MOVIE REVIEW: SOCIETY OF THE SNOW

In 1972, a Uruguayan flight crashes in the remote heart of the Andes, forcing survivors to become each other's best hope.

Director: J. A. Bayona

Cast: Enzo Vogrincic, Matías Recalt, Agustín Pardella, Tomas Wolf, Diego Vegezzi,  Esteban Kukuriczka, Francisco Romero, Rafael Federman, Felipe González Otaño 

Release Date: December 22, 2023

Genre: Adventure, Drama, History, Thriller

Rated R for violent/disturbing material and brief graphic nudity.

Runtime: 2h 24m

Review:

J. A. Bayona’s Society of the Snow is a harrowing retelling of the 1972 Uruguayan flight disaster which strips away the gloss of previous adaptations and replaces it with grim authenticity.  Bayona's film is a visceral experience on multiple levels as he places you in firmly in the life or death situation these people experienced.  He wastes very little time with quick introductions at the airport serving as the entryway into the film and moving on to jolting recreation of the crash.  Once on location, portions of the film were shot in the actual location, he uses the environment and elements to create a beautiful but unforgiving setting.  It’s a masterstroke that makes the mountains and elements an ethereal but ominous entity unto itself.  The ensemble cast each deliver strong committed performances throughout with each doing the most with their screen time.  Enzo Vogrincic's Numa Turcatti is the closest the film offers as a main character, with his voiceover giving the film a meditative approach to their struggle for survival and the legacy of those lost.  There's a tangible sense that Bayona intends to give the survivors and those that lost their life during the tragic events their due in respectful manner.  There's very little levity here as the story is focused on the most basic levels of survival, never shying away from the physical toll the experience took on the individuals with the cast going through a similar transformation.  It’s stark, impactful and makes the rescue land with an earn sense of veracity with the film's latter moments serving as a mournful rumination on the survivor's guilt.  Society of the Snow proves to be a raw, authentic examination of the survivor's will to live in the most impossible of situations.  

A

MOVIE REVIEW: ANYONE BUT YOU

 

Despite an amazing first date, Bea and Ben's initial attraction quickly turns sour. However, when they unexpectedly find themselves at a destination wedding in Australia, they pretend to be the perfect couple to keep up appearances.

Director: Will Gluck

Cast: Sydney Sweeney, Glen Powell, Alexandra Shipp, GaTa, Hadley Robinson, Michelle Hurd, Dermot Mulroney, Darren Barnet, Bryan Brown, Rachel Griffiths

Release Date: December 22, 2023

Genre: Comedy, Romance

Rated R for language throughout, sexual content and brief graphic nudity.

Runtime: 1h 43m

Review:

Anyone but You is a fairly paint by the numbers rom-com that toys with being a raunchier romp before settling into the usual genre clichés that we've seen plenty of times before.  To his credit, Will Gluck delivers a slick looking, breezy film that unabashedly uses Shakespeare's Much Ado About Nothing as its basic template while occasionally lifting full lines of dialogue from the play.   It’s an interesting choice that never works since those moments are played off as a running joke with the characters stating they just made up the rather robust bit of dialogue lifted from the Bard.  It would have been an interesting approach if they'd leaned into it instead of just sporadically shoehorning it randomly with little pretext or payoff.  The film does something similar with its random forays into raunchy territory while never committing to it.  Paired with the random Shakespearean lines, the film never finds its own flow or rhythm since everything in between is overly familiar and broad.  Gluck has proven capable of making a memorable genre film like Emma Stone's Easy A but this film relies far too heavily on tired tropes.  It’s a shame since the cast seems up for pretty much anything especially the overly attractive onscreen couple.  Sydney Sweeney and Glen Powell are clearly having fun with the material which makes the film an easy watch even if decidedly forgettable.  Sweeney and Powell have solid chemistry, but you never buy the fact that the characters supposedly have a certain level of disdain for each other which makes it readily apparent they'll end up together.  The supporting cast is made up of familiar faces like Dermot Mulroney, Rachel Griffiths, Michelle Hurd and Bryan Brown but the film doesn't take advantage of the talent instead being mostly satisfied with them delivering broad strokes of comedy.  It all leaves Anyone but You as a passable but forgettable rom-com that could have been far more memorable.

C

MOVIE REVIEW: I.S.S.

 

Tensions flare in the near future aboard the International Space Station when a worldwide conflict breaks out on Earth. Soon, the U.S. and Russian astronauts each receive orders from the ground: take control of the station by any means necessary.

