After leaving the business one year earlier, battle-scarred stuntman Colt Seavers springs back into action when the star of a big studio movie suddenly disappears. As the mystery surrounding the missing actor deepens, Colt soon finds himself ensnared in a sinister plot that pushes him to the edge of a fall more dangerous than any stunt.
Director: David Leitch
Cast: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, Winston Duke
Release Date: May 3, 2024
Genre: Action, Comedy, Drama
Rated PG-13 for action and violence, drug content and some strong language.
Runtime: 2h 5m
Review:
David Leitch's The Fall Guy is a breezy sort of blockbuster, packed with massive stunts and a pair of perfectly matched stars. The film uses its madcap set up as an excuse for Leitch to lovingly show his appreciation for the stunt side of the movie business which he came from. The plot serves as little more than an excuse to move from one action sequence to another with the central romance serving as the propulsive force behind the whole thing. There's a heavy rom-com feel to the quieter moments that relies heavily on its two leads to carry the momentum. Thankfully, the film is blessed with Ryan Gosling and Emily Blunt's inherent charm and charisma. Gosling brings his goofy, likable energy to the lovelorn stuntman who's willing to do what it takes to get the girl. The film noticeably perks up when he and Blunt share the screen, be it in person or by way of old school split screen. Their interchanges possess the kind of natural ease that makes it easy to believe the two care for each other in spite of the artificial obstacles the plot presents them with. The onscreen couple are destined to be together from the start which is sort of refreshing in its lack of contrived conflict that usually pops up in rom-coms. It’s a fun pairing that makes the film far better than it should be since the story's twists aren't terribly surprising since they are telegraphed fairly early on. This is a film that leans heavily on its cast with the supporting players made up of familiar faces like Aaron Taylor-Johnson, Hannah Waddingham, Winston Duke and Stephanie Hsu. Johnson and Waddingham are clearly having a ball hamming up it as Hollywood stereotypes. Winston Duke makes for a solid wingman for Gosling’s character but the film doesn't make the most of the pairs natural chemistry. Stephanie Hsu makes the most of her limited screen time, especially in one big action sequence. It all makes for a fun film that's never too deep or weighty which makes it the kind of disposable summer blockbuster that might not linger in your memory too long afterwards.
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.
Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbie Land. However, when they get a chance to go to the real world, they soon discover the joys and perils of living among humans.
Director: Greta Gerwig
Cast: Margot Robbie, Ryan Gosling, America Ferrera, Simu Liu, Kate McKinnon, Issa Rae, Rhea Perlman, Will Ferrell
Release Date: July 21, 2023
Genre: Adventure, Comedy, Fantasy, Romance
Rated Rated PG-13 for suggestive references and brief language
Runtime: 1h 54m
Greta Gerwig's Barbie is a pastel painted surreal, meta comedy that's sharply written and perfectly cast. Gerwig makes its clear early on that the film and story isn't going to be a simple bit of Mattel marketing with a rather wry opening that spoofs Stanley Kubrick's 2001: A Space Odyssey. Once the story starts in earnest and we are introduced to the colorfully constructed Barbieland utopia there’s a clear undercurrent of the kind of subversive storytelling, there's plenty that will go over younger kids heads, at play. There are bits and piece that echo moments from Toy Story and The Lego movie, especially early on, but once the film finds its footing it reveals its own distinctive voice. It’s a fanciful journey of self actualization as the film covers a bevy of themes from the nature of womanhood, gender roles, conformity and more along the way. If this sounds like a lot for a film about a doll, it is but it’s a rather audacious swing from the filmmaker and the brand to go for something more substantial and meaningful than just a bit of brand cross promotion. There's a lot to appreciate about what's going on behind the scenes in addition to what's onscreen. Margot Robbie and Ryan Gosling in the central roles are pitch perfect with both delivering fun performances from start to finish. Robbie fills the titular role with general ease which shouldn't come as much of a surprise, but she does give the character a thoughtful earnestness that's endearing and makes the character easy to like. Gosling is a real surprise though not because he's a stretch as Ken but because he shows off some real comedic chops throughout. He proves to be a scene stealer for the majority of the film especially in the back half of the story. The film's real secret weapon though is America Ferrera who gets a wonderfully rousing monologue which is effectively pointed and meaningful. It’s got the kind of refreshing edge you wouldn't expect from a film about Barbie but that's what elevates the whole production to unexpected heights.
