Dearest Blog: Yesterday it was off to Marquee Cinemas for a pair of heist movies: Paddington 2 and Den of Thieves. (Find another review that makes *that* connection if you can!)
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on my agenda: Paddington 2.
When dear Paddington is wrongly jailed for robbery, it's up to the Browns to find the real thief.
Paddington was a lovely surprise, a "children's" movie that turned out to be so much more. If there's any surprise to the greatness of Paddington 2, it's only that it's even better than the first.
Like its predecessor, much of Paddington 2's charm can be credited to its phenomenal cast. Hugh Bonneville, Sally Hawkins, Jim Broadbent, Julie Walters, and Brendan Gleeson are in top form, and Hugh Grant is an absolute delight as the film's narcissistic villain. The plot of Paddington 2 doesn't hold many twists, but it doesn't need them; its execution is so sweet and funny that predictability is easily forgiven. The movie is beautifully filmed, with a special nod to the animated pop-up book sequences, a true delight from start to finish. Stay tuned for a great musical number at the end!
Paddington 2 runs 104 minutes and is rated PG for "some action and mild rude humor."
In an increasingly ugly world, I'm grateful for the joyful beauty of Paddington.
Of a possible nine Weasleys, Paddington 2 gets all nine. (Yes, I'm throwing down a nine in January. 2018, you've got your work cut out for you.)
Fangirl points: Joanna Lumley! Ben Whishaw! Peter Capaldi! Ben Miller! Richard Ayoade!
Next on the docket: Den of Thieves.
LA's top cops face off with a legendary heist crew. Many shootings and f-words ensue.
Dear reader(s), my anticipation for Den of Thieves could not have been higher, and I want you to know from the bottom of my heart: I LOVE THIS MOVIE. It may not be the cleverest or the best from any technical standpoint, but, damn, it's everything I'd hoped it would be.
Den of Thieves wastes no time getting started with a fast and loud robbery and chase. From there, it quiets down surprisingly often, lending some time to backstory and...wait for it...planning. Like actual thinking. Yes, Den of Thieves is smarter than I expected. Understand the Smart Bar had been set very, VERY low, but still...I liked that it threw me a little curve, and in more ways than just Gerard Butler pondering his life choices. Den of Thieves weaves a tense tale, as the crafty robbers and no-rules cops attempt to out-fox each other. The bad-good guys are headed up by Butler, and his usual meathead act is quite perfect here. The bad-bad guys have Pablo Schreiber and O'Shea Jackson, Jr. turning in very nice performances with--dare I suggest it?--a fair bit of depth. Den of Thieves runs a hair too long and might have been better served by trimming some unnecessary subplot, but the movie takes a few turns I didn't expect and saves its best surprises for the finale.
Den of Thieves clocks in at 140 minutes and is rated R for "violence, language, and some sexuality/nudity."
Plopped squarely in the middle of all the pretentiousness of Awards Season, Den of Thieves is a sweary, testosterone-soaked action picture that is exactly what it means to be.
Of a possible nine Weasleys, Den of Thieves gets eight.
Dearest Blog: Today it was off to Marquee Cinemas for The Post and Proud Mary.
It was supposed to be The Post and Paddington 2, but the schedule wants what the schedule wants.
Spoiler level here will be mild, nothing you wouldn't have seen in a trailer or remember from the news.
First up: The Post.
The press goes head-to-head with the President.
The Post is one of those Awards Season pictures that's so awardsey they don't have to put "Academy Award Winner" and "Academy Award Nominee" above the names of the stars in the trailer. You don't need any hints to get it: This is a contender.
The Post tells a timely tale of the importance of a free press, with a healthy (and no less timely) undercurrent of girl power. A quick check of Wikipedia will tell you how the story ends if you don't remember, but that doesn't make getting there any less tense. Steven Spielberg masterfully uses framing and camera angles to leave the audience feeling as the principals must have felt, as if someone were creeping up behind them the entire time. While the story is big, the movie manages to make it personal as well, as the timing of these events coincides with the Washington Post's owner fretting over taking her family's legacy public. A quick-witted and wordy script is the perfect showcase for a superb cast, headed by the incomparable Meryl Streep and Tom Hanks. If The Post feels a bit preachy at times, it's only in service to its critical reminder of the ramifications of a press unable to hold the powerful to account. Without giving away THE ending to those who may not know it, I will say that the film's final stopping point sets it up as a literal prequel to All the President's Men, one of the finest films of all time, giving it even bigger shoes to fill.
