Paranormal investigators Ed and Lorraine
Warren take on one of the most sensational cases of their careers after a cop
stumbles upon a dazed and bloodied young man walking down the road. Accused of murder,
the suspect claims demonic possession as his defense, forcing the Warrens into a supernatural inquiry unlike anything they've
ever seen before.
Director: Michael Chaves
Cast: Patrick Wilson, Vera Farmiga, Ruairi
O'Connor, Sarah Catherine Hook, Julian Hilliard, John Noble
Release Date: June 4, 2021
Genre: Horror, Mystery, Thriller
Rated R for terror, violence and some
disturbing images.
Runtime: 1 h 52 min
Review:
The Conjuring: The Devil Made Me Do It is an
effective if less impactful entry in the main series.Michael Chaves does his best James Wan
impression by delivering a film that has a 80s horror feel to it with an
opening sequence that pay homage to a horror stalwart.Unfortunately, it doesn’t maintain that level
of intensity throughout its runtime.There are plenty of strong set ups and jump scares but the story doesn’t
ever really find its footing in a meaningful way.As such the story never produces that
sensation of dread or foreboding that top tier religious horror films elicit.It’s still incredibly watchable due to strong
work form Patrick Wilson and Vera Farmiga.By this point in the series both actors inhabit the skin of their
characters with a palpable level of authenticity.Outside of the scares, this series has
primarily been about this couples marriage and love story.It’s the beating heart of the story and the
main reason these films work even in lesser entries like this.The biggest issue here is that a lot of the
story and tropes have all been done in better films.It doesn’t really break any new ground and
doesn’t explore a tantalizing story thread with John Noble’s character with it
choosing for a more straightforward approach.This third entry in The Conjuring franchise works but most hardcore
horror fans will be left wanting for more.
Members of the crypto-zoological agency
Monarch face off against a battery of god-sized monsters, including the mighty
Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the
three-headed King Ghidorah. When these ancient super-species-thought to be mere
myths-rise again, they all vie for supremacy, leaving humanity's very existence
hanging in the balance.
Director: Michael Dougherty
Cast: Kyle Chandler, Vera Farmiga, Millie
Bobby Brown, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas
Middleditch, Aisha Hinds, O'Shea Jackson Jr., David Strathairn, Ken Watanabe,
Zhang Ziyi.
Release Date: May 31, 2019
Action, Action, Adventure, Fantasy
Rated PG-13 for sequences of monster action
violence and destruction, and for some language Runtime: 2 h 11 min
Review:
Godzilla: King of the Monsters is a movie at
war with itself.The obvious main
attraction is the monster mayhem promised in the title and on that basis alone
it succeeds.The battle sequences are
beautifully shot even if they tend to be a bit dark in spots.Portions of the epic battle sequences almost
look like some sort of insane renaissance painting of carnage.So is that enough to make a film enjoyable if
the human portion of the film feels like it was lifted out of a bad 90s summer
blockbuster?It’s difficult to tell
since those portions are just so bland and terribly scripted.The cast assembled is incredibly strong but
they’re mostly wasted spouting hackneyed lines.Character motivations vary from act to act and the logic behind some of
the people’s actions are ludicrous.To
say that the film lags in spots would be an understatement since it’s a series
of ups and downs in terms of excitement.On the most basic level, Godzilla: King of the Monster works as a
mindless and summer blockbuster that delivers some of the best kaiju action
ever.Sadly the overstuffed run time
could have excised entire portions of the human side of the story and the film
would have been better for it.
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.
Director
James Wan brings this supernatural thriller to the screen with another real
case from the files of renowned demonologists Ed and Lorraine Warren..
Reprising their roles, Oscar nominee Vera Farmiga and Patrick Wilson star as Lorraine and Ed
Warren, who, in one of their most terrifying paranormal investigations, travel
to north London to help a
single mother raising four children alone in a house plagued by malicious
spirits.
Director: James Wan
Cast: Patrick Wilson, Vera Farmiga, Frances O'Connor,
Madison Wolfe, Simon Delaney
Release Date: Jun
10, 2016
Rated for terror and Horror Violence
Runtime: 2 hr. 13 min.
