A famous horror writer finds inspiration for her
next book after she and her husband take in a young couple.
Director: Josephine Decker
Cast: Elisabeth Moss, Michael Stuhlbarg, Odessa Young and Logan Lerman
Release Date: June 5, 2020
Genres: Biography, Drama, Thriller
Rated R for sexual content, nudity, language and brief disturbing images
Runtime: 1h 47min
Review:
Shirley is an art house film through and through for better or
worse. Josephine Decker’s engaging and
unsettling film recalls the classic film Who's Afraid of Virginia Woolf? This fictional account of Shirley Jackson’s
life uses a lot of the same skeletal frame of that film but it’s done in a
decidedly disorientating way. Some of
the sequences work better than others while some just feel pretentious. Luckily the film is anchored by another
stellar performance by Elisabeth Moss.
There is a tempered but palatable ferocity in every shot she’s in;
needless to say she’s always the most interesting thing on screen. Moss and
Odessa Young make an interesting pair on screen especially as the plot moves
towards its finale. Young is solid
throughout but it’s hard to compete with Moss’s electric turn which may
ultimately lead to awards for her. The
film as a whole tends to be more hit or miss since some of the choices work
better than others.
Dearest Blog: A heavy slate of January releases and an unusually chaotic real life (ughhhhh...real life!) have conspired to set me behind at the cinema, so yesterday I burned an afternoon's PTO to head to Marquee Cinemas for a pair of films that didn't particularly excite me: The Commuter and The Shape of Water. If you thought one was markedly better than the other, you would be mistaken.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First up: The Commuter.
Liam Neeson Liam-Neesons his way through the sort of crisis that seems to follow Liam Neeson, this time on a commuter train.
A moviegoer could be forgiven for assuming that The Commuter is merely Taken on a train...or Non-Stop on a train...or Run All Night on a train, but I'm sorry to tell you it's a whole lot worse than that. Sure, the Taken movies are getting samey, but I enjoyed all but the middle one. Non-Stop was pretty good fun, and I actually loved Run All Night. The Commuter's every turn is obvious, every character as easy to figure out as the ending of a Nicholas Sparks novel. The dialogue is pitiful, and the delivery just as bad. The fight scenes are ho-hum, and even the daring train stunts are so poorly executed as to be laughable. Sam Neill and Patrick Wilson, two pretty extraordinary actors, are wasted on small, easy-to-peg roles. If there's any good news, it's that the insufferable Vera Farmiga enjoys similarly little screen time. When I heard Liam Neeson planned to retire from action films, I felt a bit sad, but if this is what he's being offered, it's probably the right decision.
The Commuter clocks in at 105 minutes and is rated PG13 for "some intense action/violence, and language."
One of The Commuter's early scenes shows a poster for Paddington 2 hanging on a train station wall, almost as if the movie itself were pointing you towards a better use of your time. Of a possible nine Weasleys, The Commuter gets three.
Fangirl points: Shazad Latif! ("Yes I can hear you, Clem Fandango!) Kingsley Ben-Adir!
Next on the docket: awards darling The Shape of Water.
A laboratory cleaning lady forms a relationship with a captive creature.
I did not expect to love The Shape of Water. I did not expect it to be my top pick for Best Picture. I DID expect it to be a great movie that just isn't my cup of tea, but I was mistaken.
The Shape of Water is extraordinary on several fronts, the first and most obvious being its performances. This movie is an acting master class! Sally Hawkins is breathtaking in the lead role, expressive and sympathetic. Michael Shannon and Richard Jenkins, on opposite ends of the likability scale, turn in layered performances. Michael Stuhlbarg is incredible as usual, and I'm delighted he continues to get such high-profile work; however, it's Octavia Spencer who is the film's highlight, sometimes serving as the movie's comic relief, other times as its foot in reality. The Shape of Water also boasts glorious visuals, carrying through the water theme in lovely, unexpected, and sometimes uncomfortable ways. It takes itself seriously, but it's also very funny at times. Part love story, part monster movie, The Shape of Water is, at least, a pretty interesting idea.
'Til about the midway point, I was prepared to say I didn't hate The Shape of Water as much as I thought I would. Sadly, it hit a downhill skid that culminated in the most ill-fitting movie scene since the ending of La La Land, and at that point I gave up and called it a total loss. In the interest of avoiding spoilers, I make no comment on the scene itself being good or bad, happy or sad, only about how the scene felt IN the movie, which was so far off it took me out of the picture entirely, and I did nothing but check the clock from that point on. The creature doesn't appear much removed from 1954's Creature from the Black Lagoon, which I imagine is meant as a sort-of love letter to old school horror, but--in 2018--it makes taking the film seriously pretty difficult. Unsubtle parallels are drawn between prejudice against the creature and other prejudices that were prevalent just a few decades ago; this is a message movie trying to hide behind a fairy tale and failing miserably.
