Cindy Prascik's The Hitman’s Bodyguard & Logan Lucky

Dearest Blog: Yesterday it was off to Marquee Cinemas for the promising pair of The Hitman's Bodyguard and Logan Lucky.

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

 

First up: The Hitman's Bodyguard.

 

When a former assassin's testimony is needed at the International Criminal Court, it's up to a disgraced personal security expert to get him there safely.

 

The Hitman's Bodyguard is exactly as advertised, a thrilling and wildly funny action-comedy. Co-stars Ryan Reynolds and Samuel L. Jackson have as much chemistry as the best buddy-comedy pairs, easily playing off one another in hilarious fashion. Gary Oldman digs his cartoonish bad-guy schtick out of storage for a broad, accented turn reminiscent of his mid-90s meat and potatoes. He's not really in the movie as much as I'd have liked, but, as always, he puts his screen time to good use. Action is almost non-stop, though the story beneath never feels underdone. Pretty European locales and a multi-cultural cast give the film a nice international flavor. Only the final chase scene seems to drag on just a bit too long; otherwise, the movie is a perfect balance of well-crafted action and foul-mouthed comedy.

 

The Hitman's Bodyguard clocks in at 118 minutes and is rated R for "strong violence and language throughout."

 

The Hitman's Bodyguard is a rollicking end-of-summer blast. Of a possible nine Weasleys, The Hitman's Bodyguard gets eight.

 

Fangirl points: GARY! (Duh.)

 

Next on the docket: Logan Lucky.

 

A pair of small-town brothers attempts to rob Charlotte Motor Speedway.

 

Dear reader(s), I'll consider it more a warning than a spoiler to tell you one thing about Logan Lucky that you probably didn't guess from the trailer: It's not really a comedy. It's amusing at times, and the overall tone certainly isn't heavy, but it is not the laugh-riot promised by the trailer.

 

Logan Lucky IS a clever, well-acted yarn about a down-on-his-luck West Virginia boy (Channing Tatum) who conscripts his brother (Adam Driver) into a wild plot to rob Charlotte Motor Speedway. The brothers enlist an "in-car-cer-rated" felon (Daniel Craig, playing delightfully against type) to assist with the scheme, which obviously doesn't go entirely as planned, or there'd be no movie. The terrific cast is rounded out by Katie Holmes, Riley Keough, Seth McFarlane, Katherine Waterston, Dwight Yoakam, and Sebastian Stan in a blink-and-you'll-miss-it turn. When Logan Lucky is funny, it's really funny, but unfortunately you've already seen most of what's really funny in the trailer. The twists and turns along our would-be robbers' path are well-plotted and certainly not boring, but the movie is so unlike its advertising that the whole can't help feeling kinda dull.

 

Logan Lucky runs 119 minutes and is rated PG13 for "language and some crude comments."

 

Logan Lucky is a smartly-crafted heist picture whose impact is sadly diminished by misleading advertising. 

 

Of a possible nine Weasleys, Logan Lucky gets six.

 

Fangirl points: Sebastian Stan! 

 

Also, however much it may have been intended to make fun of us, a roomful of people singing Country Roads will always put a teardrop in my eye.

 

Until next time...

MOVIE REVIEW: ANNABELLE: CREATION

A couple still grieving the death of their daughter take in children from a local orphanage, but the family are soon terrorized by a demented doll known as Annabelle. Anthony LaPaglia, Miranda Otto, Stephanie Sigman, Talitha Bateman, and Lulu Wilson star in this horror sequel from director David F. Sandberg (David F. Sandberg). ~ Jack Rodgers, Rovi

Director: David F. Sandberg

Cast: Lulu Wilson, Grace Fulton, Anthony LaPaglia, Miranda Otto

Release Date: Aug 11, 2017

Genres: Horror, Suspense/Thriller

Rated R for horror violence and terror

Review:

Annabelle: Creation is a better film than it deserves to be.  Horror clichés run amok in a script that seem more interested in moving from set up to set up than telling a coherent story.  Director David F. Sandberg doesn’t seem to know the meaning of efficiency as his movie is a bloated overlong hodgepodge of things we’ve seen before.  Again, it’s a decent horror film, there are far worse films in the genre that’s for sure, but it’s slightly frustrating because it feels like there is a better film in there somewhere.  The decision to cast Anthony LaPaglia & Miranda Otto seemed like it’d give the film a bit of credibility but the script moves them to the sidelines and barely uses them at all.  What we’re left with is an ensemble film with kid actors who do the best they can but it’s never terribly interesting or engaging.  Annabelle: Creation is the very definition of a wait for cable type of film.

C

MOVIE REVIEW: DETROIT

A police raid in Detroit in 1967 results in one of the largest RACE riots in United States history. The story is centered around the Algiers Motel incident, which occurred in Detroit, Michigan on July 25, 1967, during the racially charged 12th Street Riot. It involves the death of three black men and the brutal beatings of nine other people: seven black men and two white women. 

Director: Kathryn Bigelow

Cast: John Boyega, Will Poulter, Anthony Mackie, John Krasinski, Jack Reynor, Jason Mitchell, Hanna Murray

Release Date: Aug 4 2017

Genres: Crime, Drama, History

Rated R for strong violence and pervasive language

Review:

Detroit is a tense, uncomfortable and incredibly timely film.  Kathryn Bigelow’s style of filmmaking is perfectly suited for the story being told.  Bigelow’s immersive style leaves like a fly on the wall during the entire ordeal.  It’s an intense film that’s anchored by a strong ensemble cast.  John Boyega and Will Poulter really shine throughout the film, with some of the films best moments are watching their character’s process and think through situations.  Poulter though is the real surprise here since he’s been mostly a comedic actor.  Poulter provides the character an unsettling detachment and coldness that’s deeply unsettling.  The film loses a little steam after it moves on to the aftermath with the court proceedings and post event stories.  I was personally more interested in what happened to John Boyega’s character but the film chose a different direction.  It’s a small issue on an otherwise strong film that really shines a light on a dark portion of American history.

