An office manager (T.J. Miller) throws a wild Christmas party in the hope of
finalizing a deal with a big-time client (Courtney B. Vance). If the party is
unsuccessful and the client gets away, the manager's boss and older sister
(Jennifer Aniston) will close the branch and lay off all of the employees.
Jason Bateman, Olivia Munn, and Kate McKinnon co-star in this holiday comedy
directed by Josh Gordon and Will Speck. ~ Daniel Gelb, Rovi
Director: Will Speck, Josh Gordon
Cast: Jason Bateman, Jennifer Aniston, Olivia Munn, TJ
Miller, Jillian Bell
Release Date: Dec
09, 2016
Rated R for Drug Use, Crude Sexual Content, Graphic
Nudity and Language Throughout
Runtime: 1 hr. 45 min.
Genres: Comedy
Review:
Office Christmas Party is a film that’s never really as
funny as it should be.The cast is made
up of a who’s who of talented comedians who can be really funny all on their
own.Somehow, the film never really
meshes together the way it should have.It’s funny in spots but never consistently enough to make it worth
revisiting again.The overall plot
borrows heavily from Animal House and Project X but it never really finds its
own footing.When all the crazy antics
are done it’s a surprisingly tame R rated comedy that’ll be easily forgotten by
the time you left the theater.
Dearest Blog: Yesterday I swallowed my disappointment over missing out on on Nocturnal Animals and set off to Marquee Cinemas for my only available option, Miss Sloane.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
An abrasive DC lobbyist risks everything to take on a powerful interest.
Miss Sloane is a mature, dialogue-heavy picture. Though it's a fascinating story, it often seems to be getting nowhere, which makes it feel very, very long.
Jessica Chastain is a tour de force in the title role; brash and ballsy, she deftly shows the cracks in that facade as well. The supporting cast is extraordinary, but Chastain is so remarkable that I doubt anyone would notice even if they were cardboard cutouts.
Miss Sloane is often contentious and uncomfortable viewing that (I think) hopes to prompt viewers to consider both sides of its sensitive subject, gun control. It's never quite deep enough to succeed at that, but it does offer good and bad characters on both sides, ultimately presenting a pretty depressing picture of a government for sale to the highest bidder.
Miss Sloane clocks in at 132 minutes and is rated R for "language and some sexuality."
Miss Sloane is a clever, twisting film that's both funny and sad, but ultimately is noteworthy mostly for an Oscar-worthy turn by its star.
Of a possible nine Weasleys, Miss Sloane gets seven.
Fangirl points: Sam Waterston! Mark Strong! Michael Stuhlbarg! (I love how much work that guy's getting!!)
Dearest Blog: The long holiday weekend provided a welcome opportunity to catch up with a pair of gems that passed by my local cinemas, Hell or High Water and The Beatles: Eight Days a Week-The Touring Years.
Spoiler level here will be mild for Hell or High Water, nothing you wouldn't know from the trailers. Not sure what constitutes a "spoiler" for a music documentary, but there will be some detail about the content of both the feature film and DVD extras for Eight Days a Week.
First up: Hell or High Water.
Two brothers attempt a string of bank robberies in order to save their mortgaged family homestead.
Hell or High Water is a real grown-up movie, without gimmicks. It doesn't waste its time setting a stage, but rather lets the story tell itself as events play out. The tale is a dark one, with the characters' senses of humor providing levity that doesn't feel forced or misplaced. Chris Pine and Ben Foster make a solid pair; Pine proving yet again that he's more than just a (really) pretty face, and Foster forever knocking at the gates of my Acting Holy Trinity, ready to break in the next time Russell Crowe turns up in something like Winter's Tale. (Seriously, Russ, READ the script before you say yes!)
Jeff Bridges is almost-likeably gruff as the US Marshal hot on their tails. These folks are so compelling you'll sympathize with all of them, even when they are entirely at cross-purposes, and their story is as fascinating as it is heartbreaking.
Hell or High Water clocks in at 102 minutes and is rated R for "some strong violence, language throughout, and brief sensuality."
Hell or High Water is a layered, mesmerizing film that, in a perfect world, would be a Best Picture frontrunner.
Of a possible nine Weasleys, Hell or High Water gets eight and a half.
Next on my agenda, at long last, The Beatles: Eight Days a Week-The Touring Years.
An inside look at the road life of the biggest, best, most influential band of all time.
Dear reader(s), I really, honestly, truly could be excused for thinking the Fates were against my ever seeing Eight Days a Week.
The movie received a pretty wide release nationwide, but neither of my local cinemas screened it. I picked up the DVD from the shelves of my local Target two days after the on-sale date, and they said they couldn't sell it to me.
A lesser Beatlemaniac might have become discouraged, but not Yours Truly. I came home, hit up my trusty friend the Internet, and a few short days later I was in Mop-Top Heaven.
And ohhhhhhhhhhh...if there's a Heaven, it probably looks and sounds a lot like Eight Days a Week. The documentary features plenty of clips from performances around the globe, many of them never or not-often seen before.