The Shape of Water runs an interminable 123 minutes and is rated R for "sexual content, graphic nudity, violence, and language."
The Shape of Water is lovely music with nonsensical lyrics, aesthetically pleasing but not good for much else. Of a possible nine Weasleys, The Shape of Water gets four.
Elisa is a mute, isolated woman who works as a cleaning lady in a
hidden, high-security government laboratory in 1962 Baltimore. Her life changes
forever when she discovers the lab's classified secret -- a mysterious, scaled
creature from South America that lives in a water tank. As Elisa develops a unique bond with her
new friend, she soon learns that its fate and very survival lies in the hands
of a hostile government agent and a marine biologist.
Director: Guillermo del Toro
Release Date: Dec 1, 2017 Cast: Sally Hawkins, Michael Shannon,
Richard Jenkins, Doug Jones, Michael Stuhlbarg, Octavia Spencer
Rated R for sexual content, graphic nudity,
violence and language
Runtime: 2 hr. 3 min.
Genres: Adventure, Drama, Fantasy
Review:
The Shape of Water is a lovely modern day fable
brought to life by Guillermo
del Toro.It’s a fascinating and elegant
film that’s got a hopeful sensibility running throughout its runtime.Guillermo del Toro’s film is visually
striking to look at and engaging throughout.The story paints in broad strokes with most of the characters feeling
more like types than actual people but the cast delivers strong enough
performances to make it work.Sally
Hawkins is front and center throughout and she delivers a magnetic
performance.Hawkins displays an
impressive ability to transmit emotions through looks and mannerisms which
allows the audience to follow her characters emotional journey.It helps that she and Doug Jones, who plays
the creature, share some tangible screen chemistry, all displayed non verbally
making it even more impressive.The
supporting cast is equally impressive with each leaving their signature on the
film.Richard Jenkins and Octavia
Spencer make for a likeable pair of friends for Elisa even though both could
have used a bit more depth.Michael
Stuhlbarg’s character is an interesting mixture of grey area where you don’t
quite know where he stands until near the end of the film.Michael Shannon makes for an impressive
villain for the piece.The character is
a solid blend of all the negative aspects of white males in post WW2 American
and as portrayed by Shannon he one of the most interesting characters in the
piece.Del toro doesn’t quite reach the heights he in did in
Pan’s Labyrinth with The Shape of Water but he does deliver another vividly
impressive live action fable.
Dearest Blog: Yesterday I swallowed my disappointment over missing out on on Nocturnal Animals and set off to Marquee Cinemas for my only available option, Miss Sloane.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
An abrasive DC lobbyist risks everything to take on a powerful interest.
Miss Sloane is a mature, dialogue-heavy picture. Though it's a fascinating story, it often seems to be getting nowhere, which makes it feel very, very long.
Jessica Chastain is a tour de force in the title role; brash and ballsy, she deftly shows the cracks in that facade as well. The supporting cast is extraordinary, but Chastain is so remarkable that I doubt anyone would notice even if they were cardboard cutouts.
Miss Sloane is often contentious and uncomfortable viewing that (I think) hopes to prompt viewers to consider both sides of its sensitive subject, gun control. It's never quite deep enough to succeed at that, but it does offer good and bad characters on both sides, ultimately presenting a pretty depressing picture of a government for sale to the highest bidder.
Miss Sloane clocks in at 132 minutes and is rated R for "language and some sexuality."
Miss Sloane is a clever, twisting film that's both funny and sad, but ultimately is noteworthy mostly for an Oscar-worthy turn by its star.
Of a possible nine Weasleys, Miss Sloane gets seven.
Fangirl points: Sam Waterston! Mark Strong! Michael Stuhlbarg! (I love how much work that guy's getting!!)
Dearest Blog: Yesterday it was off to Marquee cinemas for sci-fi awards contender Arrival.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
When extra-terrestrial crafts land at a dozen spots across the globe, a linguist (Amy Adams) and a scientist (Jeremy Renner) head one of the teams responsible for deciphering the aliens' language and determining the reason for their appearance.
Dear reader(s), you may recall my saying, on many occasions, that I do not read reviews before I write my own. This remains true, though it could not escape my notice that Arrival is carrying outstanding scores on many websites and has already received perfect ratings from two of my movie-reviewing pals.
