Can-do koala Buster Moon and his all-star cast of animal performers prepare to launch a dazzling stage extravaganza in the glittering entertainment capital of the world. There's just one hitch -- he has to find and persuade the world's most reclusive rock star to join them. What begins as Buster's dream of big-time success soon becomes an emotional reminder of the power of music to heal even the most broken heart.
Director: Garth Jennings
Cast: Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Taron Egerton, Tori Kelly, Nick Kroll, Jennings, Peter Serafinowicz, Jennifer Saunders, Nick Offerman, Bobby Cannavale, Pharrell Williams, Halsey, Chelsea Peretti, Letitia Wright, Eric André, Adam Buxton, Bono
Rated PG for some rude material and mild peril/violence
Runtime:1h 50m
Review:
Garth Jennings's Sing 2 is a fun breezy family film that's easy to enjoy. Sing 2 doesn't break any new ground or really dig deep into any big themes so it's not quite as impactful as some of Pixar's films. It understands what it is and provides a fizzy, colorful jukebox musical that's always fun and entertaining regardless of how old you are. Matthew McConaughey leads the film as the go getter koala Buster Moon. Much like in the original, you get the feeling that McConaughey really enjoys voicing this character because he disappears into the role so much so that you occasionally forget it's him behind the microphone. Reese Witherspoon, Scarlett Johansson, Taron Egerton and Tori Kelly all return with each getting a chance to show off their impressive singing voices. Newcomers Bobby Cannavale, Chelsea Peretti and Halsey are all great fun with the latter clearly having a great time. Bono who plays the reclusive rock star lion is far better than expected in his limited role. Sing 2 is an easily digestible family film that works well as mindless entertainment for kids and parents alike.
Mickey Pearson is an American expatriate who became
rich by building a marijuana empire in London. When word gets out that he's looking to cash out
of the business, it soon triggers an array of plots and schemes from those who
want his fortune.
Director: Guy Ritchie
Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle
Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant
Release Date: January 24, 2019
Genres: Action, Crime
Rated R for violence, language throughout, sexual references and drug
content
Runtime: 1h 55min
Review:
The Gentlemen is a fun return to the genre that made Guy Ritchie a name
back in the early 2000s. It’s easy to
forget how fun his older films like Lock Stock and Smoking Barrel and Snatch
were because his subsequence films have fallen into a general blandness that’s
made unmemorable. That’s not to say that
certain films like his Sherlock Holmes movies or his underrated The Man from
U.N.C.L.E. aren’t fun but they felt way too polished and glossy. The Gentlemen is a film that’s far better
than it deserves to be. The plot isn’t
quite as clever as it thinks it is but the cast of characters and actors make
the film so incredibly fun and watchable that you can overlook some of those
failings. Each of the cast delivers
performances that make it clear that they are having the time of their lives in
this film. McConaughey gives us a solid
mix of charm and underling menace with Charlie Hunnam delivering one of best
film work thus far. The supporting cast
shines throughout with Hugh Grant, playing against type with great gusto, and
Colin Farrell leaving the biggest impressions.
The story drags here and there but when the cast is clicking it’s the
kind of throwback that makes you remember why people noticed Guy Ritchie’s type
of filmmaking in the first place instead of something like Aladdin.
Yesterday it was off to the pictures for back-to-back screenings of Guy Ritchie's the Gentlemen.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
The kingpin of Britain's largest marijuana enterprise attempts to ease into retirement and finds there's nothing easy about it.
Dear reader(s), it's important for me to note that I saw the Gentlemen twice yesterday. While I often see movies more than once (hey there, Jack Sparrow!), seldom do I see them more than once before I write about them. In this case, it made a difference of a half to a full point improvement on the film's final Weasley score, so that's material enough to warrant a mention.
The Gentlemen is a rollicking tale that's as clever as it is crass. A wordy script is liberally seasoned with swearing and slurs, weaving its way from twist to unexpected turn. The movie gets off to a bit of a slow start (which I found much less noticeable the second time around), but once it gets rolling, it is ROLLING, through a tense, violent, funny, and often surprising tale. The Gentlemen is blessed with a cast that is perfect in every way. Matthew McConaughey is crafty, dashing, and just the right amount of menacing as the mogul with an eye on retirement. Hugh Grant is hilarious as a sleazy PI looking out for number-one, while Henry Golding impresses as an up-and-comer with his eye on the prize. Downton Abbey's Michelle Dockery holds her own with the guys, no refined Lady Mary, this one, but, per usual, it's Colin Farrell who steals the show with a smart, funny turn. Annnnnnnd...to my Charlie People (and all you future Charlie People): this is a GREAT role for Charlie Hunnam. He gets just about the most screen time of anyone in the terrific ensemble, and he absolutely nails it. One of the reasons I'm proud to call myself a Charlie Person (and why I continue to evangelize new Charlie People) is because, despite his obscenely good looks, Charlie Hunnam has never traded on that commodity. He takes interesting roles in interesting projects, almost always aiming higher than he really has to. As McConaughey's smart, stoic, sweatered wing man, Hunnam is given a great opportunity to shine in the Gentlemen, and shine he does. One of my favorite performances from him to date.