Behind-the-scenes footage revisits early days, when the now-legendary musicians were just four young guys having a great time in the middle of some extraordinary circumstances. It's a delightful reminder that, despite later disagreements, John, Paul, George, and Ringo are more than great talents; they are great friends. Musical selections are mostly earlier material, though, as the film winds to a close, it does stray from "the touring years" into the Beatles' later, more complicated studio sessions.
One of the most-featured numbers is Tomorrow Never Knows, the never-played-outside-the-studio gem that closes their 1966 masterpiece, Revolver. It would be physically impossible for any film to give each amazing song as much attention as it deserves, but Eight Days a Week will make you eager to run out and buy the companion "Live at the Hollywood Bowl" album to revisit them all.
In addition to live clips and interviews with the band, the documentary also includes a treasure trove of old photos, and commentary from people who knew, worked with, and followed the Beatles (including famous fans Whoopie Goldberg and Sigourney Weaver, both of whom were lucky enough see the band live). The Deluxe Edition DVD extras include five full songs performed live at various venues, and a beautiful companion booklet with notes from director Ron Howard.
The Beatles: Eight Days a Week-The Touring Years is unrated. The feature documentary runs 106 minutes, while the extras clock in at about 100 minutes.
Over the past 50 years, Beatles songs have become so ubiquitous that sometimes we may hear them without really listening.
Eight Days a Week commands undivided attention, and reminds us that each and every Beatles song is magic.
Of a possible nine Weasleys, Eight Days a Week gets nine, and I'll throw in a Potter and a Granger, too.
Fangirl points: Seriously, it's the Beatles!!
Young navigator Moana (voice of Auli'i Cravalho), the daughter of a
Polynesian tribal chief, is chosen to find a precious artifact that could save
her people. She teams with demigod Maui (Dwayne Johnson)
to locate a legendary island, and together the pair explore fantastical lands
and encounter incredible sea creatures in this animated adventure from Disney.
The film's soundtrack includes contributions from Lin-Manuel Miranda, the Tony
and Grammy-winning creator of the popular stage musical Hamilton.
Directed by Ron Clements and John Musker. ~ Daniel Gelb, Rovi
Rated PG for peril, some scary images and brief
thematic elements.
Runtime: 2 hr. 13 min.
Genres: Action/Adventure, Animated, Comedy, Family
Review:
Moana is a wonderful breath of fresh air into the Disney
princess genre which had relied on damsel in distress for far too long.Moana luscious visuals and joyful music
perfectly captures the energy of the storytelling on display.Moana’s story is a classic example of “The
Heroes Journey” with all the hallmarks evident along the way.Auli'i Cravalho voices Moana with an
earnestness that brings true heart and depth to her character.Dwayne Johnson is well cast as Maui,
a Polynesian Prometheus trickster character, and works as a perfect counter
balance to Cravalho.Moana relies on so
many classic tropes that it sounds like it should come off as stale.Instead it is a vibrant journey which is
closer to what I’d hoped Pixar’s Brave would have been.Moana will likely face a bevy of comparisons
to Frozen, an overrated movie in my opinion, but it’s a far better film
overall.
Dearest Blog: Yesterday it was off to Marquee Cinemas for the promising double-bill of Disney's Moana and Allied.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on my agenda: Moana.
A young future chief must travel far from the safety of her island to restore it to health and prosperity.
Dear reader(s): I've got one word to describe Moana, and it is "WOW!" I mean, you know I've got a bunch more words than that, but...WOW. Moana is a beautiful telling of a beautiful story. The art and animation are incredible: majestic scenery, spectacular colors, realistic movement and mannerisms.
A spirited score by Mark Mancina is complimented by lively original tunes from Lin-Manuel Miranda and Opetaia Foa'i. Thanks to filmmakers' detailed attention to the culture and lore of the Pacific islands, the movie boasts a unique and authentic feel, and Moana is a true heroine for our times: smart, strong, and resourceful.
She does not sit around waiting for a handsome prince to turn up with her shoe, but she does learn to accept advice and assistance when she should. Newcomer Auli'i Cravalho turns in an earnest, endearing performance as Moana, and, as the demi-god Maui, an animated Dwayne "The Rock" Johnson is equally as charming as the real thing.
Moana is, quite simply, a delight from start to finish.
Disney's Moana runs 103 minutes, which includes a depressing little short entitled "Inner Workings." (If you aren't picky about your seat, show up late and avoid that one.) Moana is rated PG for "Peril, some scary images, and brief thematic elements."
Moana is perfect.
Of a possible nine Weasleys, Moana gets nine.
Next up: Allied.
Espionage and romance with a pair of WWII spies who fall in love and marry in war-torn 1940s Europe.
Allied is a suspenseful slow-burner with plenty of twists to keep you guessing.
Marion Cotillard is perfect as a member of the French resistance accused of being a double agent. Her understated performance is sincere and never gives away the is-she-or-isn't-she mystery. Brad Pitt is wooden, as Brad Pitt tends to be, but the movie smartly elects to focus a LOT on his perfect face, as well as him looking dashing in nifty suits, his military uniform, and an Archer-esque black turtleneck.
Wise move there, movie. The suspenseful story is deliberately paced, but never so slow it risks losing your attention. War movies are always unsettling, but Allied mostly lacks the explicit violence and gore common in such films.
