MOVIE REVIEW: BELFAST

 

A semi-autobiographical film which chronicles the life of a working class family and their young son's childhood during the tumult of the late 1960s in the Northern Ireland capital.

Director: Kenneth Branagh

Cast: Caitríona Balfe, Judi Dench, Jamie Dornan, Ciarán Hinds, Colin Morgan, Jude Hill

Release Date: November 12, 2021

Genre: Drama

Rated PG-13 for some violence and strong language

Runtime: 1h 38m

Review:

Kenneth Branagh’s Belfast is a heartfelt rose colored spat of nostalgia that’s touching and occasionally harrowing.  Branagh wrote and directed the film which feels incredibly personal from the start, it’s a more ground approach from the renown director.  The black and white approach echoes Alfonso Cuaron’s Roma which ran the same semibiographical gamut from a different part of the world.  This film balances the heartwarming memories with sparks of real world violence which permeated the era.  Jude Hill is one of those rare child actors that carries an air of authenticity.  He’s the lynch pin of the entire film which is peppered with award worthy performances from its supporting.  Caitríona Balfe and Jamie Dornan almost make you forget that best looking working class couple ever with sincere performances that are grounded and not overly showy.  Balfe in particular delivers the kind of performance that feels universally recognizable no matter where you are from.   Ciarán Hinds and Judi Dench play doting grandparents with Hinds being the film’s secret weapon.  Hinds steals every scene he’s in with a singular turn which should garner some awards consideration.  Belfast is the type of film that tugs at your heart strings in the best way possible, it’s uplifting and harrowing as it captures a moment in time that feels relatable regardless of where you are from. 

A

Cindy Prascik's Reviews of Dark Waters & Cats

The weekend before Christmas provided an opportunity to catch up with my sorely neglected cinema. First priorities: Dark Waters and Cats.

Spoiler level for Dark Waters will be mild, nothing you wouldn't know from the trailers or the news. I don't think there are proper spoilers for a film like Cats--it's not exactly rife with plot twists--but I'm going to talk about it in excruciating detail. If you really don't want to know anything before you see it, or if you really don't want to read 1500 words on one of the year's worst movies, please proceed accordingly.

First on my weekend docket: Dark Waters, a based-on-actual-events tale of the attorney who took on chemical giant DuPont over poisoned water in Parkersburg, West Virginia.

Dark Waters is a compelling story told in pedestrian fashion, a disappointment considering the names involved. It's weirdly edited in places, with some shots lingering overlong while others cut off so abruptly it seems like somebody forgot to come back and finish it. The movie wears its agenda on its sleeve, with broadly-drawn good guys and bad guys, chugging along at a deliberate pace that makes it seem longer than it is. Some good tension builds towards the end, as the case comes to a head, but it's pretty late in the game. The big-name cast includes Mark Ruffalo in a fine but unremarkable turn as Robert Bilott, David to DuPont's Goliath. Anne Hathaway and Tim Robbins are up and down as Bilott's wife and boss/mentor, respectively. Bill Pullman turns in the only performance I really enjoyed, and his screen time is, sadly, rather limited. West Virginia doesn't necessarily get the worst cinematic treatment it's ever had, though certainly Dark Waters doesn't have an opportunity to show our state at its best, even if it effectively portrays the resilience of our people. (Some would say "bull-headedness," but we'll stick with "resilience" here.) Dark Waters is a movie worth seeing, but maybe more worth seeing on Netflix or as a rental, rather than with the full cinema pricetag.

Dark Waters runs 126 minutes and is rated PG13 for "thematic content, some disturbing images, and strong language."

Dark Waters is a serviceable telling of a great story, one that's all the sadder as West Virginia continues to sell itself to the highest bidder with little regard for its own well-being. 

Of a possible nine Weasleys, Dark Waters gets seven.

Next up: the big-screen adaptation of Andrew Lloyd Webber's much loved musical, Cats. Buckle up, kids. We're gonna TALK about this one.

On the night of the Jellicle Ball, the Jellicle Leader chooses one Jellicle cat to elevate to a new Jellicle life.

Think that synopsis makes no sense? You aren't alone. Many would say (and have said) Cats makes no sense, there's no story. The plot is a thin one, more a series of vignettes, with each cat making his or her case to win the Jellicle Leader's favor.