B+

Cindy Prascik's Reviews of The Dark Tower & Detroit

 

 

Dearest Blog: Yesterday it was off to Marquee Cinemas for Detroit and The Dark Tower.

Spoiler level here will be mild, nothing you wouldn't know from the trailers or the news.

 

First on the docket, Kathryn Bigelow's Detroit.

 

During the Detroit Rebellion of 1967, a handful of city cops terrorize young people staying at the Algiers Hotel.

 

Dear reader(s), you know when I call a movie "must-see," it's usually gonna be some big, dumb actioner with a current obsession not *quite* getting enough screen time for my liking. Evidence: that latest Transformers movie that everybody hates? Yeah, that'll be skirting my Top Ten come year's end. However, here I must break with tradition to suggest emphatically that everyone get out and see Detroit. It is a very, very important movie and a timely reminder of what happens when we allow some people to be treated as less than others.

 

Detroit opens with a clever sequence that brings viewers who might not be familiar with this event up to speed, and from there it's a slow burn into chaos. The movie is never in a hurry to get where it's going, yet there are millions of things happening all at once. Point of view is personal rather than general, with dialogue so natural as to seem unscripted. I'm no fan of Bigelow's jiggly camera work, but I couldn't look away from the terrifying events playing out onscreen. There is no sugar-coating, there are no cookie-cutter characters, and the performances are uniformly extraordinary. Of special note, as usual, is John Boyega in a smart, sympathetic turn. The violence and torment are up close and personal, at times nearly impossible to watch. The movie builds to its unsettling climax with such tension you might not even realize you're holding your breath. This is no fun summer flick; it's challenging and exhausting. (For the record, I ran straight to the ladies' room and threw up when it ended, and it's had me in tears more than a few times since.) Detroit is smart enough not to leave it to viewers to distinguish between "based on a true story" and "inspired by actual events;" it freely acknowledges that its account relies on the recollections of people who were under not-a-little duress during these events. No fun summer movie, Detroit will stay on your mind long after you exit the theatre. 

 

Detroit clocks in at 143 minutes and is rated R for "strong violence and pervasive language."

 

A headline I saw earlier this morning said, "Detroit is going to hurt, but it's worth it," and that's about the best way to sum up this brilliant but difficult movie. 

 

Of a possible nine Weasleys, Detroit gets eight.

 

Fangirl points: Not to take away from the seriousness of this picture, but I can't imagine a more beautiful human than Anthony Mackie exists anywhere in the universe. *le sigh*

 

Next on my agenda was the first big-screen shot at Stephen King's Dark Tower series.

 

The Last Gunslinger hopes to stop the Man in Black from toppling the Dark Tower, which protects the world from evil...or something like that. (I'm pretty close, right?)

 

Not having read this book series from Stephen King, and having heard nothing good about this adaptation prior to seeing it, I was prepared to state that--while I understood it might not meet the expectations of book fans--the movie is perfectly passable entertainment for the rest of us. 

 

Sadly, after nearly nodding off twice in just an hour and a half, I had to rethink that opening.

 

The Dark Tower is just a bad movie, and that's without even being able to speak to its failings by comparison to the books. It feels like, at some point very early in its making, all the Stephen King forces in the universe decided to focus their positive energy on the remake of It and deserted this entirely. (I guess the good news is my pretty busy cinema seemed to soil its collective drawers at the It trailer that preceded Dark Tower, so King may be redeemed rather quickly.) The Dark Tower's characters are so broadly drawn you'll only care what happens to any of them if you have a vested interest in the actor(s). Shallow storytelling provides very few answers, but leaves lots of question marks, for anyone unfamiliar with the source material. Clearly this was meant to set up a franchise, but if it's to do so with any success it'll need serious retooling. Man in Black Matthew McConaughey is as bland as ever (can't spell "McConaughey" without "ugh!") as a paper-doll baddie who's about as menacing as my little Cockapoo. Idris Elba is smokin'--and I mean SMOKIN'--hot as the Gunslinger, but the role is so poorly fleshed out it scarcely taxes his ability or charisma. Effects are pedestrian at best, and the action (such as it is) is accented by a comically-melodramatic score.

 

The Dark Tower runs the slowest 95 minutes ev-ah and is rated PG13 for "thematic material, including sequences of gun violence and action."

 

I truly had hoped to buck the trend and declare the Dark Tower passable entertainment for a summer afternoon, but, sadly, it can't meet even that low bar. Of a possible nine Weasleys, the Dark Tower gets two.

 

Fangirl points: OMG you guys...Idris Elba! (Teeny-weeny spoiler alert: When a boy says to the Gunslinger, "I dreamt about you!" I'm pretty sure I said out loud to the screen, "Me too!")

 

Until next time...

 

MOVIE REVIEW: ATOMIC BLONDE

Oscar® winner Charlize Theron explodes into summer in Atomic Blonde, a breakneck action-thriller that follows MI6’s most lethal assassin through a ticking time bomb of a city simmering with revolution and double-crossing hives of traitors. The crown jewel of Her Majesty’s Secret Intelligence Service, Agent Lorraine Broughton (Theron) is equal parts spycraft, sensuality and savagery, willing to deploy any of her skills to stay alive on her impossible mission. Sent alone into Berlin to deliver a priceless dossier out of the destabilized city, she partners with embedded station chief David Percival (James McAvoy) to navigate her way through the deadliest game of spies.