Finally, there may come a day when I won't happily pay $7.50 to hear Benny Goodman's Sing Sing Sing in glorious surround-sound, but it is not this day.
Allied clocks in at 124 minutes and is rated R for "violence, some sexuality/nudity, language, and brief drug use."
While it isn't likely to bring home the bacon this awards season, Allied is a tense thriller that's well worth your movie dollar.
Of a possible nine Weasleys, Allied gets seven.
Fangirl Points (so many Fangirl Points!): Anton Lesser! Matthew Goode! Lizzy Caplan! Simon McBurney! Jared Harris!
Until next time...
This spin-off of the Harry Potter franchise jumps back in time to explore
the wizarding world of 1926 New York,
which is being threatened by both mystical acts of destruction and a group of
extremist No-Majs (the American term for Muggles, i.e. those unable to use
magic). Author Newt Scamander (Eddie Redmayne) arrives in the city as part of a
global study of fantastic beasts, but he gets caught up in this conflict when
some of the magical creatures in his care are accidentally released. Katherine
Waterston, Alison Sudol, Dan Fogler, Colin Farrell, Ezra Miller, and Johnny
Depp co-star in this fantasy adventure, which was directed by David Yates (who
helmed four of the Harry Potter films) and adapted for the screen by J.K.
Rowling from her own book. ~ Jack Rodgers, Rovi
Director: David Yates
Cast: Eddie Redmayne, Katherine Waterston, Ezra Miller,
Colin Farrell, Samantha Morton.
Release Date: Nov
18, 2016
RatedPG-13 for Some Fantasy/Action Violence
Runtime: 2 hr. 13 min.
Genres: Action/Adventure, Family, Sci-Fi/Fantasy
Review:
Fantastic Beast and Where to Find Them is charming entry
into Potterverse.Kicking off a series
of prequel films can be a difficult task but director David Yates pulls it off
with ease thanks to some strong turns from his cast.Eddie Redmayne leads the cast with his Newt
Scamander.It’s an understated
performance but engaging enough to keep you invested throughout even if some of
the plot seems scattered and unfocused.The film is at best when Redmayne is paired with Dan Fogler, Katherine
Waterston and Alison Sudol.You can feel
the energy in the film pick up with the quartet is assembled.As for the story itself, it’s a tad busy
which can make it feel like it’s hitting multiple stops with no clear
destination in mind.It’s a shame the
film didn’t make better use of Colin Farrell.Instead he’s given a generic villain who’s not nearly as interesting as
he could be.Ezra Miller suffers from a
similar situation but he does manage to elevate it a bit with some nifty
acting.That being said it’s a hard film
not to like, there’s an inherit charm built into the story which makes it a
good start for the series.
Dearest Blog: With Potter prequel Fantastic Beasts and Where to Find Them and Oscar hopeful Bleed for This, the pre-Thanksgiving weekend provides a treat that's been all too rare in 2016: a genuinely exciting cinema double-bill. So, with high hopes, I set off once again for Marquee Cinemas.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on my agenda, Fantastic Beasts and Where to Find Them.
Chaos ensues when a rogue English wizard arrives in New York City with a case full of magical creatures.
While Fantastic Beasts and Where to Find Them is named after a very short Hogwarts textbook, it is not technically "based on" the publication that shares its title; rather, it is an original story written by Potter author J.K. Rowling about her characters, both new and old. Genre fans still smarting from Peter Jackson's ill-advised attempt to stretch a pretty short book into three pretty long movies needn't be concerned; this isn't that.
Admittedly, the film still runs a bit long, and the occasionally-awkward script--on which Rowling has the sole writing credit--might have done with a brush-up from Potter screenwriter Steve Kloves, but the picture's only other real weakness is that the titular "fantastic" beasts are its least-interesting feature.
The good news is Rowling's trademark kind-heartedness and magical imagination are in full effect with Fantastic Beasts. Eddie Redmayne's skittish acting style can be annoying sometimes, but he's perfect as Newt Scamander.
Redmayne nails traits common in those of us who are more comfortable with four-legged beasts than with two-legged ones; he shuffles and looks at the ground when speaking with another human, but is entirely at ease with even the most intimidating other creatures. Redmayne also gets full marks for some extraordinary physical acting that had to be uncomfortable-to-downright-embarrassing to play off only a green screen.
The solid supporting cast includes Colin Farrell in a menacing turn, and scene-stealer Dan Fogler. Fantastic Beasts boasts glorious effects, good-natured humor, and a charming score by the masterful James Newton Howard.
It's been five years since Harry Potter's final big-screen foray, and if you'd forgotten just how magical it is when that giant "WB" logo appears to the twinkling accompaniment of Hedwig's Theme, Fantastic Beasts will bring it all right back to you.
Fantastic Beasts and Where to Find Them clocks in at 133 minutes and is rated PG13 for "some fantasy action violence."
Nostalgic yet standing firmly on its own merits, Fantastic Beasts and Where to Find Them is great fun and a perfectly-worthy addition to the Harry Potter film franchise.
Of a possible nine Weasleys, Fantastic Beasts and Where to Find Them gets seven and a half.
Next up: Bleed for This.
A boxing champion faces a long road to recovery after a devastating automobile accident.