Genres: Horror
Review:
The Conjuring 2 is a strong if slightly forgettable
sequel that doesn’t have the same bite as the first film.James Wan continues to prove he’s one of the
stronger directors in the horror genre as he runs through a series of tried and
true horror tropes.In the hands of
lesser directors these tropes would feel tired and come off as
ineffective.Wan is capable of finding
the perfect tenor of a sense to set up scares which jolts the audience even
though most of them know its coming.While its director and cast are strong, Patrick Wilson and Vera Farmiga
are just as committed to their roles as the first tie around, there’s a strong
sense of familiarity with the story.The
majority of the film plays out exactly as expected with few surprises in store
save for a random Elvis impersonation from Patrick Wilson.Personally, I’d love to see this franchise
continue with Wilson and Farmiga but it’ll need some slightly fresher material
to keep it’s bite.
Insidious' James Wan dips his feet into the haunted-house genre once again with this New Line Cinema production depicting the real-life tale of the Perron family, who claimed to have been terrorized by a series of ghosts. Vera Farmiga and Patrick Wilson star as paranormal investigators who achieved notoriety from their investigation into the Perrons' house. ~ Jeremy Wheeler, Rovi
Director: James Wan
Cast: Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor, Joey King
Release Date: Jul 19, 2013
Rated: Sequences of disturbing violence and terror.
Runtime: 1 hr. 51 min.
Genres: Horror
Review:
The Conjuring is a well acted, well directed horror film that takes it’s time building scares. James Wan directs his film like an homage to 70’s horror films, it borrows heavily from The Exorcist, The Amityville Horror and Poltergeist. Like Insidious, Wan builds up the tension by setting up a chilling atmosphere that’s filled with wonderfully set up moments all done with interesting camera work. Unlike Insidious, the final act doesn’t falter with cheesy monster effects. The final reel is a goose bump inducing horror show that delivers the goods. Impressively, this is all done with very little blood or even cursing, it’s a master class in restraint. The cast is solid but the characters, the Warren’s in particular, are under written. Vera Farmiga and Patrick Wilson shine throughout while creating a palpable and believable loving relationship. Personally, I wish we’d seen a tad more of them and their back story but since this is considered a franchise starter it maybe something we’ll see down the road. Let’s hope the quality stays just as high in future installments.
A rookie CIA operative goes on the run with a rogue former intelligence officer after a South African safe house comes under attack by heavily armed mercenaries. Matt Weston (Ryan Reynolds) is a CIA agent just waiting for the perfect opportunity to prove himself. But that's no easy task when you've been cooped up in an empty Cape Town safe house for a whole year. Weston realizes that a prime opportunity is headed his way, however, when he learns that former agent Tobin Frost (Denzel Washington) has been captured after nearly a decade on the run. Frost is about to become Weston's one and only guest at the safe house, and the fledgling agent is determined to handle the situation like a true professional. But by selling U.S. secrets to countries like North Korea, Frost has made more than his fair share of enemies in high places, and shortly after he arrives at the safe house, all hell breaks loose. A small army of gunmen are determined to see Frost dead. Meanwhile, Weston will do everything in his power to protect Frost, regardless of his crimes. Now Weston's only hope for getting out of this alive is to find out who's gunning for them, and seek out someone he can trust before it's too late. ~ Jason Buchanan, Rovi
Director: Daniel Espinosa
Cast: Denzel Washington, Ryan Reynolds, Vera Farmiga, Brendan Gleeson, Sam Shepard
Release Date: Feb 10, 2012
Rated R for violence and some language
Genres: Action/Adventure, Suspense/Thriller
Review:
Safe House is the type of film you keep expecting to surprise or excite you but it never really can. Incredibly generic and predictable it never rises above better films of its ilk. Daniel Espinosa directs his film like a muted Tony Scott, the action is chaotic and loud but nothing seems to illicit the response intended. To his credit, Espinosa does pace his film steadily and never lets it lag too much, as a result this 2 hour film doesn’t feel any longer than it should. Denzel Washington is clearly having a good time; he’s always the most interesting person on screen both as an actor and character. Sadly the character is underwritten and you can’t help feeling like you’ve just scratched the surface. Ryan Reynolds should make for a perfect action star but he just never believable especially when delivering a punch. It doesn’t help that his character is a moron who makes the absolute worst decisions in every situation. The supporting cast is made up of top tier actors and strong character actors which could enhance the overall experience but they are all terribly underused and underwritten. The plot itself is straightforward and generic, nothing really surprises you and any of the turns or surprises are telegraphed in such an obvious manner that they might as well have street signs announcing them. Still, it’s all easily digestible with its Bourne style action even if it’s instantly forgettable.