Director: David Leitch 

Cast: Charlize Theron, James McAvoy, John Goodman, Sofia Boutella, Til Schweiger

Release Date: Jul 28, 2017

Genres: Action/Adventure, Suspense/Thriller

Rated R for for sequences of strong violence, language throughout, and some 
sexuality/nudity

Review:

Atomic Blonde is a stylish spy thriller that’s a great vehicle for a kick ass Charlize Theron.  That’s really the main attraction here, watching Charlize Theron repeatedly beat up anyone and everyone in a variety of fashions.  The film’s action sequences are impressive works of art that really highlight the director’s strengths.  The two major sequences, one involving a rope and lots of police and the finale which is one of the most brutal fight sequences in a long time, are when the film hits its peak.  The plot though is a slight weakness, the spy plot is pretty basic, missing microfilm, and there aren’t nearly as many twist and turns as you’d expect.  Still it’s got enough style blended with a strong 80s soundtrack to make it memorable.     

B

Cindy Prascik's Review of Atomic Blonde

Dearest Blog: Thanks to a half-day closing at the office, I was able to avoid the weekend rush and catch a Friday-afternoon screening of Atomic Blonde.

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

 

Against a backdrop of the tumultuous days leading to the fall of the Berlin Wall, agents from several nations race to claim a stolen piece of valuable intelligence.

 

Regular reader(s) will have heard me say time and again that I haven't much interest in movies about women, but apparently my interest can be piqued when said women are beating the ever-lovin' crap out of everyone. Take note, Hollywood.

 

If we're being honest, Atomic Blonde is mostly a bunch of wild action sequences strung together with a thin of bit spy-thriller thread. The plot is compelling, with a few great twists, but it can't steal the spotlight from the movie's fight and chase scenes. It is a testament to how great the action is that you won't mind that a bit. It's a testament to the rest that the movie still has a few surprises up its sleeve. 

 

The lovely Charlize Theron is...well...lovely, ceaselessly making fashion statements while knocking people's lights out. (Note to self: Anyone dressed too nicely is probably a spy.) Theron is mesmerizing, carrying the movie as effortlessly as her character puts down the bad guys. James McAvoy, Sofia Boutella, Eddie Marsan, John Goodman, and Toby Jones round out an excellent supporting cast. Atomic Blonde features terrific graffiti-style graphics on the titles and credits, some beautiful scenery, and the best fight choreography I've seen in many a day. Full marks for all of the above, but if I told you any of that was the movie's high point, I'd be lying. No, the best thing about Atomic Blond is its wonderful soundtrack, featuring a couple-dozen of the 80s best nuggets, including the original German versions of two of my favorites: Peter Schilling's Major Tom (Coming Home) and Nena's 99 Luftballons. As most of the film's brutality is set to music, a final face-off is all the more effective for being backed by nothing but the sound of punches landing and people getting the wind knocked out of them.

 

Atomic Blonde clocks in at 115 minutes and is rated R for "sequences of strong violence, language throughout, and some sexuality/nudity."

 

These days people talk a lot about the importance of representation in film. I'm not sure anyone will be calling Atomic Blonde an "important representation for girls," but if, like me, you're a girl who would rather jump off a cliff than sit through Wild or its ilk again, it's certainly a step in the right direction. 

 

Of a possible nine Weasleys, Atomic Blonde gets eight.

 

Until next time...

Cindy Prascik's Retro Review: Singin’ in the Rain @ Wheeling’s Capitol Theatre

Dearest Blog: This week I had the opportunity to enjoy two classics in tandem: Magical musical Singin' in the Rain at Wheeling's majestic Capitol Theatre.

 

First, let's talk a bit about the venue. The historic Capitol Theatre opened for business in 1928, and is perhaps best known as the former host of Jamboree USA, a live, weekly country music broadcast enjoyed by fans near and far. It is currently the proud home of the best little orchestra in the nation, the Wheeling Symphony, and presents an annual Broadway series, as well as occasional country and rock concerts. In the late 2000s, the theatre underwent extensive renovations to improve the seats, bathroom facilities, and lounge areas, upgrading it to the area's most comfortable, as well as its most beautiful, venue.

 

This summer, the Capitol is offering a summer movie series of old and new favorites on Thursday evenings and Sunday afternoons. Admission is only $5 for adults and $3 for children. Concessions are more reasonably priced than your average cinema, and, in addition to the usual popcorn and soda, the menu features pizza, hot dogs, and--for the Thursday-night shows--cocktails. Now it's a party, right?! Movies are general admission, and there's not a bad seat in the house. Close up, further back, center or side, you'll see and hear just fine. Thursday night, we visited the Capitol to revisit another classic, Singin' in the Rain.

 

A handsome movie star (Gene Kelly) finds true love against a backdrop of Hollywood's first talking pictures.

 

Ladies and gentlemen, there's a reason why people are still interested in a movie like Singin' in the Rain six and a half decades after its original theatrical run: It is simply timeless. Gene Kelly is a legendary talent: actor, dancer, singer, director. Hollywood has never known a more charismatic leading man, not before and not since, and here--a movie star playing a movie star--he's at his most magnetic. Nineteen-year-old Debbie Reynolds is fun and feisty as his leading lady, but the movie's real scene-stealer is Donald O'Connor, with his timely wisecracks and extraordinary dance moves. 