Well, dear reader(s), I was going to start by pondering how a sport I dislike as intensely as boxing could spawn movies I love so much, but then I remembered Talladega Nights and figured the question kinda answered itself.
At any rate, boxing movies always seem to be favorites of mine, and I'm pleased to report Bleed for This is no exception.
Miles Teller is simply amazing as boxer Vinny Pazienza. He's had good roles in good movies before, but this is a real star turn. The normally-dashing Aaron Eckhart underwent an astounding transformation to portray Pazienza's balding, paunchy, middle-aged trainer, the kind of physical effort that normally earns guys Oscars as long as they aren't named Johnny Depp or Gary Oldman.
Eckhart's earnest turn is the movie's backbone, but it's Ciaran Hinds who really steals the show with his emotional portrayal of Pazienza's father. For my money, any or all of the three are awards-worthy, and reason enough to see a movie that has plenty more going for it.
While the boxing scenes aren't quite as authentic as Southpaw or Creed, the matches will leave you holding your breath even when you think you know the outcome.
At a smart two hours, Bleed for This is wise enough not to wear out its welcome, and--between Pazienza's constant underdog status and his touch-and-go recovery--it's a pretty tense ride. Meticulous attention to the fighter's recovery and training might have bogged down in less capable hands, but here it is mesmerizing.
Some solid 80s arena rock combines with the soulful sounds of Willis Earl Beal to flesh out the picture's struggling-but-hopeful tone.
Bleed for This runs 116 minutes and is rated R for "language, sexuality/nudity, and some accident images."
It's not quite the Best Picture contender it may have seemed, but Bleed for This is a solid drama bouyed by award-worthy performances.
Of a possible nine Weasleys, Bleed for This gets seven.
Dearest Blog: Yesterday it was off to Marquee cinemas for sci-fi awards contender Arrival.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
When extra-terrestrial crafts land at a dozen spots across the globe, a linguist (Amy Adams) and a scientist (Jeremy Renner) head one of the teams responsible for deciphering the aliens' language and determining the reason for their appearance.
Dear reader(s), you may recall my saying, on many occasions, that I do not read reviews before I write my own. This remains true, though it could not escape my notice that Arrival is carrying outstanding scores on many websites and has already received perfect ratings from two of my movie-reviewing pals.
But...hey...I guess if you wanted someone else's opinion you wouldn't be here, right?
Arrival has a good deal going for it. From a purely visual standpoint, it is lovely, with bleak landscapes that underline the movie's tense tone and a glorious depiction of the aliens' written language.
Interactions between the visitors from space and our intrepid interpreters are absolutely stunning. Both Adams and Renner are terrific, and their wonder and earnestness are contagious; you'll be holding your breath, hoping these are ET-aliens and not Alien-aliens.
Johann Johannsson has provided a stunning, intense score that commands your attention, yet never upstages the action onscreen. Arrival has many positive messages about cooperation and not assuming the worst and beginnings and endings and, really, life in general.
That being said: Arrival is about the best insomnia cure you could get for seven dollars and fifty-cents. The movie plods along like an overlong Doctor Who episode and often seems utterly lost in itself.
I made it about 20 minutes before the struggle to stay awake began in earnest, and it was a mighty struggle indeed for the remainder of the picture's not-excessive runtime. Unlike last year's trundling would-be masterpiece, The Revenant, this one can't be saved by its physical beauty.
Arrival clocks in at a very reasonable 116 minutes and is rated PG13 for "brief strong language."
Arrival will almost certainly make most best picture shortlists this Awards Season.
It'll probably take home some of those trophies, and maybe it'll even deserve to, but I'd take a one-way trip to outer-space before I'd watch it again.
Of a possible nine Weasleys, Arrival gets five.
Until next time...
Linguistics professor Louise Banks (Amy Adams) leads an elite team of
investigators when gigantic spaceships touch down in 12 locations around the
world. As nations teeter on the verge of global war, Banks and her crew must
race against time to find a way to communicate with the extraterrestrial
visitors. Hoping to unravel the mystery, she takes a chance that could threaten
her life and quite possibly all of mankind.
Director:Denis
Villeneuve
Cast: Amy Adams, Jeremy Renner, Forest
Whitaker, Michael Stuhlbarg, Tzi Ma
Release Date: Nov
11, 2016
Rated PG-13 for brief Strong Language
Runtime: 1 hr. 56 min.
Genres: Drama, Suspense/Thriller
Review:
Denis Villeneuve’s Arrival is a shining example of how to
do heady science fiction with strong emotional depth. It recalls classics like
Close Encounters with the Third Kind, 2001 and Contact.Villeneuve’s film is a measured affair that
demands your attention from start to finish with an impressive payoff that
rewards you.Amy Adams has never been
better or more subdued.Her performance
carries the entire film and gives the film its bitter sweet heart.Jeremy Renner provides a nice counterbalance
to Adams.Forest
Whitaker is a tab wasted in a thankless role.Arrival is a sure to join the upper echelon of science fictions films
and marks another excellent film from Denis Villeneuve.
Dearest Blog: By now I'm sure everyone's familiar with that big-budget bore of a World War II flick that's gracing US cinemas this week, but what you may not know is there's also a really good World War II flick right at your fingertips via On Demand, digital download, and DVD. I give you: Anthropoid.
