My dear reader(s): Yesterday I treated myself to a good old-fashioned double-feature. If it was from my sofa rather than from my old seat at the cinema...well...I'm still going to frame it as a step back towards normal. On the docket: The Good Nurse and See How They Run.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First up: The Good Nurse.
A physically and financially overburdened nurse begins to suspect her helpful new co-worker is not as he appears.
Based on a true story, the Good Nurse stars Academy Award winners Jessica Chastain and Eddie Redmayne, punching below their weight. The film maintains tension decently — even if viewers may remember the outcome from the news — yet it still seems to arrive at its destination a little too quickly and conveniently. Fortunately, the story itself is compelling enough to hold attention, and Chastain and Redmayne (along with the stellar Noah Emmerich) would make it worth a look regardless of its other flaws.
The Good Nurse runs 121 minutes and is rated R for language.
The Good Nurse is essentially a network movie of the week, elevated by its exceptional cast. Of a possible nine Weasleys, the Good Nurse gets six and a half.
The Good Nurse is now streaming on Netflix.
Next on my agenda: See How They Run.
In 1950s London, attempts to make a film version of a long-running play are derailed when a key individual is murdered.
See How They Run is a proper, old-school murder mystery with an excellent cast, featuring Sam Rockwell, Adrien Brody, David Oyelowo, a particularly charming Saoirse Ronan, and the always delightful Ruth Wilson. The self-aware film moves quickly, keeps its secrets well, and boasts terrific costumes, styling, and set design. In the "before times," this is the sort of movie I'd have awaited anxiously, run out to see on opening day, and written about — if not glowingly — then at least very, very positively. These days, I'm excited it turned up for free, I loved watching these actors work with a decent script and pretty outfits, and I liked it well enough that I didn't play on my phone the whole time it was on.
See How They Run clocks in at a quick 98 minutes and is rated PG13 for "some violence/bloody images, and a sexual reference."
See How They Run is a fun mystery that boasts solid performances from its wonderful cast. Of a possible nine Weasleys, See How They Run gets seven.
CIA agent Mason "Mace" Brown joins forces with a rival German agent, a cutting-edge computer specialist and a Colombian psychologist when a top-secret weapon falls into the hands of a group of mercenaries. Together, the four women embark on a breakneck mission to save the world while staying one step ahead of a mysterious figure who's tracking their every move.
Director:Simon Kinberg
Cast: Jessica Chastain, Penélope Cruz, Fan Bingbing, Diane Kruger, Lupita Nyong'o, Édgar Ramírez, Sebastian Stan
Release Date: January 7, 2022
Action, Thriller
Rated PG-13 for sequences of strong violence, brief strong language, and suggestive material.
Runtime:2h 4m
Review:
The 355 is stacked with star power that makes its generic spy thriller worlds more watchable and enjoyable than it deserves to be. Simon Kinberg's film has a generic quality about it that makes it almost indistinguishable from troves of similar films. Exotic locales and large action set pieces aren't terribly memorable but they're entertaining as mindless junk food. Jessica Chastain leads the cast ably as a believable action star but it's hardly just her show. The film is an impressive ensemble piece with Lupita Nyong'o, Diane Kruger, Penélope Cruz and Fan Bingbing all getting ample screen time to shine. Their chemistry together is ultimately what makes the whole thing work in spite of the scripts hacky shortcomings. They are believable as a group of ass kicking spies with smaller moments fleshing out their characters. Its a testament to their assembled talents that this works as well as it does with such a generic story and cliched MacGuffin and villain, the film gives Sebastian Stan woefully little to do. The 355 offers up the kind of mindless popcorn fun which offers up female empowerment without ever beating you over the head with it.
In the 1970s, Tammy Faye Bakker and her husband, Jim, rise from humble beginnings to create the world's largest religious broadcasting network and theme park. Tammy Faye becomes legendary for her indelible eyelashes, her idiosyncratic singing, and her eagerness to embrace people from all walks of life. However, financial improprieties, scheming rivals and a scandal soon threaten to topple their carefully constructed empire.