 

The plot moves at a crisp pace, with well-placed musical numbers and a healthy dose of humor. Its love story may seem a bit saccharine by today's standards, but Singin' in the Rain's ageless choreography, lively tunes, spectacular costumes, and engaging performances will never go out of style. It's a perfect fit for a glorious venue like the beautiful Capitol Theatre.

 

Singin' in the Rain runs 103 minutes. It pre-dates the MPAA's current ratings system, but, unless you're that dude from Footloose who thinks dancing is evil, I can't imagine any sane person would find anything objectionable about it.

 

Singin' in the Rain is a timeless classic for all generations. Of a possible nine Weasleys, Singin' in the Rain gets nine.

 

Thanks to all involved with bringing the Summer Movie Series to the Capitol! Get out and see some of these upcoming favorites:

 

Mary Poppins - Sunday, July 30 - 3:30 p.m.

 

The Blues Brothers - Thursday, August 10 - 7:30 p.m.

 

The Little Mermaid - Sunday, August 13 - 3:30 p.m.

 

Caddyshack - Thursday, August 24 - 7:30 p.m.

 

The Wizard of Oz - Sunday, August 27 - 3:30 p.m.

 

The Big Lebowski - Thursday, September 7 - 7:30 p.m.

 

Sing - Sunday, September 10 - 3:30 p.m.

 

Until next time...

Cindy Prascik's Triple-Play Reviews: Free Fire, Valerian and the City of a Thousand Planets and Dunkirk

 

 

Dearest Blog: Yesterday it was off to Marquee Cinemas for Valerian & the City of a Thousand Planets and Dunkirk, after long-awaited home screening of Free Fire.

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers or a history book.

 

First up: Free Fire.

 

In the late 1970s, a weapons deal goes awry in an abandoned Boston warehouse.

 

I had high hopes for Free Fire, likely due to the presence of two of my favorite actors, Cillian Murphy and Sharlto Copley...not to mention Armie Hammer, who generally can do no wrong in my eyes. It is perhaps due to an unreasonably high bar that I found the movie something of a disappointment, though it's not without a fair few merits.

 

Chief among Free Fire's positives is its cast. In addition to my aforementioned favorites, the picture features great turns from Oscar winner Brie Larson, Michael Smiley, and Sam Riley. The botched gun sale happens in real(ish) time, which is often a bore onscreen, but the movie is smart enough not to wear out its welcome. As you might have guessed from the whole "weapons deal goes awry" thing, violence is not in short supply here, though it seems these gangs of gun-runners can't even shoot well enough to join the Stormtroopers. One of Free Fire's really great moments features an Edgar Wright-ish use of an old John Denver tune, and--while it's hardly a hardly a character study--there is some backstory underneath all the gunfire. Unfortunately, aside from rooting for more screen time for my faves, I never much cared what happened to anyone, I just found the proceedings rather dull. Without divulging how the chips fall in the end, I will say for a brief moment I was hopeful the picture was cruising towards a finish that might have made amends for some of its shortcomings, but ultimately it goes a half-step too far for even that.

 

Free Fire clocks in at 90 minutes and is rated R for "strong violence, pervasive language, sexual references, and drug use."

 

While I didn't love Free Fire nearly as much as I'd hoped, it's a smart enough picture that I was left thinking, to paraphrase George Costanza: "It's not you, Free Fire, it's me." 

 

Of a possible nine Weasleys, Free Fire gets six.

 

Next on Saturday's agenda was my first Pirate-less trip to the cinema in nearly two months, which kicked off with Valerian and the City of a Thousand Planets.

 

A long time from now, in a galaxy far, far away, Agents Valerian and Laureline are on a mission to save the future.

 

Dear reader(s): I gotta be straight with ya, Valerian and the City of a Thousand Planets is one of the worst movies I've ever seen. From the first trailer, something seemed off, a good enough idea that started going wrong even a two-minute preview, but I held out hope the film might surprise me. I didn't need Valerian to be Oscar-worthy; rather--like King Arthur and the Legend of the Sword--I just needed it to be watchable. Sadly, it isn't. As I'm frequently on the flip side of popular opinion, for reference I'll note that paying customers walked out on my screening, and the exit chatter from those who stuck around was positively grim. You might think a sci-fi epic such as this would have wonderful effects, but Valerian's are pretty pedestrian. It's lovely at times, but there's nothing all that interesting, nevermind ground-breaking. The plodding, convoluted story is propelled by awkward dialogue and attempts to force sexual tension between two characters who have about as much spark as a wet match. Oh...and was I supposed to be rooting for someone here? Valerian (the usually reliable Dane DeHaan) is a boorish lout; Laureline (Cara "Please Stop Treating This Person Like an Actor" Delevingne), a petulant child. The hippie aliens the movie hopes to make its most sympathetic characters are annoying with a capital A-N-N-O-Y-I-N-G, and the female who kept pinwheeling around like the highest person at an intergalactic Grateful Dead show made me want to throw something at the screen. There's a bit of saving grace in Bubble--portrayed with surprising skill by Rihanna--but her appearance is so brief it can't come close to salvaging this two-plus-hour mess.

Valerian and the City of a Thousand planets runs a painful 137 minutes and is rated PG13 for "sci-fi violence and action, suggestive material, and brief language."

 

While I'd never discourage anyone from getting out to the cinema, I shall beg everyone not to waste a penny on this dreadful movie. Go see Baby Driver instead. (Fine, then. See it again.)

 

Of a possible nine Weasleys, I can't, in good faith, give Valerian and the City of a Thousand Planets even one.