But...hey...I guess if you wanted someone else's opinion you wouldn't be here, right?
Arrival has a good deal going for it. From a purely visual standpoint, it is lovely, with bleak landscapes that underline the movie's tense tone and a glorious depiction of the aliens' written language.
Interactions between the visitors from space and our intrepid interpreters are absolutely stunning. Both Adams and Renner are terrific, and their wonder and earnestness are contagious; you'll be holding your breath, hoping these are ET-aliens and not Alien-aliens.
Johann Johannsson has provided a stunning, intense score that commands your attention, yet never upstages the action onscreen. Arrival has many positive messages about cooperation and not assuming the worst and beginnings and endings and, really, life in general.
That being said: Arrival is about the best insomnia cure you could get for seven dollars and fifty-cents. The movie plods along like an overlong Doctor Who episode and often seems utterly lost in itself.
I made it about 20 minutes before the struggle to stay awake began in earnest, and it was a mighty struggle indeed for the remainder of the picture's not-excessive runtime. Unlike last year's trundling would-be masterpiece, The Revenant, this one can't be saved by its physical beauty.
Arrival clocks in at a very reasonable 116 minutes and is rated PG13 for "brief strong language."
Arrival will almost certainly make most best picture shortlists this Awards Season.
It'll probably take home some of those trophies, and maybe it'll even deserve to, but I'd take a one-way trip to outer-space before I'd watch it again.
Of a possible nine Weasleys, Arrival gets five.
Until next time...
Linguistics professor Louise Banks (Amy Adams) leads an elite team of
investigators when gigantic spaceships touch down in 12 locations around the
world. As nations teeter on the verge of global war, Banks and her crew must
race against time to find a way to communicate with the extraterrestrial
visitors. Hoping to unravel the mystery, she takes a chance that could threaten
her life and quite possibly all of mankind.
Director:Denis
Villeneuve
Cast: Amy Adams, Jeremy Renner, Forest
Whitaker, Michael Stuhlbarg, Tzi Ma
Release Date: Nov
11, 2016
Rated PG-13 for brief Strong Language
Runtime: 1 hr. 56 min.
Genres: Drama, Suspense/Thriller
Review:
Denis Villeneuve’s Arrival is a shining example of how to
do heady science fiction with strong emotional depth. It recalls classics like
Close Encounters with the Third Kind, 2001 and Contact.Villeneuve’s film is a measured affair that
demands your attention from start to finish with an impressive payoff that
rewards you.Amy Adams has never been
better or more subdued.Her performance
carries the entire film and gives the film its bitter sweet heart.Jeremy Renner provides a nice counterbalance
to Adams.Forest
Whitaker is a tab wasted in a thankless role.Arrival is a sure to join the upper echelon of science fictions films
and marks another excellent film from Denis Villeneuve.
After a car
accident leaves him with nerve damage that ends his career as a New York
neurosurgeon, Stephen Strange (Benedict Cumberbatch) travels to Kathmandu in the hope
of finding an otherworldly cure for his injuries. There, a powerful mystic
known as the Ancient One (Tilda Swinton) accepts him as her pupil and trains
him in the art of sorcery. Eventually, Strange must use his new powers to stop
a rival (Mads Mikkelsen) from causing chaos by accessing the Dark Dimension.
Rachel McAdams, Chiwetel Ejiofor, and Benedict Wong co-star in this entry in
the Marvel Cinematic Universe. Directed by Scott Derrickson (Sinister). ~ Jack
Rodgers, Rovi
Director: Scott Derrickson
Cast: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams,
Michael Stuhlbarg, Benedict Wong, Tilda Swinton
Release Date: Nov
04, 2016
Rated PG-13 for Sci-Fi Violence and Action and an Intense
Crash Sequence
Runtime: 1 hr. 55 min.
Genres: Action/Adventure, Sci-Fi/Fantasy
Review:
Doctor Strange is a visually
impressive origin story that’s better than it should be most due to its
cast.That’s not to say that director
Scott Derrickson doesn’t do some impressive cinematic gymnastics because he
does.Its just that when you peel back
all visual flourishes its plot feels incredibly familiar with magic taking the
place of superhero powers.Thankfully, the
film is a generally enjoyable thanks to some strong turns by Benedict
Cumberbatch and Tilda Swinton.Benedict
Cumberbatch feels perfect for the roles and he’s clearly having a great time
throughout.The real stand out though is
Tilda Swinton who’s generally the most interesting actor on screen
throughout.It’s a bit of a
disappointment that the other great actors assembled aren’t given much to
do.Mads Mikkelsen, Rachel McAdams and
Chiwetel Ejiofor are all saddled with some terribly underwritten and generic
characters.It’s a shame because they
are all excellent actors and with better material this film could have been
something truly special.As is, the film
is a solid addition to the ever expanding Marvel Cinematic universe.