Director:Michael Showalter
Cast: Jessica Chastain, Andrew Garfield. Cherry Jones, Vincent D'Onofrio, Fredric Lehne, Louis Cancelmi
Release Date: September 17, 2021
Genre: Biography, Drama, History
Rated PG-13 for sexual content and drug abuse
Runtime: 2h 6min
Review:
The Eyes of Tammy Faye, based on a documentary of the same name, is an engrossing biopic that's heavier on style than actual substance. Michael Showalter's film has a candy colored approach to its primary subjects which is appropriate even if it glosses over some of the grimier realities of their actions. His film is visually engaging and entertaining throughout especially as everything becomes increasingly garish and outlandish. The lynchpin of the entire film though is Jessica Chastain who sports chipmunk cheek prosthetics and increasingly layered on make up which leaves her nearly unrecognizable by the end. Chastain's performance is the type of transformative turn that's ready made for awards season. She displays an impressive bit of versatility by playing against type with a turn that's heavy on wide eyed naivety and optimism with breakthrough moments of pain underneath it all. It's difficult to take your eyes off her bombastic turn but Andrew Garfield is just as strong with a slightly more subdued turn. Garfield paints Bakker as a weaselly huckster who's going through his own personal battles while defrauding millions in the process. A climatic fight lets both actors put their talents on full display. Cherry Jones and Vincent D'Onofrio turn in solid work in supporting turn which would have been forgettable in lesser actors’ hands. While the film has plenty going for it you can't help but feel that it's only scratches the surface of these people. The script takes too broad of an approach to dig deeper in the pair with Tammy being treated with kid's gloves more or less absolved of any blame. Even with a pedestrian script, The Eyes of Tammy Faye deserves to be seen for its singular performances from Jessica Chastain and Andrew Garfield.
An assassin becomes marked for death by her
own black ops organization after questioning orders and breaking protocol.
Director: Tate Taylor
Cast: Jessica Chastain, John Malkovich,
Common, Geena Davis, Colin Farrell, Ioan Gruffudd, Joan Chen
Release Date: September 25, 2020
Action, Crime, Drama
Rated R for violence and language
throughout, and brief sexual material
Runtime: 1h 36m
Review:
Ava has all the hallmarks of Luc Besson’s
late career films, a betrayed assassin fighting for survival with extreme
prejudice and a bass heavy techno beat playing the background. Throw in a nonsensical plot and this is the
type of movie you probably end up watching during a sleepless night on Showtime
simply due to a lack of options. The
oddity here is that this isn’t a Besson film, Tate Taylor directs this overly
busy femme fatale cliché minefield, led by some model turned actress instead it
stars Jessica Chastain. Chastain also
produced the film which leads me to believe it might be a bit of a vanity
project where she could try her hand as an action hero. As usual, Chastain is the most interesting
person on screen and she handles herself well in the action portions of the
film, making for a believable killer.
The supporting cast is also filled with name stars all making what’s
onscreen far more interesting than it should be. The main problem is the film’s script is so
hackneyed that once you get past Chastain killing 30 armed guards with her bare
hands in a spaghetti strapped cocktail dress you start to notice the film and
characters are all kind of ridiculous.
Chastain’s character for example doesn’t just have one thing haunting
her instead she’s got a bevy of them, she’s an alcoholic, a terrible sister
with daddy issues. The fact that
Chastain makes this all passable is a testament of her strength as an actress
but by the point you have John Malkovick karate fighting Colin Farrell it’s a
bit tough to overlook the issues with the script. I can’t say Ava isn’t fun in a trashy sort of
way because it is in its own way especially watching all the grade A talent
slumming it because of a overcooked script.
Yesterday it was (finally) back to the cinema for It Chapter 2.
Spoiler level here will be moderate, nothing plot-related, but I'll offer one general thought that may be considered spoilerey. Forewarned is forearmed.
Nearly three decades after the events of Chapter 1, the Losers Club is called back to Derry to face off with their old nemesis.
It Chapter 2 is easily the weaker half of this iconic Stephen King tale, and stretching it to a bloated three-hour runtime did it no favors, though steady pacing keeps the movie from bogging down too much. Creature and gore effects are solid, and the de-aging process used on the youngsters from Chapter 1 didn't bother me, though it's been much maligned elsewhere. There isn't much scary about the film--even the cheap jump scares are too obvious to have much effect--but it is blessed with a talented, likable cast, fronted by Oscar nominee Jessica Chastain and Golden Globe nominee James McAvoy. McAvoy and the less-decorated Bill Hader are especially strong throughout. The kids from Chapter 1 are still solid, though with far less to do than in round one. Frankly, the adults are never quite as interesting.
On the strength of its cast and well-formed characters, It Chapter 2 works best when focused on people and relationships. The story of friendship, reconnecting, and redemption is a timeless one that never fails to engage; unfortunately, the horror/fantasy aspects just don't measure up, and even come off a bit laughable. Thanks to a few tweaks, this version of IT feels less melancholy than the original, and I fear it will fade from memory much more quickly.
It Chapter 2 clocks in at 169 minutes and is rated R for "disturbing violent content and bloody images throughout, pervasive language, and some sexual material."
Despite its many flaws, you'll still want to see the Losers Club through to the end with It Chapter 2.
Of a possible nine Weasleys, It Chapter 2 gets six. Until next time...
