MOVIE REVIEW: SOUND OF METAL

 

A heavy-metal drummer's life is thrown into freefall when he begins to lose his hearing.

Director: Darius Marder

Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff, Mathieu Amalric

Release Date: December 4, 2020

Genre: Drama, Music 

Rated R for language throughout and brief nude images 

Runtime: 2 h 10 min

Review:

Sound of Metal, Darius Marder's directorial debut, is a evocative, gritty drama that's simplistic on it's surface but emotionally dense.  It's conceit is fairly simple and Marder's approach gives the film an lived in almost documentary feel to it.  The pacing is leisurely but intense at the same time with Riz Ahmed's performance pulling you into his character's pain instantly.  Ahmed displays a simmering frustration and anger especially in the early portion of the film but subtly softens it as the story moves along.  He's able to emote so much via gestures or looks that you feel everything his character is going through as he learns to live with his situation.  This is a film that doesn't have a lot of large movements to the story but Marder uses sounds to put us in the main character's head, its a deft move that brings a tangible connection to his situation.  There's a sense of melancholy that permeates the entire film that makes it feel more authentic as we follow Ruben's journey of self realization.  As such, we feel those highs and lows he experiences throughout the story.  In lesser hands this kind of story might have felt too Hollywoodish or artificial but Marder and Ahmed deliver something meaningful and impactful.  

A

MOVIE REVIEW: SOUL

 

Joe is a middle-school band teacher whose life hasn't quite gone the way he expected. His true passion is jazz -- and he's good. But when he travels to another realm to help someone find their passion, he soon discovers what it means to have soul.

Director: Pete Docter

Cast: Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Donnell Rawlings, Questlove, Angela Bassett

Release Date: December 25, 2020

Genre: Animation, Adventure, Comedy 

Rated PG for thematic elements and some language

Runtime: 1 h 40 min

Review:

Pixar's latest Soul pushes the boundaries of abstraction and metaphysical meditation especially for what's considered a kids movie.  Pete Docter, who directed the equally abstract Inside Out, delivers a beautiful film, each frame is visually dense and detailed whether it occurs in the real world or on the astral plane.  The story's meditation on what makes life worth living is an interesting subject to tackle for a children's film and the story never dumbs it down.  As such, a bevy of references will fly right over smaller children's heads but the candy colored afterlife which is populated by abstract Picasso like overseers and adorable newborn souls puffs will offer plenty to keeps kids interested.  Throw in a fun bit of body swapping comedy in the middle act which should give them lots to enjoy even if the larger themes seemed aimed at their middle aged parents.  Those themes are handled with great care and consideration which the film brings to a thoughtful conclusion.  The voice cast is excellent across the board with Jamie Foxx & Tina Fey doing the largest part of the heavy lifting. They share a good rapport together which shines throughout the film.  The supporting cast of is made up of excellent actors and actress such Richard Ayoade, Phylicia Rashad and Angela Bassett which each leaving their mark with their distinctive tenors.  Soul is a heady film that will probably linger with the adults longer than the children they see it with, it's a testament to the kind of storytelling that Pixar can pull off as they continue to push the envelope as to what these type "kids" movies can be.   

A-

Cindy Prascik’s Reviews of The Midnight Sky, Wonder Woman 1984, Soul, Ma Rainey's Black Bottom & The Bee Gees: How Can You Mend a Broken Heart

 Four Movies That Aren't What They Could Have Been...and One That Is Perfect

My dear reader(s): December has finally slowed to a pace that allows for catching up on movies. Sadly, that does not mean the cinema for me right now, but there are some promising titles available for home viewing. Herein I shall offer brief (for me) opinions on a few.

Spoiler level here will be mild, nothing you wouldn't know from the trailers or if you're familiar with actual events and/or the source material where applicable.

First on my Holiday Catch-Up Docket: The Midnight Sky.

Resigned to riding out the end of the world at his arctic outpost, Scientist!Clooney tries to keep a crew of astronauts from returning to a planet that's beyond saving.

The Midnight Sky is one of those movies that passes muster in 2020, but that might have been a more epic product in a normal year. With George Clooney at the helm (both starring and directing), and featuring decorated co-stars like Felicity Jones and David Oyelowo, I have to think somewhere along the line it was meant to be more than it is. What it is, is...fine, I guess? Clooney et al. are more than up to the challenges of their somewhat thinly painted roles. The story has been told before and undoubtedly will be told again and again as panic about the state of our planet sets firmly at the front of people's minds. It's not a new or different tale, but it's respectably told and not as dull as I expected from things I'd seen online before watching it. Neither is the movie's message as overtly heavy-handed as I anticipated, but sketchy effects, too many wasted minutes, and hokey ending make this a slow film without much impact.