Say, there, dear reader(s), did'ja miss me? Probably not, but I'm back with a couple reviews for your eager-ish eyes.
Spoiler level here will be mild, nothing you wouldn't know from the trailers or the IMDB synopses.
First movie on today's agenda: The Contender.
A Special Forces sergeant, involuntarily discharged from the service, finds work (and trouble) with a private contractor.
The Contractor has been bouncing around the buy/rent streaming circuit for several months. I wasn't interested enough to pony up any cash, but, when it turned up for free, the time was right.
The Contractor lays its groundwork slowly. The first half-hour really feels like it's going nowhere, and there's nothing so complicated that the movie couldn't have cut to the chase in half the time. Chris Pine (my favorite of the Hollywood Chrises!) portrays James, a brooding hero trying to stay afloat in a post-military life that owes him better than he gets. Ben Foster steals the show (as Ben Foster always does) as a fellow ex-soldier who gets James into the contract business. Kiefer Sutherland, Gillian Jacobs, JD Pardo, and Eddie Marsan flesh out cookie-cutter supporting roles that could have been handed to lesser names and been none the worse for it. The story twists and turns rather nicely, if somewhat predictably, but seems to rush to its end. Cutting 15 minutes from the setup and devoting it to the payout would have served the picture well, but ultimately it maintains tension and ties up its story nicely enough that we'll call it a win.
The Contractor clocks in at 103 minutes and is rated R for "violence and language."
The Contractor is a generic but serviceable way to pass a late summer afternoon. Of a possible nine Weasleys, the Contractor gets four and a half.
The Contractor is now playing/streaming on the Showtime family of networks, and is available to rent or buy from all the usual outlets.
Next on my Saturday schedule was the Gray Man.
After discovering some of the agency hierarchy's dirty secrets, a CIA dark operative finds himself on the run from a psychotic former colleague.
The Gray Man is another by-the-numbers thriller salvaged by a reasonably talented, good-looking, and likeable cast. Ryan Gosling and Chris Evans face off in the leads, with Evans' performance reminding me of nothing more than Jason Patrick's turn in my personal favorite Chris Evans movie, the Losers. The entertaining pair, along with some unique action sequences, combine for a good enough time, but the movie's attempts at humor are painful, and it overstays its welcome by a solid 30 minutes.
The Gray Man runs 122 minutes and is rated PG13 for "intense sequences of strong violence, and strong language."
The Gray Man is a passable thriller elevated by a solid cast. Of a possible nine Weasleys, the Gray Man gets five.
On the heels of their six-time Academy Award®-winning smash, La La Land,
Oscar®-winning director Damien Chazelle and star Ryan Gosling reteam for
Universal Pictures’ First Man, the riveting story of NASA’s mission to land a
man on the moon, focusing on Neil Armstrong and the years 1961-1969. A
visceral, first-person account, based on the book by James R. Hansen, the movie
will explore the sacrifices and the cost—on Armstrong and on the nation—of one
of the most dangerous missions in history.