Director: Gabriela Cowperthwaite

Cast: Ariana DeBose, Chris Messina, John Gallagher Jr., Maria Mashkova, Costa Ronin, Pilou Asbæk

Release Date: January 19, 2024

Genre: Sci-Fi, Thriller

Rated R for some violence and language

Runtime: 1h 35m

Review:

I.S.S. uses its hypothetical situation and claustrophobic setting to deliver some solid moments of tension thanks, in large part, to focused performances from its ensemble cast even though it struggles to nail the landing.  Gabriela Cowperthwaite shows a steady hand throughout, delivering an efficient thriller that's laser focused on ratcheting up the tension while managing to keep the human side surprisingly grounded.  This is the type of film that could have easily devolved into a clichéd 80's cold war era film turning the characters into caricatures with little to no shades of grey.  Cowperthwaite manages to avoid most of those pitfalls thanks to a script that's elevated by its committed cast.  Ariana DeBose is solid in the lead role, giving her character far more depth than what's on the page.  Chris Messina and John Gallagher Jr. play her compatriots with varying degrees of effectiveness since certain turns are telegraphed a mile away.  On the other end, Maria Mashkova, Costa Ronin and Pilou Asbæk play the Russian crew with surprising effectiveness with Ronin being saddled with the most generic character of the group. Mashkova and Asbæk are given more latitude to give their characters more texture and humanity.  Asbæk, in particular, is incredibly watchable throughout as his character's trajectory follows an unexpected path as the film moves on.  Asbæk's performance is fascinating even as the film starts to move into goofier, anti gravity fights aren't cool looking, territory in its final act.  The last act struggles to find a way to wrap up the story, so it ends in a purposely ambiguous way that's sure to annoy more than a few viewers.  

C+

MOVIE REVIEW: THE BEEKEEPER

 

One man's brutal campaign for vengeance takes on national stakes after it's revealed he's a former operative of a powerful and clandestine organization known as Beekeepers.

Director: David Ayer

Cast: Jason Statham, Emmy Raver-Lampman, Josh Hutcherson, Bobby Naderi, Minnie Driver, Phylicia Rashad, Jeremy Irons

Release Date: January 12, 2024

Genre: Action, Thriller

Rated R for strong violence throughout, pervasive language, some sexual references and drug use.

Runtime: 1h 45m

Review:

The Beekeeper is a lean, 80's style action film that's solely concerned with delivering mindless mayhem via a perfectly cast Jason Statham.  David Ayer's film waste very little time with set up before he unleashes Statham on his rampage of revenge.  The script doesn't concern itself much with too much backstory with the majority of the background of Statham's character being relayed via exposition dumps provided by a rather game Jeremy Irons.  Statham is perfectly in his element with the film asking him to maintain a steely determined gaze while he plows through an endless barrage of adversaries while never breaking a sweat.  Its all rather ridiculous but undeniably entertaining at the same time.  What makes it work as well as it does is the fact that Ayer and his cast know exactly what kind of film they are making and they go all in with rather impressive gusto.  The supporting cast is populated with a handful of familiar faces such Minnie Driver, Phylicia Rashad and Jeremy Irons with the latter getting the most substantial role.  Josh Hutcherson gets the role of the main villain, a pampered trust fund tech baby, and he's clearly relishing the chance to play against type as he chews up scenery every time his character gets on screen.  Emmy Raver-Lampman and Bobby Naderi have a fun buddy cop chemistry going as FBI agents on Statham's tail.  These performance all come together to make The Beekeeper the kind of film that doesn't ask much of you but to sit back and enjoy.

B

MOVIE REVIEW: MEAN GIRLS

 

New student Cady Heron gets welcomed into the top of the social food chain by an elite group of popular girls called the Plastics, ruled by the conniving queen bee Regina George. However, when Cady makes the major misstep of falling for Regina's ex-boyfriend, she soon finds herself caught in their crosshairs.

Director: Samantha Jayne, Arturo Perez Jr.

Cast: Angourie Rice, Reneé Rapp, Auliʻi Cravalho, Jaquel Spivey, Avantika, Bebe Wood, Christopher Briney, Jenna Fischer, Busy Philipps, Tina Fey, Tim Meadows

Release Date: January 12, 2024

Genre: Comedy, Musical

Rated PG-13 for sexual material, strong language, and teen drinking.

Runtime: 1h 52m

Mean Girls, The film adaptation of the Broadway musical of the original film, is a strange concoction of musical numbers paired with a slavish devotion to the original material that never lets it find its own footing. Samantha Jayne and Arturo Perez Jr. directorial debut is solid but noticeably listless for large portions of time, particularly when they are recreating scenes verbatim from the original film.  The  musical numbers fare far better, injecting a solid sense of energy into the film with well choregraphed sequences that are fun even if they aren't terribly memorable except for "World Burn" and "I'd Rather Be Me" being the best of the bunch.  The main cast lead by Angourie Rice are all solid with a few stand outs leaving a lasting impression.  Rice is adequately mousy to start before she starts her rise through the Plastics. Reneé Rapp, who played the role on Broadway, brings a different sort of energy to Regina than Rachel McAdams did in the original role which makes it one of the more interesting performances since it brings something new to the production.  Avantika and  Bebe Wood take over the Karen Shetty, who's even dumber than Karen Smith in the original which is a strange choice, and Gretchen Wieners roles and fare worse than Rapp.  Their performances are little more than hollow impressions of the originals with Wood's even emulating Lacey Chabert's vocal inflections multiple times.  Auliʻi Cravalho and Jaquel Spivey take over the Janis and Damian with both doing strong work even if Cravalho doesn't quiet have the edge that Lizzy Caplan brought to the role while Spivey steals every scene he's in.  Tina Fey and Tim Meadows return from the original film but both are surprisingly flat through with both just going through the motions which only reminds you of the fact that there's already a pretty solid version of the film elsewhere.  Most properties that go from screen to stage and back do their best to find their own voice while capturing the spirit, Hairspray comes to mind, but Mean Girls does the exact opposite which doesn't do this version any favors.