The Midnight Sky clocks in at 118 minutes and is rated PG13 for "some bloody images and brief strong language."

If the daily news isn't satisfying your appetite for apocalyptic stories, and you like George Clooney, the Midnight Sky makes a decent bit of holiday viewing. Of a possible nine Weasleys, the Midnight Sky gets five and a half.

The Midnight Sky is now streaming on Netflix.

Next up, the week's big release: Wonder Woman 1984.

Diana Prince battles 80's fashion and a dangerous megalomaniac.

Regular reader(s) will know, I'm a DC girl. Wonder Woman gave us DC folks real hope that DC was getting back on track after a disastrous skid. Wonder Woman 1984 derails that hope almost entirely. A boring, repetitive opening sequence sets the tone by eating up far more time than it earns. The subsequent story is pointless, goofy, and all over the place. Most performances are cringe-worthy. There's even a full-on Macavity moment towards the end that channels last year's Christmas tragedy, Cats. The Wonder Woman brand is well-loved enough that many fans will find something to like here. For those people, I am happy. Me, I was more annoyed with each minute I wasted on this. Only the combined charm of Gal Gadot and Chris Pine, a rousing score by Hans Zimmer, and a delightful mid-credits scene keep Wonder Woman 1984 from being a total loss.

Wonder Woman 1984 runs a bloated 151 minutes and is rated PG13 for "sequences of action and violence."

Wonder Woman 1984 represents yet another missed opportunity for DC. Of a possible nine Weasleys, Wonder Woman 1984 gets four.

Wonder Woman 1984 is now playing in cinemas, and streaming through mid-January on HBO Max.

The middle slot on my holiday catch-up is occupied by the Disney/Pixar offering Soul.

During a near-death experience, a man obsessed with jazz music tries to find his way back, and ends up helping a young soul along the way.

Soul is a solid movie that (lightly) ticks all the Disney/Pixar boxes, though it's missing the qualities that distinguish their truly special pictures. The diverse cast, led by Jamie Foxx and Tina Fey, is terrific. The focus on music is welcome. The art and animation are gorgeous. The story is engaging enough to teach its lessons organically. Still...I had a hard time figuring out exactly where Soul was aiming. Its premise seems too scary for kids, especially younger ones, but it never seems quite enough for anyone older. It's not as pretty as Finding Nemo. It's not as smart as WALL-E. It doesn't tug the heartstrings nearly as effectively as Coco. Ultimately, it's a good movie that just suffers by comparison to its predecessors.

Soul runs 100 minutes and is rated PG for "thematic elements and some language."

Soul is a heartwarming bit of family entertainment that deserves a spot in your 2020 holiday planner, even if it never quite finds its spark. Of a possible nine Weasleys, Soul gets six and a half.

Fangirl points: Graham Norton and Richard Ayoade!

Soul is now playing in theaters and streaming on Disney+.

My penultimate picture this weekend was the Netflix Original Ma Rainey's Black Bottom.

In the sweltering Chicago summer of 1927, tensions run high during a recording session with the "Mother of the Blues," Ma Rainey.

Ma Rainey's Black Bottom features exceptional performances by Viola Davis and (in his final role) Chadwick Boseman. When I say Davis is exactly as good as you'd expect, know that I mean you'd always expect her to be the best, and she is nothing less. Boseman, posthumously, is sure to earn some of the awards he's deserved since starring in 42. For a year that specialized in kicks to the gut, 2020 has given none more devastating than the loss of Chadwick Boseman. The story packs an emotional wallop — mostly due to the characters' efforts to buck a system designed to confine them — but the movie never really takes off, due, in my opinion, to its failure to focus on Ma Rainey's music. We're told Ma Rainey is the "Mother of the Blues." We're told many legends found their influence in her. Yet we don't hear much of the music that earned her this lofty status. What that leaves is an hour and a half of sweaty people yelling at each other. Good acting, though. Very good acting.

Ma Rainey's Black Bottom clocks in at 94 minutes and is rated R for "language, some sexual content, and brief violence."

While Ma Rainey's Black Bottom isn't the movie it could have been, two of the year's best performances make it worth a look. Of a possible nine Weasleys, Ma Rainey's Black Bottom gets six and a half.

