner)s 91 minutes and is rated R for "language and some sexual content."

Runner Runner is a decent thriller that is smart enough not to wear out its welcome.

Funny thing is, I (of all people!) actually wished this one were a little longer. Of a possible nine Weasleys, Runner Runner gets six.

Next up was Gravity, one of the two critical darlings (along with Rush) that I've been dreading like a root canal.

An accident leaves a pair of astronauts (Sandra Bullock and George Clooney) adrift in space and fighting for survival.

Though I'm not quite jumping on the Gravity Love Train, I liked it much better than I expected to.

It's easy to understand why every director I follow on Twitter has been crowing about Gravity for the last week or so; it's glorious, easily one of the most stunning movies I've ever seen.

You know, dear reader(s), I hate 3D and wouldn't steer ya towards it unless it were really worth it, but Gravity's 3D is really, really worth it. I flinched to get out of the way of space debris more than once!

Clooney and especially Bullock give realistic, moving performances, and Bullock had me in tears more than once. A magnificent score provides perfect emotional cues. That's the good news.

The bad news is, even at just over 90 minutes, Gravity feels too long. Space is beautiful, but I got bored of watching spacesuits tumble and drift, set to the backdrop of Bullock's incessant panting and grunting.

I also think maybe the film should have been called Murphy's Law instead of Gravity, because the number of things that had to go wrong to maintain peril started to feel a bit ridiculous and contrived. Still, there's more right than wrong with Gravity, and I'm delighted I didn't pay 3D prices just to hate it.

Gravity clocks in at 90 minutes and is rated PG13 for "intense perilous sequences, some disturbing images, and brief strong language." Whatever shortcomings it may have,

Gravity is worth seeing in 3D on the biggest screen you can find.

Of a possible nine Weasleys, Gravity gets seven.

Until next time...



If actual space is so much danger and so little Spock, why do people bother?

MOVIE REVIEW: GRAVITY

Director Alfonso Cuaron's Gravity stars Sandra Bullock as Dr. Ryan Stone, a scientist on a space shuttle mission headed by astronaut Matt Kowalsky (George Clooney), a talkative, charismatic leader full of colorful stories that he shares with his crewmates as well as mission control. As the two are on a space walk, debris hits the area where they are working, and soon the pair finds themselves detached from their ship and stranded in space. While figuring out what steps they can take to save themselves ~ Perry Seibert, Rovi

Director: Alfonso Cuarón

Cast: Sandra Bullock, George Clooney.

Release Date: Oct 04, 2013 RealD 3D, IMAX

Rated PG-13 for intense perilous sequences, some disturbing images and brief strong language

Runtime: 1 hr. 31 min.

Genres: Drama, Sci-Fi/Fantasy

Review:

The story in Gravity is something most movie going audiences have seen before in movies like Open Water or even Cast Away. It’s simply a man vs. nature survival story elevated by impressive visual and excellent performances by the two main leads. Your enjoyment of the film maybe helped or hindered by your enjoyment of Clooney and Bullock. Clooney is at his charismatic best in limited screen time but the bulk of the heavy lifting is done by Bullock. She delivers an impressive performance throughout while working through a full range of emotions as the film progresses. If something hinders performance it’s mainly due to the script which gives us two rather pedestrian characters. That’s not to say they are terribly by any stretch of the imagination but they are basic. Mix that with some not so subtle themes (rebirth, acceptance of things you can’t control) and it can get a tad heavy handed. It not a massive misstep but it’s there. Honestly though, the story isn’t the main draw here, it’s Alfonso Cuarón’s technical acumen which impresses me more and more with each passing film. Cuarón has created a visual wonderland / thrill ride which utilizes 3D (see it in IMAX if you can) in amazing ways. The opening sequence is a technical marvel which feels like a weightless wonderfully choreographed 10 minute + ride into space. The action sequences and even the quieter moments deliver the kind of helpless but thrilling experience that the characters are going through. Gravity is the type of film that has to be seen on the big screen and in 3D to fully appreciate it.