The Gentlemen clocks in at 113 minutes and is rated R for "violence, language throughout, sexual references, and drug content." (I really, really feel like the "drug content" should be first there, but oh well.)
The Gentlemen is a humorous, exciting, well-crafted, and perfectly-cast film that takes viewers on a wild ride and effectively corrals an almost impossible number of moving pieces.
Of a possible nine Weasleys, the Gentlemen gets eight. Until next time...
Dearest Blog: After a two-week hiatus, yesterday it was off to Marquee Cinemas for The Predator and White Boy Rick.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on my agenda: The Predator.
They're baaa-aaack...
I have sometimes been accused of using too many words, so today I'm going to tell you in not very many words, dear readers, that this movie is very stupid and I didn't like it. I love the original Predator. It is the only film in cinema history that has ever actually scared me. The latest entry in the series features hokey effects, lame dialogue, and action sequences that are frequently too dark to see much of anything. The tone feels wrong from the outset, with crass, unfunny stabs at humor. I fell for the entire cast quickly and against expectations, which was enough to provide the occasional briefly-entertaining interlude, but it was far too little to redeem the whole.
The Predator runs 107 minutes and is rated R for "strong bloody violence, language throughout, and crude sexual references."
The Predator exploits a popular franchise for a cash grab, an all-too-familiar Hollywood tale. Of a possible nine Weasleys, The Predator gets four.
Next on the docket, White Boy Rick.
In the Just Say No era, a young man from a troubled family says yes.
White Boy Rick is the disturbing true story of Rick Wershe, Jr., a Detroit-area teen who, seeing no other escape from his family's dismal existence, begins dealing drugs and ends up an FBI informant. The grimy reality of 1980s Detroit is the perfect backdrop for this depressing tale. It's difficult to watch, but outstanding work by the cast makes it worth your effort. There were some spots where I felt the film moved too quickly (such as explaining Rick's initial acceptance by his gang), but it's a petty quibble with a well-done picture that you'll be thinking about long after you leave the theater.
White Boy Rick clocks in at 110 minutes and is rated R for "language throughout, drug content, violence, some sexual references, and brief nudity."
White Boy Rick is a dark tale buoyed by superb performances across the board.
Of a possible nine Weasleys, White Boy Rick gets seven.
Dearest Blog: Yesterday it was off to Marquee Cinemas for Detroit and The Dark Tower.
Spoiler level here will be mild, nothing you wouldn't know from the trailers or the news.
First on the docket, Kathryn Bigelow's Detroit.
During the Detroit Rebellion of 1967, a handful of city cops terrorize young people staying at the Algiers Hotel.
Dear reader(s), you know when I call a movie "must-see," it's usually gonna be some big, dumb actioner with a current obsession not *quite* getting enough screen time for my liking. Evidence: that latest Transformers movie that everybody hates? Yeah, that'll be skirting my Top Ten come year's end. However, here I must break with tradition to suggest emphatically that everyone get out and see Detroit. It is a very, very important movie and a timely reminder of what happens when we allow some people to be treated as less than others.
Detroit opens with a clever sequence that brings viewers who might not be familiar with this event up to speed, and from there it's a slow burn into chaos. The movie is never in a hurry to get where it's going, yet there are millions of things happening all at once. Point of view is personal rather than general, with dialogue so natural as to seem unscripted. I'm no fan of Bigelow's jiggly camera work, but I couldn't look away from the terrifying events playing out onscreen. There is no sugar-coating, there are no cookie-cutter characters, and the performances are uniformly extraordinary. Of special note, as usual, is John Boyega in a smart, sympathetic turn. The violence and torment are up close and personal, at times nearly impossible to watch. The movie builds to its unsettling climax with such tension you might not even realize you're holding your breath. This is no fun summer flick; it's challenging and exhausting. (For the record, I ran straight to the ladies' room and threw up when it ended, and it's had me in tears more than a few times since.) Detroit is smart enough not to leave it to viewers to distinguish between "based on a true story" and "inspired by actual events;" it freely acknowledges that its account relies on the recollections of people who were under not-a-little duress during these events. No fun summer movie, Detroit will stay on your mind long after you exit the theatre.
