Cindy Prascik's Reviews of Assassin’s Creed & Sing

 

 

Dearest Blog: The holiday week provided the opportunity for an early trip to Marquee Cinemas for Assassin's Creed and Sing. Spoiler level here will be mild, nothing you wouldn't know from the trailers. 

 

First up: Assassin's Creed. After being conscripted into a dangerous experiment, a former death-row inmate discovers he's descended from a member of a secret society of assassins...or something like that. Just before heading out to the theatre, I saw a headline that called Assassin's Creed "an insult to gamers." 

 

I can't speak for gamers, but it's certainly an insult to, in no particular order: Brendan Gleesan, Charlotte Rampling, my intelligence, theatre workers who might accidentally have to watch some of it while sweeping up, and the seven dollars I invested in my ticket. I well and truly lack the words to express how terrible this film is, but I think the guy behind me who snored loudly for two hours about covers it. 

 

The real crime of Assassin's Creed is that it's too terrible to be fun, too dull to work up a healthy bile about it. It doesn't explain itself very well, so, by the time it settles in, you've already stopped caring. Michael Fassbender and Marion Cotillard are ridiculous, a pair of cookie-cutter characters uttering lines so stupid you'll facepalm right there in your seat. 

 

The rest of the cast doesn't fare much better, but, with less screen time, they have fewer opportunities to embarrass themselves. The effects and stylized stunts are mostly mediocre, though the movie does boast some dramatic, pretty frames, and Fassbender spends a fair bit of time shirtless, so there's that. 

 

Never let it be said I don't try to give you the silver lining, dear reader(s). Assassin's Creed clocks in at 115 minutes and is rated PG13 for intense sequences of violence and action, thematic elements, and brief strong language. 

 

If you were looking for a fun actioner to break up the drama of awards season, sadly, you're going to have to keep looking. 

 

Of a possible nine Weasleys, Assassin's Creed gets two. 

Fangirl Points: Michael Kenneth Williams!! (The only reason I don't regret seeing this.) 

 

Next on the agenda: the highly-anticipated animated feature, Sing. With his venue in financial ruin, a theatre manager stages a singing competition to try to earn the money to save it. 

 

As you will know from the trailers, all the characters in Sing are animals: the koala theatre manager and his best friend, a sheep; competition hopefuls that include a gorilla, a snail (my favorite!), a porcupine, and an elephant. The art an animation are bright, colorful, and entirely kid-friendly, so even creatures who might normally be intimidating are cute and appealing. 

 

Noteworthy voice talent (Oscar winners Matthew McConaughey, Jennifer Hudson, and Reese Witherspoon, to name a few) is in fine form. Sing kicks off with a Beatles tune. It's a so-so cover of Golden Slumbers, but, as openings go, you could do a lot worse. 

 

From there, the movie includes snippets of dozens of different songs, some terrific (My Way is chill-inducing, even when performed by a mouse); some...not so much (disappointing that a half-dozen youngsters sitting next to me seemed to know the lyrics to only one song, a charming little ditty that goes: "Oh. My. Gosh. Look at her butt!"). 

 

Sing is a real family movie, with a positive, upbeat story, songs that cover many generations, and humor that's appropriate for all ages. Sing understands that eight-year-olds don't bring themselves to the movies, and it makes sure to entertain mom and dad, too, truly a film with something for everyone. 

 

Sing runs a quick 108 minutes and is rated PG for "some rude humor and mild peril." Sing is a solid, entertaining outing that'll be great for families this holiday season. 

 

Of a possible nine Weasleys, Sing gets seven and a half. 

 

Fangirl Points: Peter Serafinowicz! Jennifer Saunders! 

 

Until next time...

Cindy Prascik's Reviews of Moana & Allied

Dearest Blog: Yesterday it was off to Marquee Cinemas for the promising double-bill of Disney's Moana and Allied. 

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers. First on my agenda: Moana. A young future chief must travel far from the safety of her island to restore it to health and prosperity.

 

 Dear reader(s): I've got one word to describe Moana, and it is "WOW!" I mean, you know I've got a bunch more words than that, but...WOW. Moana is a beautiful telling of a beautiful story. The art and animation are incredible: majestic scenery, spectacular colors, realistic movement and mannerisms. 