Director: Damien Chazelle
Cast: Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, Corey
Stoll, Ciarán Hinds, Christopher Abbott, Patrick Fugit, Lukas Haas
Release Date: October 12, 2018
Genres: Biography , Drama , History
Rated PG-13 for some thematic content involving peril, and brief strong
language
Runtime: 2h 21 min
Review:
First Man is an incredible achievement on multiple levels.Damien Chazelle’s film is a technical
achievement as it puts you in the ships and modules on a visceral and
claustrophobic level.All of the flight
sequences are just trilling but that shouldn’t come as a surprise considering
Chazelle’s talent.The quieter moments,
there are plenty, are just as engaging thanks to a pair of wonderful
performances from Ryan Gosling and Claire Foy.Gosling’s turn is understated but you can sense the simmering emotions
behind his eyes.Neil Armstrong is
always guarded but driven by past pain as portrayed by Gosling.Claire Foy is just as strong throughout; so
much so that you wished the film spent a bit more time with her but the film is
focused on Neil.It’s an introspective
yet epic tale about the man who achieved such a landmark moment in human
history.The flag controversy is
thoroughly overblown as the film couldn’t display American achievement anymore
than it already does.First Man is an
engaging character study that tries to get us into this pioneer’s headspace and
does it with class.
Dearest Blog: Yesterday it was off to Marquee Cinemas for First Man and Bad Times at the El Royale.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on my agenda: First Man.
Some stuff you know and probably a lot you didn't know about Neil Armstrong, the first man to walk on the moon.
First Man is approximately 90% Things-I-Hate-About-Awards-Type-Movies, but I still enjoyed it more than I expected to. Ryan Gosling is terrific in the lead, and his supporting cast--led by the extraordinary Claire Foy--has no trouble keeping pace. The story of Armstrong's personal life is almost as fascinating as his road to the moon, and the film gives equal screen time to each. An over-abundance of extreme close-ups is effective in depicting claustrophobic cockpit conditions, but it gets awkward when it's just folks talking science or eating dinner. Likewise, jiggly camera work and very dark shots work well in putting the viewer inside the craft--often under terrifying circumstances--but otherwise are plain annoying. The movie could have used a bit of a trim, but it never really drags or feels bloated; ultimately the amazing story outweighs any flaws in the filmmaking. Closing with full disclosure: for the duration, all I could think of was Lincoln Osiris trying to re-enter the Earth's atmosphere in an old refrigerator box, which is why they don't let me vote for the Oscars.
First Man clocks in at 141 minutes and is rated PG13 for "some thematic content involving peril, and brief strong language."
First Man is a flawed telling of a great story, well worth your movie dollar.
Of a possible nine Weasleys, First Man gets seven and a half.
Fangirl points: So many much-loved faces in this one! Shea Whigham! Corey Stoll! Ciaran Hinds! Pablo Schreiber! Brian d'Arcy James! Mister Cory Michael Smith!
Next on the docket, one of my most-anticipated titles of the year, Bad Times at the El Royale.
Mystery abounds at a past-its-prime hotel that straddles the state line between California and Nevada.
From the trailers, I expected Bad Times at the El Royale to be darkly funny, but instead it's mostly just dark. Smart, twisty storytelling and an exceptional cast should be the envy of Hollywood, with Chris Hemsworth, Cynthia Erivo, and Jeff Bridges turning in exceptionally strong performances. El Royale has layers to spare, and just when you think you've got it figured out, another one peels off to reveal something unexpected. The film boasts superb production design and a strong score by Michael Giacchino. I can't go into much detail without spoiling important plot points, but there are some disturbing and uncomfortable moments that lend a grim tone to the whole, ultimately making it less fun than it might have been, but no less brilliant.
Bad Times at the El Royale runs 141 minutes and is rated R for "strong violence, language, some drug content, and brief nudity."
Bad Times at the El Royale is one of the best movies I've seen this year...but I probably wouldn't watch it again.
Of a possible nine Weasleys, Bad Times at the El Royale gets seven, which would have been eight but for a mean and unnecessary dig at my beautiful home state of West Virginia.
Fangirl points: You know it's officially awards season when Shea Whigham starts turning up in everything!
Officer K (Ryan Gosling), a new blade runner for the Los Angeles Police
Department, unearths a long-buried secret that has the potential to plunge
what's left of society into chaos. His discovery leads him on a quest to find
Rick Deckard (Harrison Ford), a former blade runner who's been missing for 30
years.