Detroit clocks in at 143 minutes and is rated R for "strong violence and pervasive language."
A headline I saw earlier this morning said, "Detroit is going to hurt, but it's worth it," and that's about the best way to sum up this brilliant but difficult movie.
Of a possible nine Weasleys, Detroit gets eight.
Fangirl points: Not to take away from the seriousness of this picture, but I can't imagine a more beautiful human than Anthony Mackie exists anywhere in the universe. *le sigh*
Next on my agenda was the first big-screen shot at Stephen King's Dark Tower series.
The Last Gunslinger hopes to stop the Man in Black from toppling the Dark Tower, which protects the world from evil...or something like that. (I'm pretty close, right?)
Not having read this book series from Stephen King, and having heard nothing good about this adaptation prior to seeing it, I was prepared to state that--while I understood it might not meet the expectations of book fans--the movie is perfectly passable entertainment for the rest of us.
Sadly, after nearly nodding off twice in just an hour and a half, I had to rethink that opening.
The Dark Tower is just a bad movie, and that's without even being able to speak to its failings by comparison to the books. It feels like, at some point very early in its making, all the Stephen King forces in the universe decided to focus their positive energy on the remake of It and deserted this entirely. (I guess the good news is my pretty busy cinema seemed to soil its collective drawers at the It trailer that preceded Dark Tower, so King may be redeemed rather quickly.) The Dark Tower's characters are so broadly drawn you'll only care what happens to any of them if you have a vested interest in the actor(s). Shallow storytelling provides very few answers, but leaves lots of question marks, for anyone unfamiliar with the source material. Clearly this was meant to set up a franchise, but if it's to do so with any success it'll need serious retooling. Man in Black Matthew McConaughey is as bland as ever (can't spell "McConaughey" without "ugh!") as a paper-doll baddie who's about as menacing as my little Cockapoo. Idris Elba is smokin'--and I mean SMOKIN'--hot as the Gunslinger, but the role is so poorly fleshed out it scarcely taxes his ability or charisma. Effects are pedestrian at best, and the action (such as it is) is accented by a comically-melodramatic score.
The Dark Tower runs the slowest 95 minutes ev-ah and is rated PG13 for "thematic material, including sequences of gun violence and action."
I truly had hoped to buck the trend and declare the Dark Tower passable entertainment for a summer afternoon, but, sadly, it can't meet even that low bar. Of a possible nine Weasleys, the Dark Tower gets two.
Fangirl points: OMG you guys...Idris Elba! (Teeny-weeny spoiler alert: When a boy says to the Gunslinger, "I dreamt about you!" I'm pretty sure I said out loud to the screen, "Me too!")
Dearest Blog: After missing out last week, this weekend it was off to Marquee Cinemas for four--yes, FOUR--big-screen blasts.
Spoiler level here will be mild, nothing you wouldn't know or have guessed from the trailers.
First on my agenda: Resident Evil: The Final Chapter.
Alice makes a last(ish) stand against the Umbrella Corporation.
With this ostensibly "final" chapter of Resident Evil coming so quickly on the heels of Underworld's potential finale, for me it was inevitable to draw comparisons between the two badass-broad-fronted movies. I think Resident Evil comes up on the short end, but it's still a fun watch.
Like Underworld: Blood Wars, RE6 kicks off with a refresher on how we got to where we are. In both cases, this proved a waste of time. These movies do a good enough job of (over)explaining themselves as they go along that a person wouldn't be too lost to enjoy, regardless of what he did or didn't remember. It's to Milla Jovovich's benefit that acting chops are immaterial, as she acrobatically faces off with living and undead. Iain Glen is about as subtle a baddie as Snidely Whiplash. Though it's hard, these days, not to see him as the perpetually-friendzoned Ser Jorah Mormont, he does his best to prove himself a Wicked, Wicked Person here. The 2D effects are nothing to write home about, and certainly nothing to recommend the 3D upcharge and headache. There's some nice disaster footage (think Deepwater Horizon, if everybody hated the undead instead of the planet), and some truly wacky stunts, but much of the action is so dark all you can do is cross your fingers and hope your favorite character is still standing when it finally gets light again. Clumsy storytelling makes the film feel overlong. There's a nice thank-you message from director and star before the show, and, if it turns out this really is The End, it's a satisfying--if hokey--finish.
Resident Evil: The Final Chapter runs 106 minutes and is rated R for "sequences of violence throughout."