Spoiler level here will be mild, nothing you wouldn't know from the trailers if you saw one (which I didn't).
Anthropoid is the true story of a World War II mission to assasinate Hitler's third in command, Reinhard Heydrich.
Two WWII movies in a span of three days probably seems like a true test of endurance, and, if not for Cillian Murphy, I admit this one might have passed me right on by. I'm very glad it didn't.
While Hacksaw Ridge dwells on gunfights, explosions, and the gore of war, Anthropoid is a quiet exercise in strategy all the way to its final act; only then are we thrown into the bloody firestorm, and by then we're so invested in every character that it is utterly devastating. Cillian Murphy (the surly one) and Jamie Dornan (the dreamy one) are outstanding as the leaders of the dangerous mission. Murphy is never less, but if you only know Dornan from his unfortunate 50 Shades fame, be prepared to be surprised.
Supporting players include the terrific Harry Lloyd, and the always-reliable Toby Jones. Anthropoid takes its time getting to the actual assasination attempt, maintaining tension throughout as the rebels make their plans and attempt to avoid discovery.
Fear is so palpable as to be almost another character in a film that feels very intimate and personal, in much the same way as Tinker Tailor Soldier Spy.
Anthropoid clocks in at a deliberate 120 minutes and is rated R for "violence and some disturbing images."
It may not be loud or flashy enough to have earned wide release in the USA, but Anthropoid is a thoughtful World War II picture that's well worth your time.
Of a possible nine Weasleys, Anthropoid gets six and a half.
After a car
accident leaves him with nerve damage that ends his career as a New York
neurosurgeon, Stephen Strange (Benedict Cumberbatch) travels to Kathmandu in the hope
of finding an otherworldly cure for his injuries. There, a powerful mystic
known as the Ancient One (Tilda Swinton) accepts him as her pupil and trains
him in the art of sorcery. Eventually, Strange must use his new powers to stop
a rival (Mads Mikkelsen) from causing chaos by accessing the Dark Dimension.
Rachel McAdams, Chiwetel Ejiofor, and Benedict Wong co-star in this entry in
the Marvel Cinematic Universe. Directed by Scott Derrickson (Sinister). ~ Jack
Rodgers, Rovi
Director: Scott Derrickson
Cast: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams,
Michael Stuhlbarg, Benedict Wong, Tilda Swinton
Release Date: Nov
04, 2016
Rated PG-13 for Sci-Fi Violence and Action and an Intense
Crash Sequence
Runtime: 1 hr. 55 min.
Genres: Action/Adventure, Sci-Fi/Fantasy
Review:
Doctor Strange is a visually
impressive origin story that’s better than it should be most due to its
cast.That’s not to say that director
Scott Derrickson doesn’t do some impressive cinematic gymnastics because he
does.Its just that when you peel back
all visual flourishes its plot feels incredibly familiar with magic taking the
place of superhero powers.Thankfully, the
film is a generally enjoyable thanks to some strong turns by Benedict
Cumberbatch and Tilda Swinton.Benedict
Cumberbatch feels perfect for the roles and he’s clearly having a great time
throughout.The real stand out though is
Tilda Swinton who’s generally the most interesting actor on screen
throughout.It’s a bit of a
disappointment that the other great actors assembled aren’t given much to
do.Mads Mikkelsen, Rachel McAdams and
Chiwetel Ejiofor are all saddled with some terribly underwritten and generic
characters.It’s a shame because they
are all excellent actors and with better material this film could have been
something truly special.As is, the film
is a solid addition to the ever expanding Marvel Cinematic universe.
Dearest Blog: Yesterday it was off to Marquee Cinemas for Doctor Strange and Hacksaw Ridge, two movies that I anticipated about as much as a fork in the eye. (Any 80s metal fans guess what I'm listening to as I write?) Fortunately, one of them had the decency to be better than expected.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on the agenda: Marvel's latest cinema smash, Doctor Strange.
Following a car accident that cost him his career, an arrogant doctor is awakened to a whole new world.
Ladies and gents, if I had to describe Doctor Strange in one word, that word would be "trippy."
Of course I'm gonna use a lot more words than that, but...yeah...trippy. I saw it in 2D, but I'll go on record as recommending the 3D unreservedly; I'm entirely convinced it's worth-the-upcharge spectacular. Inception-Meets-Pink-Floyd-Laser-Show special effects are Doctor Strange's primary virtue, but Marvel has hit it out of the park on casting again, as well.
Benedict Cumberbatch is mesmerising as Strange, and make no mistake, he HAS to be.
Strange is the Dr. House of comic books; he's abrasive and needs the right portrayal for fans to warm to him. In Cumberbatch, he's got it. Chiwetel Ejifor and Mads Mikkelsen lead a supporting cast that is almost uniformly terrific.
The movie could have done with more Rachel McAdams and less Tilda Swinton, but Benedict Wong nearly walks off with the whole thing anyway. Michael Giacchino's epic score provides perfect accompaniment to the huge set pieces and fantastic action.
The movie features the requisite Stan Lee cameo and a couple quick reminders that you're supposed to love it because it's from the people who gave you the Avengers. Guys...THE AVENGERS!!