Now, the disclaimer: I love Cats. It's one of my top three musicals of all time, and my favorite Andrew Lloyd Webber property. When I see the current national tour of Cats in February, it will mark my 30th visit to the junkyard. Certainly some productions are better than others (the 1993 national tour that featured now-Tony-winning choreographer Christopher Gattelli as Mr. Mistoffelees and Mad Men's Bryan Batt as Munkustrap is a favorite), but I've yet to crawl away disappointed...until this movie. Herein we shall discuss where the film goes wrong, and those few things it actually gets right.

We'll start with some of the big misses: Despite its best-known number being a proper belter, Cats is a dance-oriented show, yet this film has eliminated the most impressive dance sequences: Mr. Mistoffelees' solo, Jennyanydots' tap number (represented, but not properly), and the Invitation to the Jellicle Ball. Each of those pieces is included, but the best dance bits have been cut or bastardized by an over-abundance of CGI. (Anybody else weirded out by those perpetually-erect tails??) The stage production has always gone to great lengths to get makeup, costumes, and feline movement spot-on, but here not a care was taken...in fact, these things are so bad as to appear willfully wrong. Most costumes stop at the ankles, leaving obviously human bare feet on display, though some Jellicles (in their sensible, everyday forms) wear high-top sneakers, boots, overalls, and even a top hat. Human garb in the stage production is a storytelling tool, and generally is crafted to fit with the cat's pattern, such as Misto's vest and bowtie and Grizabella's dress and coat. The film's makeup leaves its very famous faces very recognizable and looking like A-list actors in dollar-store Halloween costumes. It's distracting. Finally, for a barely-there plot that requires no explanation, this movie does an awkward amount of explaining.

By the numbers, Act I:

This movie *almost* gets the Overture right, as there's only a brief frame before its first notes twinkle through the darkened theater. No choreographed Christmas lights, though. Shame. Jellicle Songs for Jellicle Cats fares better than most numbers, though it suffers some unfortunate edits, ditto the Naming of Cats, where they left in the line about cats having three different names, then edited out the stanza about the second name. Hope no one's counting! Robbie Fairchild does a fine job with my second-favorite Jellicle, Munkustrap. Munkustrap is the busiest cat in the junkyard, serving as a sort-of narrator and appearing in nearly every number, so it's important that he's good. This one is good. Rebel Wilson's crass performance as Jennyanydots, the Old Gumbie Cat, renders one of the show's cutest numbers a vulgar exercise. Jason Derulo lacks the chutzpah that makes Rum Tum Tugger so much fun when he's done right, but he's a good singer and has some presence. James Corden as Bustopher Jones is one of the movie's better-cast roles, though the number's adapted rather stupidly. Mungojerrie and Rumpelteazer are deprived of their perk, and neither Danny Collins nor Naoimh Morgan brings any real charm to these audacious felines. Also...there's no tumbling, dammit! Dame Judy Dench is okay as Old Deuteronomy, though I miss the traditionally-male Jellicle Leader's big, booming voice. The new number written by Sir Andrew with Taylor Swift specifically for this film is a dud. It's performed by our Victoria, Francesca Hayward, also something of a dud. Victoria is a featured dancer in the show, so it's baffling that filmmakers chose an accomplished ballerina for the role, then assigned her a bunch of singing and smothered her beautiful dancing in CGI. The Jellicle Ball is a bizarre Furry orgy that again buries its choreography in badly-done effects. Ye gods.

Onward to Act II:

Ian McKellen is of Cats' biggest victories as Gus, the Theater Cat. He doesn't have as much to do as you'd like Sir Ian McKellen to do if you were lucky enough to get him for your movie, but he's quite a good fit. Steven McRae is a pretty solid Skimbleshanks, too, though the number itself is disappointing compared to its live cousin. (Skimble is my third-favorite Jellicle; it's important to get Skimble right.) Macavity...uh...where do I even start? Idris Elba, inarguably (for my money) the sexiest man alive, is utterly ridiculous in a role that is, by default, nefariously sexy. First, he does too much talking. There is no talking in Cats. There is only singing and dancing. Secondly, you can see too much Idris Elba (aren't those weird words to put together?) to think he's anything but Idris Elba in a goofy fur suit. That's down to makeup AGAIN. Finally, his Bombalurina is Taylor Swift, an admirable artist for many reasons, but entirely miscast as this very sexy, very mature Jellicle. Macavity is one of the show's best numbers, and one of the film's worst. How very disappointing. Next up is my favorite Jellicle, Mr. Mistoffelees. (It is MOST important to get Mr. Mistoffelees right.) Laurie Davidson is, in fact, quite a good Mr. Mistoffelees. I mean, he's no Jacob Brent, but he's definitely the best part of the movie, despite the filmmakers cutting his big solo. Following Misto's abbreviated number, our Grizabella turns up for the showstopper, Memory, or, as Jennifer Hudson sings it, "Mamwee." Jennifer Hudson has a great voice--that is an indisputable fact--but it's outweighed by her perpetually-running nose, vacant stare, and sloppy diction. This Grizabella ascends to the Heaviside Layer not in an old tire, but rather in a chandelier (perhaps a nod to ALW's other dumpster-fire film adaptation, the Phantom of the Opera?).  The finale, the Ad-Dressing of Cats, feels like an anti-climax minus an Old Deuteronomy with a commanding baritone, but the fact that it's not a complete disaster feels like a win.