The Post clocks in at 116 minutes and is rated PG13 for "language and brief war violence."
For all its pedigree, The Post feels a bit un-buzzy as awards season kicks into high gear. The blame for that likely can be laid squarely at the feet of a world that is exhausted by divisive and antagonistic politics. Trust me, dear reader(s), I'm right with anyone who just wants to tune out these days, but it's a shame if this extraordinary picture pays the price.
Of a possible nine Weasleys, The Post gets eight.
Fangirl points: Michael Stuhlbarg! Bruce Greenwood!
Next up: Proud Mary.
A hitwoman for a Boston organized crime family attempts to make amends for a past mistake.
A predictable but unrepentant action flick, Proud Mary has all the earmarks of those quick, cheap films TV stars make when they're on hiatus; it's basically a better-dressed and less-motorcycley Sons of Anarchy episode. Taraji P. Hensen, as glorious and gifted as any actress working today, elevates the material beyond what it deserves, but, ultimately, even she can only do so much to save something so unimaginative. The usually reliable Danny Glover is inexplicably awful, every line sounding like he's reading from a card he's only just seen for the first time. Sadly, Billy Brown remains clothed for the entire movie (spoiler alert!), and, with just a few minutes' screen time, the picture is a pitiful waste of the great Neal McDonough.
Proud Mary runs a quick 89 minutes and is rated R for violence.
Proud Mary is a by-the-numbers action flick that's redeemed mostly by the wattage of its star.
Of a possible nine Weasleys, Proud Mary gets five.
During the early days of World War II, the fate of Western Europe hangs
on the newly-appointed British Prime Minister Winston Churchill, who must
decide whether to negotiate with Hitler, or fight on against incredible odds. Director: Joe Wright Release Date: Nov 22, 2017 Cast: Gary Oldman, Lily James, Kristin Scott
Thomas, Ben Mendelsohn, Stephen Dillane Rated PG-13 for some thematic material Runtime: 2 hr. 5 min. Genres: Biography, Drama, History
Review:
Joe Wright’s Darkest Hour
is a perfectly solid historical drama that’s buoyed by an impressive turn by
Gary Oldman. Wright’s movie hits most of
the basic points of interest as he covers roughly a month of Winston
Churchill’s life as he ascends to the role of Prime Minster as Hilter’s forces
close in on Britain. As such, it makes for an
interesting companion pieces to Christopher Nolan’s Dunkirk. While that
film dealt the soldier’s point of view this film is far more concerned with the
political landscape that Churchill was dealing with as he took office. It’s catnip for history buffs even though
everyone knows how it ends. Still, it’s
a fascinating situation to examine considering how badly the odds where stacked
against the UK. Wright does a solid job of
providing a glossy accounting of darken close quarter rooms where major
decisions were being made in the face of impending doom. The film, though, wouldn’t work nearly as
well if it wasn’t for a stellar turn by the film’s star Gary Oldman who
disappears into make up and character. This
isn’t the first time Oldman has lost himself into characters behind make up,
most memorably in Dracula and an underrated and nearly forgotten turn in the
Silence of the Lamb sequel Hannibal. This film is clearly Oldman’s showcase, so much
so that some of sequences might as well have the words “For your Consideration”
emblazoned along the bottom of the screen.
Thankfully Oldman doesn’t disappoint as he delivers one of the best
performances of his career in a long while.
He’s had better roles in the past but this type of biopic seems ready
made for award season.
Dearest Blog: Yesterday it was off to Marquee Cinemas for a pair of true tales: Darkest Hour and Molly's Game.
Spoiler level here will be mild, nothing you wouldn't know from the trailers or, you know, a history book (or maybe a tabloid).
First up: Starting off the New Year right with my Gary in Darkest Hour.
Winston Churchill does not negotiate with Nazis.
Dear reader(s): By now you will have heard that Gary Oldman's transformation into Winston Churchill is nothing short of remarkable. I'm here to tell you, with all the impartiality a person who makes a homemade Gary Oldman calendar every year can muster, that you should believe the hype. Much has been made of the countless hours Gary spent in makeup and prosthetics in order to take on the portly prime minister's appearance--and it is well and truly amazing--but the quality of this performance is not about physical transformation; it's about how well he tends to the details of BEING Churchill: mannerisms, speech patterns, expressions. The look in his eyes at times is just extraordinary. We movie fans are so used to Gary disappearing into his roles that we may take it for granted, but this is a whole other level, a masterful performance for the ages. Darkest Hour's supporting cast is also stellar, with Kristin Scott Thomas, Lily James, Stephen Dillane, and the incomparable Ben Mendelsohn all holding their own opposite Oldman's tour de force turn.