 

Finally, my closer for yesterday's movie-thon was Christopher Nolan's World War II epic, Dunkirk.

A desperate attempt is made to evacuate Allied soldiers, surrounded by the enemy, from a beach in France.

 

It goes without saying a big war epic plays to writer/director Christopher Nolan's strengths, and I am pleased to report that the best director I've ever worked with** does not disappoint. Since excessive length is one of my common complaints, I'll start by noting that Nolan has exercised great restraint in trimming Dunkirk to an efficient runtime of under two hours; however, he so masterfully immerses viewers in the terrifying sights and sounds of war, the tension makes some scenes seem very long indeed. In an age of increasingly bad behavior at the movies, my room sat in rapt silence for the duration of Dunkirk. Spellbinding performances from Mark Rylance, Kenneth Branagh, and Cillian Murphy effectively depict the horrors of war, of being unable to save everyone, of having to make impossible choices for the greater good. Visually, Dunkirk is colored in shades of grey, accenting the seemingly hopeless situation, but majestic shots of the beach and sea are still breathtaking. Hans Zimmer's glorious score sets the perfect tone, and the movie builds to a finish that strikes all the right emotional chords without feeling contrived. 

 

Dunkirk clocks in at 106 minutes and is rated PG13 for "intense war experience and some language."

 

Dunkirk is equal parts summer blockbuster and potential awards bait, a deserving box-office hit that hopefully will be remembered when the industry starts considering its year-end accolades. Of a possible nine Weasleys, Dunkirk gets eight.

 

Until next time...

 

**I was an extra in The Dark Knight Rises. I never spoke directly to Mr. Nolan, but IT COUNTS, DAMMIT!

MOVIE REVIEW: DUNKIRK

Acclaimed auteur Christopher Nolan directs this World War II thriller about the evacuation of Allied troops from the French city of Dunkirk before Nazi forces can take hold. Tom Hardy, Kenneth Branagh and Mark Rylance co-star, with longtime Nolan collaborator Hans Zimmer providing the score. ~ Daniel Gelb, Rovi

Director: Christopher Nolan

Cast: Tom Hardy, Mark Rylance, Kenneth Branagh, Cillian Murphy, James D'Arcy

Release Date: Jul 21, 2017

Rated PG-13 for intense war experience and some language

Genres: Action/Adventure, Drama

Review:

Christopher Nolan’s Dunkirk is an impressive achievement, a sprawling war epic taken from multiple viewpoints.  After Interstellar, a rare misstep from Nolan, it’s good to see the director try something new.  What he delivers an interesting and engaging non liner story told from different viewpoints and perspectives.  As such it gives you a well rounded viewpoint, from the ground, air and sea, of the events as they unfold.  The characters are fairly simplistic but they serve the story well with Mark Rylance, Tom Hardy and Fionn Whitehead all deliver strong performances even though their scenes are about as bare bones as they come.  Nolan’s film is more about the event than the actual people so they’re not really a huge emphasis on unearned dramatics.  It’s a big sweeping film which shows off Nolan’s technical prowess throughout.  Is it the greatest war film ever made, probably not, it’s probably not Nolan’s best film, The Prestige still holds that honor, but it’s a impressive none the less.

B+

MOVIE REVIEW: WAR FOR PLANET OF THE APES

Caesar (Andy Serkis) and his apes are forced into a deadly conflict with an army of humans led by a ruthless colonel (Woody Harrelson). After the apes suffer unimaginable losses, Caesar wrestles with his darker instincts and begins his own mythic quest to avenge his kind. As the journey finally brings them face to face, Caesar and the colonel are pitted against each other in an epic battle that will determine the fate of both of their species and the future of the planet.

Director: Matt Reeves

Cast: Andy Serkis, Woody Harrelson, Gabriel Chavarria, Steve Zahn, Judy Greer

Rated PG-13 rating is for sequences of sci-fi violence and action, thematic elements, and some disturbing images

Release Date: Jul 14, 2017

Genres: Action/Adventure

Review:

Matt Reeves War for Planet of the Apes is a strong finish to the rebooted prequel.  The story is deeply layered, borrowing from multiple sources including The Searchers, Apocalypse Now and the book of Exodus.  Needless to say, there is a lot going on in the script, it’s dense emotionally and touching.  It’s a rare summer blockbuster that puts the spectacle on the back burner for smaller quieter moments focused on character development and story arches.  The story is so strong that you can start to overlook the level of digital wizardry on display with the ape characters.  They are totally convincing throughout the film and this entry in particular puts them front and center with the human characters taking a backseat.  Andy Serkis once again proves that’s he’s the most underappreciated actor working now by delivering another impressive motion capture performance.  He’s the heart and soul of the film and it is impossible to not get emotionally invested in his characters journey.  Steve Zahn joins him as Bad Ape who provides some much needed comic relief here and there.  Zahn proves to be just as capable as Serkis because he does provide some depth to the character that could have been easily one dimensional.  Woody Harrelson is the primary human villain and he’s used sparing as the Coronel Kurtz knock off.  It’s probably for the best since he’s chewing scenery at impressive pace.  There are a few pacing issues in spots where the film seems to lag a bit.  Additionally, some of the biblical allegory is a tad heavy handed for my taste.  A bit more subtleness would have helped the film.  That being said, Matt Reeves closed out his trilogy on a strong note and brings the characters story to a satisfying ending.