Ma Rainey's Black Bottom is now streaming on Netflix.

With no small bit of personal bias, I saved the best for last in my Holiday Picture Show: the Bee Gees: How Can You Mend a Broken Heart.

This documentary from director Frank Marshall serves not only to tell the story of the Brothers Gibb, but to justify and underscore their status in the pop music stratosphere. 

The film starts reflectively, with a pensive Barry Gibb noting that he is the only one left, the last surviving Gibb brother. It doesn't take long to shake off the melancholy mood with fantastic pictures and video clips of the very young brothers, and relies on such photos, film snippets, and interviews with the Gibbs and assorted spouses and associates to tell a mostly linear story of the trio's early days, rise to fame, meteoric success in the Saturday Night Fever era, fall from popular favor during the disco backlash of the early 80s, and subsequent success as songwriters and collaborators with other artists. It touches on difficulties with drink and drugs, but never wallows in misery or self-pity. The movie succeeds, not chiefly because this is a great story (though it is), but because it focuses on music, music, and more music. The genesis of songs. The backstory of songs. The creative process used in fashioning songs. So. Many. Great. Songs. Testimonials from artists — all kinds of artists, from every era in the Gibb brothers' musical lifetime — who felt and feel their influence to this day. The movie notes the passing of, and pays tribute to, Andy, Maurice, and Robin Gibb, coming full circle with Barry musing that he would "rather have them all back here and no hits at all." In between a somber start and finish, How Can You Mend a Broken Heart offers a joyful celebration of one of the greatest catalogues in music history, a special trip down memory lane for fans, and a timely reminder that being against anything will never matter as much as being for something. Oh, and To Love Somebody is legitimately one of the greatest songs ever written by anyone, anywhere. Don't forget that.

The Bee Gees: How Can You Mend a Broken Heart runs 111 minutes and is rated TVMA.

The Bee Gees: How Can You Mend a Broken Heart tells the story of the Brothers Gibb, focusing on their extraordinary musical legacy and unbreakable brotherly bond. Current Bee Gees fans and not-yet Bee Gees fans should consider it the year's must-watch documentary. Of a possible nine Weasleys, How Can You Mend a Broken Heart gets all nine.

Fangirl points: the Beatles and Ed Sheeran both turn up in this. Yay!

The Bee Gees: How Can You Mend a Broken Heart is now streaming on HBO Max.

Until next time...

MOVIE REVIEW: NEWS OF THE WORLD

 

Five years after the end of the Civil War, Capt. Jefferson Kyle Kidd crosses paths with a 10-year-old girl taken by the Kiowa people. Forced to return to her aunt and uncle, Kidd agrees to escort the child across the harsh and unforgiving plains of Texas. However, the long journey soon turns into a fight for survival as the traveling companions encounter danger at every turn -- both human and natural.

Director: Paul Greengrass

Cast: Tom Hanks, Helena Zengel, Michael Covino, Bill Camp, Michael Covin, Fred Hechinger, Neil Sandilands, Thomas Francis Murphy

Release Date: December 25, 2020

Genre: Action, Adventure, Drama

Rated PG-13 for violence, disturbing images, thematic material and some language

Runtime: 1 h 58 min

Review:

 News of the World is Paul Greengrass and Tom Hanks second collaboration and it couldn't be anymore different than Captain Phillips.  News of the World won't leave your nerves frazzled like that film and Greengrass pulls back his usual kinetic style in favor or a slower more pensive approach.  There are plenty of dusty vistas on display along with a plethora of scenic sunsets to appreciate throughout.  The story itself is a fairly basic conceit and this film is more about the journey than the destination.  Its easy to get some strong True Grit vibes throughout especially with Tom Hanks paternal but grizzled performance here. His Captain Kidd is a weather worn man whose haunted by his past, it's a measured and layered turn. Newcomer Helena Zengel turns in an impressive naturalistic performance which is the linchpin to the entire film.  Zengel and Hanks have a natural repour together and they serve as the lifeblood of the film.  Their relationship is central to the entire film even though you won't find many surprises as the film plays out in a fairly predictable path.  In their trek they meet the kind of characters that typically populate these type of westerns with the good and bad guys being instantly recognizable.  News of the World isn't a film that's interested in trailblazing any new territory but that doesn't take away from the fact that it's a well made western that feels like comfort food.