Jake Gyllenhaal headlines this sci-fi time-travel thriller directed by Moon's Duncan Jones from a script by Ben Ripley and Billy Ray. A bomb explodes on a Chicago train, derailing the locomotive and killing hundreds. In an attempt to identify the bomber and prevent another, larger attack on downtown Chicago, Captain Colter Stevens (Gyllenhaal) agrees to take part in a clandestine government experiment dubbed "Source Code," which allows him to enter the body of a male passenger during the eight minutes before the man is killed. But during his first trip back, Capt. Stevens fails to gather enough clues to prevent the second attack. With time quickly running out, he repeats the mission ad nauseam in a desperate race to head off one of the most deadly terrorist attacks ever to take place on American soil. ~ Jason Buchanan, Rovi
Director: Duncan Jones
Cast: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright, Michael Arden
Release Date: Apr 01, 2011
Rated PG-13 for Some violence including disturbing images, and for language
Runtime: 1 hr. 33 min.
Genres: Action/Adventure, Suspense/Thriller
Review:
Duncan Jones is an interesting filmmaker to say the least; with Moon he crafted a perfectly claustrophobic mind bending meditation on freewill. With Source Code he broaches the same subject matter from a different point of view, various actually. Using a conceit that’d be familiar to any Star Trek or comic book nerd, alternate realties/multi-verse, Jones creates an impressively engaging Sci-fi tome that has headier themes going on in the background. Jones finds a nice balance by never having these themes overpower his film allowing viewers to enjoy it simply as a thriller with a Sci-fi slant. Jones has a wonderful eye for his film and here his talent is readily apparent as he makes the same scenes interesting throughout even with the amount of repetition. Jake Gyllenhaal is tasked with carrying the film and he does an admirable job. His character is manic, confused and occasionally slightly unhinged. The character serves as a good stand in for the audience as they get their footing with the story and concept. Sadly, the rest of the cast is given very little to do. Michelle Monaghan does what she can with her character and she does bring a nice sincerity to her but it can only be developed so far in the confines of the story. Vera Farmiga is stuck being a talking head on a video screen for the better part of the film. Jeffrey Wright gives one of his hammiest performances in memory, he plays his character in such a stereotypical fashion that it’s kind of distracting, very strange choice for a talented actor. Source Code does have a plot holes throughout and leaves lingering questions even after the film closes. Regardless, this hybrid of Groundhog Day and Johnny Got His Gun will please any Sci-fi fan.
Sunday, January 03, 2010
Movie Reviews: UP IN THE AIR
IN THEATERS
UP IN THE AIR
From Jason Reitman, the Oscar® nominated director of “Juno,” comes a comedy called “Up in the Air” starring Oscar® winner George Clooney as Ryan Bingham, a corporate downsizing expert whose cherished life on the road is threatened just as he is on the cusp of reaching ten million frequent flyer miles and just after he’s met the frequent-traveler woman of his dreams.
Cast: George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman, Danny R. McBride
It’s truly shocking that Up in the Air is director Jason Reitman’s 3rd film. Reitman’s level of polish is something most directors aspire to when they reach their peak. Up in the Air perfectly captures the cultural zeitgeist, a snapshot in time, filled with all the disconnect and artificial appreciation we all live with day in and out. Specifically, air travel and hotel life is wonderfully replicated with all the shorthand that anyone with any sort of travel experience would be hard pressed not to grin throughout. Reitman is able to meld this with a poignant look at the corporate wasteland caused by downsizing, using non actors in snippet interviews, that has consumed the America’s business landscape over the past couple of years. It’s a tricky balance but it works well especially since this is a romantic comedy at its heart. Reitman’s director is top notch and his cast is equally up to task. George Clooney, doing his best work since Michael Clayton, displays a full range of his character’s persona. His character is confident and head strong but very self aware of his ideology’s paradoxes. Clooney doesn’t shy away from showing his vulnerable side and does so with great effectiveness here. Vera Farmiga does an equally impressive job matching Clooney jab for jab in their scenes together. She displays a great ability to be strong and sexy without falling into the standard pitfalls of this type of role. Doing a similar balancing act is Anna Kendrick who makes her mark on her role which could have faded into cliché in lesser hands. She makes her character funny but grounded in reality, making her seem like someone we’ve all run into at some point in our careers. Peppered throughout the film are strong character actors like JK Simmons, Jason Bateman, Danny McBride, Zach Galifianakis and Sam Elliott. They make what could have been quick throwaway moments into something more substantial. Jason Reitman and Sheldon Turner adapted the script from Walter Kirn’s 2001 mostly stream of conscience novel of the same name and there are moments in the film that feel like they are starting to head into rom-com clichés but they throw you curve balls keeping you off balance. It’s a true testament to their efforts in giving the audience something fresh with substance.