Defeated by members of the Losers' Club, the
evil clown Pennywise returns 27 years later to terrorize the town of Derry, Maine, once again. Now adults, the childhood friends have
long since gone their separate ways. But when people start disappearing, Mike
Hanlon calls the others home for one final stand. Damaged by scars from the
past, the united Losers must conquer their deepest fears to destroy the
shape-shifting Pennywise -- now more powerful than ever. Director: Andrés Muschietti Cast: Jessica Chastain, James McAvoy, Bill
Hader, Isaiah Mustafa, Jay Ryan, James Ransone, Andy Bean Release Date: September 6, 2019 Genre: Horror Rated R for disturbing violent content and
bloody images throughout, pervasive language, and some crude sexual material. Runtime: 2 h 50 min Review: It Chapter Two has the unenviable task of
trying to tie up the story started in the original film. Much like the original novel and mini series
adaptation the latter half of the story doesn’t quite have the pop or elegance
of the first half of the story. This
sequel is bigger and has a more expansive mythology. It has an impressive collection of big name
actors as the grown versions of the Losers Club who all play their roles fairly
well. Still, as you sit through Andrés
Muschietti’s nearly 3 hour opus you keep waiting for something amazing or truly
terrifying to happen. It never does as
we go through a variety of side stories and back stories. That’s not to say there aren’t any thrilling
or mildly scary sequences because there are but the problem is that it all
feels sort of routine leaving the film like a hodgepodge collection of horror
tropes blended into a single film. It’s
never a bad film per say but it’s not a great film either. The main issue is that the central villain is
put on display much too often which makes each subsequent appearance less and
less scary. By the conclusion some of
the moments come off as funnier as opposed to spine tingling, making it feel
closer to a late era Nightmare on Elm Street which is fitting since there’s a
visual nod to the 5th film in that series.
This is the story of one
of the X-Men’s most beloved characters, Jean Grey, as she evolves into the
iconic DARK PHOENIX. During a life-threatening rescue mission in space, Jean is
hit by a cosmic force that transforms her into one of the most powerful mutants
of all. Wrestling with this increasingly unstable power as well as her own
personal demons, Jean spirals out of control, tearing the X-Men family apart
and threatening to destroy the very fabric of our planet. The film is the most
intense and emotional X-Men movie ever made. It is the culmination of 20 years
of X-Men movies, as the family of mutants that we’ve come to know and love must
face their most devastating enemy yet -- one of their own.
Director: Simon Kinberg
Cast: James McAvoy,
Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Sophie Turner, Tye
Sheridan, Alexandra Shipp, Jessica Chastain
Rated PG-13 for intense sequences of sci-fi
violence and action including some gunplay, disturbing images, and brief strong
language Release Date: June 7, 2019
Genres: Action,
Adventure, Sci-Fi
Runtime: 1h 54 min
Review:
It’s typically not the
biggest compliment for a film when you start comparing it to past entries in
the franchise only to confirm that it’s not as bad as some of the series low spots. In this case, Dark Phoenix isn’t the
collective disaster that X-Men The Last Stand was and it’s far more palatable
than X-Men Apocalypse. That doesn’t
necessarily make a good film though, it’s serviceable at best. The first two acts of the film rush through
exposition and tries to get the audience to care about Jean Grey whom we’ve
spent barely anytime with as a character in the previous films. Sophie Turner just isn’t terribly engaging as
the titular character, her acting ranger here seem to consist of staring
blankly into space angrily. The real
shame is that the film is stacked with excellent actors and actresses across
the board. Jennifer Lawrence is barely
given much to do and her character’s storyline doesn’t land the way it
should. It’s a consistent issue with the
film, its first two acts feel like an emotionless slog peppered with some
respectable action sequences. Jessica
Chastain’s character and performance exemplify this since she’s a walking
talking emotionless villain who’s not so much a character but a plot device to
move the story forward. She’s utterly wasted throughout the film, much like Michael
Fassbender whose role feels more like an extended cameo. James McAvoy fares slightly better but it not
enough to turn the tide, the films final battle is solid but strangely Simon
Kinberg decided it was a good idea to uses certain beats from The Last
Stand. Since the final act was entirely
reshot, it’s hard not to see a problematic production turn into a messy
uninspired film.
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!
The true story of Molly Bloom, a beautiful, young, Olympic-class skier
who ran the world's most exclusive high-stakes poker game for a decade before
being arrested in the middle of the night by 17 FBI agents wielding automatic
weapons. Her players included Hollywood royalty, sports stars, business titans and finally, unbeknown to her,
the Russian mob. Her only ally was her criminal defense lawyer Charlie Jaffey,
who learned there was much more to Molly than the tabloids led people to
believe.