B+

MOVIE REVIEW: PROMISING YOUNG WOMAN

 

Nothing in Cassie's life is what it appears to be -- she's wickedly smart, tantalizingly cunning, and she's living a secret double life by night. Now, an unexpected encounter is about to give Cassie a chance to right the wrongs from the past.

Director: Emerald Fennell

Cast: Carey Mulligan, Bo Burnham, Alison Brie, Clancy Brown, Jennifer Coolidge, Laverne Cox, Connie Britton

Release Date: December 25, 2020

Genre: Comedy, Crime, Drama

Rated R for strong violence including sexual assault, language throughout, some sexual material and drug use

Runtime: 1 h 53 min

Review:

Promising Young Woman is a wickedly sharp dark comedy/revenge thriller from first time filmmaker Emerald Fennell.  Fennell writes and directs her film with an impressive bit of visual flair.  Certain scenes are framed with such meticulous care that you have to appreciate the talent and craftmanship on display.  Her script is equally impressive with biting dialogue that pops from the opening sequence.  At the center of the whole thing is a career defining performance from Carey Mulligan who delights in playing against type.  Her Cassie is a force of vengeful nature whose laser focused on her task.  Mulligan is clearly enjoying herself in the role but she and the script are savvy enough to open up Cassie and give her some semblance of happiness during the middle of the film.  Fennell and Mulligan lull you into an uncomfortable sense of calm before ripping the rug right from under your feet.  It's one of the most searing gut punch of a finale of the year that's bound to stay with you long after the film ends.  The ending is a bit too tidy for my taste but you can't deny that it's a cathartic release and the indictment of the bro/rape culture especially in our current environment.

A-

MOVIE REVIEW: WONDER WOMAN 1984

 

Diana Prince lives quietly among mortals in the vibrant, sleek 1980s -- an era of excess driven by the pursuit of having it all. Though she's come into her full powers, she maintains a low profile by curating ancient artifacts, and only performing heroic acts incognito. But soon, Diana will have to muster all of her strength, wisdom and courage as she finds herself squaring off against Maxwell Lord and the Cheetah, a villainess who possesses superhuman strength and agility.

Director: Patty Jenkins

Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen

Release Date: December 25, 2020

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of creature action and violence throughout

Runtime: 2 h 31 min

Review:

 Patty Jenkins follow up to the her wildly successful original is a film that has soaring ambitions but the execution doesn't land perfectly. That being said she accomplishes so much during her trek through the 80s.  She manages to hit on every 80s trope you can imagine while never losing focus on her characters.  It's a fun trek that's surprisingly light on actual superhero action outside of rousing action set pieces.  Jenkins focuses far more on the the characters as the work through living their wish fulfillment.  The trope that the script uses to bring back Pine is an interesting choice but it does sort of fit in with the goofy 80s vibe and it allows the film to explore more of the characters desires and wants.  In a weird way sort of plays out like a superhero version of the Last Temptation of Christ.  Kristen Wiig seemed like  a strange choice to play Barbara Minerva originally but it works as she plays the nerdy dork who turns into a fox of cheetah in this case.  Wiig and Gadot have great chemistry together which makes their friendship more believable and grounded.  Gadot at this point is just the walking embodiment of Diana Prince, she has the ability to pull off the mixture of grace, empathy and strength so effortlessly that you just have to sit back and appreciate it.   Pedro Pascal plays the primary villain and he does so with a crazy amount of gusto.  His turn as Lord has some overt Trumpian tones taken to the extreme which makes him more of a caricature than a fully realized character.  Its a shame since it would have have given the film's conflict a bit more heft than it has but you have to wonder if it's intentional since the overall theme is much more internal and personal.  The film was written and filmed more than a year ago but there is something in it's incredibly hopeful message about selflessness that seems incredibly precedent in 2020.  Once the required battle between Diana and Barbara's newly born Cheetah, the script sadly doesn't really explain this transformation so it feels like it's just checking a box, the story turns into one of the more interesting superhero finales.  Instead of a massive showdown it's more of a reflective message that grounds the story with its hopeful sense.  It's a lofty ambition which doesn't quite work as well as it should onscreen because the story has a hard time connecting it all together. Its easy to appreciate the intention but it doesn't quite stick the landing.  Still, Wonder Woman 1984 is very much on brand with ideal that they established in the original about what the character stands for.  Longtime fans will find plenty to love here like Diana sporting the Golden Eagle armor and other treats, be sure to stay through the credits for a fun surprise.   

B