 

A spirited score by Mark Mancina is complimented by lively original tunes from Lin-Manuel Miranda and Opetaia Foa'i. Thanks to filmmakers' detailed attention to the culture and lore of the Pacific islands, the movie boasts a unique and authentic feel, and Moana is a true heroine for our times: smart, strong, and resourceful. 

 

She does not sit around waiting for a handsome prince to turn up with her shoe, but she does learn to accept advice and assistance when she should. Newcomer Auli'i Cravalho turns in an earnest, endearing performance as Moana, and, as the demi-god Maui, an animated Dwayne "The Rock" Johnson is equally as charming as the real thing. 

Moana is, quite simply, a delight from start to finish. Disney's Moana runs 103 minutes, which includes a depressing little short entitled "Inner Workings." (If you aren't picky about your seat, show up late and avoid that one.) Moana is rated PG for "Peril, some scary images, and brief thematic elements." Moana is perfect. 

 

Of a possible nine Weasleys, Moana gets nine. 

 

Next up: Allied. Espionage and romance with a pair of WWII spies who fall in love and marry in war-torn 1940s Europe. Allied is a suspenseful slow-burner with plenty of twists to keep you guessing. 

 

Marion Cotillard is perfect as a member of the French resistance accused of being a double agent. Her understated performance is sincere and never gives away the is-she-or-isn't-she mystery. Brad Pitt is wooden, as Brad Pitt tends to be, but the movie smartly elects to focus a LOT on his perfect face, as well as him looking dashing in nifty suits, his military uniform, and an Archer-esque black turtleneck. 

 

Wise move there, movie. The suspenseful story is deliberately paced, but never so slow it risks losing your attention. War movies are always unsettling, but Allied mostly lacks the explicit violence and gore common in such films. 

 

Finally, there may come a day when I won't happily pay $7.50 to hear Benny Goodman's Sing Sing Sing in glorious surround-sound, but it is not this day. 

 

Allied clocks in at 124 minutes and is rated R for "violence, some sexuality/nudity, language, and brief drug use." While it isn't likely to bring home the bacon this awards season, Allied is a tense thriller that's well worth your movie dollar. 

 

Of a possible nine Weasleys, Allied gets seven. 

Fangirl Points (so many Fangirl Points!): Anton Lesser! Matthew Goode! Lizzy Caplan! Simon McBurney! Jared Harris! Until next time...

MOVIE REVIEW: THE DARK KNIGHT RISES [Spoiler Free]

IN THEATERS

THE DARK KNIGHT RISES




Christopher Nolan's Batman trilogy concludes with this Warner Brothers release that finds The Dark Knight pitted against Bane, an unstoppable foe possessed of tremendous physical and intellectual strength. Nearly a decade after taking the fall for Harvey Dent's death and disappearing into the darkness, a fugitive Batman (Christian Bale) watches from the shadows as the Dent Act keeps the streets of Gotham City free of crime. Meanwhile, an elusive cat burglar seizes the chance to strike, and a masked anarchist plots a devastating series of attacks designed to lure Bruce Wayne out of the shadows. Determined not to abandon the people who he once risked his life to protect, The Dark Knight emerges from his self-imposed exile ready to fight. But Bane (Tom Hardy) is ready, too, and once Batman is within his grasp, he will do everything in his power to break Gotham City's shadowy savior. Oscar-winner Michael Caine and Gary Oldman return in a sequel also starring Anne Hathaway, Marion Cotillard, and Joseph Gordon-Levitt. ~ Jason Buchanan, Rovi

Director: Christopher Nolan

Cast: Christian Bale, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-
Levitt, Michael Caine , Gary Oldman, Morgan Freeman

Release Date: Jul 20, 2012

Rated PG-13 Intense Sequences of Violence, Intense Sequences of Action, Language and some Sensuality

Runtime: 2 hr. 45 min.