Director: Denis Villeneuve
Release Date: Oct 06, 2017
Cast: Ryan Gosling, Harrison Ford, Ana de
Armas, Robin Wright, Lennie James.
Rated PG-13 for language, Brief Suggestive
Content, Sequences of Sci-Fi Action and Violence Runtime: 2 hr. 43 min.
Genres: Suspense/Thriller, Sci-Fi/Fantasy
Review:
Making a sequel to a
seminal sci-fi film is a huge task, especially 35 years after the fact.Denis Villeneuve and his cinematographer
Roger Denkins deliver a visually mesmerizing film that’s gorgeous from start to
finish.It’s an impressive
accomplishment that honors the original but also expounds on it.Ryan Gosling ably leads the film with an
understated performance that’s surprisingly nuanced and layered.Those expecting a heavy dose of Harrison
Ford’s Deckard will be left disappointed since he’s only
in the film for a small amount of the film’s runtime.While it’s hard to ignore the high level of
craftsmanship and artistry, you do have to wonder if Villeneuve fell a little
in love with his creation.The film’s
nearly 3 hour runtime isn’t necessary since some scenes seem inconsequential to
the overall plot.That’s not to say the
film isn’t enjoyable or engaging but I can’t help but feel like there’s a
tighter more efficient film in there somewhere.
Dearest Blog, yesterday it was off to Marquee Cinemas to see the highly-touted Blade Runner 2049 and not-at-all-touted The Mountain Between Us.
Spoiler level here will be mild for 2049, somewhat elevated (see what I did there?) for Mountain, but nothing really plot-related.
First on my agenda: Blade Runner 2049.
A young Blade Runner unearths a secret that sends him on a dangerous quest.
Ohhhhh...Ryan Gosling...you owe me. La La Land. Lars and the Real Girl. The Place Beyond the Pines. Only God Forgives. (Worst. Movie. Ever.) At this point, *I* could be forgiven for thinking this guy willfully takes only projects he hopes will bore me to death. Slowly.
In the interest of full and fair disclosure, here I'll confess that I haven't seen the original Blade Runner in about a hundred years and thus I remember very little (read: nothing) about it. I had good intentions of revisiting it before the new one hit cinemas, but never got around to it, so I know there were certain "recognition" moments that were lost on me. I should also note that I was in no way predisposed to dislike this, so the degree to which I did came as something of a surprise.
Blade Runner 2049 actually does have a fair few things going for it. The principal roles are carried by well-known and well-decorated actors who do as much as they can with wooden characters. Gosling is never less than watchable, and Robin Wright is the same. Harrison Ford takes his sweet time showing up, but when he does it's welcome, even if it seems a rehash of pretty much everything Harrison Ford does these days. The picture boasts astonishing, Oscar-worthy visuals and an ominous score that I can't wait to torture my coworkers with. For at least the first half of the movie, all of that was enough that I didn't hate it, but the longer it dragged on, the less interested I became in finding that silver lining, and there you'll find the movie's chief handicap: it is just too long to be as slow as it is (or too slow to be as long as it is). Yes, it's pretentious at times (lots of times). Yes, Jared Leto is ridiculous. Yes, it's often too dark to see anything at all, and yes, the 3D is utterly pointless.
BUT...2049 likely could have gotten away with most of that if only it weren't So. Damn. Long. I saw a few social media posts yesterday saying that the film leaves many questions to be answered by a potential "next installment," but the only question Blade Runner 2049 left me was: "Can Robin Wright take a drink without slamming it like a belligerent pirate?" The world may never know.
Blade Runner 2049 clocks in at a painful 163 minutes and is rated R for "violence, some sexuality, nudity, and language."
Blade Runner 2049 is a flaming bag of poo left on my cinematic doorstep, but it sure looks and sounds pretty! Of a possible nine Weasleys, Blade Runner 2049 gets four.