 

C

MOVIE REVIEW: AMERICAN FICTION

 

Monk is a frustrated novelist who's fed up with the establishment that profits from Black entertainment that relies on tired and offensive tropes. To prove his point, he uses a pen name to write an outlandish Black book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain.

Director: Cord Jefferson

Cast:  Jeffrey Wright, Tracee Ellis Ross, Issa Rae, Sterling K. Brown, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David

Release Date: September 8, 2023

Genre: Comedy, Drama

Rated R for language throughout, some drug use, sexual references and brief violence.

Runtime: 1h 57m

Cord Jefferson's big screen debut, American Fiction, is a wonderfully nuanced satire led by a multifaceted performance from Jeffrey Wright.  Jefferson, who also wrote the script, shows a steady, confident hand behind the camera as he delivers a film that's easy to enjoy even as it covers some expansive racial issues and themes.  He allows his actors to shine by giving them plenty of quieter character moments that gives the film and story an impressive level of depth.  His cast is more than up for the task led by Jeffrey Wright who's never been better.  Wright is the kind of actor that's always brings a certain kind of authentic intelligence and pathos to his roles which is tailor made for playing this role.  Wright adds so much nuance and layers playing an incredibly intelligent man who's seething with resentment over his talents being overlooked.  In the hands of a lesser performer, the character could have come off more one dimensional and one note, but Wright is able to make him a complicated, living breathing human being while still deftly handling the more comedic moments.  The supporting cast is no less impressive with each leaving a noticeable impression on the film with stand out performances from Erika Alexander with an endearing turn as the love interest and Sterling K. Brown playing against type as Monk's chaotic and equally complicated brother.  There is a natural chemistry together from the cast as a whole which makes the story and film as a whole connect on another level.  The pacing that hit a slight hiccup in its final act which is I suspect is intentional in order to reflect the complexity of the racial discussions at play which has no easy or straight forward answers much like the film's conclusion.  American Fiction proves to be the kind of film that works on multiple levels either as comedy, drama or dissection of social issues thanks to the collective talent assembled.

A-

Cindy Prascik's Review of Circus of the Scars The Documentary

 

My dear reader(s), it's a common complaint of mine that I never have time for the movies anymore, but when Circus of the Scars turned up somewhere accessible to me, you better believe I found the time immediately.

Circus of the Scars-the Documentary follows the unlikely rise and probably predictable fall of the Jim Rose Circus Sideshow.

There is nothing slick or polished about Circus of the Scars, and I suppose it would be inappropriate if there were. The sideshow itself started out as a bar attraction that picked up performers (and momentum) as it rolled along, ultimately hitting its highest high as a second-stage attraction on the 1992 Lollapalooza tour.

The movie mixes old show footage and new interviews with Jim Rose and his merry band of misfits: Joe Hermann (the Amazing Mr. Lifto), Tim Cridland (Zamora the Torture King), Matt "the Tube" Crowley, and Paul Lawrence (the Enigma). The rifts that ultimately derailed the sideshow are evident, but there's a good-naturedness among the performers that makes the film an easy watch. Many of the interviews look like they were recorded on someone's phone (or via Facetime), giving the film a fitting DIY vibe. If everyone probably saw the ending coming, that does nothing to undermine the electric thrill of watching these unique performers grow from humble beginnings to the biggest, worldwide stages.

Circus of the Scars-the Documentary clocks in at 95 minutes and is unrated. It is not - I repeat NOT - for the faint of heart or weak of atomach.

I was one of the fortunate folks who witnessed the Jim Rose Circus Sideshow on Lollapalooza '92, and the experience is one I'll never forget. You do not want to miss this opportunity to know these amazing artists through this terrific documentary feature. (And look for some of them on tour in a city near you!) Of a possible nine Weasleys, Circus of the Scars-the Documentary gets all nine.

Circus of the Scars-the Documentary is now available to rent or buy on Amazon Prime.

Until next time...

MOVIE REVIEW: NIGHT SWIN

 

Forced into early retirement by a degenerative illness, former baseball player Ray Waller moves into a new house with his wife and two children. He hopes that the backyard swimming pool will be fun for the kids and provide physical therapy for himself. However, a dark secret from the home's past soon unleashes a malevolent force that drags the family into the depths of inescapable terror.

Director: Bryce McGuire

Cast: Wyatt Russell, Kerry Condon, Amélie Hoeferle, Gavin Warren, Nancy Lenehan, Jodi Long

Release Date: January 5, 2024

Genre: Horror, Thriller

Rated PG-13 for terror, some violent content and language.