Don't forget now! Marvel's trademark humor occasionally seems shoehorned into situations where it feels awkward, ill-fitting, and inappropriate, but it mostly hits the mark. Story-wise, Doctor Strange is a generic origins tale that dwells too long on certain bits, making it seem bloated even though it's not really that long. It's a movie with some great elements, but hardly a great movie.
Doctor Strange clocks in at 115 minutes and is rated PG13 for "sci-fi violence and action throughout, and an intense crash sequence."
Doctor Strange never fails to entertain, but, ultimately, it's nothing special.
And if that's not Marvel's corporate slogan...well...it should be.
Of a possible nine Weasleys, Doctor Strange gets seven.
Fangirl points: Benjamin Bratt! Michael Stuhlbarg!
Next up: Hacksaw Ridge.
A young man whose faith keeps him from carrying a weapon hopes to serve as a combat medic in World War II. (A.K.A. "War is Hell. Literally.")
Hacksaw Ridge is an inspiring tale that, in someone else's hands, might have made a great movie. In director Mel Gibson's hands, it's two hours of being clubbed over the head with an agenda. Andrew Garfield heads a magnificent cast with zero weak links.
I'd hoped this might be Garfield's step up to a long-deserved Oscar nod, and I'm not sure it's that, but he is brilliant nonetheless. Hugo Weaving is heartbreaking in a scene-stealing turn that'll have you digging for the Kleenex, and Luke Bracey, Sam Worthington, and Vince Vaughn (you heard me) flesh out a memorable supporting cast with excellent chemistry. Sound mixing and editing are spectacular as well. That's the good news.
The bad news is, Hacksaw Ridge has little else going for it. An excessive runtime exacerbates the feeling that it never gets anywhere. The terrible physical toll of war is detailed in such up-close, prolonged excess that it strays into Tropic Thunder territory. War = Bad. We've got it. No need to spend half the film focused on men you can't tell from lunchmeat.
The faith angle gets full marks for its earnestness, but, again, is so unsubtle as to be comical. If I'd rolled my eyes any harder, I'd be writing this out the back of my head. Ultimately, you can't help feeling such an extraordinary story deserved better.
Hacksaw Ridge runs 131 minutes and is rated R for "intense, prolonged, realistically-graphic sequences of war violence, including grisly, bloody images."
Hacksaw Ridge is an inexcusably pedestrian telling of an amazing tale.
Of a possible nine Weasleys, Hacksaw Ridge gets four.
Dearest Blog: Yesterday it was off to Marquee Cinemas for the latest in Dan Brown's Robert Langdon series, Inferno.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
After waking in a hospital, suffering from amnesia, Professor Robert Langdon (Tom Hanks) teams with Doctor Sienna Brooks (Felicity Jones) to thwart a global threat.
Okay, dear reader(s), here's the thing about this Langdon series: these movies just oughta be better than they are.
All the pieces are there, yet the finished product is always decidedly mediocre...in fact, the middle installment was so forgettable I had to double-check to make sure I'd even seen it before moving on to the new one! Inferno, like its predecessors, is fortunate to have the eminently likable Tom Hanks reprising his role as Langdon.
No matter what else a movie has going for or against it, Hanks generally guarantees it'll be at least watchable, and certainly that's the case here. Jones, on the other hand, is her usual blandly irritating self; if not for her weird teeth, you might mistake her for ten other actresses of similar age and appearance. Inferno boasts more of the series' usual lovely locations and tidbits of historical interest.
There's action aplenty, with our heroes spending much of the picture running through crowded streets and imposing buildings, but ultimately the whole thing just feels too silly for something that pretends to be so intellectual.
Inferno clocks in at 121 minutes and is rated PG13 for "sequences of action and violence, disturbing images, some language, thematic elements, and brief sensuality."
Inferno is a passable afternoon's entertainment, but, sadly, it's nothing special.
Of a possible nine Weasleys, Inferno gets five.
Until next time...
PS: Dear Cinemas Everywhere: I know Chris Pratt and Jennifer Lawrence are the cutest people on Earth, but that Passengers trailer is getting old REAL DAMN FAST.
An ordinary suburban couple (Zach Galifianakis and Isla Fisher) discover
that their hospitable new neighbors (Jon Hamm and Gal Gadot) are actually
government spies. Soon, all four of them are caught up in an international
espionage imbroglio. Greg Mottola (Superbad, Adventureland) directed this
action comedy. ~ Daniel Gelb, Rovi
Director:Greg Mottola
Cast: Zach Galifianakis, Jon Hamm, Isla Fisher, Gal
Gadot, Matt Walsh
Release Date: Oct
21, 2016
Rated PG-13 for
Genres: Comedy
Review:
Keeping up with the Jones is a fun little comedy.As a spy movie satire it’ll never live to
last year’s Spy or even Mr. & Ms. Smith which it borrows heavily from as
well.Still, it’s light and breezy
direction by Greg Mottola makes for an enjoyable if inconsequential
comedy.Its biggest strength is its
cast.The foursome of Zach Galifianakis,
Jon Hamm, Isla Fisher & Gal Gadot are likeable throughout with each shining
at one point or another. The plot in of itself is thread bare with nary a
surprise in sight.This oversight does
leave the film lingering past its expiration point.It’s a shame because with a slightly better
script and plot this could have been something special.