A few missing pieces: Growltiger makes a surprise appearance, but his featured number is predictably absent from the film, as it has been from most of the recent Cats productions I've seen (I assume due to its racial insensitivity). There are no Pekes or Pollicles, also frequently axed from the stage production. As mentioned, while the film visits a junkyard, the junkyard isn't its primary home, an artistic choice that won't have much bearing on your enjoyment of the movie unless you really love that junkyard. (I do.) At least they got the "Vivat!" right, I guess.

Here's something I learned about Cats when it was revived on Broadway a couple years back: While shows like Hedwig and Hair really seem to find their audiences in revival--remaining relevant even while painted by the times in which they're set--Cats is not so fortunate. Debuting in London in 1981 and on Broadway in 1982, the nearly-plotless two hours of dancing felines seemed a good fit for the Ferris Bueller and Duran Duran set, even a game-changer for the time. In 2017, alongside Hamilton, Indecent, and even Come From Away, Cats just seemed irrelevant. I still shelled out for a front-row seat on my annual trip to the Big Apple, and I still loved it, but it was definitely a show out of its time. Had this movie been a straightforward adaptation of the stage production (I'd hoped for some improvement on the direct-to-DVD 1998 attempt), it still would be too late for this show to set the world on fire, but a quality big-screen version would have found its audience among the show's fans, of which there still are many. Instead, it's been turned into a punchline, a bad-movie benchmark for the foreseeable future, and here's the thing about that: In "serious" theater circles, Cats is already a punchline. Low-brow theater, tourist fare. It's also a very specific, unique thing that can't be made into something it's not. You can love or hate it for what it is, but you can't effectively change what it is. In attempting to do just that, Tom Hooper and company have made Cats a punchline for what it *isn't,* and that just breaks my heart. If In the Heights weren't already in the can and looking so promising, I'd worry Cats was bad enough to scare Hollywood off the movie musical for some time.

Cats clocks in at 110 minutes and is rated PG for "some rude and suggestive humor."

The 2019 film version of Cats is a travesty, crafted by people who either failed to understand this terrific show on a fundamental level or simply didn't care. Of a possible nine Weasleys, Cats gets three (one for each of my favorite Jellicles).

The current national tour of Cats is in Toronto through January 5th, moving to Boston and Baltimore immediately following. For my locals, the show rolls into Pittsburgh's beautiful Benedum Center from February 25th through March 1st. For a full list of dates and tickets, please check out the link below. Please do not let this abomination of a film deter you from seeing this legendary show in person.

https://ustour.catsthemusical.com/tickets/

Now...who's up for a Starlight Express revival??

Until next time...

MOVIE REVIEW: CATS

A tribe of cats must decide yearly which one will ascend to the Heaviside Layer and come back to a new life.

Director: Tom Hooper

Cast: James Corden, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, Rebel Wilson, Francesca Hayward

Release Date: December 20, 2019

Comedy, Comedy, Drama, Family

Rated PG for some rude and suggestive humor

Runtime: 1 h 50 min

Review:

My knowledge of the Cat's stage play is fairly limited.  I've never gotten around to finding out why it was such a cultural phenomenon but have heard the song Memories in passing.  So I walked into the screen adaptation of the musical mostly blank.  Tom Hooper's film is veritable cornucopia of strangeness and WTF moments that it's hard to take your eyes off it.  The much talked about digital fur is instantly distracting and the effect never really seems to wear off for the duration.  It doesn't help that some characters wear clothes and shoes while other don't for no discernible reason, ultimately your left wondering who decides.  Its not the only question that will pop up in your head mainly because the plot mostly consist of introductions with a very general end game which is actually pretty dark once you start to think about it.  Still there are some positives to be appreciated here such as newcomer Francesca Hayward debut.  Hayward's re purposed Victoria is the audience's avenue into this strange world filled with tiny child mice and dancing human cockroaches.  Mind you the film takes very little time to ease the audience into any of this so you jump into the deep end pretty quickly.  Thankfully Francesca's performance is endearing enough to keep you on board if you didn't immediately jump off board.  Her ballerina skills are on full display through the seemingly endless song and dance sequences.  The bigger names all have varying levels of success with their characters as they go full feline.  Ian McKellen and Judi Dench bring and air of respectability to the whole thing with each having a moment to shine in the latter portions of the film.  Meanwhile James Corden and Rebel Wilson play into the whole silliness of the whole thing, it work sometimes but when it misses it misses badly.  Jason Derulo seems to be doing his own thing, particularly during his main song early on.  Idris Elba is all in from the start but he's never given enough screen time to really leave a proper impression outside of leaving you feel confused.  Taylor Swift's cabaret inspired sequence is lively once you get past her dollar story British accent.  Jennifer Hudson is given the film's singular song and you'd be hard pressed to deny her talent even though she can't seem to decide what volume to sing said song at during various attempts.  If this all sounds like a strange hodgepodge of ideas and talents well it is.  At certain points during the film I wasn't sure if I was actually watching some terribly campy 70's grindhouse musical or an unused portions of legendary Marlon Brando 1996 dumpster fire The Island of Dr. Moreau.  At the same time you sort appreciate the audacity of the whole thing like going full bore into the feline mannerisms, so much neck cuddling and nose kisses, while dealing a story is mainly about cats vying for the opportunity to die and move on to it's next life.  

C

MOVIE REVIEW: MURDER ON THE ORIENT EXPRESS

Belgian Detective Hercule Poirot probes the mystery of a murdered American tycoon aboard the legendary Orient Express as 20th Century Fox and producers Ridley Scott, Simon Kinberg, and Mark Gordon bring Agatha Christie's classic whodunit back to the big screen. ~ Jason Buchanan, Rovi

Director: Kenneth Branagh, Mark Gordon

Cast: Kenneth Branagh, Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp

Release Date: Nov 10, 2017

Genres: Detective Film, Drama, Mystery

Rated PG-13 for violence and thematic elements

Review:

Murder on the Orient Express is a solid and lavishly directed throwback murder mystery.  Kenneth Branagh, lover of all things classical, directs his film with a steady hand, keeping everything visually stimulating even during some of the slower portions.  Branagh does fine work pulling double duty as Hercule Poirot, one of Agatha Christie’s most beloved characters.  It’s an interesting iteration of the character that captures his quirks and mannerisms while infusing him with a tinge of sadness.  Branagh is front and center for the majority of the film but the impressive ensemble is given plenty of time to shine with Michelle Pfeiffer and Daisy Ridley leaving the biggest impression.  The central mystery, which is over 80 years old, isn’t terribly complex and fairly common knowledge so there is a lack of urgency to the whole thing. Kenneth Branagh clearly loves the material and it comes through on screen but I’m not sure if people will be rushing to revisit it after the initial viewing.

B

Cindy Prascik's Review of Murder on the Orient Express

Dearest Blog: Yesterday it was off to Marquee Cinemas for the much-anticipated remake of Murder on the Orient Express.

Spoiler level here will be mild, on the off chance there's a living soul who doesn't know how this one plays out.

A murder on a derailed train leaves a carload of suspects stranded with the world's greatest detective.

2017's Murder on the Orient Express isn't likely to match its 1974 counterpart in the hearts of critics and fans, and is even less likely to match Thor: Ragnarok at the box office. It seems to exist in a weird little comfort zone of middling expectations, but a much-loved story combined with an extraordinary cast made it a must-see for me, and it did not disappoint.