Runtime: 1h 38m

Night Swim has a fun concept paired with strong performances, particularly Kerry Condon, but the execution is little more than a bland, uninspired Amityville Horror knock off with a sprinkle of Cocoon for some reason.   Bryce McGuire's big screen debut, based on his short film, is initially intriguing as we are introduced to the general concept and central family.  A series of well staged jump scares provide the sort of scares you'd expect from a film of this ilk.  The issues start popping up fairly quickly there after as the script struggles to stretch the concept out for a full length feature.  The reveals are fairly uninspired, mostly consisting of well worn horror tropes that we've seen countless times before.  With few twist and turns there are telegraphed so loudly that you'd be hard pressed not to see them coming from a mile away.  Wyatt Russell and Kerry Condon play it deadly serious throughout which works better in the first half of the film before things get progressively more ridiculous as the family battles the evil pool.  Condon brings a level of commitment to the role which speaks to the level of talent she brings to the production even as she confidentially utters some unintentionally funny lines in the film's final act.  Russell is a solid screen partner early on but once he's overtaken by the evil his performance makes Jack Nicholson's Jack Torrance look like a study in subtly.  Amélie Hoeferle and Gavin Warren play the pair's children with both bringing an authentic air of sibling chemistry together which the film would have been wise to use to greater effect especially since there are slivers of interesting character traits for each.  As is, Night Swim will fall into the massive wasteland of utterly forgettable horror films dumped into January.

D+

Cindy Prascik's Review of Barbie

 

My dear reader(s): Yesterday I finally had an opportunity to catch up with the year's most talked-about movie, Barbie.

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

Barbie suffers a crisis and must brave a world outside Barbieland if she hopes to resolve it.

At this point, it feels like poor form to dislike Barbie. Fortunately, I liked it well enough, even if if I'm more "enheimer" than "Barb" in the Barbenheimer sweepstakes.

Pluses start with the divine Margot Robbie as Barbie and Ryan Gosling as Ken. Despite its many other attributes, I believe the movie would have fallen flat had they not leaned into their roles with such gusto. Vibrant costumes and sets team with upbeat music to sell a perfect world...even when it isn't. There's plenty of nostalgia for those of us who loved our Barbies, and some funny (if mean-spirited) digs at other pop culture icons who have fallen into...if not exactly disfavor, at least a perceived lack of coolness.

Barbie is a great deal more than a film about a doll. It's cleverly written and well acted, with an important message about autonomy and empowerment. Heavy-handed delivery of its message is the picture's only real flaw, but it's a pervasive one that kept me from loving Barbie as much as everyone else seemed to. I don't believe beating people over the head with a point faciliates real change; it only makes them tired of hearing about it, and by the end of this I was pretty tired of the word "patriarchy." Still, Barbie is a solid movie that's greatly enhanced by sparkling performances and a sensible runtime.

Barbie clocks in at 114 minutes and is rated PG13 for "suggestive references and brief language."

Barbie is a good movie made great by stellar lead performances, and any shortcomings are easily forgiven once the Indigo Girls start singing. Of a possible nine Weasleys, Barbie gets eight.

Fangirl Points: Kingsley Ben-Adir!

Barbie is now streaming on Max.

Until next time...

Cindy Prascik's Review of The Man Who Invented Christmas

 

My dear reader(s): In my attempt to wallow in holiday revelry until they drag me kicking and screaming back to work on Tuesday, on New Year's Eve I checked out an older (but new to me) holiday flick, the Man Who Invented Christmas.

Spoiler level here will be mild.

Charles Dickens juggles family and artistic struggles while writing a Christmas Carol.

The Man Who Invented Christmas intertwines fantasy with reality, as characters from the story Dickens is writing appear in a real world where he's fighting both family and professional difficulties. Downton Abbey's Dan Stevens leads a cast of familiar faces through the serviceable story. The trailer sells the film as a comedy, which it isn't, but it's entertaining enough despite not feeling very Christmasey until the very end.

The Man Who Invented Christmas clocks in at 104 minutes and is rated PG for "thematic elements and some mild language."

It's not the most festive holiday film around, but the Man Who Invented Christmas is an engaging tale that will help you keep the spirit of the season alive. Of a possible nine Weasleys, the Man Who Invented Christmas gets five.

The Man Who Invented Christmas is now streaming on Prime.

Until next time...

Cindy Prascik's Review of Candy Cane Lane

My dear reader(s): If, like me, you seek a bit of cinematic Christmas cheer, but want to steer clear of holiday-themed horror and romance (some would say they're the same), it can be challenging to find anything that fits the bill. May I invite you, then, to Candy Cane Lane?

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

A man obsessed with Christmas goes to imprudent lengths to win a holiday decorating contest in his neighborhood.

Candy Cane Lane is a feel-good family film that doesn't try to reinvent the starlight mint. Eddie Murphy (a favorite in our house since we wore out our VHS copy of Raw!) leads a likeable cast through an adventure that teaches the true meaning of Christmas. The movie features gorgeous and festive sets, cute animation, and some great Christmas tunes. It's more amusing than laugh-out-loud funny, and it even throws proper shade at retailers putting out Valentines before Christmas, one of my particular pet peeves! Candy Cane Lane isn't anything revolutionary, but it's easy, comfortable, and promotes that warm, fuzzy feeling that's perfect for the holiday season.

