Rated PG for some violence, mild language and thematic elements.
Runtime: 1h 56m
Paul King's Willy Wonka prequel, Wonka, is an utterly charming film that brings a wonderful sense of whimsy and wonder that's hard to deny. King's musical confection is a wonderful assault on the senses with a series of well staged albeit old fashion, song and dance numbers. Its a visual feast for the eyes and ears that's like a lovely elixir that guaranteed to put people in a good mood. King's film is light and airy with a palatable sense of infectious optimism that fits perfectly with a younger Wonka who hasn't become the more cynical and scarier version of himself from the Gene Wilder classic. Timothée Chalamet is perfectly suited for this version of the character with his boyish looks and general charm. He mimics some of the mannerisms and movements of Wilder's take but plays him with more wide eyed optimism and naiveite. Its works well for this film and story even though some looking for bits of the character slightly sinister side will be left wanting. The supporting cast delivers equally strong work with fun turns from Olivia Colman and an impressive film debut from Calah Lane. Paterson Joseph, one of the handful of Peep Show alums, chews up every bit of the scenery as the film's villainous chocolatier. Likewise, Hugh Grant is clearly having a ball playing a CGI Oompa-Loompa so much so that you wish he'd be given a slightly larger role. It all makes for an undeniably fun film which fit more with the beloved original than the Tim Burton remake which is sure to please plenty of fans.
In 1991, while spending the Christmas holiday with the royal family at Sandringham House, Princess Diana decides to leave Prince Charles.
Director: Pablo Larraín
Cast: Kristen Stewart, Jack Farthing, Timothy Spall, Sean Harris, Sally Hawkins, Stella Gonet, Richard Sammel
Release Date: November 5, 2021
Genre: Biography, Drama, Romance
Rated R for some language
Runtime: 1h 51min
Review:
Pablo Larraín's poetic nightmare opens with the preamble "A fable from a true tragedy." Those expecting a more tactile grounded approach to Princess Diana will likely be frustrated by Spencer since it plays more like a fever dream. Larraín's film delivers a disquieting disorienting experience from the onset and it rarely lets up. Long tracking shots mixed with an unnervingly but effective soundtrack echo sequences from Kubrick's The Shining or even Polanski's Rosemary's Baby. He builds Diana's mental claustrophobia and paranoia with expert precision but the film hinges on Kristen Stewart's turn as Diana. Stewart's performance bleeds through the screen as she makes you feel every moment of Diana's mental tightrope walk on the edge of madness through whispered words and outburst of rebellion. She shares believable chemistry with Jack Nielen and Freddie Spry who play Diana's children with those moments working as anchors for the character's state. Sean Harris and Sally Hawkins deliver strong supporting turns as supportive confidants while Timothy Spall is ever present and menacing throughout. The film's script is dense with thematic undercurrents and meaning which it subtly weaves into the story early on however it decides to hammer home the point by spelling out metaphors in the final act. It's a minor complaint to an otherwise mesmerizing film which takes you on an unexpected journey into Diana's psyche.
Yesterday I abandoned my coworkers, turned my back on the best weather day of the budding summer, and hid inside a dark cinema with a monster monarch and pop music king.
Spoiler level here will be mild, nothing you wouldn't know from trailers and clips.
First on my agenda, Godzilla: King of the Monsters.
With Earth threatened by Titans and eco-terrorists, it's the King of the Monsters himself to the rescue.What I expect from a Godzilla movie, first and foremost, is for the monsters to be huge and impressive. Godzilla: King of the Monsters delivers that in spades, and I didn't even see it on the biggest/best screen at my cinema. I can only imagine how spectacular it looks in IMAX! The CGI sleek and effective, and the light effects on various creatures add some punch to a movie that, overall, is rather dark and sometimes hard to see. The disaster and even weather effects are also a sight to behold. A cast that boasts names like Bradley Whitford, Sally Hawkins, Vera Farmiga, Kyle Chandler, and Ken Watanabe might ordinarily be relied upon to elevate a movie beyond "just a monster movie," but, unfortunately, this monster movie is the equivalent of cement shoes on its actors. I was a little embarrassed to watch such quality talent utter this poorly-crafted dialogue, and I groaned out loud more than once at putrid attempts at humor. That aside, Bear McCreary's score smacks of old-school Godzilla pictures, and solid wall-to-wall action makes for a fast-moving couple hours of summer escapism.