The premise is less interesting and the cast less enjoyable than Underworld, but Resident Evil: The Final Chapter is big, dumb fun. Of a possible nine Weasleys, Resident Evil: The Final Chapter gets four.
Next on the docket, xXx: The Return of Xander Cage.
The original Triple X is back in business.
Well, dear reader(s)... Now. We. Are. Talking. Were you in the market for a great, fun actioner? Well, you found it! xXx: The Return of Xander Cage is filled with absurd stunts, good-natured humor, pretty faces, and hardbodies all 'round. The plot obviously won't tax those little grey cells too much, but there are a few nice surprises wrapped around edge-of-your-seat action and a truly likable cast. And did I mention ridiculous stunts? Over the top in the most fun way. Vin Diesel knows his niche as well as any actor, and, while there may come a day when I no longer get a kick out of watching him do what he does, it is not this day.
xXx: The Return of Xander Cage clocks in at 107 minutes and is rated PG13 for "extended sequences of gunplay and violent action, and for sexual material."
It's not brain surgery, but The Return of Xander Cage is about as much fun as I can imagine having at the cinema. Of a possible nine Weasleys, xXx: The Return of Xander Cage gets seven.
Movie Catchup Day Two kicked off with Gold.
Against all odds, a down-on-his-luck prospector and a geologist strike gold in Indonesia.
Initially, Gold appeared to be another potential awards goldmine (see what I did there?) for Matthew McConaughey, but his loony performance doesn't help this too-talky tale get off the ground. McConaughey underwent another extreme physical transformation to portray Kenny Wells, a doughy dude with a receding hairline, and nothing says "Oscar bait" like a handsome actor who looks nothing like himself in a based-on-a-true-story role. Sadly, neither the performance nor the picture is very memorable, and Wells' appearance is played mostly for mean-spirited laughs. Edgar Ramirez is the film's highlight, understated as Wells' partner Michael Acosta. The picture moves slowly and is never really that interesting, thanks to unlikable characters and twists that can be seen a mile out. Ultimately it's a nasty little tale about greed and willful cluelessness, The Wolf of Wall Street without the gripping relevance.
Gold runs 121 minutes and is rated R for "language throughout and some sexuality/nudity."
Gold is a dull, disappointing movie with little to recommend it. Of a possible nine Weasleys, Gold gets four.
Fangirl points: An Iron Maiden t-shirt is pretty prominent in one important scene. This is not a drill: an Iron Maiden t-shirt is in the movie!
The final installment on the weekend's busy schedule: Oscar hopeful Lion.
A young man who was lost as a child in India, then adopted by an Australian couple, searches for his birth family.
Lion is a moving true story of love and, if we're being honest, not a little good fortune. The film points out that over 80,000 children go missing in India each year, but this is a story about one of the lucky ones. Lost and miles from home, Saroo faces many threats to his well-being before being adopted by a childless, loving Australian couple. The setup drags on too long, and, for my money, the film would have been better served if it were trimmed a bit and/or spent more time on the young man's search for his birth family and less on the travails of his younger self. Having said that, newcomer Sunny Pawar is delightful and absolutely heartbreaking as the younger Saroo, owning the screen like a seasoned pro. Early scenes of his time on the streets are tense and uncomfortable, but effective. Nicole Kidman and David Wenham are almost too good to be true as the boy's adoptive parents, challenges touched on but mostly airbrushed like an unfortunate wrinkle before botox. (Sorry, Nicole.) As grownup Saroo delves ever more deeply into his search, Dev Patel is brilliant; eager and terrified, desperate for information, but hiding his intent from even those who might be able to help. It's a testament to the power of this story that, in an age where everyone seems to have forgotten how to behave appropriately at the cinema, there was nary a peep from my audience for the duration.
Lion clocks in at 118 minutes and is rated PG13 for "thematic material and some sensuality."
Lion is a sobering but uplifting tale of love and luck. Of a possible nine Weasleys, Lion gets seven.
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!
Dearest Blog: Yesterday it was off to the chariot races...erm...off to Marquee Cinemas for Ben-Hur and Kubo and the Two Strings. Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on the docket, the ill-advised remake of Ben-Hur. An exiled prince returns home to seek revenge on the brother who wronged his family.
Regular reader(s) may recall that religious-themed movies fall at or about Nicholas Sparks-level on the list of "Things I Endure Only Under Duress."
I have no great love for 1959's Ben-Hur, but it's an iconic enough piece of cinema that even I recognized this remake as a bad idea. However, I think any movie with Jack Huston is a very good idea indeed, so I headed out to cheer on my man in his silly chariot race.