I simply love the way this movie was filmed. At every turn there is a gorgeous panoramic view or a perfect angle on a face or a table setting or a train car that reminds me how great a movie can be just for being a movie. Much like The Revenant, I could have gazed upon its beauty for hours even if I despised the rest of it, which I most certainly did not. The film sets a light tone to start, earning some laughs while familiarizing viewers with the great Poirot's talents and idiosyncrasies, then things go progressively darker as the unfortunate events play out. Kenneth Branagh's moustache game is as on point as his portrayal of the iconic detective. I am faithfully married to David Suchet's Poirot, and was quite surprised to find I wasn't making unfavorable comparisons in my head over the course of the movie. As a die-hard Depp-a-Holic, I am delighted to see Johnny in a decent film where he doesn't play the weird guy with the funny hat. Neither the story nor the size of the ensemble allows him as much screen time as I'd like, but this role is a friendly reminder of those details to which Depp tends better than anyone else: accents and small mannerisms that really make a character. May his career swing ever further back in this direction towards a long-deserved Oscar. The supporting cast is solid, with no one outside of Branagh really getting enough face time to delight or offend. Lovely costumes and a luscious score by Patrick Doyle are the perfect accents to this old-school mystery. Orient Express is a tale that doesn't keep its secrets especially well, but it moves at a good clip and doesn't suffer much for the fact that you'll probably guess the outcome, even in the unlikely event you didn't already know it. A ghastly musical number called "Never Forget," showcasing the dubious vocal talents of Michelle Pfeiffer, nearly made me forget how much I liked the movie when it crashed the end-credits, but fortunately I recovered before I had to start writing this review.

Murder on the Orient Express clocks in at an efficient 114 minutes and is rated PG13 for "violence and thematic elements."

It may not match the brilliance of the 1974 classic, but 2017's Murder on the Orient Express mixes an iconic tale with an extraordinary cast to create an enjoyable bit of cinema. 

Of a possible nine Weasleys, Murder on the Orient Express gets seven and a half.

Fangirl points: Don’t suppose anyone else looked over this cast and thought, “Hey, that’s the dude from Magnificent Seven??” Also... Olivia Colman! Hadley Fraser! Leslie Odom, Jr.!

Until next time... 

MOVIE REVIEW: THE MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN

After a family tragedy, a boy named Jake (Asa Butterfield) follows a series of clues that lead him to a mysterious orphanage on a remote Welsh island. There, he discovers a community of children with unusual abilities, and learns he is destined to protect them. Eva Green, Samuel L. Jackson, Kim Dickens, Allison Janney, Judi Dench, Chris O'Dowd, Rupert Everett, and Terence Stamp co-star. Directed by Tim Burton, Miss Peregrine's Home for Peculiar Children was adapted from Ransom Riggs' debut novel of the same name. ~ Daniel Gelb, Rovi

Director: Tim Burton

Cast: Eva Green, Asa Butterfield, Chris O'Dowd, Allison Janney, Judi Dench

Release Date: Sep 30, 2016

Rated PG-13 for violence and Peril and Intense Fantasy Action

Runtime: 2 hr. 7 min.

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

Review:

Tim Burton’s newest film is a welcome return to his glory days as a director.  The book seems ready made for Burton and give a certain feel that works in the films favor.  The cast seems to be having a blast, for the most part, with a radiant Eva Green leading the way.  Green is always the most interesting person on screen and the film loses some pop when she’s not on screen especially during an extended absence in the final act.  Ella Purnell gives the best performance of the titular peculiar children.  It’s a shame her story and character isn’t fleshed out more.  Also not helping matters is the film’s male lead.  Asa Butterfield is possibly one of the blandest actors I’ve watched in a long time.  His line deliver is so stiff and uninspired that it almost feels like he might yawn in the middle of it.  On the other end of the spectrum is Samuel L. Jackson who’s so over the top that’s its jarring when he first shows up.  Its not good or bad just odd.  Equally odd is just how thinly written the villain is.  It’s a shame because with a better lead and more dynamic villain this might have been scratching the top tier of Burton films. 

B

Cindy Prascik's Review of Miss Peregrine’s Home for Peculiar Children & Deepwater Horizon

Dearest Blog: Yesterday it was off to Marquee Cinemas for a double-bill of Miss Peregrine's Home for Peculiar Children and Deepwater Horizon. Spoiler level here will be mild, nothing you wouldn't know from the trailers or perhaps the news. 

 

First up: Miss Peregrine's Home for Peculiar Children. Some characters straight out of his grandfather's bedtime stories turn a young man's ordinary existence upside-down. It goes without saying that a story with "peculiar" in the title is ideally suited to director Tim Burton. All of Burton's more recent projects have earned critical ire (mostly deserved), and, if Miss Peregrine isn't quite the Burton of old, at least it seems to be a step in the right direction. 