B+

MOVIE REVIEW: SPIDER-MAN: HOMECOMING

Thrilled by his experience with the Avengers, young Peter Parker (Tom Holland) returns home to live with his Aunt May. Under the watchful eye of mentor Tony Stark, Parker starts to embrace his newfound identity as Spider-Man. He also tries to return to his normal daily routine -- distracted by thoughts of proving himself to be more than just a friendly neighborhood superhero. Peter must soon put his powers to the test when the evil Vulture emerges to threaten everything that he holds dear.

Director: Jon Watts 

Cast: Tom Holland, Marisa Tomei, Michael Keaton, Robert Downey, Jr., Donald Glover

Rated PG-13 for sci-fi action violence, some language and brief suggestive comments

Release Date: Jul 07, 2017

Genres: Action/Adventure, Sci-Fi/Fantasy

Review:

Spider-Man: Homecoming was going to have an uphill battle being the  3^rd iteration of the character in so many years.  Thankfully Tom Holland is a great fit for the role, really taking the character back into the high school world in earnest.  Holland has a great gee whiz charisma that fits the film and this take on the character.  The story itself is a solid coming of age tale that feels familiar without becoming burdensome.  It’s a fun story which makes good use of Robert Downey Jr. in the mentor role which seems like a logical fit being Marvel’s first hero.  Michael Keaton makes for a solid villain, a rarity in the Marvel movies, with his motivations making more sense than your usual bad guy.  Keaton uses his low key intensity to great effect here even though the film could have used some focus in terms of conflict.  At times it almost feels like Keaton’s villain is secondary to other plot lines in the film.  It’s a shame because it’s a decent character that could have made a larger impact if the film had allowed him to.  A few quibbles aside, Spider-Man: Homecoming is a fun film that avoids the entire “origins” trope by basically sidestepping it entirely and doing it’s own thing.

B

Cindy Prascik's Review of Spider-Man: Homecoming

 

 

Dearest Blog: Yesterday it was off to Marquee Cinemas for Spider-Man: Homecoming.

 

Spoiler level here will be mild, nothing you haven't learned already from trailers and clips.

 

Young Peter Parker works his way through high-school angst, frustration with his mentor, and part-time hero-ing.

 

Well, dear reader(s), I am fond of saying I always keep an open enough mind for something to surprise me. Usually that's a positive, but this weekend, unfortunately, the opposite is true.

 

I adore Spider-Man. He's my third-favorite superhero, behind The Tick and Batman, if anyone wondered...okay, probably not. Thanks to solid trailers, good word on the street, and an entertaining appearance in Captain America: Civil War, I had high hopes for Spider-Man: Homecoming, and it hurts me deeply to declare it a disappointment. Still, the movie has a fair few positives, so I hope to focus mostly on those, beginning, as I usually do, with the cast. Tom Holland is a great Peter Parker, perfectly embodying that challenging age when young adults are certain they're capable of more than the grownups think. It helps that Holland, barely old enough to drink, is within (web) shooting distance of our high-school hero's age. While both effectively play younger onscreen, and both, for my money, were terrific Spideys, Toby Maguire and Andrew Garfield were in their mid- to late-20s when they put on the tights, so at some point they were bound to feel a bit removed from those difficult-but-exciting teen years. The supporting cast is filled with awesomeness in the forms of Marisa Tomei, Donald Glover, Tyne Daly, and the now-obligatory appearance by Robert Downey, Jr., but it's Michael Keaton, as the film's chief baddie, who really steals the show with what might be the best performance in any Marvel movie, ever. Keaton's can't-look-away work is worth the price of admission all on its own. (For the record, on the subject of RDJ, Homecoming never feels like Iron Man 3.5, as the trailers sometimes promised/threatened.) Spider-Man: Homecoming features some really great CGI as well as some inexplicably wonky CGI. There are times when you'd believe Spidey was actually swinging through the sky above you, other times when he might as well be a Colorforms that someone's moving across the board by hand. (Does anyone remember Colorforms? Do I need to change that analogy?) Some of the worst of it comes at the expense of the climactic Staten Island Ferry scene hinted at in the trailers, which can't help but leave a bad taste. Also on the subject of visuals, even brighter scenes are a bit dark, leaving dark scenes too muddy to see much of anything. A bit of darkness is an understood side effect of seeing 3D product in 2D, but if a movie is showing in both formats, then filmmakers and cinemas really need to figure that out. Marvel's forced cheekiness is getting old as well; they're like that Facebook friend who's constantly posting the same duck-face selfie and expecting a hundred likes; it's just not as cute as it thinks it is, and the Stan Lee cameos are ho-hum, at best, these days. Ultimately, though, if you're wondering what makes this movie so disappointing, the answer is simple: It's boring. Homecoming is only slightly overlong (a 15-20 minute trim would have done it a great service), but it seems to go on forever without getting anywhere. The first half is insufferable, and the second act cruises towards its finale without ever gaining much momentum. Big action pieces are dropped between funny or heartfelt exchanges among Peter, his classmates, Aunt May* (*hottie version), and Tony Stark, but it's all too familiar and forgettable. There's a mid-credits scene that's worth your sticking around, but the final post-credits stinger is a waste of time that, again, isn't nearly as cute as it thinks it is.

 

Spider-Man: Homecoming runs an interminable 133 minutes and is rated PG13 for "sci-fi action violence, some language, and brief suggestive comments.”

 

If you're a fan of the genre who plans to see Spider-Man: Homecoming regardless, big-screen is definitely the way to go for this effects-driven extravaganza. If you're just looking to go to the movies this week, go see Baby Driver instead. (If you've already seen it, see it again.) Of a possible nine Weasleys, Spider-Man: Homecoming gets five.