A-

MOVIE REVIEWS: DATE NIGHT, THE FOUTH KIND AND FANTASTIC MR. FOX

Saturday, April 10, 2010

IN THEATERS

DATE NIGHT



This action comedy tells the tale of mild-mannered married couple Phil (Steve Carell) and Claire (Tina Fey) who fear their relationship may be falling into a stale rut. During their weekly date night, they impetuously steal a dinner reservation, which leads to a case of mistaken identity. Turns out the reservation was for a pair of thieves, and now a number of unsavory characters want Phil and Claire killed. If they can survive a wacky life-threatening night, they may just rediscover the passion missing from their marriage. Directed by Shawn Levy. Mark Wahlberg, James Franco, and Kristen Wiig co-star. ~ Perry Seibert, All Movie Guide
Directed by Shawn Levy

Cast: Steve Carell, Tina Fey, Mark Wahlberg, Taraji P. Henson, Jimmi Simpson.

Release Date: Apr 09, 2010

Rated PG-13 for sexual and crude content throughout, language, some violence and a drug reference

Runtime: 1 hr. 28 min.

Genres: Comedy

Review:

Date Night is unapologetically broad in its laughs and if it weren’t for the excellent comedic talents of Tina Fey and Steve Carell it’d probably be kind of unbearable. Shawn Levy has made a career of making broad easy to consume comedies and he doesn’t change his stripes here. The jokes and situations are mostly paint by the numbers. Its fun light entertainment that keeps you mostly entertained with only occasional moments of tedium. Carell and Fey keep you interested with their strong dynamic and experienced talents. Carell brings a tenderness and earnestness to his character along with the expected goofiness. Fey is sharp and quick witted always keeping the interplay lively and energetic even in clichéd segments. Mark Wahlburg, James Franco, Mila Kunis, William Fichtner and Ray Liotta all have fun little cameos with characters that are goofy send ups of their usual roles. Date Night is the kind of movie that easily forgettable but never terrible. Considering Carell and Fey strong chemistry it would be nice to see them work with a more talent director and concept. For the time being this little nugget will work well as an appetizer.

C+

ON DVD

THE FOURTH KIND




Set in the fall of 2000 and purportedly based on actual events, The Fourth Kind stars Milla Jovovich as Dr. Abigail Tyler, a Nome, Alaska-based psychotherapist whose videotaped sessions with her patients offer the most compelling evidence of alien abduction ever documented. Elias Koteas and Will Patton co-star. ~ Jason Buchanan, All Movie Guide
Directed by Olatunde Osunsanmi

Cast: Milla Jovovich, Elias Koteas, Will Patton, Hakeem Kae-Kazim.

Release Date: Nov 06, 2009

Rated PG-13 for violent/disturbing images, some terror, thematic elements and brief sexuality

Runtime: 1 hr. 38 min.

Genres: Thriller

Review:

The Fourth Kind is the type of film that has an interesting approach to what is a fairly well worn genre. Sadly, director Olatunde Osunsanmi shows his inexperience throughout and presently he doesn’t have the talent to make the concept a cohesive believable whole. It’s a shame because he has an interesting style that’s aggressively interesting and he does have a few inspired moments which impress. Unfortunately, those moments are few and far between and he fails to achieve the most important thing necessary here, credibility. The film, it starts with Milla Jovovich telling you this is based on true events, demands that you have some level of belief in the proceedings for it to effectively creep you out. Instead everything comes off as fake and manufactured especially the purported “real” footage. The cast across the board is stiff and unconvincing the reenactments never feel any better than old Unsolved Mysteries shorts. It’s all kind of a uneven hodgepodge of ideas that never reach the mark. Films like Communion and Fire in the Sky do a better job with this genre. Not a great sign when the latter is a fairly laughable Walken vehicle.

D

FANTASTIC MR. FOX



A wily fox uses his formidable cunning to outsmart three feeble-minded farmers, who resort to extreme tactics to protect their chickens in director Wes Anderson's animated adaptation of the popular Roald Dahl children's book. For 12 years, Mr. and Mrs. Fox (voices of George Clooney and Meryl Streep) have lived a peaceful life in the wilderness with their son, Ash (voice of Jason Schwartzman). Shortly after their young nephew Kristofferson (voice of Eric Anderson) arrives for a visit, Mr. Fox's long-suppressed animal instincts begin to take over and the faithful family man resorts back to his old ways as a cunning chicken thief, endangering not only his family but the entire animal community as well. When evil farmers Boggis, Bunce, and Bean force the animals underground in a desperate attempt to capture the audacious Mr. Fox, dwindling food supplies force the frightened animals to band together in one last attempt to fight for the land that is rightfully theirs. Bill Murray, Michael Gambon, Willem Dafoe, and Owen Wilson provide additional

Director: Wes Anderson

Cast: George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Wallace Wolodarsky.