Director:
Aaron Sorkin
Release Date: Dec 25, 2017
Cast: Jessica Chastain, Idris Elba, Kevin
Costner, Michael Cera, Brian d'Arcy James, Chris O'Dowd
Rated R for language, drug content and some
violence
Runtime: 2 hr. 20 min.
Genres: Biography, Drama
Review:
Molly’s Game, the directorial
debut of renowned screenwriter Aaron Sorkin, is a crackling dialogue driven
legal thriller.Sorkin’s move behind the
camera is fairly effortless as he directs his film with a confident steady
hand.His style isn’t overly flashy,
outside of an expertly crafted opening sequence, he keeps a steady and measured
hand allowing his actors and script to do the heavy lifting.The script is everything you’d expect from
Aaron Sorkin, the snappy dialogue is as plentiful as the extended
monologues.The film carries a sort of
Social Network feel to it, especially in the first act, before it settles into
its own rhythm.Molly Brown’s story is a
fascinating perversion of the American Dream.Jessica Chastain is electric in the lead role and she’s nearly always
the most magnetic person on screen.It
probably helps that she’s glam vamped for the better part of the film as her
character routinely transformed herself into the “Cinemax” version of
herself.Chastain’s talent is on full
display as she simultaneously displays sexuality while still radiating an
intrinsic intelligence and unbridled drive throughout the entire film.There’s a running theme about an overbearing
father that feels slightly off especially in its resolution even though Kevin
Costner turns in decent work in an undercooked role.Idris Elba spends the most time with Chastain
in the post arrest scenes and he’s just ready made for Sorkin’s writing.He and Chastain share solid chemistry
together, making their mutual intellect and respect believable.A few of the courtroom scenes in the third
act do feel a bit clunky and convenient when compared to the majority of the
film that came before it.Still,
Sorkin’s first foray into directing is an impressive and entertaining success.
Dearest Blog: Here we sit, on the first square of the first page of a brand new calendar. Last year will be remembered for extraordinary losses--in both number and impact--but there were good times to be had at the cinema, almost always.
What follows will hopefully remind you, dear reader(s), of some of those good times...and maybe some of the other times too.
Disclaimer #1: Around here most of the awards contenders turn up all at once, for a single week, just before the Oscars. The Academy and I sometimes (*cough*) don't see eye to eye, but it's fair to guess this list would look at least a little different if I'd seen La La Land, Manchester by the Sea, Nocturnal Animals, Moonlight, and/or Lion, to name just a few.
Disclaimer #2: A movie's original Weasley score will not necessarily be reflected in its year-end positioning. Time and repeat screenings (or the lack of opportunity for same) may favor or handicap some films.
So...let's start with the good, then, shall we?
My Top 10 Movies of 2016
"The soul of our country is at stake."
10. The Purge: Election YearThe third outing in the Purge series didn't quite match its nearly-perfect middle installment, but timely subject matter, stunning visuals, and another strong leading turn by Frank Grillo make Election Year one of 2016's best offerings.
"God doesn't have children. He's a bachelor. And very angry!"
9. Hail, Caesar!Behind-the-scenes machinations at a 1950s movie studio drive this clever comedy from the Coen brothers, blessed with a terrific all-star cast and some wonderful choreography by Tony Award winner Christopher Gattelli.
"It is time to follow my own path."
8. Kubo and the Two Strings2016 was a super year for animation. Moana, Sing, Finding Dory, and even the Secret Life of Pets could have made a run at this list, but, in the end, beautiful storytelling, combined with stunning and unique art, set Kubo and the Two Strings head and shoulders above the rest. Bonus: Regina Spektor's lovely cover of the Beatles' While My Guitar Gently Weeps over the end credits.
"I've killed things from other worlds before."
7. Batman v. Superman
Yeah, Internet, you hated it; I got that, but I absolutely loved DC's much-maligned Justice League opening act. The baddies were well and properly bad, the good guys were brooding, and the story effectively laid the groundwork for what's to come. Ben Affleck's Batman/Bruce Wayne was universally praised, and if you thought BVS was humorless...well...you just weren't paying attention. ("I like those shoes!")
"I never met nobody got away with anything, ever."
6. Hell or High WaterThis masterful little heist tale is blessed with stellar peformances, a compelling story, and one of the more satisfying and perfectly-suited endings I've ever seen. Do. Not. Miss.
"You're different. Sooner or later, different scares people."
5. The AccountantBen Affleck was kinda the highlight of my 2016 cinema year, following his perfect Batman with a strong, authentic turn as a socially-awkward mathematical genius in this mesmerizing thriller.
"Fear of death is what keeps us alive."
4. Star Trek Beyond
The latest installment in Hollywood's best franchise may well be its most fun yet. The story's exciting, the one-liners always hit the mark, and the ensemble is my favorite of any film franchise. (RIP, dear Anton Yelchin.)
"So far, so good."