*sigh* The good news is, while Ben-Hur is far from a great movie, it's not nearly as terrible as I'd feared. Let's get the bad out of the way first, shall we?
This remake is a good 90 minutes shorter than its predecessor, but it still goes on a bit. Some of the dialoge is wrong for the characters and/or the time period, and some of it is just plain wrong.
The first act features some weirdly awkward time hops, the second act is a criminal waste of Morgan Freeman, and the ending is so cheesy it's almost physically painful, but....... Jack Huston is in nearly every single frame of this picture.
I mean, almost every last one. When a guy's the sole reason you plunk down your ten bucks for a ticket, it's hard to complain about a movie that ponies up like that.
Huston is a truly great actor and Ben-Hur doesn't come close to giving his talent a workout, but he does as well as anyone could with it.
There are some gorgeous costumes and nice looking sets, and the film's sound effects are particularly well done. I'm not a believer, myself, but Jesus (whose appearance amounts to little more than a cameo), provides a timely and important reminder that we have to start being better to each other. Really, people. Finally, if the chariot race is what puts butts in the seats, that sequence is a well-executed nail-biter, even if you already know the outcome.
Ben-Hur clocks in at 124 minutes and is rated PG13 for "sequences of violence and disturbing images."
Ben-Hur isn't quite the disaster most anticipated, but that's hardly a ringing endorsement. Oh, and, Jack...if the best of your last three movies is Pride and Prejudice and Zombies, it might be time to have a little chat with the agent.
Of a possible nine Weasleys, Ben-Hur gets five. (But I'll probably see it again because...SO MUCH JACK HUSTON!)
Next up: Kubo and the Two Strings. A boy sets out on a quest to find the magical items that will protect him from an old enemy.
Kubo and the Two Strings is a gorgeous telling of a gorgeous story. The art and animation are breathtaking and unique, and the tale reflects its culture while being signifcant and relatable to everyone.
Big-name voice talent, in the form of Charlize Theron and Matthew McConaughey, adds to the film's appeal, as does a lovely score by Dario Marianelli. (Be sure to stick around for Regina Spektor's haunting cover of "While My Guitar Gently Weeps" over the end credits!) On the downside, the story is a little slow at times, and some parts may be too scary for younger viewers.
The 3D is also kind of pointless, so don't waste the extra three bucks if you can avoid it. Kubo and the Two Strings runs 101 minutes and is rated PG for "thematic elements, scary images, action, and peril." 2016 is proving to be a banner year for really great animated offerings, and Kubo and the Two Strings is among the best.
Of a possible nine Weasleys, Kubo and the Two Strings gets seven and a half.
Dearest Blog: Today it was off to Marquee Cinemas for Independence Day: Resurgence and The Free State of Jones.
Spoiler level here will be mild, nothing that hasn't been divulged by the trailers.
First up: Independence Day: Resurgence.
Two decades after the first Independence Day invasion, aliens prove they can't take a hint.
Well, dear reader(s), if you thought this reboot was unnecessary before, just wait 'til you see it!
Resurgence features some pretty imposing disaster effects, and, if you're a fan of the first one, there are plenty of familiar faces to indulge your nostalgia, but unfortunately, the movie doesn't have much else going for it.
Resurgence gets off to a slow start and, despite the fact there's plenty of action, it never really seems to pick up. Wooden performances exacerbate clunky dialogue, emotional moments are worse than contrived, and the "one world, one people" message is so heavy-handed I kept expecting everyone to sit in a circle and sing Kumbaya.
If I'd rolled my eyes any harder, I'd be writing this review out the back of my head.
Independence Day: Resurgence runs 120 minutes and is rated PG13 for "sequences of sci-fi action and destruction, and for some language."
Independence Day: Resurgence is a silly, unnecessary exercise in bad science fiction.
Of a possible nine Weasleys, Independence Day: Resurgence gets four.
Next on the agenda: Free State of Jones.
Tired of poor people dying to keep rich people rich, a Confederate deserter declares his indpendence.
Movie lovers: would you believe me if I told you Free State of Jones is the *less* preachy of the weekend's two new epics?
I know, right??
While it does run overlong and is in no hurry to get anywhere, Free State of Jones never seems to drag. Matthew McConaughey, Gugu Mbatha-Raw, and Mahershala Ali headline a stellar cast that makes a pretty average drama seem much better.
The film is gruesome and hard to watch at times, but it boasts extraordinary production design and a lovely score by Nicholas Britell. It also serves as an important and timely reminder that being horrible to others is a lousy idea that invariably lands a person on the wrong side of history.