Candy Cane Lane runs 117 minutes and is rated PG for "language throughout, and some suggestive references."

If you're looking for a fun family movie to close out your holiday break, Candy Cane Lane is just the ticket. Of a possible nine Weasleys, Candy Cane Lane gets seven.

Candy Cane Lane is now streaming on Prime.

Until next time, I wish you all safe celebrations and the happiest of New Years!

Cindy Prascik's Review of Rebel Moon: A Child of Fire

My dear reader(s): Over the Christmas break, my plan was to catch up with some movies.

First on my holiday docket: Zack Snyder's Rebel Moon.

Spoiler level here will be mild, nothing you wouldn't know from the trailers, except the exact second when Charlie Hunnam turns up.

Rebels rise up against an evil space empire. (No, not *those* rebels or *that* space empire.)

Out of the gate, I want to offer a couple disclaimers: First, though I've kicked science fiction fantasy to the curb almost entirely, I like Zack Snyder and I hoped/expected to like this. Secondly, Netflix has some super algorithms, because the Rebel Moon picture on my home page is all Charlie Hunnam, though he doesn't appear until 51:05 and enjoys only sporadic screen time after. Well played, Netflix. Well played.

While almost any story bears traces of tales that came before it, Rebel Moon is nothing but derivative, Star Wars with a Mad-Maxey vibe...if Star Wars and Mad Max somehow managed to become the most boring movies ever made. I fell asleep three times in the first hour and had to keep rolling it back so I didn't "miss" anything.

The acting seems almost universally awful, but the dialogue is so badly written it's difficult to pin blame. The cast is full of well-known faces, most of whom are generally at least decent, so it's possible Meryl Streep couldn't have done anything with this material. Charlie's is a cheeky role that's particularly well suited to him, so he fares better than most. Nice visuals are marred by the odd bad green screen moment. Fight sequences are dull, awkward, and painfully fake-looking. The story, so often (better) told before, doesn't begin to earn its two-hours-plus runtime. A disappointment all 'round.

Rebel Moon clocks in at 133 minutes and is rated PG13 for "sequences of strong violence, sexual assault, bloody images, language, sexual material, and partial nudity."

The fact that Rebel Moon, part two, is coming next year feels more like a threat than a promise. Of a possible nine Weasleys, Rebel Moon gets three.

Rebel Moon is now streaming on Netflix.

Until next time...

MOVIE REVIEW: FERRARI

 

During the summer of 1957, bankruptcy looms over the company that Enzo Ferrari and his wife built 10 years earlier. He decides to roll the dice and wager it all on the iconic Mille Miglia, a treacherous 1,000-mile race across Italy.

Director: Michael Mann

Cast: Adam Driver, Penélope Cruz, Shailene Woodley, Sarah Gadon, Gabriel Leone, Jack O'Connell, Patrick Dempsey

Release Date: December 25, 2023

Genre: Biography, Drama, History

Rated R for some violent content/graphic images, sexual content and language.

Runtime: 2h 11m

Michael Mann's Ferrari is a slick, easily digestible bio pic led by strong central performances from Adam Driver and Penelope Cruz with the latter nearly stealing the show.  Mann gives the film the kind of polish that you'd expect from any of his films with the racing sequences pulsing off the screen.  The quieter moments he leaves to his stellar cast lead by Adam Driver.  Driver's quiet intensity and determination shines through even though he's a tad too young for the roles even as he sports a fully silver head of hair for the majority of the film.  He manages to give the character plenty of depth with his nuanced performance.  The film really sizzles when Penélope Cruz joins him onscreen as she delivers an excellent turn as Ferrari's emotionally broken wife.  Cruz's brings an acidic passion and anger to the screen with incredible ease which speaks to her immense talent.  While the story is engaging enough it never quite finds the same sort of energy when Cruz is off screen leaving Shailene Woodley's character feel rather bland and uninteresting in comparison.  This leaves those moments a more ponderous which kills the film's energy and overall pacing which makes the film far more choppy than it should be.  The film does recover in its final act with a pulse pounding and ultimately tragic race that's initially thrilling before delivering a brutal gut punch.  Those closing moments do give the story a more grounded and somber feel to the story of Ferrari and his life's passion.  

B+

MOVIE REVIEW: THE COLOR PURPLE

Torn apart from her sister and her children, Celie faces many hardships in life, including an abusive husband. With support from a sultry singer named Shug Avery, as well as her stand-her-ground stepdaughter, Celie ultimately finds extraordinary strength in the unbreakable bonds of a new kind of sisterhood.

Director: Blitz Bazawule

Cast: Fantasia Barrino, Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, H.E.R., Halle Bailey, Louis Gossett Jr., Phylicia Pearl Mpasi, Ciara, Jon Batiste, Aunjanue Ellis-Taylor

Release Date: December 25, 2023

Genre: Drama, Musical

Rated PG-13 for mature thematic content, sexual content, violence and language.