Dearest Blog: Yesterday it was off to Marquee Cinemas for Doctor Strange and Hacksaw Ridge, two movies that I anticipated about as much as a fork in the eye. (Any 80s metal fans guess what I'm listening to as I write?) Fortunately, one of them had the decency to be better than expected.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on the agenda: Marvel's latest cinema smash, Doctor Strange.
Following a car accident that cost him his career, an arrogant doctor is awakened to a whole new world.
Ladies and gents, if I had to describe Doctor Strange in one word, that word would be "trippy."
Of course I'm gonna use a lot more words than that, but...yeah...trippy. I saw it in 2D, but I'll go on record as recommending the 3D unreservedly; I'm entirely convinced it's worth-the-upcharge spectacular. Inception-Meets-Pink-Floyd-Laser-Show special effects are Doctor Strange's primary virtue, but Marvel has hit it out of the park on casting again, as well.
Benedict Cumberbatch is mesmerising as Strange, and make no mistake, he HAS to be.
Strange is the Dr. House of comic books; he's abrasive and needs the right portrayal for fans to warm to him. In Cumberbatch, he's got it. Chiwetel Ejifor and Mads Mikkelsen lead a supporting cast that is almost uniformly terrific.
The movie could have done with more Rachel McAdams and less Tilda Swinton, but Benedict Wong nearly walks off with the whole thing anyway. Michael Giacchino's epic score provides perfect accompaniment to the huge set pieces and fantastic action.
The movie features the requisite Stan Lee cameo and a couple quick reminders that you're supposed to love it because it's from the people who gave you the Avengers. Guys...THE AVENGERS!!
Don't forget now! Marvel's trademark humor occasionally seems shoehorned into situations where it feels awkward, ill-fitting, and inappropriate, but it mostly hits the mark. Story-wise, Doctor Strange is a generic origins tale that dwells too long on certain bits, making it seem bloated even though it's not really that long. It's a movie with some great elements, but hardly a great movie.
Doctor Strange clocks in at 115 minutes and is rated PG13 for "sci-fi violence and action throughout, and an intense crash sequence."
Doctor Strange never fails to entertain, but, ultimately, it's nothing special.
And if that's not Marvel's corporate slogan...well...it should be.
Of a possible nine Weasleys, Doctor Strange gets seven.
Fangirl points: Benjamin Bratt! Michael Stuhlbarg!
Next up: Hacksaw Ridge.
A young man whose faith keeps him from carrying a weapon hopes to serve as a combat medic in World War II. (A.K.A. "War is Hell. Literally.")
Hacksaw Ridge is an inspiring tale that, in someone else's hands, might have made a great movie. In director Mel Gibson's hands, it's two hours of being clubbed over the head with an agenda. Andrew Garfield heads a magnificent cast with zero weak links.
I'd hoped this might be Garfield's step up to a long-deserved Oscar nod, and I'm not sure it's that, but he is brilliant nonetheless. Hugo Weaving is heartbreaking in a scene-stealing turn that'll have you digging for the Kleenex, and Luke Bracey, Sam Worthington, and Vince Vaughn (you heard me) flesh out a memorable supporting cast with excellent chemistry. Sound mixing and editing are spectacular as well. That's the good news.
The bad news is, Hacksaw Ridge has little else going for it. An excessive runtime exacerbates the feeling that it never gets anywhere. The terrible physical toll of war is detailed in such up-close, prolonged excess that it strays into Tropic Thunder territory. War = Bad. We've got it. No need to spend half the film focused on men you can't tell from lunchmeat.
The faith angle gets full marks for its earnestness, but, again, is so unsubtle as to be comical. If I'd rolled my eyes any harder, I'd be writing this out the back of my head. Ultimately, you can't help feeling such an extraordinary story deserved better.
Hacksaw Ridge runs 131 minutes and is rated R for "intense, prolonged, realistically-graphic sequences of war violence, including grisly, bloody images."
Hacksaw Ridge is an inexcusably pedestrian telling of an amazing tale.
Of a possible nine Weasleys, Hacksaw Ridge gets four.