 

Fangirl points: Mostly musical this time, with soundtrack appearances by the Ramones, The English Beat, and A Flock of Seagulls, as well as the classic Spider-Man theme. 

 

Also a cute nod to Ferris Bueller's Day Off.

 

Until next time... 

 

Cindy Prascik's Review of Despicable Me 3

Dearest Blog: Yesterday it was off to Marquee Cinemas with approximately eight million children for Despicable Me 3.

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

 

Having failed to apprehend his arch-nemesis, Gru and his Minions turn back to villainy(ish).

 

Despicable Me is a "family" franchise that usually has plenty of laughs for fans of any age, and the third installment is no different. It boasts fun, funny characters who are easy to love. You'll have seen most of Gru's best bits in DM3 trailers, but there's plenty of cuteness from Margo, Edith, and Agnes to earn the price of a ticket. Judicious use of the Minions makes their appearances both entertaining and welcome; they are, as usual, the movie's highlight. Series newcomer Trey Parker is hilarious as this outing's stuck-in-the-80s super-villain. His musical choices and pop-culture references are clearly filmmakers throwing parents a bone for bringing their darling eight-year-olds to the show, but they are totally rad! Despicable Me 3 features bright, colorful art, constant-motion animation, and lively tunes sure to keep the kidlets engaged. I had a full house for my screening, and it didn't seem anyone in the room was much in agreement with the picture's mostly middling reviews; rather, kids and grownups alike were all laughing and having a great time.

 

Despicable Me 3 runs 90 minutes and is rated PG for "action and rude humor."

 

The Despicable Me franchise may have lost some of its magic along the way, but Despicable Me 3 is still a huge step up from 2015's standalone Minions movie (for whatever that's worth!). Of a possible nine Weasleys, Despicable Me 3 gets five and a half.

 

Until next time...

MOVIE REVIEW: BABY DRIVER

A partially deaf getaway driver (Ansel Elgort) gets caught up in a botched heist in this action comedy from writer/director Edgar Wright (Edgar Wright, Edgar Wright). Lily James, Kevin Spacey, Jamie Foxx, Jon Bernthal, Jon Hamm, and Sky Ferreira co-star. ~ Jack Rodgers, Rovi

Director: Edgar Wright

Cast: Jon Bernthal, Kevin Spacey, Ansel Elgort, Jon Hamm, Jamie Foxx

Release Date: Jun 28, 2017

Runtime: 1 hr. 53 min.

Genres: Action/Adventure, Comedy

Review:

Edgar Wright’s latest film, Baby Driver, is another strong entry into his catalogue.  He delivers a musical infused crime thriller that’s innovative even though the basic plot is well worn.  The film has an impressive rhythm from the opening car chase.  The impressively choreographed stunt driving is some of the best I’ve seen in a years.  It’s a testament to practical stunts that you feel every collision and rumble during any of the sequences.  The car chases are far better than any of the CGI infused trickery in another large car franchise.  The characters themselves are fun and interesting even if they never feel like actual people.  Ansel Elgort makes a fine lead, supplying the character with a healthy amount of innocence and charm though he’s outshined by the supporting characters.  Kevin Spacey, John Hamm and Jamie Foxx all deliver fun performances.  Spacey is totally in his element as the boss and Hamm and Foxx make for great villains at different points in the film.  Foxx is at full level crazy as the most despicable member of the crew.  Hamm’s role is tailor suited to his talents of being charming while looking like he’s suffering from a lifelong hangover.  Lily James makes for a cute love interest but doesn’t really register when compared to the rest of the cast.  Still, Baby Driver is one of the most fun films you’ll watch this year.

A- 

MOVIE REVIEW: THE HOUSE

Andrew J. Cohen directs this romp about a mother and father (Will Ferrell and Amy Poehler) who blow their daughter's college fund and start an illegal casino in their basement to recoup the losses. ~ Daniel Gelb, Rovi

Director: Andrew Jay Cohen

Cast: Will Ferrell, Amy Poehler, Allison Tolman, Rob Huebel, Michaela Watkins

Rated: R for language throughout, sexual references, drug use, some violence and brief 

nudity 

Genres: Comedy

Review:

The House is an unfortunate example of how getting an impressive collection of comedic talents together doesn’t guarantee a funny movie.  The premise sounds good and it should work but unfortunately the film just never finds its footing with most of the jokes and situations missing the mark.  There a few laughs to be had here and there probably birthed out of sheer will by Ferrell and Poehler but it’s not enough to save the film.  First time director Andrew Jay Cohen can’t seem to create any sort of energy for the cast which is a shame because it feels like there is a funny movie in there somewhere.

C-

Cindy Prascik's Review of Baby Driver

Dearest Blog: Yesterday it was off to Marquee Cinemas for one of my most highly anticipated titles of 2017, Edgar Wright's Baby Driver.

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

 

To repay an old debt, a young man is forced to use his extraordinary skills in service of a criminal mastermind.

 

Dear reader(s), in the interest of full and fair disclosure, I'll confess my firm conviction that Edgar Wright makes perfect movies, all the time. As writer or director, and especially as writer and director, the guy is a visionary. I keep an open enough mind that pretty much anything can surprise me (pleasantly or unpleasantly), but honor demands I admit there was very little chance I wouldn't love Baby Driver. That's the Cliff's Notes. Now, onto the meat and potatoes...