3. The Magnificent Seven
The Magnificent Seven remake is a rare beast in today's Hollywoodland. It's an old-school Western. It doesn't shoehorn in a romance, bloat itself with never-ending fight or chase scenes, or attempt to set up a sequel. The film boasts gorgeous cinematography, a perfect cast, and well-timed, genuinely funny humor. The very definition of "must see."
"We were normal, and the rest of the world was crazy."
2. The Beatles: Eight Days a Week-The Touring Years
Eight Days a Week is a cheerful look at the early days of the world's biggest, best, and most influential band. It's a nice reminder that John, Paul, George, and Ringo are more than monumentally talented individuals; first and foremost, they're four pals who thought they could make a go of their little band and got caught up in a tornado of worldwide superstardom. Peppered with snippets of their magical tunes, behind-the-scenes clips, and interviews with the four lads and assorted others who experienced Beatlemania firsthand, Eight Days a Week is a joyous experience.
"I had to question the mermaids! What were you doing while I was working?"
1. The Nice GuysFrom its first trailer, The Nice Guys very nearly cemented a place on my ALL-TIME favorites list, and the finished product more than lived up to that promise, earning it the year's top spot. Russell Crowe and Ryan Gosling are brilliant as a pair of mismatched private investigators on the trail of a missing girl. This is a movie that ticks all the boxes: fantastic performances, exciting action, a smart, surprising mystery, and spot-on humor...an all-'round perfect cinema experience. I'm confident even the most-favored of the critical darlings could not have knocked this one out of my number-one spot.
Movies It Hurt Me to Leave Out (Honorable Mentions)
Eddie the Eagle: A fun, fictionalized story about English Olympian Eddie Edwards, with entertaining performances by Taron Edgerton and Hugh Jackman.
Teenage Mutant Ninja Turtles-Out of the Shadows: The most fun I had at the movies this year, and something I've watched over and over again since getting the DVD.
Bleed for This: A fascinating comeback story anchored by Miles Teller's outstanding lead.
Fantastic Beasts and Where to Find Them: This kick-start of a whole new Harry Potter series is well acted, beautifully filmed, and utterly magical.
Anthropoid: Magnificent performances (especially from Cillian Murphy) elevate this meticulous WWII story far above its big-budget competition.
Deadpool: Sharp wit and Ryan Reynolds' hilarious leading turn shook up the superhero business in 2016. Some of the more juvenile bits wear thin on repeat viewings, but, still, a fun outing.
Suicide Squad: It plays like a series of frenetic music videos, but nifty visuals, Will Smith's unyielding magnetism, and a star turn from Margo Robbie make Suicide Squad worth watching.
Triple 9: A tense thriller with a superb cast. Real edge-of-your-seat cinema.
Moana/Sing/Finding Dory/The Secret Life of Pets: Strong year for animation, don't think I saw a bad animated film in 2016.
2015 Winners I Didn't See in Time for Last Year's ListSpotlight, which certainly would have made the cut.
The Revenant, which would have had a fair chance based solely on the beauty of its locations.
2016: The Year of the Disappointing Sequel
London Has Fallen, Captain America: Civil War (only Black Panther saves this lumbering bore), X-Men: Apocalypse, Independence Day: Resurgence, Jason Bourne (I liked you better when you were Jeremy Renner), Snow White & the Huntsman, Mechanic: Resurrection (shoulda stayed dead), Inferno, and Jack Reacher: Never Go Back (please go back, the first one was good), all failed to live up to even middling expectations set by their predecessors.
On the other hand, Alice: Through the Looking Glass actually wasn't half as bad as the original!
2016's Bottom of the Barrel (a.k.a. I Paid to See That??)Gods of Egypt, which is actually so terrible it's almost great.
The Bronze, one of the worst movies I've EVER seen.
Hardcore Henry, worse than The Bronze.
The Legend of Tarzan, but at least they didn't make Skarsgard do that yodel-thing onscreen.
Assassin's Creed, no...just no.
2016: The Year Jack Huston Made Such Bad Movies That Pride & Prejudice & Zombies Was Actually the BEST! (Not counting Hail, Caesar!, in which he turns up for all of 60 seconds.)
And Ben Hur reviews apparently scared him off social media.
Come back, Jack...I miss you! *cries*
2016: How to Spit-Shine A HeroSully: YES.
Snowden: NO.
And The Winner Is...
Best Actor: Ryan Gosling (The Nice Guys)
Best Actress: Jessica Chastain (Miss Sloane)
Best Supporting Actor: Ben Foster (Hell or High Water)
Best Supporting Actress: Kate Winslet (Triple 9)
Best Director: Ethan & Joel Coen (Hail, Caesar!)