Godzilla: King of the Monsters runs 131 minutes and is rated PG13 for "sequences of monster action, violence, and destruction, and for some language."
It's not the best Godzilla movie ever, but King of the Monsters certainly isn't the worst. Of a possible nine Weasleys, Godzilla: King of the Monsters gets six.
Next on the docket, a movie for which it feels like I've been waiting forever: Rocketman, a musical fantasy based on the life of Elton John.
Dearest reader(s), I am utterly in love with Rocketman. I want to talk about this movie. I want to talk about this movie a LOT. If you don't care to dive right into the thousand words that will undoubtedly follow, just get off the couch, put away the laptop, and get out to the cinema now. Do it. If you *do* want to dive right into my thoughts on Rocketman, well, here ya go...
The first words I said to anyone about Rocketman were: "That's not just the best movie I've seen this year; that's the best movie I've seen in ten years." While it'd take a bit more careful consideration to see how close that statement is to actual fact (it's only been nine years since two new entries, The Social Network and How to Train Your Dragon, jumped into my all-time top ten), I'll stand by the enthusiasm. Rocketman is a truly extraordinary cinematic achievement.
Rocketman is staged like a Broadway musical, with John recounting his childhood, rise to fame, and difficulties with addictions and relationships through musical numbers. The film moves deftly from heartbreak to passion to euphoria without ever feeling disjointed or like it's lost its way. Though the real strength of the musical numbers lies in John's timeless tunes, the staging bursts with fantastic choreography and brilliant costumes. John's story is fascinating enough in its own right, but here it's brought to life with a theatrical flair reminiscent of Bob Fosse's brilliant biopic All That Jazz, another of my all-time top-ten movies, which I was disappointed to discover recently is not available for rental or streaming...if I want to watch it, I have to dig out my old DVD. How very 1998!
Rocketman features top-notch work from a delightful cast. Taron Egerton gives up every inch of himself to *become* Elton John, and if I had the whole of the Internet I couldn't say enough about his performance. Masterful, exceptional, and entirely expected of Egerton, who is unfailingly extraordinary. He does his own singing here, too, in case anyone was wondering. If Egerton perfectly captures the cacophony of Elton John, Jamie Bell's stalwart Bernie Taupin serves as the movie's quiet cornerstone. Bell has been turning in brilliant performances literally since he was a child, and this one moved me to tears more than once. The remainder of the cast, particularly Richard Madden as John's sexy, sleazy first love and manager John Reid, fantastically fleshes out the highs and lows and brights and darks of John's world, nary a weak link to be found among them; even the young kids are terrific.
Following so quickly on the heels of the Queen/Freddie Mercury biopic Bohemian Rhapsody, comparisons are inevitable, so, for whatever it's worth, here's how the two films stack up for me. Throwing no shade at Bohemian Rhapsody, which I loved, Rocketman is a much better film. The most objective and therefore critically relevant reason is simple: It's just more self-aware. Bohemian Rhapsody wanted so very badly to be taken seriously, and ultimately it succeeded, but for my money it skimmed too lightly over the dark times and hard questions to earn it. Rocketman was only ever billed as a fantasy, so, though it's based on some real-life people and happenings--and not all happy ones--it could always be whatever it wanted...and it is EVERYTHING. More subjectively, though I'm a big fan of Rami Malek, I've always believed Taron Egerton could do anything, and in each and every project he proves me right. Malek was terrific as Freddie Mercury, but Egerton inhabits Elton John in a way I've seldom seen, not even from the most experienced and decorated performers. Finally, Queen made some epic, legendary music and I love all of it, but it's never moved me in the way Elton John's music does, and that's allowing for the fact that my favorite Elton John songs--Madman Across the Water and Funeral for a Friend/Love lies Bleeding--are unrepresented in this picture. So...if you're going to make the comparison, for me it's not a hard call: Rocketman is a better movie than Bohemian Rhapsody by far and in every way.
Rocketman clocks in at 121 minutes and is rated R for "language throughout, some drug use, and sexual content."
Rocketman will break your heart and mend your soul. I haven't stopped smiling since I saw it, and I can't wait to see it again. There aren't nearly enough Weasleys to give this movie the rating it deserves, so I'm just going to beg you: GET OUT AND SEE ROCKETMAN NOW!
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.