Next up: The Mountain Between Us.
Two professionals who HAVE TO BE SOMEWHERE charter a small plane and end up not getting anywhere.
The Mountain Between Us is nothing more than badly-done fanfiction, Twilight for grownups, minus the sparkling. How on Earth anyone got one--nevermind TWO--actors the caliber of Kate Winslet and Idris Elba to sign on for this drivel is beyond me. The most entertaining thing about the whole mess was the two older folks in my screening who loudly admonished the screen: "You should have waited for the other plane!" "You should have brought warmer clothes!" (It's a testament to just how bored I was that I found that amusing instead of infuriating.) The picture plods on for nearly two snowy hours, hitting every tired AO3 tag you can think of, and often turning very specifically reminiscent of 1993's Alive. (Spoiler alert: Except they never ended up having to eat each other. At least not literally.) By the time the movie reminds you for the last time that this horrible experience has made someone FEEL ALIVE, you'll be wishing you weren't.
The Mountain Between Us runs 103 minutes and is rated PG13 for "a scene of sexuality, peril, injury images, and brief strong language."
If ever I am stranded somewhere with Idris Elba and you send someone to "rescue" me, I will end you.
Of a possible nine Weasleys, The Mountain Between Us gets three.
Struggling actress Mia (Emma Stone) and aspiring jazz pianist Sebastian
(Ryan Gosling) begin a whirlwind romance as they both pursue their dreams in Los
Angeles. However, their blossoming relationship is
challenged when their careers pull them in different directions. Damien
Chazelle (Damien Chazelle) wrote and directed this musical love story, which
co-stars John Legend, J.K. Simmons, and Rosemarie DeWitt. ~ Daniel Gelb, Rovi
Director: Damien Chazelle
Cast: Ryan Gosling, Emma Stone, John Legend, Finn
Wittrock, J.K. Simmons
Release Date: Dec
09, 2016
Rated PG-13 for some Language
Runtime: 2 hr. 7 min.
Genres: Comedy, Drama, Music/Performing Arts
Review:
La La Land is a rousing bit of filmmaking which is as
fizzy and bubbly as the best champagne.Like said champagne, it is a bit light on body.Instead Damien Chazelle dresses up his retro
musical with impressive shots and flashy choreography.It’s an incredibly fun film, especially in
the first 2 acts, with two magnetic leads.Ryan Gosling and Emma Stone bring a dizzying sense of adorableness to
their roles.You can’t help but get
sucked into this love story as their relationship begins to blossom and
grow.It’s an engrossing experience but
once you peel back all the frills it’s a pretty bare bones love story tinged
with a palatable sense of bitter sweetness.Still it’s a credit to Damien Chazelle that he could take a simple story
and infuse so much energy and passion into it.Is it the best film I’ve ever seen, not even close, but it’s a still
fine piece of film making.
Dearest Blog: This weekend it was off to Marquee Cinemas for La La Land (finally!) and Live By Night.
Spoiler level here will be mild, nothing you wouldn't know from the trailers. I will offer thumbs-up or thumbs-down on endings, without divulging specifics; if that's more than you want to know, read no further until you've seen these.
First up: Oscar hopeful La La Land.
An aspiring actress and a jazz musician chase their dreams in Los Angeles.
Let it be noted, dear reader(s), that, from its first trailer, I've anticipated La La Land as a great movie and likely Best Picture winner. I generally love musicals, and--while romances aren't my favorite--who could resist a pairing as adorable as Emma Stone and Ryan Gosling? Certainly not I! Well...as it turns out, La La Land IS a great movie, and the probable Best Picture winner...but it's a lousy musical.