Dearest Blog: Yesterday it was off to Marquee Cinemas for the newest installment in Tom Cruise's Jack Reacher franchise, Never Go Back.
Spoiler level here will be mild, nothing of consequence that wasn't revealed in the trailers.
Attempting to prove the innocence of an Army Major accused of espionage, our hero finds himself embroiled in a high-reaching conspiracy while facing off with a secret from his past.
As I spent quality time with my best friend the Internet this morning, I saw a fair few headlines along the lines of, "How Can the Jack Reacher Franchise be Fixed?" and I thought, "Come on, Internet, we're only on the second installment!"
At any rate, I'm not sure the thing needs a complete overhaul, but a few tweaks are definitely in order.
Never Go Back is a predictable action flick where everybody does pretty much exactly what you'd expect.
That's not always a bad thing, but there were a few cases here where I really, really wished they hadn't, in particular the tried and true plot mechanism: "bratty teenager continually risks everyone's safety with foolish behavior." The kid, in general, was an annoying and pointless addition to this sequel, and, should there be more Jack Reachers, I hope she never turns up again.
On the plus side, the ass-kicking is also exactly what you'd have expected, that is, AWESOME! The movie wastes little time getting started, and features great end-to-end action with exciting chase scenes and well-choreographed fights. The backdrop of New Orleans' spectacular Halloween parade makes the climax especially fun.
Tom Cruise capably carries the lot on his shoulders, alternately heroic and funny, ever the ideal leading man. Cobie Smulders is passable in the female lead, nothing special in a nothing-special part.
The real star of the show is Patrick Heusinger, who somehow manages to be mesmerizing in a blandly typical baddie role. Despite having a true Hollywood A-Lister in the lead, Never Go Back ultimately feels very low-budget, like maybe Cruise (who has the top producer's credit) did what he could out of his own pocket, but might have benefited from a little more help.
Jack Reacher: Never Go Back clocks in at 118 minutes and is rated PG13 for "sequences of violence and action, some bloody images, language, and thematic elements."
Jack Reacher: Never Go Back could be the poster child for unnecessary sequels, but it's also a pretty good time.
Of a possible nine Weasleys, Jack Reacher: Never Go Back gets six and a half.
Fangirl points: Holt McCallany, Aldis Hodge, and Robert Knepper, who earns senior billing but barely earns a paycheck in a total of about five minutes onscreen.
Dearest Blog: Yesterday it was off to Marquee Cinemas to see my Bat!Boyfriend's new flick, The Accountant.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
A CPA with a dangerous clientele handles more than just the books.
The Accountant is a mystery/thriller with a protagonist who may be difficult to warm up to. It's unhurried and often uncomfortable due to the aforementioned protagonist's failure to respond/react to certain situations in the "normal" way. Sound familiar?
If you saw The Girl on the Train last weekend, I'm sure it does. However, unlike The Girl on the Train, The Accountant boasts well-plotted action, solid performances, a couple nice twists, and is funny only when it means to be.
The titular savant, Christian Wolff, is unable to deal normally with people, but his mathematical genius is invaluable to his unsavory clients. Ben Affleck perfectly portrays the mannerisms typical of autism spectrum disorders, creating a character who is sympathetic even when he's doing some pretty bad things.
Jon Bernthal, J.K. Simmons, and John Lithgow are terrific in supporting roles, and Cynthia Addai-Robinson is a pleasant surprise as the FBI agent hot on the tail of our mysterious money manager. (I've always thought she was one of the worst actors working, but maybe when you're on Spartacus there's just nothing for it!)
The Accountant is brutal at times, certainly not for the faint of heart. There's a short spell right about the hour mark where the movie starts to drag a little, but it picks right back up and is otherwise deliberately-paced but never dull.
Wolff's inappropriate and seemingly rude interactions with people and situations outside his comfort zone spell the dark tone with amusing moments that are never a mean spirited laugh "at" autism or its manifestations.
The movie could have explained itself better in a few spots, and the runtime might have benefitted from a trim, but The Accountant is a suspenseful yarn that'll keep you on the edge of your seat.
The Accountant clocks in at 128 minutes and is rated R for "strong violence and language throughout."
The Accountant is a solid thriller featuring satisfying twists and a standout performance by Ben Affleck.
Of a possible nine Weasleys, The Accountant gets eight.
Dearest Blog: Yesterday it was off to Marquee Cinemas for the buzzkill double-bill of The Girl on the Train and The Birth of a Nation.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on the docket: The Girl on the Train.
An unhappy divorcee makes up stories about the people she sees on her daily commute, then becomes entangled in the case when one of them goes missing.
The Girl on the Train is such a pedestrian mystery that, never having been anywhere near the novel, it took me approximately 23 minutes to clock exactly how it was going to play out...and that was far from my final check of the time, believe me.
Emily Blunt plays the titular girl as a sloppy, irritating drunk, and the supporting characters are so odious it's impossible to care what happens to any of them. (Though I'd forgive Luke Evans for pretty much anything once he started peeling off those clothes.)