Settled in with the Brown
family, Paddington the bear is a popular member of the community who spreads
joy and marmalade wherever he goes. One fine day, he spots a pop-up book in an
antique shop -- the perfect present for his beloved aunt's 100th birthday. When
a thief steals the prized book, Paddington embarks on an epic quest to unmask
the culprit before Aunt Lucy's big celebration.
The first Paddington was
a surprisingly fun adaptation of the classic children’s book. It was the rare film that actually captured
the spirit of the character instead of just mining the source material for a
quick buck. Having lighting strike twice
seemed like a long shot but Paul King’s lovingly made sequel continued the
first film’s legacy. It’s nearly
impossible not to be charmed by the story from the start. It’s the best kind of kid’s film, one that
never panders to its audience and has a tangible heart beat. Ben Whishaw is just a perfect in this sequel
as the titular bear, making him endearing and lovable. The returning cast members like Hugh
Bonneville and Sally Hawkins are solid throughout with Hawkins getting more to
do in the second half of the film. Hugh
Grant is clearly having a ball as Phoenix Buchanan, the villain in this
chapter. Buchanan’s character is a lot
more memorable than the first film’s adversary which is to the sequel’s
benefit. Add in a fun supporting turn by
Bredan Gleenson and you’ve got the rare kids sequel that improves on original
while never losing the spirit of the characters.
Dearest Blog: Yesterday it was off to Marquee Cinemas for a pair of heist movies: Paddington 2 and Den of Thieves. (Find another review that makes *that* connection if you can!)
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on my agenda: Paddington 2.
When dear Paddington is wrongly jailed for robbery, it's up to the Browns to find the real thief.
Paddington was a lovely surprise, a "children's" movie that turned out to be so much more. If there's any surprise to the greatness of Paddington 2, it's only that it's even better than the first.
Like its predecessor, much of Paddington 2's charm can be credited to its phenomenal cast. Hugh Bonneville, Sally Hawkins, Jim Broadbent, Julie Walters, and Brendan Gleeson are in top form, and Hugh Grant is an absolute delight as the film's narcissistic villain. The plot of Paddington 2 doesn't hold many twists, but it doesn't need them; its execution is so sweet and funny that predictability is easily forgiven. The movie is beautifully filmed, with a special nod to the animated pop-up book sequences, a true delight from start to finish. Stay tuned for a great musical number at the end!
Paddington 2 runs 104 minutes and is rated PG for "some action and mild rude humor."
In an increasingly ugly world, I'm grateful for the joyful beauty of Paddington.
Of a possible nine Weasleys, Paddington 2 gets all nine. (Yes, I'm throwing down a nine in January. 2018, you've got your work cut out for you.)
Fangirl points: Joanna Lumley! Ben Whishaw! Peter Capaldi! Ben Miller! Richard Ayoade!
Next on the docket: Den of Thieves.
LA's top cops face off with a legendary heist crew. Many shootings and f-words ensue.
Dear reader(s), my anticipation for Den of Thieves could not have been higher, and I want you to know from the bottom of my heart: I LOVE THIS MOVIE. It may not be the cleverest or the best from any technical standpoint, but, damn, it's everything I'd hoped it would be.
Den of Thieves wastes no time getting started with a fast and loud robbery and chase. From there, it quiets down surprisingly often, lending some time to backstory and...wait for it...planning. Like actual thinking. Yes, Den of Thieves is smarter than I expected. Understand the Smart Bar had been set very, VERY low, but still...I liked that it threw me a little curve, and in more ways than just Gerard Butler pondering his life choices. Den of Thieves weaves a tense tale, as the crafty robbers and no-rules cops attempt to out-fox each other. The bad-good guys are headed up by Butler, and his usual meathead act is quite perfect here. The bad-bad guys have Pablo Schreiber and O'Shea Jackson, Jr. turning in very nice performances with--dare I suggest it?--a fair bit of depth. Den of Thieves runs a hair too long and might have been better served by trimming some unnecessary subplot, but the movie takes a few turns I didn't expect and saves its best surprises for the finale.
Den of Thieves clocks in at 140 minutes and is rated R for "violence, language, and some sexuality/nudity."
Plopped squarely in the middle of all the pretentiousness of Awards Season, Den of Thieves is a sweary, testosterone-soaked action picture that is exactly what it means to be.
Of a possible nine Weasleys, Den of Thieves gets eight.
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.