So, dear reader(s), there you have my take on the year just ended. May the new one be happy and healthy for you all. See you at Marquee Cinemas!!
Dearest Blog: Yesterday I swallowed my disappointment over missing out on on Nocturnal Animals and set off to Marquee Cinemas for my only available option, Miss Sloane.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
An abrasive DC lobbyist risks everything to take on a powerful interest.
Miss Sloane is a mature, dialogue-heavy picture. Though it's a fascinating story, it often seems to be getting nowhere, which makes it feel very, very long.
Jessica Chastain is a tour de force in the title role; brash and ballsy, she deftly shows the cracks in that facade as well. The supporting cast is extraordinary, but Chastain is so remarkable that I doubt anyone would notice even if they were cardboard cutouts.
Miss Sloane is often contentious and uncomfortable viewing that (I think) hopes to prompt viewers to consider both sides of its sensitive subject, gun control. It's never quite deep enough to succeed at that, but it does offer good and bad characters on both sides, ultimately presenting a pretty depressing picture of a government for sale to the highest bidder.
Miss Sloane clocks in at 132 minutes and is rated R for "language and some sexuality."
Miss Sloane is a clever, twisting film that's both funny and sad, but ultimately is noteworthy mostly for an Oscar-worthy turn by its star.
Of a possible nine Weasleys, Miss Sloane gets seven.
Fangirl points: Sam Waterston! Mark Strong! Michael Stuhlbarg! (I love how much work that guy's getting!!)
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.
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,
During a manned mission to Mars, Astronaut Mark Watney (Matt Damon) is
presumed dead after a fierce storm and left behind by his crew. But Watney has
survived and finds himself stranded and alone on the hostile planet. With only
meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and
find a way to signal to Earth that he is alive. Millions of miles away, NASA
and a team of international scientists work tirelessly to bring “the Martian”
home, while his crewmates concurrently plot a daring, if not impossible, rescue
mission. As these stories of incredible bravery unfold, the world comes
together to root for Watney’s safe return. Based on a best-selling novel, and
helmed by master director Ridley Scott, THE MARTIAN features a star studded
cast that includes Jessica Chastain, Kristen Wiig, Kate Mara, Michael Pena,
Jeff Daniels, Chiwetel Ejiofor, and Donald Glover.
Director: Ridley Scott
Cast: Matt Damon, Jessica Chastain, Kristen Wiig, Jeff
Daniels, Michael Peña.
Release Date: Oct
02, 2015
Rated PG-13 for Injury Images, Brief Nudity and Some
Strong Language
Runtime: 2 hr. 22 min.
Genres: Action/Adventure
Review:
Ridley Scott’s The Martian is a welcome return to form
for the acclaimed director.The film is
a visually stunning and thoroughly engaging story of survival.It’s an impressive achievement since it the
type of film that focuses on a single character.The story can be described as a mixture of
Castaway and Gravity sans manufactured sentimentality.The man at the center of the film is Matt
Damon’s Mark Watney.Damon’s performance
is impressive because it steers clear of the typical tropes we’ve seen
previously, keeping the performance rational and fresh.Damon dominates the first half of the film
and it’s to the film’s benefit.The
story starts to falter just a bit when it loses focus on Damon and starts
throwing a myriad of supporting characters some of which are more distracting
than interesting…..Kristin Wiig & Donald Glover immediately come to
mind.I would have preferred more
characterization on Watney’s crew which gets the short end of the stick.Minor quibbles aside; The Martian is a
thoroughly enjoyable survival story which earns the most of its 2 hours plus
run time.
An immigrant and his family strive to maintain their
burgeoning business while contending with urban violence and corruption during
a particularly harsh New York City
winter in 1981. Jessica Chastain and Oscar Isaac star in this urban drama from
writer/producer/director J.C. Chandor.
Director: J.C. Chandor
Cast: Jessica Chastain, Oscar Isaac, Albert Brooks, David
Oyelowo, Alessandro Nivola.
Release Date: Dec
31, 2014
Rated R for some Violence and Language
Runtime: 2 hr. 4 min.
Genres: Action/Adventure, Drama
Review:
A Most Violent Year is a slow burner of a film that’s a
fascinating character study.J.C.
Chandor’s film is a morality tale at its heart as we watch a man fight to keep
his principles in tact while trying desperately to succeed.It’s the kind of film that’s light on action
and heavy on dialogue which can turn off some people, especially since the film
is sold as a crime drama which it is an and isn’t.It’s very much in that vein but doesn’t
follow the well worn path.At the center
of the film is Oscar Isaac who is incredibly engaging and captivating as the
lead.Isaac has a simmering intensity
throughout which keeps the film engaging as its moves at a methodical
pace.Jessica Chastain nearly steals the
show as his wife and the film is so much better when she’s on screen.Chastain’s an actress whose impressed me more
and more with each passing film and this maybe her best yet.Throw in some strong, if understated,
supporting turns from Albert Brooks and David Oyelowo and you have a wholly
impressive drama which feels like a throwback to headier films from the
70s.