Genres: Action/Adventure, Suspense/Thriller

Review:

In a summer of movies where one anticipated film is followed by another, there was only one that truly and deeply had me waiting desperately and impatiently. After having digested The Dark Knight Rises twice now, I can say that Christopher Nolan has created one of the best trilogies of all time for one of the seminal character in pop culture. With TDKR Nolan has made the Avengers look quaint in comparison. Incredibly satisfying and emotionally impactful, this finale ends the series with a real bang. Borrowing pieces from graphic novels like The Dark Knight Returns, No Man’s Land, a sampling of Batman Beyond and even a bad Batman The Animated Series episode, TDKR is a cornucopia of delights for Batfans like me. Little winks and nods of fan service are peppered into the film making me about gleeful as an unsupervised child in a candy store. The story meshes incredibly well with the overall arch of the first 2 films especially Batman Begins. Bale is given the spotlight here, rightfully so, and he’s incredible. Bale portrays Wayne, Batman himself is actually only in about a third of the overall film, as a man dealing with the after effects of the 2nd film’s finale. He displays Bruce’s struggle to find meaning and direction in his life with textured nuance. Tom Hardy, who looks like Brian Urlacher dressed for an S&M party, is quiet impressive as the primary villain here. Sounding like a cross between Darth Vader and Sean Connery, his Bane is a shark to Heath Ledger’s wild dog Joker. Bane is menacing and intimating, brimming with confidence in every scene which is impressive considering Hardy only has his hands and eyes to act with because of the face mask. Equally impressive and perhaps more surprising is Anne Hathaway’s Catwoman. Hathaway just nails the character’s essence and persona right from the start. This is a more traditional Catwoman than the S&M Burton version. As such it feels more in keeping with her character from the comic and animated sources, a real delight. Joseph Gordon-Levitt & Marion Cotillard both do solid work in roles that are vital to the story arch. With all the new faces in this entry some of the series standby take a bit of a back seat but still leave their mark such as Oldman perfect pitch Gordon which is always a joy, as is Morgan Freeman’s Lucius Fox. Michael Caine though deserves special recognition as Alfred even though he’s in this film a lot less than previous entries. Caine has a few scenes that deliver potent emotional punches in his roles as Bruce’s paternal figure. Together this cast creates a lush and vivid Gotham that’s alive and earned through the other film’s set up. The film rolls towards it’s final act which itself is an impressive piece of directing by Nolan since it’s pretty much a very well orchestrated version of the 1966 Batman finale where Adam West was running around with a bomb over his head. Of course that’s an exaggeration but it’s a testament to the strength of the film that it works so well as a thrilling finale giving me many a goose bumps throughout. If there are a few nitpicks they are very minor. Some of the dialogue feels clunkier that the previous entries and some character’s like Matthew Modine’s Assistant Chief serve little to no purpose. Minor issues but apparent. Regardless, you’ll leave the theater wondering how that nearly 3 hour run time passed by so fast and when you can see it again.

A

MOVIE REVIEW: CONTAGION

IN THEATERS

CONTAGION



Steven Soderbergh presents this look at what happens when an infectious disease threatens humanity through varied viewpoints from an ensemble cast, including Marion Cotillard, Matt Damon, Jude Law, Gwyneth Paltrow, Laurence Fishburne, and Kate Winslet. The Informant's Scott Z. Burns provides the script. ~ Jeremy Wheeler, Rovi

Director: Steven Soderbergh

Cast: Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law, Gwyneth Paltrow
and Kate Winslet

Release Date: Sep 09, 2011

Rated: Disturbing content and some language

Genres: Action/Adventure, Suspense/Thriller

Review:

The easiest test of how effective Contagion is how quickly you start to consciously think about touching your face, grabbing a door handle or holding hands with a loved one. Contagion is the type of film that maintains such a close proximity with reality that it feels like an extravagant “what if” documentary. Steven Soderbergh is the perfect director for this germaphobic waking nightmare. Soderbergh reins this film in, keeping the flights of fancy that countless other similar films take so easily, while maintaining his usual detached sensibility and faux naturalism. It’s a different kind of horror film that makes the mundane and common look horrific and vaguely terrifying. The assembled stars are all game even if more than a few get shafted in screen time or fulfilled story lines. Kate Winslet, Laurence Fishburne and Jude Law leave the biggest impressions each for very different reasons. The plot itself does waver a bit in the last act and it kind of stumbles towards the finish line, feeling more exhausted than accomplished. Still it’s leaves enough of an impression that it’ll make you think about touching the door on your way out of the theater.

B+

Bluray quality; Video is fantastic across the board ; Sound is equally impressive.

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.