Release Date: Nov 13, 2009..

Rated: for action, smoking and slang humor

Runtime: 1 hr. 27 min.

Genres: Comedy

Review:

It’s rare that you find such a charming piece of filmmaking that keeps you smiling throughout via its wittiness and emotional highpoints. There is something incredibly quirky and heartfelt in all of Wes Anderson’s films and this stop motion isn’t any different. Proving that he can work his magic on stop motion dolls as effectively as his live actors, Anderson breathes life into these characters and plot almost from the instant they hit the screen. It’s no small task and he makes it seem utterly effortless throughout. The A list voice cast is up to task as well. Clooney provides just as much as charisma and sentiment as he did in Up in the Air. Meryl Streep’s work is graceful as ever providing Clooney’s titular character his moral center. Jason Schwartzman is wonderfully understated and heartfelt. The story, adapted from Roald Dahl’s children’s book, is just as smart as it should be, something the will give both adults and children something to enjoy. Fantastic Mr. Fox is a stellar achievement in film making and something that should be enjoyed by all.

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Movie Reviews: UP IN THE AIR

Sunday, January 03, 2010
Movie Reviews: UP IN THE AIR
IN THEATERS

UP IN THE AIR

From Jason Reitman, the Oscar® nominated director of “Juno,” comes a comedy called “Up in the Air” starring Oscar® winner George Clooney as Ryan Bingham, a corporate downsizing expert whose cherished life on the road is threatened just as he is on the cusp of reaching ten million frequent flyer miles and just after he’s met the frequent-traveler woman of his dreams.

Cast: George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman, Danny R. McBride

Director: Jason Reitman

Opened December 4, 2009.

Runtime: 1 hr. 49 min.

Rate R for language and some sexual content

Genres: Romantic Comedy, Comedy Drama, Psychological Drama, Family Drama, Workplace Comedy

Review:

It’s truly shocking that Up in the Air is director Jason Reitman’s 3rd film. Reitman’s level of polish is something most directors aspire to when they reach their peak. Up in the Air perfectly captures the cultural zeitgeist, a snapshot in time, filled with all the disconnect and artificial appreciation we all live with day in and out. Specifically, air travel and hotel life is wonderfully replicated with all the shorthand that anyone with any sort of travel experience would be hard pressed not to grin throughout. Reitman is able to meld this with a poignant look at the corporate wasteland caused by downsizing, using non actors in snippet interviews, that has consumed the America’s business landscape over the past couple of years. It’s a tricky balance but it works well especially since this is a romantic comedy at its heart. Reitman’s director is top notch and his cast is equally up to task. George Clooney, doing his best work since Michael Clayton, displays a full range of his character’s persona. His character is confident and head strong but very self aware of his ideology’s paradoxes. Clooney doesn’t shy away from showing his vulnerable side and does so with great effectiveness here. Vera Farmiga does an equally impressive job matching Clooney jab for jab in their scenes together. She displays a great ability to be strong and sexy without falling into the standard pitfalls of this type of role. Doing a similar balancing act is Anna Kendrick who makes her mark on her role which could have faded into cliché in lesser hands. She makes her character funny but grounded in reality, making her seem like someone we’ve all run into at some point in our careers. Peppered throughout the film are strong character actors like JK Simmons, Jason Bateman, Danny McBride, Zach Galifianakis and Sam Elliott. They make what could have been quick throwaway moments into something more substantial. Jason Reitman and Sheldon Turner adapted the script from Walter Kirn’s 2001 mostly stream of conscience novel of the same name and there are moments in the film that feel like they are starting to head into rom-com clichés but they throw you curve balls keeping you off balance. It’s a true testament to their efforts in giving the audience something fresh with substance.

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