Getting the bad news out of the way first: La La Land features forgettable original tunes and unimaginative choreography. Neither Gosling nor Stone is a great singer, at least not as demonstrated here. (Stone has done Broadway, so I know she has to be better than this.) The musical numbers are exactly why some folks hate musicals: random songs dropped in mostly random places; there's no flow whatsoever. Finally, the movie has a disappointing finale that's so at odds with the rest it feels as if someone accidentally tacked on the ending of a different film. As La La Land's final impression, it casts a heavy shadow on the whole. (This is not a judgment of a happy or unhappy ending; it's about how the ending fits the rest of the picture.)
Having said all that, the good news is, there's lots of good news! La La Land is a compelling enough story that its musical failings are almost entirely forgivable. Stone and Gosling manage to out-cute Lawrence and Pratt as the movie year's most lovable couple, a feat I would have thought impossible. Remarkably, their weak singing voices play as part of a self-deprecating charm, and their characters' struggles and dreams should be relatable to just about anyone. La La Land boasts lovely production design and costumes, and there is one smokin' number, performed by John Legend, that even manages to break the movie's tired-old-showtunes mold.
La La Land clocks in at 128 minutes and is rated PG13 for "some language."
La La Land is a very good movie, a terrible musical, and a love letter to Los Angeles that fails to sell Los Angeles as anything worth loving.
Of a possible nine Weasleys, La La Land gets seven.
Next on the docket: Ben Affleck's mob thriller Live by Night.
A Boston mobster takes over Florida operations for a former rival.
By now you've probably heard enough negative commentary to guess Live by Night won't go down in the annals of legendary gangster movies. While that's probably true, that's not to say it isn't a worthwhile afternoon at the pictures.
Writer/director Affleck has created an interesting--if deliberately paced--story full of twists and turns. Per usual, he's crafted himself a role that plays to his stoic style and, while he does an admirable job, it's Sienna Miller who steals the show as his sometime girlfriend. If you're into mob movies in general, there are some...erm...offers people can't refuse, but the violence isn't overly graphic, and the movie never feels like a shoot 'em up where the story only occasionally interrupts.
Live by Night runs 128 minutes and is rated R for "strong violence, language throughout, and some sexuality/nudity."
Live by Night may not rank among the all-time great gangster pictures, but it's a well-executed tale with a satisfying payout.
Of a possible nine Weasleys, Live by Night gets six and a half.
Fangirl points: Christian Clemenson! Brendan Gleeson! Titus Welliver!
Dearest Blog: Here we sit, on the first square of the first page of a brand new calendar. Last year will be remembered for extraordinary losses--in both number and impact--but there were good times to be had at the cinema, almost always.
What follows will hopefully remind you, dear reader(s), of some of those good times...and maybe some of the other times too.
Disclaimer #1: Around here most of the awards contenders turn up all at once, for a single week, just before the Oscars. The Academy and I sometimes (*cough*) don't see eye to eye, but it's fair to guess this list would look at least a little different if I'd seen La La Land, Manchester by the Sea, Nocturnal Animals, Moonlight, and/or Lion, to name just a few.
Disclaimer #2: A movie's original Weasley score will not necessarily be reflected in its year-end positioning. Time and repeat screenings (or the lack of opportunity for same) may favor or handicap some films.
So...let's start with the good, then, shall we?
My Top 10 Movies of 2016
"The soul of our country is at stake."
10. The Purge: Election YearThe third outing in the Purge series didn't quite match its nearly-perfect middle installment, but timely subject matter, stunning visuals, and another strong leading turn by Frank Grillo make Election Year one of 2016's best offerings.
"God doesn't have children. He's a bachelor. And very angry!"
9. Hail, Caesar!Behind-the-scenes machinations at a 1950s movie studio drive this clever comedy from the Coen brothers, blessed with a terrific all-star cast and some wonderful choreography by Tony Award winner Christopher Gattelli.
"It is time to follow my own path."
8. Kubo and the Two Strings2016 was a super year for animation. Moana, Sing, Finding Dory, and even the Secret Life of Pets could have made a run at this list, but, in the end, beautiful storytelling, combined with stunning and unique art, set Kubo and the Two Strings head and shoulders above the rest. Bonus: Regina Spektor's lovely cover of the Beatles' While My Guitar Gently Weeps over the end credits.