Dearest Blog, yesterday I set off for the cinema with a chip on my
shoulder about excessively-long movies. On the docket: Interstellar
(ahem) and Big Hero 6.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First up, Christopher Nolan's newest epic, Interstellar.
With Earth falling to ruin, a group of scientists heads into space to find mankind some new digs.
My
reaction to the announcement of Interstellar's runtime: "Are you
%&$#@!& kidding me??" Most movies that exceed two hours don't do
much to earn the extra screentime, and I well and truly feared I might
be lulled to sleep by three hours of Matthew McConaughey's lazy drawl. I
repentantly admit I should have trusted in the Genius of Nolan.
Interstellar
is not a perfect movie. It's VERY long and, while it's too complex to
say, "Cut that ten-minute car chase and we're good!" a bit of cropping
here and there would have served it well. The performances are solid
across the board, but three hours of McConaughey IS a lot to take, and I
can't remember the last time I wanted to punch a fictional character in
the face as much as I did Anne Hathaway's. (I'm not among that curious
lot who despises Hathaway; on the contrary, she's a favorite of mine,
but this character...not so much). Some dialogue is inexcusably cheesy
for a movie that so wants and expects to be taken seriously. The score
is strangely and obtrusively loud at times.
The good news is none of
that keeps Interstellar from being a very, very good movie that easily
holds your attention for the duration. Performances are solid across the
board. Hans Zimmer's score is beautiful, despite those few jarring
blasts. I suspect those even may be intentional, as they create a stark
contrast with the absolute silence that follows. Interstellar boasts a
smart, intricate plot that takes many turns I did not expect. The pacing
is deliberate--almost a full hour is devoted to the setup--but it
doesn't feel slow or even all that long. Finally, Interstellar makes
Gravity look like a first-year film-school project; it is absolutely
magnificent and should be seen on the biggest screen you can find.
Interstellar
clocks in at 169 minutes (you heard me) and is rated PG13 for "some
intense perilous action and brief strong language."
Interstellar
won't be everyone's cup of tea.
The length may seem not just daunting,
but pretentious to some, and the story perhaps too convoluted.
To me,
though, it's a stroke of pure cinematic brilliance that has (for the
moment, at least) cured me of questioning the wisdom of Christopher
Nolan.
Of a possible nine Weasleys, Interstellar gets eight.
Next on the agenda was Disney's animated feature Big Hero 6.
A group of young scientists teams with the world's cuddliest robot to solve a mystery that strikes close to home.
Well,
dear reader(s), you know how I'm always saying low expectations are the
key to a happy life? Throw that out the window and have the highest
expectations you can imagine for Big Hero 6 and you still won't be
disappointed. I loved this so much I hardly know where to start,
but.......
...I guess we'll start with the obvious. When it comes
to animation, the biggest thing for me is always going to be: How good
does it look?
Big Hero 6 looks so amazing it jumps right off the screen,
and that's just in 2D. In 3D, I daresay it would be a feast for the
eyes like no other. The artwork and colors are stunning, and the action
sequences are possibly the most eye-catching I've ever seen. Big Hero 6
has plenty of great messages for kids (and adults), but it never feels
like one of those Message Movies that beats you over the head with its
point. The characters are terrifically diverse; I can't imagine there's a
kid anywhere who won't see himself and his own potential in at least
one of them.
The storyline is sad at times--though realistically, not
morosely, sad--but a hopeful tone runs throughout. Big Hero 6 is smart,
interesting, and laugh-out-loud funny, a perfect movie cocktail for
children and adults alike. Annnnnnnd...most importantly, Baymax is the
cutest animated lead since Nemo. I want one.
Big Hero 6 runs 108 minutes and is rated PG for "action and peril, some rude humor, and thematic elements."
Big
Hero 6 is my favorite animated film of 2014. I liked it even better
than the Lego Movie, and it's guaranteed a spot in my year-end top ten.
Of a possible nine Weasleys, Big Hero 6 gets eight and a half.
Until next time...
PS: Ever notice you can always spell "McConaughey" correctly if you only remember there's an "ugh" in the middle? ;-)
In Earth's future, a global crop blight and second Dust Bowl are slowly
rendering the planet uninhabitable. Professor Brand (Michael Caine), a
brilliant NASA physicist, is working on plans to save mankind by transporting
Earth's population to a new home via a wormhole. But first, Brand must send
former NASA pilot Cooper (Matthew McConaughey) and a team of researchers
through the wormhole and across the galaxy to find out which of three planets
could be mankind's new home. ~ Jason Buchanan, Rovi
Director: Christopher Nolan
Cast: Matthew McConaughey, Anne Hathaway, Jessica
Chastain, Michael Caine, Casey Affleck.