Darkest Hour relates an oft-told story with an outcome well known to everyone, but it isn't handicapped by its familiarity; instead it feels like quite the nail-biter right down to the finish. Despite the somber subject matter, the picture steers well clear of misery and self pity; it is hopeful and actually quite funny at times, that rare awards-worthy bit of filmmaking that seems to care as much about entertaining as it does about accolades.
Darkest Hour clocks in at 125 minutes and is rated PG13 for "some thematic material."
Darkest Hour is a solid historical epic with an Oscar-caliber lead and a sadly-timely message about the dangers of placating tyrants.
Of a possible nine Weasleys, Darkest Hour gets nine.
Fangirl points: My Gary (duh)! Ben Mendelsohn! Joe Armstrong!!
Next on the docket: Molly's Game.
The rise and fall of Molly Bloom, a one-time Olympic contender who made and lost a fortune running an exclusive high-stakes poker game.
It won't be news to anyone who's seen so much as a single trailer that Molly's Game rises and falls on Jessica Chastain's outstanding turn in the lead. Chastain seems born to acclaimed writer (and first-time director) Aaron Sorkin's rapid-fire style, and she gets to glam it up as the high-class hostess to elite celebrities, athletes, and world leaders. You will not be able to take your eyes off of her. While the supporting cast is solid, there's not much room for anyone but Chastain as Bloom narrates her own story, with others popping in and out merely as grout to her tile. No disrespect to Chastain, who is entirely Oscar worthy, but I'd be remiss if I didn't take this opportunity to remind filmmakers that more Idris Elba is always better. (Please make a note of it.) Sorkin's direction weaves seamlessly between Bloom's present-day legal battles and her relating of the events leading to said battles. As is Sorkin's trademark, the dialogue is superb, even if the poker language might as well have been some alien tongue for all I understood it. Daniel Pemberton continues his win streak with another striking score. The film slows down just enough that a small trim might have made a more efficient whole, but that's a petty quibble with what is ultimately a couple great hours of cinema.
Molly's Game runs 140 minutes and is rated R for "language, drug content, and some violence."
Molly's Game is a fascinating story and a worthy showcase for one of the finest actresses of her generation.
Of a possible nine Weasleys, Molly's Game gets eight.
Fangirl points: Keep those eyes peeled for for about two seconds of Jose Bautista in newsreel footage at the start of the film.
An ice rink PA is playing George Harrison's son singing my favorite George Harrison song. Chris O'Dowd! Justin Kirk! Brian d'Arcy James!
Elisa is a mute, isolated woman who works as a cleaning lady in a
hidden, high-security government laboratory in 1962 Baltimore. Her life changes
forever when she discovers the lab's classified secret -- a mysterious, scaled
creature from South America that lives in a water tank. As Elisa develops a unique bond with her
new friend, she soon learns that its fate and very survival lies in the hands
of a hostile government agent and a marine biologist.
Director: Guillermo del Toro
Release Date: Dec 1, 2017 Cast: Sally Hawkins, Michael Shannon,
Richard Jenkins, Doug Jones, Michael Stuhlbarg, Octavia Spencer
Rated R for sexual content, graphic nudity,
violence and language
Runtime: 2 hr. 3 min.
Genres: Adventure, Drama, Fantasy
Review:
The Shape of Water is a lovely modern day fable
brought to life by Guillermo
del Toro.It’s a fascinating and elegant
film that’s got a hopeful sensibility running throughout its runtime.Guillermo del Toro’s film is visually
striking to look at and engaging throughout.The story paints in broad strokes with most of the characters feeling
more like types than actual people but the cast delivers strong enough
performances to make it work.Sally
Hawkins is front and center throughout and she delivers a magnetic
performance.Hawkins displays an
impressive ability to transmit emotions through looks and mannerisms which
allows the audience to follow her characters emotional journey.It helps that she and Doug Jones, who plays
the creature, share some tangible screen chemistry, all displayed non verbally
making it even more impressive.The
supporting cast is equally impressive with each leaving their signature on the
film.Richard Jenkins and Octavia
Spencer make for a likeable pair of friends for Elisa even though both could
have used a bit more depth.Michael
Stuhlbarg’s character is an interesting mixture of grey area where you don’t
quite know where he stands until near the end of the film.Michael Shannon makes for an impressive
villain for the piece.The character is
a solid blend of all the negative aspects of white males in post WW2 American
and as portrayed by Shannon he one of the most interesting characters in the
piece.Del toro doesn’t quite reach the heights he in did in
Pan’s Labyrinth with The Shape of Water but he does deliver another vividly
impressive live action fable.