Free State of Jones clocks in at 139 minutes and is rated R for "brutal battle scenes and disturbing graphic images."
It'll be long forgotten come awards time, but Free State of Jones is a pretty solid historical drama that's worth your movie dollar.
Of a possible nine Weasleys, Free State of Jones gets six and a half.
Dearest Blog, yesterday I set off for the cinema with a chip on my
shoulder about excessively-long movies. On the docket: Interstellar
(ahem) and Big Hero 6.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First up, Christopher Nolan's newest epic, Interstellar.
With Earth falling to ruin, a group of scientists heads into space to find mankind some new digs.
My
reaction to the announcement of Interstellar's runtime: "Are you
%&$#@!& kidding me??" Most movies that exceed two hours don't do
much to earn the extra screentime, and I well and truly feared I might
be lulled to sleep by three hours of Matthew McConaughey's lazy drawl. I
repentantly admit I should have trusted in the Genius of Nolan.
Interstellar
is not a perfect movie. It's VERY long and, while it's too complex to
say, "Cut that ten-minute car chase and we're good!" a bit of cropping
here and there would have served it well. The performances are solid
across the board, but three hours of McConaughey IS a lot to take, and I
can't remember the last time I wanted to punch a fictional character in
the face as much as I did Anne Hathaway's. (I'm not among that curious
lot who despises Hathaway; on the contrary, she's a favorite of mine,
but this character...not so much). Some dialogue is inexcusably cheesy
for a movie that so wants and expects to be taken seriously. The score
is strangely and obtrusively loud at times.
The good news is none of
that keeps Interstellar from being a very, very good movie that easily
holds your attention for the duration. Performances are solid across the
board. Hans Zimmer's score is beautiful, despite those few jarring
blasts. I suspect those even may be intentional, as they create a stark
contrast with the absolute silence that follows. Interstellar boasts a
smart, intricate plot that takes many turns I did not expect. The pacing
is deliberate--almost a full hour is devoted to the setup--but it
doesn't feel slow or even all that long. Finally, Interstellar makes
Gravity look like a first-year film-school project; it is absolutely
magnificent and should be seen on the biggest screen you can find.
Interstellar
clocks in at 169 minutes (you heard me) and is rated PG13 for "some
intense perilous action and brief strong language."
Interstellar
won't be everyone's cup of tea.
The length may seem not just daunting,
but pretentious to some, and the story perhaps too convoluted.
To me,
though, it's a stroke of pure cinematic brilliance that has (for the
moment, at least) cured me of questioning the wisdom of Christopher
Nolan.
Of a possible nine Weasleys, Interstellar gets eight.
Next on the agenda was Disney's animated feature Big Hero 6.
A group of young scientists teams with the world's cuddliest robot to solve a mystery that strikes close to home.
Well,
dear reader(s), you know how I'm always saying low expectations are the
key to a happy life? Throw that out the window and have the highest
expectations you can imagine for Big Hero 6 and you still won't be
disappointed. I loved this so much I hardly know where to start,
but.......
...I guess we'll start with the obvious. When it comes
to animation, the biggest thing for me is always going to be: How good
does it look?
Big Hero 6 looks so amazing it jumps right off the screen,
and that's just in 2D. In 3D, I daresay it would be a feast for the
eyes like no other. The artwork and colors are stunning, and the action
sequences are possibly the most eye-catching I've ever seen. Big Hero 6
has plenty of great messages for kids (and adults), but it never feels
like one of those Message Movies that beats you over the head with its
point. The characters are terrifically diverse; I can't imagine there's a
kid anywhere who won't see himself and his own potential in at least
one of them.
The storyline is sad at times--though realistically, not
morosely, sad--but a hopeful tone runs throughout. Big Hero 6 is smart,
interesting, and laugh-out-loud funny, a perfect movie cocktail for
children and adults alike. Annnnnnnd...most importantly, Baymax is the
cutest animated lead since Nemo. I want one.
Big Hero 6 runs 108 minutes and is rated PG for "action and peril, some rude humor, and thematic elements."
Big
Hero 6 is my favorite animated film of 2014. I liked it even better
than the Lego Movie, and it's guaranteed a spot in my year-end top ten.
Of a possible nine Weasleys, Big Hero 6 gets eight and a half.
Until next time...