A few laughable bits--including a full-on Cameron Frye moment in a gallery--spell a miserable whole that plods along with varying versions of events. Who's telling the truth? Who's lying?
You'll stop caring long before this mess crawls to its predictable finish. About the only things The Girl on the Train has to recommend it are a properly menacing score by Danny Elfman and a couple frames of Evans' glorious bod.
The Girl on the Train runs an excruciating 112 minutes and is rated R for "violence, sexual content, language, and nudity."
The Girl on the Train is a slow, dull exercise that made me want to throw myself on the tracks.
Of a possible nine Weasleys, The Girl on the Train gets four.
Fangirl points: Luke Evans. Luke Evans' abs. Luke Evans' bottom.
Also, a girl in a Damned shirt...yay!
Next up: The Birth of a Nation.
The true story of Nat Turner, a slave and preacher who orchestrated a rebellion in 1831.
The Birth of a Nation is difficult to watch, and more than once I had to look away from the brutality and abuse. Performances are fantastic across the board, with Nate Parker and Aja Naomi King outstanding in the leads, and Armie Hammer his usual reliable self in an important supporting role.
Turner's Christian faith is central to the story, but the movie also exposes the contradictory nature of the Bible and those who presume to speak for their gods.
The subject matter is unpleasant enough to make the film feel much longer than it is; for the duration I kept thinking the last thing we really need right now is yet another reminder of how horrible people can be to one another.
Only afterward did it occur to me, maybe exactly what we need right now is a reminder of what happens when people are encouraged to treat others as less than themselves.
The Birth of a Nation clocks in at an even two hours and is rated R for "disturbing violent content and some brief nudity."
The Birth of a Nation is a well-acted picture with a timely, important message, but, sadly, none of that makes it a truly great movie.
Of a possible nine Weasleys, The Birth of a Nation gets five. .
Fangirl points: The aforementioned Armie Hammer. Mark Boone Junior (Bobby Elvis)!
In the thriller, Rachel (Blunt), who is devastated by her recent divorce,
spends her daily commute fantasizing about the seemingly perfect couple who
live in a house that her train passes every day, until one morning she sees
something shocking happen there and becomes entangled in the mystery that
unfolds. Based on Paula Hawkins’ bestselling novel, The Girl on the Train is
adapted for the screen by Erin Cressida Wilson and Taylor. The film’s executive
producers are Jared LeBoff and Celia Costas, and it will be released by
Universal Pictures.
Rated R for violence, sexual content, language and nudity
Genres: Suspense/Thriller
Review:
Is it possible to make an interesting movie with a cast
of characters who are all unlikable and fairly terrible?The Girl on the Train tries really hard to
pull it off and has a decent amount of success even if the “mind blowing” twist
is telegraphed fairly early on.Tate
Taylor is clearly trying to emulate David Fincher’s Gone Girl but he’s not as
talented a filmmaker to make it work.As
is, the film is a surprisingly engrossing tale of bad people doing bad things
repeatedly.Taylor’s
real talent is getting some truly impressive performances out of his cast
especially Emily Blunt.Blunt is
incredibly impressive throughout with multiple scenes set up to showcase her
acting chops.Haley Bennett, who looks
distractingly like a Jennifer Lawrence clone, is just solid even though her
character feels unwritten.It’s a shame
because the character seems to be most interesting of the group.The Girl on the Train is trying it’s hardest
to be some special but it never quite gets there.
After a family tragedy, a boy named Jake (Asa Butterfield) follows a series
of clues that lead him to a mysterious orphanage on a remote Welsh island.
There, he discovers a community of children with unusual abilities, and learns
he is destined to protect them. Eva Green, Samuel L. Jackson, Kim Dickens,
Allison Janney, Judi Dench, Chris O'Dowd, Rupert Everett, and Terence Stamp
co-star. Directed by Tim Burton, Miss Peregrine's Home for Peculiar Children
was adapted from Ransom Riggs' debut novel of the same name. ~ Daniel Gelb,
Rovi
Director: Tim Burton
Cast: Eva Green, Asa Butterfield, Chris O'Dowd, Allison
Janney, Judi Dench
Release Date: Sep
30, 2016
Rated PG-13 for violence and Peril and Intense Fantasy
Action
Runtime: 2 hr. 7 min.
Genres: Action/Adventure, Family, Sci-Fi/Fantasy
Review:
Tim Burton’s newest film is a
welcome return to his glory days as a director.The book seems ready made for Burton and give a certain feel that works in the films favor.The cast seems to be having a blast, for the
most part, with a radiant Eva Green leading the way.Green is always the most interesting person
on screen and the film loses some pop when she’s not on screen especially
during an extended absence in the final act.Ella Purnell gives the best performance of the titular peculiar
children.It’s a shame her story and
character isn’t fleshed out more.Also
not helping matters is the film’s male lead.Asa Butterfield is possibly one of the blandest actors I’ve watched in a
long time.His line deliver is so stiff
and uninspired that it almost feels like he might yawn in the middle of
it.On the other end of the spectrum is
Samuel L. Jackson who’s so over the top that’s its jarring when he first shows
up.Its not good or bad just odd.Equally odd is just how thinly written the
villain is.It’s a shame because with a
better lead and more dynamic villain this might have been scratching the top
tier of Burton films.