MOVIE REVIEW: INCEPTION

IN THEATERS

INCEPTION



Visionary filmmaker Christopher Nolan (Memento, The Dark Knight) writes and directs this psychological sci-fi action film about a thief who possesses the power to enter into the dreams of others. Dom Cobb (Leonardo DiCaprio) doesn't steal things, he steals ideas. By projecting himself deep into the subconscious of his targets, he can glean information that even the best computer hackers can't get to. In the world of corporate espionage, Cobb is the ultimate weapon. But even weapons have their weakness, and when Cobb loses everything, he's forced to embark on one final mission in a desperate quest for redemption. This time, Cobb won't be harvesting an idea, but sowing one. Should he and his team of specialists succeed, they will have discovered a new frontier in the art of psychic espionage. They've planned everything to perfection, and they have all the tools to get the job done. Their mission is complicated, however, by the sudden appearance of a malevolent foe that seems to know exactly what they're up to, and precisely how to stop them. ~ Jason Buchanan, All Movie Guide

Director: Christopher Nolan

Cast: Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page

Release Date: Jul 16, 2010

Rated PG-13 for sequences of violence and sequences of action

Runtime: 2 hr. 22 min.

Genres: Suspense/Thriller

Review:

Christopher Nolan’s Inception is like watching someone play make-believe on an epic scale. Everything is large about this film, heady themes mixed with aggressive visual and multilayered story arcs crisscrossing about that one could easily be lost by sneaking out to a quick bathroom break. Nolan’s persistent dedication to playing with the audiences perceptions is very much at play here in this sci-fi thriller that is a really a heist movie at its heart. While Nolan crafts an impressively complex and intriguing storyline it’s also one that bears a lot of hallmarks of previous films, clearly showing Nolan’s inspirations for this endeavor. Sadly, this makes certain aspects of the film fairly predictable. It’s original and derivative at the same type, perhaps a purposely imposed paradox from Nolan. The cast is all in fine form and each make the most of their roles regardless of how limited it maybe in some cases. Leonardo DiCaprio is appropriately dour and determined throughout. He doesn’t quiet let this character breathe as much as he should making his realization at the end come off as a tad artificial. Marion Cotillard is clearly having the most fun in the entire film as she gets top play varied versions of the same person throughout. Her performance runs the gamut of tender and heartfelt to mildly terrifying and selfish. She commands the screen every time she’s on it and makes the strongest impression throughout. Ellen Page gives the smart ass shtick a break and plays her character well with a nice sense of wonder and discovery. Joseph Gordon Levitt, Ken Watanabe and Tom Hardy are all quiet strong in supporting roles each giving their characters recognizable traits in limited screen time. Cillian Murphy isn’t given much too do outside of looking like a mark. As a whole this is another win for Nolan’s increasingly impressive resume, even if he couldn’t resist an open ended finale.

A-

Bluray quality; Video is nearly perfect showcasing the wonderful visuals throughout; Sound mix is impressive across the board, extremely active.

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.

Movie Reviews: NINE

Sunday, December 27, 2009
Movie Reviews: NINE
IN THEATERS

NINE

Famous film director Guido Contini (Daniel Day-Lewis) grapples with epic crises in his personal and professional life. At the same time, he must strike a balance among the demands of the numerous women in his life, including his wife (Marion Cotillard), his mistress (Penélope Cruz), and his confidant (Judi Dench).

Cast: Daniel Day-Lewis, Marion Cotillard, Penélope Cruz, Kate Hudson, Nicole Kidman

Opened December 25, 2009..

Runtime: 1 hr. 50 min.

Rated PG-13 for sexual content and smoking

Director: Rob Marshall

Genres: Musical Drama, Musical

Review:

Rob Marshall’s Nine should be a home run. It’s got an Academy Award winning director and a cast that could light a night sky with star power. Unfortunately, it lacks power and emotion as it listlessly moves through its plot. Marshall brings the same energy and direction he brought to Chicago’s musical numbers; all of them here are lavishly done and visually impressive. Where Marshall falters is during the non musical segments, there is a visual disconnect and the actors seem just as disinterested as the director. It gets to the point where, during some of the slower portions, it becomes a chore to sit through them until the next song starts. Adding to the problem is what should have been the film’s strong point, its lead Daniel Day Lewis. Sadly, Lewis is miscast as the role and the singing just don’t fit this stellar actor’s talents. Lewis is at his best playing strong willed decisive characters and Guido is the exact opposite, he like a Hamlet in the 60’s. Lewis’s vocal talents are limited and his singing sounds more like spoken word poetry even at its best. His supporting starlets are a mixed bag as well. Penelope Cruz has a saucy fun number early on but disappears from the film quickly there after. Judi Dench belts out a serviceable French number in her portion and does a good job as the Guido’s friend and confidant. Kate Hudson has a small role as a flirty Vogue reporter and her number is surprisingly good. Nicole Kidman as Gudio’s muse has a nice little song and she once again shows off her impressive singing talents. The two standouts are Marion Cotillard and Stacy Ferguson aka Fergie from the Black Eye Peas. Marion Cotillard is given two numbers and she shows off her impressive local talents especially in the 2nd number. Fergie make the biggest impression singing her version of Be Italian with wonderful gusto. Her being the standout while being surrounded by some of the biggest movie talents is kind of a statement about this superficial homage to Fellini’s 8 ½. Nine should have been a meaningful movie that left a mark on our memory; instead it’s mostly forgotten as soon as you leave the theater.

C

Movie Reviews: PUBLIC ENEMIES

Saturday, July 04, 2009
Movie Reviews: PUBLIC ENEMIES
IN THEATERS

PUBLIC ENEMIES

No one could stop Dillinger and his gang. No jail could hold him. His charm and audacious jailbreaks endeared him to almost everyone—from his girlfriend Billie Frechette (Cotillard) to an American public who had no sympathy for the banks that had plunged the country into the Depression. But while the adventures of Dillinger’s gang—later including the sociopathic Baby Face Nelson (Stephen Graham) and Alvin Karpis (Giovanni Ribisi)—thrilled many, Hoover (Billy Crudup) hit on the idea of exploiting the outlaw’s capture as a way to elevate his Bureau of Investigation into the national police force that became the FBI. He made Dillinger America’s first Public Enemy Number One and sent in Purvis, the dashing “Clark Gable of the FBI.’’ However, Dillinger and his gang outwitted and outgunned Purvis’ men in wild chases and shootouts.

Cast: Johnny Depp, Christian Bale, Marion Cotillard, Channing Tatum, Giovanni Ribisi

Director: Michael Mann

Opened ..July 1, 2009..

Runtime: 2 hr. 23 min.

Rated R for gangster violence and some language

Genres: Period Film, Crime Drama, Gangster Film, Crime



Review:




Michael Mann’s Public Enemies is a well polished and measured film that sizzles but never quite boils over. Mann shooting again in HD, which is surprisingly effective considering the subject matter, effectively places the audience into an authentic 1930’s surrounding. His style allows for a sense of immediacy that fits the films subject matter. It gives the film a pop that most big budget action films lack and anyone who’s seen a Michael Mann film knows he’s a thinking man’s crime drama auteur. The action sequences are jarring and never gratuitous; the shootout in the woods is especially effective, allowing the audience to feel the sensation of the collected carnage unleashed by Tommy gun fire. Needless to say Mann knows how to set the table and here he uses his cast wonderfully to populate this meticulously recreated era. Johnny Depp is on center stage here and he’s through effective in a restrained performance as he chooses to avoid the more cartoonish aspects of Dillinger’s persona. Instead, he brings a natural charisma and bravado to the character that standout through fairly subtle movements, it’s definitely a less is more approach that works well for the film. Christian Bale character is as stoic and stiff as an over starched shirt and the script doesn’t allow for much else to do. That being said Bale does take a few opportunities to give his character a bit more depth through some small but noticeable facial expressions during that film’s latter segments. Marion Cotillard does fine work as Dillinger’s love interest even if her accent wavers as much as Depp’s Fedoras. Billy Crudup turns in a scene stealing take as J. Edgar Hoover complete with old time accent and accelerated speech. While the overall production and cast are top notch there is a very apparent detachment from the characters and story. While Mann tries valiantly to put the audience in the room with these characters, something he does very effectively, we feel very little if any connection to these characters. As the film closes the emotional punches don’t hit as hard as they should. Considering Mann’s studious and meticulously process this effect might be quite intentional, simply giving the audience a glimpse at what happened during these last few years of Dillinger’s intriguing life.




B-