 

Edgar Wright's love and respect for music lend his films unparalleled attention to detail where it is concerned. Each and every song is selected, each and every note perfectly placed, to underline, energize, advance, or complete its moment, event, or scene. While that's the case with all of Wright's efforts, Baby Driver willfully and overtly makes music its star, the sun around which all the other moving pieces revolve. If you love music, you will feel this film from the roots of your hair to the soles of your shoes. That's not to say the picture's "other" stars are lightweights. Decorated names such as Kevin Spacey, Jon Hamm, and Jamie Foxx have ample opportunity to shine brightly in Baby Driver's galaxy. "It" girl Lily James charms her way through the movie like an old pro, and Ansel Elgort is a delight in what's sure to be a star-making turn.

 

Baby Driver is an action film, filled with thrilling chase scenes and beautifully choreographed stunt driving. Baby Driver is a comedy, its humor blooming organically from genuine performances and crazy scenarios. Baby Driver is a drama, boasting sincere moments among layered, engaging characters. Baby Driver is extraordinary filmmaking from an extraordinary filmmaker, everything you could want from a movie and more.

 

Baby Driver clocks in at 113 minutes and is rated R for violence and language.

Baby Driver is a beautiful, clever, unique cinema experience that should shut up the "Hollywood is out of ideas" crowd for at least the weekend. 

 

Of a possible nine Weasleys, I am pleased and unsurprised to give Baby Driver all nine.

 

Fangirl points: OHMYGOSH YOU GUYS THERE'S A DAMNED SONG IN THIS MOVIE!

 

Until next time...

Cindy Prascik's Review of Transformers: The Last Knight

Dearest Blog: Yesterday it was off to Marquee Cinemas for Transformers: The Last Knight.

 

Spoiler level here will be mild, nothing that hasn't been revealed already by trailers and clips.

 

Humans have set themselves against all Transformers, making outlaws of anyone who continues to be their allies, but Earthlings are forced to reconsider that position when the planet is threatened.

 

The latest Transformers movie is taking a critical beating, not unlike those that came before it. It's pretty much exactly as advertised, however, so anyone with reasonable expectations shouldn't be disappointed.

 

Since I actually liked the movie, let's get the negatives out of the way first, beginning with the obvious: a two-and-a-half hour runtime. Ninety minutes, an hour and forty-five at most, would have made The Last Knight a great summer popcorn flick, but even the biggest, best effects and action wear thin at two and a half hours, nevermind the muddled backstory does nothing to earn such an excessive runtime. Then there's the "humor." With only the genuinely amusing bits, the film would have been plenty light enough, but instead it constantly oversells juvenile, annoying one-liners. That's the bad news. The good news is there's actually a great deal of good news. Transformers is all about huge effects and, as such, is one of my very favorite franchises to revisit on the big screen. This outing is no exception, with visuals that are massive-times-ten and sound that shakes the floor. Cool action sequences never seem to drag on, despite the bloated whole, and when the jokes hit the mark, the movie is actually very funny. In what he's declared his final Transformers outing, Mark Wahlberg remains more watchable that Shia LeBeouf ever was, and Anthony Hopkins appears to be having the time of his life, never demeaning the material despite the fact it's clearly beneath him. For my money, it should be easy for anyone to have at least as much fun with this movie as Anthony Hopkins does.

Transformers: The Last Knight clocks in at a whopping 149 minutes and is rated PG13 for "violence and intense sequences of sci-fi action, language, and some innuendo."

 

Transformers: The Last Knight is big, dopey fun that fills a summer weekend quite nicely. Of a possible nine Weasleys, Transformers: The Last Knight gets six.

 

Fangirl points: Mitch Pileggi! Steve Buscemi! SANTIAGO CABRERA! *heart-eyes emoji* 

 

Until next time...

MOVIE REVIEW: TRANSFORMERS: THE LAST KNIGHT

Humans are at war with the Transformers, and Optimus Prime is gone. The key to saving the future lies buried in the secrets of the past and the hidden history of Transformers on Earth. Now, it's up to the unlikely alliance of Cade Yeager (Mark Wahlberg), Bumblebee, an English lord (Anthony Hopkins) and an Oxford professor (Laura Haddock) to save the world.
Director: Michael Bay
 
Cast: Mark Wahlberg, Anthony Hopkins, Josh Duhamel, Laura Haddock, Stanley Tucci

Release Date: Jun 21, 2017

Genres: Action/Adventure, Sci-Fi/Fantasy

Rated PG-13 for violence and intense sequences of sci-fi action, language, and some innuendo

Review:

I’ve always been forgiving of Michael Bay’s live action series because the cartoon will always be a fond part of my childhood.  I’ve always found plenty to like in movies even if they’ve been far from perfect.  I’d actually enjoyed the last installment because Bay finally seemed to figure out that it helps the series if you give the Transformers some personality and make them the center piece.  I’d hoped it was something that’d be continued in The Last Knight.  Sadly, Bay decides to put the Transformers in the background, Optimus Prime barely has 30 minutes of screentime, leaving us with Mark Wahlberg and Laura Haddock’s pillowly lips.  The plot is an overly complex mess that seems to find the most complicated way to do everything.  There are a bevy of new human characters including a plucky child, played by Isabela Moner, who’s introduced and forgotten for the majority of the film only to be reintroduced in the final act.  The saving grace of it all is Anthony Hopkins who’s clearly enjoying himself in the unrelenting madness going on around him.  Hopkins and his robot butler provide the majority of the laughs and enjoyment in the film.  The biggest issue is simply making a movie called Transformers and leaving the titular robots on the sideline while haphazardly throwing famous characters from Transformers lore around like undercooked pasta.  It’s a real shame because the series could be a fun sci-fi series if it could stay focused on its actual stars, the robots. 

D