 

The film boasts glorious production design, some lovely set pieces, and stunning locations; Burton has not lost his ability to find beauty in even the strangest and most macabre things. Colleen Atwood's costumes and a wonderful score by Michael Higham and Matthew Margeson perfectly compliment the eerie atmosphere. 

 

Unfortunately, though the story is compelling, the movie seems to crawl along at a snail's pace. There's too little of the stellar Eva Green (who was born for this role), and too much of the bland child cast. 

 

Asa Butterfield is perfectly dreadful in the lead; he might as well have been reading from cards. Nothing points to 3D being a worthwhile investment on this one, aside from the fact that, in 2D, the movie's often too dark to see what's happening. Miss Peregrine's Home for Peculiar Children clocks in at 127 minutes and is rated PG13 for "intense sequences of fantasty action/violence, and peril." Miss Peregrine's Home for Peculiar Children is visually impressive enough to earn your big-screen dollars, but, sadly it's also something no idea so magical should ever be: kinda boring. 

 

Of a possible nine Weasleys, Miss Peregrine's Home for Peculiar children gets five. 

 

Fangirl points: Keep your eyes open for a rare and delightful Tim Burton cameo! 

 

Next up, the based-on-true-events tale of Deepwater Horizon. 

 

An explosion on a free-floating offshore drilling rig has disastrous consequences. Dear reader(s), Deepwater Horizon is one of those movies whose trailer was so ubiquitous and irritating that I worried the movie wouldn't have a chance of overcoming it, but I'm pleased to report my concern was mostly unfounded. 

 

Mark Wahlberg stars as Mike Williams, a technician on the rig who is central to this telling of the story. We're introduced to his insufferably cutesy wife and daughter (Kate Hudson and Stella Allen), then to most of the rig's crew through his eyes, giving viewers just enough of each person to make sure they'll be acceptably sad for the unlucky ones. 

 

The supporting cast has a fair few familiar faces: Kurt Russell, John Malkovich, and my celebrity boyfriend (per a super-scientific Buzzfeed quiz) Dylan O'Brien. There's enough setup to make it clear who're the Good Guys and the Bad Guys, and then--BOOM!--disaster. 

 

The film doesn't waste too much time getting there and, to its credit, moves along nicely throughout. The bulk of the picture plays out as the rig's situation deteriorates and crew members try to save themselves and others. Deepwater Horizon does a perfect 180 from its advertising, showing individuals behaving heroically, minus the frustrating chest-thumping vibe of the trailer. 

 

The movie's disaster effects are spectacular, with sound mixing and editing in particular deserving full marks. It's a bit dark and jiggly at times, but that only adds to viewers' ability to share the terror the folks aboard that rig must have felt. 

 

Two small and random quibbles: Did Williams' wife really take time to do her nails over the course of these harrowing hours? 

 

They're pink the whole movie, then a French manicure when she and their daughter reconnect with him at the hotel following the rescue. Also, looking at photos of the crew next to the actors portraying them, I'm thinking my wish to have Beyonce star in the story of my life isn't so unrealistic after all.

 

Deepwater Horizon runs 107 minutes and is rated PG13 for "prolonged, intense disaster sequences and related disturbing images, and brief strong language." 

Deepwater Horizon might have been better suited to summer's action season than to awards season, but it's an edge-of-your-seat tale that hopefully will make the world more cautious and aware going forward. 

 

Of a possible nine Weasleys, Deepwater Horizon gets six. 

 

Until next time...

 

Cindy Prascik's Reviews of Philomena & 300: Rise of an Empire

Dearest Blog, determined NOT to burn 130 minutes on video-game flick, yesterday I took a pass on the weekend's new releases and caught up on a couple movies I'd missed: Philomena and 300: Rise of an Empire.

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

My opening act was Philomena.

A woman who was sent to a convent as a pregnant teen enlists the help of a journalist to find the son who was taken from her.

Now, dear readers, I know what you're thinking: "Isn't it kind of pointless for a nobody like you to review a film that the Academy of Motion Picture Arts & Sciences has already deemed one of last year's top ten best movies?" To you cynics I reply: No more pointless than any of my other reviews.

So there.

Having said that, I'll cop to being in agreement with the Academy on this one. Philomena is a beautiful movie that manages to tell a sad story without ever being miserable about it. Judi Dench is just perfect in the title role, moving effortlessly from devout and stoic to heartbreaking to hilariously clueless. Steve Coogan is also phenomenal as the jaded journalist charged with bringing Philomena's story to light. Though it's hardly a fast-paced action thriller, Philomena felt about ten minutes long, and I was well and truly sad when it was over (though I was delighted to escape the four over-perfumed women who sat in front of me and talked loudly through the whole thing).