Runtime: 2h 21m

The Color Purple is a lavishly constructed, vibrant musical which does a wonderful job of capturing the spirit of the original film for a new audience.  Blitz Bazawule confidentially directs the film with a decisive hand, staging a series of wonderfully choreographed musical numbers that each bring a distinctive kind of energy.  These sequences serve as the film's beating heart and in those moments the energy pops off the screen with impressive verve.  There are moments that echo other film musicals like Chicago or more fanciful moments similar to Julie Taymor's Across the Universe.  It’s a fascinating blend of styles and approaches that works in the film's favor for the most part even though some of dramatic weight of the story gets lost in spots.  There's a lighter tone throughout even as Celie experiences some of the uglier bits of abuse from Mister which makes for an abrupt turn after lively musical moments.  The ensemble cast manages to balance those moments thanks to strong performances across the board.  Phylicia Pearl Mpasi and Halle Bailey leave a lasting impression in their limited screen time during the film's open act before Fantasia Barrino takes center stage.  Barrino's turn is understated, meek, earnest and ultimately hopeful.  Her performance isn't as big as other more outsized characters, but she manages to be the backbone of the film before being allowed to display her immense vocal talent in a series of revelatory songs.  Barrino share excellent onscreen chemistry with the cast with it really shining through when paired with Taraji P. Henson and Danielle Brooks.  Henson and Brooks are perfectly suited to play their outsized and more garish characters with the latter stealing nearly every scene she's in.  Colman Domingo's baritone voice is perfectly suited for his turn as Mister, even though he's never quite as menacing as Danny Glover in the original film, mainly due to an inherent kindness that comes through all his performances in general.  Corey Hawkins possesses a similar energy which is much better suited for his character, Harpo, more so than Domingo's Mister.  It makes some slightly strange dynamics which the film can't quite balance perfectly in the non musical moments.  Minor issues like that can be forgiven thanks to the quality of the performances and direction which is sure to leave an impression regardless if people are experiencing the story for the first time or are already familiar with it.  

A-

MOVIE REVIEW: THE IRON CLAW

 

The true story of the inseparable Von Erich brothers, who make history in the intensely competitive world of professional wrestling in the early 1980s. Through tragedy and triumph, under the shadow of their domineering father and coach, the brothers seek larger-than-life immortality on the biggest stage in sports.

Director: Sean Durkin

Cast: Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Holt McCallany, Lily James

Release Date: December 22, 2023

Genre: Biography, Drama, Sport

Rated R for language, suicide, some sexuality and drug use.

Runtime: 2h 12m

The Iron Claw, the tragic true-life tale of the Von Erich family, is the kind of sports movie that doesn't require you to be a fan of the sport to be moved and affected by its painful story.  Sean Durkin directs the film with a nuanced hand giving it a sweaty, gritty feel which gives the story an air of authenticity.  He makes you feel every bit of flesh hitting the mat during the wrestling sequences but adds an overreach sense of dread and sadness throughout the entire film.  Thematically, it covers well worn concepts about masculinity and overbearing fathers trying to live vicariously through their sons but does so with a surprisingly level of effectiveness thanks to its cast.  Holt McCallany is the kind of actor that can bring a certain level of intimidation, intensity without overt physicality which works incredibly well here as the family patriarch.  There's an emotional frigidity to his character that's reflected in his treatment of his sons as mere vessels to correct his list of grievances and shortcomings.  The character is cold, emotionally distant, and aloof even as tragedy continues to befall his children due in large part to his constant pushing and playing them against each other.  Zac Efron, Jeremy Allen White, Harris Dickinson and Stanley Simons all deliver authentic, engaging performances, each reflecting the sons burning desire to please their father at any cost.  Efron though carries the emotional weight of the film as he makes you feel the pain of his perceived failures and shortcomings early on in the story before he’s burdened by loss of his siblings along with the realization of the root cause.  It’s an excellent showcase for Efron as he emotes all the internalized pain and trauma with a level of nuance and depth that I honestly didn't think he was capable of.  His psychical transformation almost becomes an afterthought due to his committed performance which elevates the entire film and makes it easier to overlook a few pacing issues and underwritten female characters.

 

A-

MOVIE REVIEW: REBEL MOON PART ONE: A CHILD OF FIRE

 

When a colony on the edge of the galaxy finds itself threatened by the armies of the tyrannical Regent Balisarius, they dispatch a young woman with a mysterious past to seek out warriors from neighbouring planets to help them take a stand.

Director: Zack Snyder

Cast: Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae, Ray Fisher, Charlie Hunnam, Anthony Hopkins

Release Date: December 15, 2023

Genre: Action, Adventure, Drama, Fantasy, Sci-Fi

Rated PG-13 for sequences of strong violence, sexual assault, bloody images, language, sexual material and partial nudity.