Dearest Blog: Today we take a fond(ish) look back at 2017, grateful, at least, that it didn't fail us at the cinema as it did in so many other ways.
To start, the usual disclaimers:
1-a.) I live in a rinky-dink town, so most of the real awards heavyweights won't turn up here until they're nominated for Oscars, then they'll split four screens across two cinemas for one week and I'll need Hermione Granger's Time Turner to catch up with all of them.
1-b.) If we're being honest, most of said awards heavyweights wouldn't affect this list in the slightest, anyway. The Post would probably sneak on here, and maybe Molly's Game, but it's fair to say that the Academy and I do not share many common "best picture" criteria.
2.) A picture's original Weasley rating has little bearing on its end-of-year placement. Some movies wear well with repeat viewings, some not so much, and some I haven't had a chance to revisit since their cinema runs.
3.) This is gonna get long. If I can drop 1200 words on Batfleck, you can only imagine how many I'll need for ten winners, a handful of runners-up, a few disappointments, and other assorted miscellany.
So, without further ado, buckle up and let's get to it...
My Best of 2017
10. It
"We all float down here."
One of Stephen King's best works gets a worthy big-screen treatment. Sure, they screwed the pooch on Pennywise, whose CGI'd scares are too fake to freak, but the kids are extraordinary and the story is such a beautiful blend of nostalgia, hope, and melancholy that the film comes out a winner despite any petty quibbles.
9. Detroit
"It's a war zone out there."
Kathryn Bigelow's harrowing trip down memory lane to the 1967 Detroit race riots is terrifying, compelling, and sadly still timely in 2017. Brilliant performances highlight a picture so tense as to feel almost like living the horrific events in real time. Difficult as it is to stomach, Detroit is must-watch cinema.
8. John Wick, Chapter 2
"Somebody please get this man a gun."
If you think the John Wick movies are nothing more than a lot of shoot-'em-up machismo, you haven't been paying attention. What appears, on the surface, to be a big, dumb, action sequel is a wonderfully choreographed, strikingly filmed bit of movie magic that serves as the perfect vehicle for its limited-but-lovable star, Keanu Reeves. John Wick, Chapter 2, is that rare sequel that's even better than the original.
7. Goon: Last of the Enforcers
"I need to protect my team."
It was never likely Last of the Enforcers would duplicate the pleasant surprise of the original Goon. The sequel has fewer laugh-out-loud moments and lacks the feel-good underdog vibe of its predecessor, but Last of the Enforcers is blessed with a great cast and tons of heart, as well as writers who obviously cared enough to make the right choices for its much-loved characters. It was a story well worth continuing.
6. Kingsman: The Golden Circle
"I hope you're ready for what comes next."
The Golden Circle is another sequel that had no real hope of matching the surprising perfection of the original Kingsman, but it was still one of 2017's most fun and exciting cinema offerings. Throw in the year's best cameo by Sir Elton John and Mark Strong's heartfelt and hilarious performance of Country Roads, and you've got an epic actioner that's not to be missed.
5. Dunkirk
"We have a job to do."
Dunkirk is a big movie that manages to go small in its storytelling. Rather than relate the famous tale from a familiar grand standpoint, Christopher Nolan delivers intimate stories from ordinary folks who faced impossible circumstances. Gorgeous cinematography and stellar performances are the crowning glory of another Nolan masterpiece.
4. Coco
"There's something that makes me different."
Ladies and gentlemen, if there's one 2017 movie I would recommend to everyone, enthusiastically and without hesitation, it would be Disney/Pixar's glorious Coco. Coco is visually stunning, with a wonderful message underscoring its magical story. Delightful characters bring the celebration of Dia de los Muertos to life in warm, colorful, family-friendly fashion. Grab your friends, your family, and everyone else you can find and get out to see Coco on the big screen--as it's meant to be seen--while you can!
3. Justice League
"Dressed like a bat. I dig it."