Philomena runs 98 minutes and is rated PG13 for "some strong language, thematic elements, and sexual references."

Philomena may not have been the Academy's choice as last year's Best Picture, but I think it would have been mine. Of a possible nine Weasleys, Philomena gets eight and a half.

The second half of my Saturday double-bill was the prequel/sequel/whatever 300: Rise of an Empire.

A general hopes to unite Greece's armies against invading Persians.

Confession time: I've never bothered to watch the first 300 all the way through. I mean, since it's been running here and there on TV for nearly a decade, I've probably seen the whole thing in bits, but I've never felt compelled to sit down and watch it properly. One decent new release would have bumped the sequel off my weekend agenda as well, but I guess the people who made 300 can thank Need for Speed for my seven bucks.

Rise of an Empire gives the fetching Eva Green free reign to ham it up in the female lead. If you're a girl, I can't imagine you'd walk out in less than an ass-kicking mood. (Gentlemen, beware!) Sullivan Stapleton is about as ho-hum a leading man as I've ever seen, but the material doesn't exactly require a Robert Downey, Jr., so it's not that much of a problem. I was delighted to see Hans Matheson in a featured role; I've missed him these last couple years.

As you'd expect, Rise of an Empire is a good-looking film. The battle scenes are well choreographed and gruesome, the scenery and costumes quite striking, and I instantly fell in love with the movie's thundering soundtrack. Unfortunately, none of that was enough to hold my attention for the duration, and I found plenty of time to contemplate things like Stapleton's ugly toenails and whoever thought it was a good idea to go into battle in mini-skirts and sandals. Oh, where the mind wanders when you give it a little lead...

300: Rise of an Empire clocks in at 102 minutes and is rated R for "strong sustained sequences of stylized bloody violence throughout, a sex scene, nudity, and some language." It's enjoyable enough, but nothing I'll be running back to see again and again.

Of a possible nine Weasleys, 300: Rise of an Empire gets five, because any less wouldn't properly show my appreciation for dirty, bloody, half-naked dudes.

Until next time.

Well, I don't know about you, but the minute I visit craft services, my skirt feels too tight...

MOVIE REVIEW: SKYFALL

SKYFALL




007 (Daniel Craig) becomes M's only ally as MI6 comes under attack, and a mysterious new villain emerges with a diabolical plan. James Bond's latest mission has gone horribly awry, resulting in the exposure of several undercover agents, and an all-out attack on M16. Meanwhile, as M (Judi Dench) plans to relocate the agency, emerging Chairman of the Intelligence and Security Committee Mallory (Ralph Fiennes) raises concerns about her competence while attempting to usurp her position and Q (Ben Whishaw) becomes a crucial ally. Now the only person who can restore M's reputation is 007. The film was directed by Sam Mendes (American Beauty, Revolutionary Road) and shot by acclaimed cinematographer Roger Deakins (True Grit, The Reader, The Assassination of Jesse James by the Coward Robert Ford). ~ Jason Buchanan, Rovi

Release Date: Nov 09, 2012

Rated PG-13 for language, Intense Violent Sequences, Smoking and Some Sexuality

Runtime: 2 hr. 23 min.

Genres: Action/Adventure, Suspense/Thriller

Director: Sam Mendes

Cast: Daniel Craig, Javier Bardem, Ralph Fiennes, Judi Dench, Naomie Harris, Ben
Whishaw

Review:

Roger Moore’s take on James Bond still sticks in my mind whenever the series pops out another entry into the long running series. Moore was the Bond of my childhood and while some of it was enjoyable it never really did much for me as a series or character. So much so that I skipped the entire Dalton and Brosnan iterations of the character, the latter of which fell into some of the sillier set ups and situations. Craig’s take on the other hand, I rather enjoyed even with the overly self serious mess that is Quantum of Solace. That misstep seems like a distant memory with Skyfall, it cover so much franchise territory that it feels like the perfect Bond flick, doubly so with this being the 50th anniversary. Sam Mendes direction is superb, his love of the series seeps through every moment of the film. Skyfall is a visually stunning film, thanks to some truly impressive cinematography from Roger Deakins. The entire production could be seen as a love letter to the franchise as a whole, yet it works perfectly as a film and story in of itself. Mendes lets the plot breathe, never letting it get too serious dour or overdone. He moves it all forward at a steady pace and delivers an experience which never feels its 2 and ½ hours. Action set pieces are all very strong, especially the opening sequence which start thing off on a great note. Craig comfortably steps back into Bond’s tuxedo with ease. He is able to maneuver the character’s nuances, dealing with some deeper character moments very well. Judi Dench is given more to do than just issue orders and sit behind a desk. Her status as Bond’s surrogate mother figure comes into play here, allowing for some great character moments between M and Bond. The newcomers to the series; Ralph Fiennes, Naomie Harris and Ben Whishaw all make for strong additions with Whishaw making his presence felt in a natural and organic manner for the character and series. Javier Bardem is wonderfully flamboyant and maniacal as the villain. Bardem’s villain encapsulates all the craziness of past Bond villains but adding a great twist to it, he’s hard to take your eyes off when he’s on screen thanks to Bardem’s commitment to his creation. The story itself has enough beef to keep causal and hardcore fans engaged especially with it’s focus on the old fashion ways of doing things.

B+

[Trailers] Skyfall 007 James Bond

The international (my personal favorite) and domestic trailers for James Bond’s next outing are out. Either one looks like a massive upgrade over the last entry (Quantum of Solace) convoluted mess of a film.

The plot looks intriguing with Bardem playing a fun villainous role.

MOVIE REVIEW: J. EDGAR

IN THEATERS

J. Edgar



Acclaimed actor Leonardo DiCaprio stars in Academy Award-winning director Clint Eastwood's richly detailed biopic exploring the life and career of controversial FBI Director J. Edgar Hoover. For nearly 50 years, Hoover (DiCaprio) fought crime as one of the most powerful law enforcers in America. During Hoover's extended stint as Director of the FBI, however, his penchant for bending the law in the name of seeking justice and using the secrets of high profile leaders to gain personal leverage won him just as many supporters as detractors. Little did many other than his loyal colleague Clyde Tolson (Armie Hammer) and faithful secretary Helen Gandy (Naomi Watts) know, however, that Hoover himself was a man with many secrets to hide. Josh Lucas, Judi Dench, and Stephen Root co-star in film written by Oscar-winning Milk scribe Dustin Lance Black. ~ Jason Buchanan, Rovi

Director: Clint Eastwood

Cast: Leonardo DiCaprio, Naomi Watts, Armie Hammer, Josh Lucas, Judi Dench

Release Date: Nov 09, 2011

Rated R for brief strong language

Runtime: 2 hr. 17 min.

Genres: Drama

Review:

Clint Eastwood’s J. Edgar is a solid biopic even if it occasionally turns into a chore to watch as it slowly recounts the highlights of Hoover’s life. Eastwood work on screen is precise and deliberate but surprisingly detached as well. Usually Eastwood has a strong emotional connection with his subject matter but it’s strangely missing here. What he delivers is a slightly unfocused hodgepodge of snippets from Hoover’s life, bouncing around from the past to the present, not always with a clear purpose. The script comes off as more informational than thought out; the main characters are fleshed out but only to a certain degree. The audience is kept at arms length for the most part; a few scenes allow us into Hoover’s psyche a bit more but not enough. In the titular role Leonardo DiCaprio is impressive, working a strong accent throughout, breaking out of his traditional mold. His performance showcases the massive contradictions of the man and he tries to give us as many layers as possible. A well groomed Armie Hammer is the film’s heart and soul. It’s a shame the script doesn’t allow him to do more because I’m sure he could have really expanded on this role if he’d been allowed to. His and DiCaprio’s interactions lay the ground work for so much of the inner turmoil that Hoover experience, one can’t help but feel that it could have been explored more thoughtfully. Naomi Watts is left on the sidelines for the most part, more of a spectator than an actual player in the grand scheme of things. The real crime is that her character, especially in the final years of Hoover’s life, seemed fertile for exploration. Since this is one of those films that travels across nearly half a century, heavy make up and prosthetics play a prominent role. DiCaprio and Watts seem to have the best luck with the make with poor Armie left with some the looks like a bad burn victim with liver spots. As a whole J. Edgar engages but lacks the emotional punch you’d expect.

B-

Bluray quality; Video is excellent really showcasing the muted visual tone of the film; Sound is basic with very little flair to make it stand out.

I was hand-selected to be a member of Blu-ray Elite, a beta program from Warner Home Video which has graciously sent me this free Blu-ray disc.