Runtime: 2h 13m

Zack Snyder's Rebel Moon Part One: A Child of Fire is a lifeless space epic that never truly finds its footing as it mines bits and pieces of Star Wars by way of Seven Samurai while bringing nothing new to the table.  All of Snyder's visual bravado and his unrelenting love of slow motion is still here but it all feels perfunctory and overdone paired with a rather listless, all too familiar story.  Characterization is at minimal as the story journey's to collection a ragtag crew of rebels whom we have little to no emotional connection to as we move from introductory set piece to another.  It would be easier to ignore some of these story issues if the action was fun or interesting.  There's a surprisingly blandness to the action which is something you wouldn't expect from Snyder with Bae Doona's Nemesis battle with a spider woman being the only one that registers as any sort of tangible fun.  Likewise the performances are all rather lifeless with Sofia Boutella's lead character barely registering as determined and driven much less inspiring.  Anthony Hopkins voicework for the robot introduced in the first act and offers a small tinge of life but he quickly disappears from the story only to reappear at the very without another line of dialogue.   It doesn't help matters that the entire film serves as nothing more than set up for the second part which would be fine if there were some time invested in character development and world building.  Sadly, this first entry feels more like a Sucker Punch level misfire from Snyder which feels like a major step back for him as a storyteller.  
 

D

MOVIE REVIEW: POOR THINGS

 

Brought back to life by an unorthodox scientist, a young woman runs off with a lawyer on a whirlwind adventure across the continents. Free from the prejudices of her times, she grows steadfast in her purpose to stand for equality and liberation.

Director: Yorgos Lanthimos

Cast: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Jerrod Carmichael

Release Date: December 8, 2023 

Genre: Comedy, Drama, Romance, Sci-Fi

Rated R for strong and pervasive sexual content, graphic nudity, disturbing material, gore, and language

Runtime: 2h 21m

Yorgos Lanthimos' Frankenstein-like fable, Poor Things, is a darkly comedic and bold exploration of self-discovery of oneself.  Its a fascinating journey with a distinctive style and feel that permeates the film from its opening act, shot in black and white, before the world and color palate of the film opens up with great effect.  Lanthimos' approach is aggressive but self assured as a bevy of themes and concepts that range from the grotesque, to the perverse and philosophical are thrown at the screen in steady succession.  Its a fearless approach that unafraid of losing portions of the audience along the way.  The film and story is held together and propelled by Emma Stone's central turn as Bella Baxter.  Stone's performance carries the film as she makes her character's journey believable and organic with an effortless ease as we see the character move from innate, instinctive, impulses into a fully defined persona. She has an impressive ability to make every step of journey feel authentic all the while never losing her comedic timing during some of the film's more insane and absurd moments.  If not for Stone's fearless turn, Mark Ruffalo could have easily stolen the entire film from a lesser actress.  Ruffalo's turn as the swarmy and nefarious lawyer is a true testament to his talent as actor.  Ruffalo works against his nice guy type to deliver an overconfident lothario who quickly loses control of Baxter before being ultimately ruined financially and emotionally by her.  Ruffalo and Stone work off each incredibly well which really gives the film an almost manic and vibrant energy it never manages to recapture in the back half of the film.  There's a definite sense that film starts to lose a bit of  steam in the final act which drags here and there which would have been helped with some judicious edits.  Willem Dafoe, Ramy Youssef and Jerrod Carmichael round out the cast with each turning in subtly effective performances in limited screen time.  Much like one of Dr. Godwin Baxter's experiments, Poor Things, is a fascinating amalgam of ideas and concepts that results in something singular and distinctive.  

A-

MOVIE REVIEW: AQUAMAN AND THE LOST KINGDOM

 

After failing to defeat Aquaman the first time, Black Manta wields the power of the mythic Black Trident to unleash an ancient and malevolent force. Hoping to end his reign of terror, Aquaman forges an unlikely alliance with his brother, Orm, the former king of Atlantis. Setting aside their differences, they join forces to protect their kingdom and save the world from irreversible destruction.

Director: James Wan

Cast: Jason Momoa,  Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II, Nicole Kidman, Temuera Morrison, Randall Park

Release Date: December 22, 2023

Genre: Action, Adventure, Fantasy, Sci-Fi

Rated PG-13 for sci-fi violence and some language.