"I've killed things from other worlds before."
7. Batman v. Superman
Yeah, Internet, you hated it; I got that, but I absolutely loved DC's much-maligned Justice League opening act. The baddies were well and properly bad, the good guys were brooding, and the story effectively laid the groundwork for what's to come. Ben Affleck's Batman/Bruce Wayne was universally praised, and if you thought BVS was humorless...well...you just weren't paying attention. ("I like those shoes!")
"I never met nobody got away with anything, ever."
6. Hell or High WaterThis masterful little heist tale is blessed with stellar peformances, a compelling story, and one of the more satisfying and perfectly-suited endings I've ever seen. Do. Not. Miss.
"You're different. Sooner or later, different scares people."
5. The AccountantBen Affleck was kinda the highlight of my 2016 cinema year, following his perfect Batman with a strong, authentic turn as a socially-awkward mathematical genius in this mesmerizing thriller.
"Fear of death is what keeps us alive."
4. Star Trek Beyond
The latest installment in Hollywood's best franchise may well be its most fun yet. The story's exciting, the one-liners always hit the mark, and the ensemble is my favorite of any film franchise. (RIP, dear Anton Yelchin.)
"So far, so good."
3. The Magnificent Seven
The Magnificent Seven remake is a rare beast in today's Hollywoodland. It's an old-school Western. It doesn't shoehorn in a romance, bloat itself with never-ending fight or chase scenes, or attempt to set up a sequel. The film boasts gorgeous cinematography, a perfect cast, and well-timed, genuinely funny humor. The very definition of "must see."
"We were normal, and the rest of the world was crazy."
2. The Beatles: Eight Days a Week-The Touring Years
Eight Days a Week is a cheerful look at the early days of the world's biggest, best, and most influential band. It's a nice reminder that John, Paul, George, and Ringo are more than monumentally talented individuals; first and foremost, they're four pals who thought they could make a go of their little band and got caught up in a tornado of worldwide superstardom. Peppered with snippets of their magical tunes, behind-the-scenes clips, and interviews with the four lads and assorted others who experienced Beatlemania firsthand, Eight Days a Week is a joyous experience.
"I had to question the mermaids! What were you doing while I was working?"
1. The Nice GuysFrom its first trailer, The Nice Guys very nearly cemented a place on my ALL-TIME favorites list, and the finished product more than lived up to that promise, earning it the year's top spot. Russell Crowe and Ryan Gosling are brilliant as a pair of mismatched private investigators on the trail of a missing girl. This is a movie that ticks all the boxes: fantastic performances, exciting action, a smart, surprising mystery, and spot-on humor...an all-'round perfect cinema experience. I'm confident even the most-favored of the critical darlings could not have knocked this one out of my number-one spot.
Movies It Hurt Me to Leave Out (Honorable Mentions)
Eddie the Eagle: A fun, fictionalized story about English Olympian Eddie Edwards, with entertaining performances by Taron Edgerton and Hugh Jackman.
Teenage Mutant Ninja Turtles-Out of the Shadows: The most fun I had at the movies this year, and something I've watched over and over again since getting the DVD.
Bleed for This: A fascinating comeback story anchored by Miles Teller's outstanding lead.
Fantastic Beasts and Where to Find Them: This kick-start of a whole new Harry Potter series is well acted, beautifully filmed, and utterly magical.
Anthropoid: Magnificent performances (especially from Cillian Murphy) elevate this meticulous WWII story far above its big-budget competition.
Deadpool: Sharp wit and Ryan Reynolds' hilarious leading turn shook up the superhero business in 2016. Some of the more juvenile bits wear thin on repeat viewings, but, still, a fun outing.
Suicide Squad: It plays like a series of frenetic music videos, but nifty visuals, Will Smith's unyielding magnetism, and a star turn from Margo Robbie make Suicide Squad worth watching.