Release Date: Nov
07, 2014
Rated PG-13 for some intense perilous action and brief
strong language
Runtime: 2 hr. 49 min.
Genres: Action/Adventure, Drama
Review:
Interstellar aspires to be great but Christopher Nolan’s
newest film never reaches such heights.It’s a solid film even if it tugs at hearts strings a bit too much for
my liking.The cast deliver somber,
serious performances which is a clear reflection of how dedicated they are to
their director.Nolan delivers some
majestic visuals which will remind even casual movie goers of a certain sci-fi
classic.The biggest problem with all
the nods to 2001 is that it begs the comparison to the Kubrick classic.A comparison it never stands a chance to
win.On its own terms it’s a weird
hodgepodge of Contact, 2001 & the Lost in Space remake from 1998.That’s not to say it’s not an enjoyable ride
which is the good news especially considering the nearly 3 hour runtime.It’s bloated and could have been trimmed
substantially without losing any of its punch.Instead it’s a film that thinks it’s a lot better than it actually is.
Kathryn Bigelow and Mark Boal, the Academy Award-winning duo behind The Hurt Locker, reteam for this drama detailing the hunt for Osama bin Laden, which stars Oscar nominee Jessica Chastain as the intelligence expert who dedicated a decade of her life to tracking down the world's most wanted terrorist. Joel Edgerton, Edgar Ramirez, Mark Strong, Chris Pratt, and James Gandolfini co-star. ~ Jason Buchanan, Rovi
Release Date: Dec 19, 2012
Rated R for Strong Violence, Language and Brutal Disturbing Images
Runtime: 2 hr. 37 min.
Genres: Action/Adventure, Suspense/Thriller
Director: Kathryn Bigelow
Cast: Jessica Chastain, Joel Edgerton, Edgar Ramirez, Kyle Chandler, Mark Strong
Review:
Zero Dark Thirty is not a jingoistic depiction about the hunt for Osama Bin Laden. Kathryn Bigelow takes Mark Boal script and opts for a detached documentary feel. There’s a noticeable neutrality throughout the film. It’s not the type of feel that’s going for a slant or angle; instead it decides to simply unfurl the series of events that occurred even if some are fictionalized. It’s a methodical straightforward film that keeps you engaged as you watch the frustrating and occasionally dangerous machinations of the world’s biggest manhunt. At its center is Jessica Chastain. Chastain gives her character a calculated intensity and steely resolve. She’s fascinating in her singular dedication to her task, so much so that when the task is done you have to wonder how the character would ever find meaning in another task. The supporting characters come and go as the film goes on. Due to the style of the film, we never get very close to any of the characters even the lead. The climatic raid is almost clinical but incredibly tense and powerful. The same can be said about the film as a whole.
Ralph Fiennes' directorial debut, Coriolanus, scripted by John Logan, updates one of Shakespeare's more difficult plays without sacrificing the Bard's original dialogue. Set in modern times, the movie stars Fiennes as the title character, a fierce General able to fight Rome's most dreaded enemies as well as quell civil unrest from a lack of food. When politicians convince Coriolanus to become a political leader, his natural fierceness and lack of political instincts lead to him being disgraced by other politicians and eventually forced to leave Rome after being branded a traitor. He then joins with his former enemies to invade Rome, and the only person who may be able to talk him out of this revenge plan is his mother (Vanessa Redgrave). ~ Perry Seibert, Rovi
Director: Ralph Fiennes
Cast: Ralph Fiennes, Gerard Butler, Brian Cox, Vanessa Redgrave, Jessica Chastain
Release Date: Jan 20, 2012
Rated R for some bloody violence
Runtime: 2 hr. 2 min.
Genres: Drama
Review:
Ralph Fiennes’ directorial debut is a study in intensity. As a director he displays a deft hand converting Shakespeare’s Roman set tragedy into the modern world. It works incredibly well feeling timely and fresh. Moving the setting to an Eastern European city in turmoil is a good fit and easy transition. Fiennes, in the titular role, is boiling to the brim with a sense of ferocity that transcends the screen. He’s captivating throughout, making it impossible to tear your eyes away from him as he spouts out the Bard’s dialogue. Vanessa Redgrave is just as impressive as his manipulative mother. Together they are a truly inspired; their last substantial scene could be used as a acting teaching tool. Gerard Butler, Brian Cox and Jessica Chastain are strong in smaller supporting roles. Brian Cox leaves the biggest impression. Coriolanus is the type of film that showcases so many talent and is like mother’s milk for film and Shakespeare fans.