PS: Ever notice you can always spell "McConaughey" correctly if you only remember there's an "ugh" in the middle? ;-)
In Earth's future, a global crop blight and second Dust Bowl are slowly
rendering the planet uninhabitable. Professor Brand (Michael Caine), a
brilliant NASA physicist, is working on plans to save mankind by transporting
Earth's population to a new home via a wormhole. But first, Brand must send
former NASA pilot Cooper (Matthew McConaughey) and a team of researchers
through the wormhole and across the galaxy to find out which of three planets
could be mankind's new home. ~ Jason Buchanan, Rovi
Director: Christopher Nolan
Cast: Matthew McConaughey, Anne Hathaway, Jessica
Chastain, Michael Caine, Casey Affleck.
Release Date: Nov
07, 2014
Rated PG-13 for some intense perilous action and brief
strong language
Runtime: 2 hr. 49 min.
Genres: Action/Adventure, Drama
Review:
Interstellar aspires to be great but Christopher Nolan’s
newest film never reaches such heights.It’s a solid film even if it tugs at hearts strings a bit too much for
my liking.The cast deliver somber,
serious performances which is a clear reflection of how dedicated they are to
their director.Nolan delivers some
majestic visuals which will remind even casual movie goers of a certain sci-fi
classic.The biggest problem with all
the nods to 2001 is that it begs the comparison to the Kubrick classic.A comparison it never stands a chance to
win.On its own terms it’s a weird
hodgepodge of Contact, 2001 & the Lost in Space remake from 1998.That’s not to say it’s not an enjoyable ride
which is the good news especially considering the nearly 3 hour runtime.It’s bloated and could have been trimmed
substantially without losing any of its punch.Instead it’s a film that thinks it’s a lot better than it actually is.
Dearest Blog, in a weekend where my cinema rolled out all the awards nominees at once and I should have seen six movies, I feel pretty good about the fact that I managed three: Jack Ryan: Shadow Recruit, Dallas Buyers Club, and 12 Years a Slave. Though most of the world has probably already seen at least two of those, we'll keep spoilers to a minimum, nothing you wouldn't know or guess from the trailers.
First on the weekend's agenda was the new release Jack Ryan: Shadow Recruit.
Newly-minted agent Jack Ryan gets himself in hot water after discovering a terrorist threat from Russia.
First, dear Blog, let me say how comforting it is to have good ol' Mother Russia back to her cinematically villainous ways. I'm a child of the Cold War, and I have to admit I'm just not feelin' more recent threats like North Korea and the Taliban.
In his first outing as the iconic Ryan, Chris Pine is younger and less polished than his predecessors, but no less entertaining. He's a good fit for the role, and I won't mind if he's the new face of a(nother) franchise. Kenneth Branagh is a bit over the top, but enjoyable, as the big baddie, but, sadly, Kiera Knightly is a casting misstep as Ryan's fiance. She's flat, unsympathetic, and her generic American accent is awful.
Good action sequences and interesting (if dubious) technology keep Shadow Recruit moving at a nice pace, and it doesn't overstay its welcome.
Jack Ryan: Shadow Recruit runs 105 minutes and is rated PG13 for "sequences of violence and intense action, and brief strong language."
Especially in this glittering awards season, there's nothing special or memorable about Shadow Recruit, but if you're looking for a couple hours of fun escapism at the movies, don't let snotty reviewers talk you out of this one.
Of a possible nine Weasleys, Jack Ryan: Shadow Recruit gets six.
Number two on my weekend's agenda was the much-anticipated Dallas Buyers Club.
After discovering he has HIV, a Texas rodeo rider challenges the law and his own prejudices in his attempts to find treatment.
With Golden Globes, Critics' Choice, and SAG awards already under Matthew McConaughey's and Jared Leto's belts, nobody needs this blog to reassure them of the quality of performances in Dallas Buyers Club; it goes without saying they are simply amazing. The supporting cast, including Denis O'Hare and Jennifer Garner, also does a fine job.
The story is at times sad and difficult to watch, but never miserable just for effect. It doesn't bog down and engages from the first second to the last.
Dallas Buyer's Club clocks in at 117 minutes and is rated R for "pervasive language, some strong sexual content, nudity, and drug use."
Reviews say as much about the reviewer as they do about the subject, and when it comes to this year's awards contenders, Dallas Buyers Club is the one telling the story that matters to me, personally. I'm grateful the people telling it have done such an extraordinary job.
Of a possible nine Weasleys, Dallas Buyers Club gets eight and a half.
The final installment in my weekend triple-header was the lauded drama 12 Years a Slave.
A free black man is torn from his life in New York and sold into slavery in the south.
Again, any plaudits I can heap on this film are pretty redundant at this point. It's cleaning up at the major awards shows and, while it's not my personal best picture, I wouldn't say doesn't deserve the accolades, either.