Triple 9: A tense thriller with a superb cast. Real edge-of-your-seat cinema.
Moana/Sing/Finding Dory/The Secret Life of Pets: Strong year for animation, don't think I saw a bad animated film in 2016.
2015 Winners I Didn't See in Time for Last Year's ListSpotlight, which certainly would have made the cut.
The Revenant, which would have had a fair chance based solely on the beauty of its locations.
2016: The Year of the Disappointing Sequel
London Has Fallen, Captain America: Civil War (only Black Panther saves this lumbering bore), X-Men: Apocalypse, Independence Day: Resurgence, Jason Bourne (I liked you better when you were Jeremy Renner), Snow White & the Huntsman, Mechanic: Resurrection (shoulda stayed dead), Inferno, and Jack Reacher: Never Go Back (please go back, the first one was good), all failed to live up to even middling expectations set by their predecessors.
On the other hand, Alice: Through the Looking Glass actually wasn't half as bad as the original!
2016's Bottom of the Barrel (a.k.a. I Paid to See That??)Gods of Egypt, which is actually so terrible it's almost great.
The Bronze, one of the worst movies I've EVER seen.
Hardcore Henry, worse than The Bronze.
The Legend of Tarzan, but at least they didn't make Skarsgard do that yodel-thing onscreen.
Assassin's Creed, no...just no.
2016: The Year Jack Huston Made Such Bad Movies That Pride & Prejudice & Zombies Was Actually the BEST! (Not counting Hail, Caesar!, in which he turns up for all of 60 seconds.)
And Ben Hur reviews apparently scared him off social media.
Come back, Jack...I miss you! *cries*
2016: How to Spit-Shine A HeroSully: YES.
Snowden: NO.
And The Winner Is...
Best Actor: Ryan Gosling (The Nice Guys)
Best Actress: Jessica Chastain (Miss Sloane)
Best Supporting Actor: Ben Foster (Hell or High Water)
Best Supporting Actress: Kate Winslet (Triple 9)
Best Director: Ethan & Joel Coen (Hail, Caesar!)
So, dear reader(s), there you have my take on the year just ended. May the new one be happy and healthy for you all. See you at Marquee Cinemas!!
Dearest Blog: Yesterday it was off to Marquee Cinemas for one of 2016's best offerings thus far, The Nice Guys.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
When a mismatched pair of sleuths goes looking for a missing girl, they find something far, far bigger.
Well, dear Reader(s), THIS is how it's done.
The Nice Guys wraps a clever mystery in some great comic bits, and fleshes it out with outstanding performances throughout.
Co-leads Russell Crowe and Ryan Gosling are terrific together, with Crowe reminding us why he's one of the world's best-regarded actors, and Gosling displaying some excellent comic chops.
A particularly strong supporting cast includes 15-year-old Angourie Rice, who is precocious but not in the annoying way of so many child actors, and Matt Bomer, no less great for being somewhat under-used.
The mystery at the heart of The Nice Guys will keep you guessing right to the end, and the film features some great action sequences as well. The humor ranges from subtle verbal exchanges to broad physical comedy.
Gosling's bathroom-stall scene, partially featured in one of the trailers, is one of the funniest things you'll ever see, and not at all in a crass "bathroom humor" way. Set in 1977 (for the record, my favorite year of my favorite decade), The Nice Guys displays the music and fashion of the 70s in all their glorious disco majesty, a treat to behold. Finally, the picture is well paced and smart enough not to wear out its welcome, a true cinema home run.
The Nice Guys clocks in at 116 minutes and is rated R for "violence, sexuality, nudity, language, and brief drug use."
The Nice Guys is a smart, funny, all-around excellent picture. With Summer Blockbuster Season kicking in, it probably won't hang around long, so I strongly encourage you to get out and see it while you can.
Of a possible nine Weasleys, The Nice Guys gets eight and a half.
Until next time...