Runtime: 2h 4m

James Wan's Aquaman and the Lost Kingdom is a goofy, lighthearted adventure that delivers plenty of well staged, CGI infused action sequences which keeps things entertaining but the cobbled together script keeps it from being truly fun.  To his credit, Wan creates a large, expansive world as his heroes move from massive set pieces to another.  He borrows from a bevy of sources such as Star Wars, Lord of the Rings which gives the proceedings a familiar feel from the start.  His visual flourishes create a rather kinetic feel to all the action which prove to be the high points of the film.  The combination of advanced tech, mysticism, villainous underlings dressed in matching uniforms and large men in garishly designed costumes might make people of a certain age think they've accidently stumbled into a Masters of the Universe film.  The whole film has a Saturday morning cartoon come to life feel which would be more fun if the script hadn't been so painfully hackneyed.  The first movie was sophomoric fun with its brotastic humor but it was smart enough to give its stars time to add a little depth to their characters.  That's all gone here as each character is stripped down its most basic, simplistic version of itself.  Jason Momoa's oversized persona and charisma are what made this character work but he's strangely muted for the majority of the runtime.  Pairing him with Patrick Wilson for a straight man/wild card pairing ala Men in Black or 48 Hours should work far better than it does.  The pair's chemistry just never works which isn't helped by an unbaked script that gives them some painfully bad comedic exchanges.  Wilson is surprisingly stiff for the better part of the film while Momoa just sort of seems happy to be there.  Yahya Abdul-Mateen II, who was a surprisingly engaging villain in the original, suffers a similar fate with the script asking him to look intense but little more.  The strange thing is that even with its faults, Aquaman and the Lost Kingdom is a surprisingly breezy, easy to enjoy mindless bit of superhero fluff even with its two hours runtime but it could have been a proper send off for the Synderverse if there was more time and care  put into the characters and script.

C+

MOVIE REVIEW: WONKA

 

Armed with nothing but a hatful of dreams, young chocolatier Willy Wonka manages to change the world, one delectable bite at a time.

Director: Paul King

Cast: Timothée Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Mathew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Tom Davis, Olivia Colman,  Hugh Grant

Release Date: December 15, 2023

Genre: Adventure, Comedy, Family, Fantasy, Musical

Rated PG for some violence, mild language and thematic elements.

Runtime: 1h 56m

Paul King's Willy Wonka prequel, Wonka, is an utterly charming film that brings a wonderful sense of whimsy and wonder that's hard to deny.  King's musical confection is a wonderful assault on the senses with a series of well staged albeit old fashion, song and dance numbers.  Its a visual feast for the eyes and ears that's like a lovely elixir that guaranteed to put people in a good mood.  King's film is light and airy with a palatable sense of infectious optimism that fits perfectly with a younger Wonka who hasn't become the more cynical and scarier version of himself from the Gene Wilder classic.  Timothée Chalamet is perfectly suited for this version of the character with his boyish looks and general charm.  He mimics some of the mannerisms and movements of Wilder's take but plays him with more wide eyed optimism and naiveite.  Its works well for this film and story even though some looking for bits of the character slightly sinister side will be left wanting.  The supporting cast delivers equally strong work with fun turns from Olivia Colman and an impressive film debut from Calah Lane.  Paterson Joseph, one of the handful of Peep Show alums, chews up every bit of the scenery as the film's villainous chocolatier.  Likewise, Hugh Grant is clearly having a ball playing a CGI Oompa-Loompa so much so that you wish he'd be given a slightly larger role.  It all makes for an undeniably fun film which fit more with the beloved original than the Tim Burton remake which is sure to please plenty of fans.

, 

A-

MOVIE REVIEW: MIGRATION

 

A family of ducks decides to leave the safety of a New England pond for an adventurous trip to Jamaica. However, their well-laid plans quickly go awry when they get lost and wind up in New York City. The experience soon inspires them to expand their horizons, open themselves up to new friends, and accomplish more than they ever thought possible.

Director: Benjamin Renner

Cast:  Kumail Nanjiani, Elizabeth Banks, Awkwafina, Keegan-Michael Key, David Mitchell, Carol Kane, Caspar Jennings, Tresi Gazal, Danny DeVito

Release Date: December 22, 2023

Genre: Animation, Action, Adventure, Comedy, Family, Fantasy

Rated PG for action/peril and mild rude humor.

Runtime: 1h 31m

Migration, Illumination's newest animated offering, might not be the studio most memorable film but it does deliver a light, family friendly adventure which is easy for children and adults to enjoy.  Benjamin Renner's film is energetically fun, throwing splashy visuals and gags at the screen in quick succession which keeps the film from hitting too many dead spots.  A series of well constructed sequences offer up a fun bit of variety from dingy swamps populated by decrepit herons to a colorfully manic fly through Manhattan keeps the story moving along at a steady almost frenetic pace.  The colorful character designs provide the film with a visual pop that makes the entire film easy on the eyes.  Paired with excellent performances from the film's voice cast makes the film a fizzy sort of family adventure which is sure to appeal to multiple age groups.  Kumail Nanjiani and Elizabeth Banks make for a fun pair as the central parents with both being given enough time to shine.  They share fun exchanges throughout while also establishing a believably loving relationship as they face their fears together.  Caspar Jennings and Tresi Gazal also turn in fun roles as the pairs children with Gazal stealing scenes with perfectly timed line readings.  Danny DeVito rounds out the central family, an older gruff but loving uncle.  Awkwafina and Keegan-Michael Key provide the voices for supporting characters with each bringing their own brand of humor to their roles.  The film and overall story suffers slightly from its central villain, a trendy chef who becomes obsessed with the mallard family.  His character doesn't register much outside of his outsized, tattooed body but in terms of actual characterization there's little to none there.  As is, Migration sits a level under Despicable Me or Sing films leaving it a fun but disposable bit of family entertainment.  

B+