The cast, awards-acknowledged (Chiwetel Ejiofor and Lupita Nyong'o) and not (Benedict Cumberbatch, Michael Fassbender, Alfre Woodard, Brad Pitt, Garrett Dillahunt, and especially Paul Dano), is extraordinary, and the story is as fascinating as it is disturbing. For my money, the movie occasionally over-does it, dragging some shots and scenes on longer than necessary. There's no denying that it works at times to set a mood or maintain tension, but other times it just made me look at the clock. In the end, it's a small flaw to forgive in what's otherwise a truly special picture.
12 Years a Slave runs 134 minutes and is rated R for "violence/cruelty, some nudity, and brief sexuality."
Tough as it is to watch, 12 Years a Slave should be mandatory viewing for everyone, period. It's just that important.
Of a possible nine Weasleys, 12 Years a Slave gets eight.
Now I've done my duty with awards nominees and have to get out to see The Hobbit again one day this week! Until next time...
When "Chris Pine on a motorcycle" is an option, you didn't think I'd pick a photo from one of those other movies, did you?
Martin Scorsese reteams with Leonardo DiCaprio for this adaptation of Jordan Belfort's memoir about his exploits as a crooked banker. Terence Winter provides the screenplay. Jonah Hill and Oscar winner Jean Dujardin co-star. ~ Jeremy Wheeler, Rovi
Director: Martin Scorsese
Cast: Leonardo DiCaprio, Jonah Hill, Jean Dujardin, Matthew McConaughey, Kyle Chandler.
Release Date: Dec 25, 2013
Rated R for graphic Nudity, Drug Use, Language Throughout, Some Violence and Strong Sexual Content
Runtime: 2 hr. 59 min.
Genres: Drama
Review:
The Wolf of Wall Street is an extended journey into the depraved and debauched life of Jordan Belfort. It’s an electric film with an incredible turn by Leonardo DiCaprio which should earn him an Oscar nomination at the very least. Scorsese delivers his best film since Goodfellas while using a similar structure and energy throughout. The film clocks in at 3 hours but it’s a dizzying dive into the story which beats you into submission. DiCaprio perfectly encapsulates the sleazy charisma and charm of Belfort. The Steve Madden IPO speech is an instant classic which should have ended with a title card saying “For your Consideration.” Jonah Hill is just as impressive in a supporting role which is funny and unpredictable at the same time. The film as a whole is incredibly funny with the hilarity increasing as Belfort’s life crumbles more and more. The ending is rather interesting as it seems to point the finger back at the victims. It’s a rather interesting way to end the story but fitting at the same time.
Channing Tatum stars in this drama following an upstart male stripper (Alex Pettyfer) who is mentored by a veteran dancer, played by Tatum. Steven Soderbergh directed from a script by Reid Carolin, whose screenplay was inspired by Tatum's work as a stripper before he made it in Hollywood. Matthew McConaughey, Matt Bomer, Joe Manganiello, Cody Horn, and Olivia Munn co-star. ~ Jeremy Wheeler, Rovi
Director: Steven Soderbergh
Cast: Channing Tatum, Alex Pettyfer, Matthew Bomer, Joe Manganiello, Matthew McConaughey
Release Date: Jun 29, 2012
Rated R for language, Brief Graphic Nudity, Pervasive Sexual Content and Some Drug Use
Runtime: 1 hr. 50 min.
Genres: Comedy
Review:
Magic Mike has a certain audience in mind and needless to say I’m not quite the demographic. Regardless, Steven Soderbergh’s take on the world of male strippers is surprisingly well made and acted. Soderbergh’s film is a visually energetic and decadent look into a world which is all about appearance but ultimately hollow. The story itself feels like many a rock star film with similar trajectory, pitfalls and moments of clarity for the main character. Sprinkle in a bit of Saturday Night Fever with plenty of male thongs and assless chaps. In the lead Channing Tatum delivers his best performance of his career. He’s naturalistic and incredibly comfortable in the role, for obvious reasons, displaying the conflicted nature of his character. Matthew McCounaughey feels equally comfortable as the self deluded owner of the club. It’s the most committed I’ve seen him in a role in a long while, probably because he felt a certain connection with the character. Alex Pettyfer is impressively non descript for the first half of the film and utterly wasted in the 2nd, the transition feels unnatural and the performance doesn’t help. Cody Horn is even worse as her sister with some truly terrible displays of acting. The remaining chiseled and greased cast is mostly relegated to the background, stripping to insanely complex chorography especially when you consider it’s supposed to be a seedy male strip club. I do give the film credit for not taking the easy road, this could have easily been lighthearted fluff like Striptease or Showgirls.