Justice League brings DC's most notable heroes to the big screen together for the first time, while taking a much lighter tone than other recent DC offerings. It's a formula that works, thanks to excellent casting and mostly well-placed humor. Justice League's primary baddie is a bit underwhelming, but otherwise the movie boasts solid action and humor, terrific chemistry, iconic characters, and, for my money, the best live-action Batman/Bruce Wayne ever to have graced the screen, one of my favorite cinema experiences of 2017.
2. Pirates of the Caribbean: Dead Men Tell No Tales
"The dead have taken command of the sea."
Dead Men Tell No Tales earns a spot on this list as my favorite movie of 2017. It enjoys first-runner-up status thanks to its extraordinary rendering of the Silent Mary's ghost crew, the best thing to come out of the cinema all year long. Upon repeat viewings I found scenes that don't feature Captain Salazar and his men didn't hold up as well as those that do, but I remain overwhelmed by the exceptional effects, makeup, wardrobe and hairstyling, not to mention performances, that bring this cursed band of pirate hunters to life. Every viewing yields some new, remarkable detail, making Dead Men Tell No Tales a joy to watch again and again.
1. Baby Driver
"Your name's 'Baby?' B-A-B-Y, Baby?"
Writer/director Edgar Wright takes his striking use of music in movies to extraordinary new heights in this imaginative tale of a getaway driver who needs his tunes to get the job done. The result is exciting, clever, funny, totally unique proof that Hollywood is NOT out of good, original ideas, as so many complain. Baby Driver staked its claim to my number-one spot upon first viewing, and has had no serious competition since. Thank you, Edgar Wright, for always giving movie fans a real reason to get out to the cinema.
Widely Reviled/Ridiculed Movies that Tip-Toed Very Near My Top 10
King Arthur: Legend of the Sword. It should have been epic, and it could have been hilariously awful, but it's actually supremely entertaining and even surprisingly quick-witted at times, with nice-looking effects, cool action, and shirtless Charlie Hunnam. #winner
Transformers: The Last Knight. Yeah, you all hated it. I got that. Me, I go to the cinema for hugeness. Three Billboards loses nothing if I watch it on my TV or even on my phone, but Optimus Prime? I like seeing him transform in all the glory a 50-foot screen and mammoth surround-sound have to offer. The Last Knight boasts all the hugeness a hugeness fan like me could want, as well as some good laughs and a fair bit of screen time for one of my lesser-known favorites, Santiago Cabrera.
Power Rangers. Considered a flop in the US, its overseas box office may give this reboot a chance to grow into success. As a big fan of Power Rangers in any incarnation, I liked this story, loved the cast, and look forward to more. Plus, any year that gives me a Power Rangers or a Ninja Turtles movie is a win in my book!
The Great Wall. Ridiculous, but visually magnificent, I'd watch The Great Wall again and again just for the pleasure of looking at it.
Geostorm. A wildly improbable plot and ham-handed performances couldn't stop Geostorm from being the most fun movie outing of 2017. Terrific disaster effects didn't hurt, either. Can't wait to own this one when it becomes available for download!
Biggest Disappointments
Free Fire. Trailers led me to believe Free Fire would land near the top of my 2017 best-of list. Instead it's a clumsy waste of an extraordinary cast that was almost impossible to get through, despite its brief runtime.
Logan Lucky. Another movie whose trailers promised far more than it delivered. The caper is fun, but nothing new, and laughs are too sparse. Demerits for barely a hint of Sebastian Stan.
American Made. With the eminently-watchable Tom Cruise in the lead, this inspired-by-actual-events tale should have been edge-of-your-seat exciting; instead it's dull and overlong. It was still a nice rebound for Cruise after The Mummy, but nowhere near what it should have been.
Worst of 2017
Valerian and the City of a Thousand Planets. Every bit as painfully awful as the trailers promised/threatened. I can't remember the last time I suffered through something this horrible, and I have never in my life seen so many people walk out of a movie.
Flatliners/The Dark Tower. I almost put these two on the "Disappointments" list, but then it occurred to me that I'd have to have expected better for them to disappoint. I expected nothing of either, and they both delivered just that: nothing. A terrible waste of time, money, and in the case of The Dark Tower, the incredible Idris Elba.
Would Have Made My 2016 Top 10 If It Had Played Here In Time
Hidden Figures. An inspiring true story featuring lovely, sincere performances. Should be considered mandatory viewing.
2017's Individual Honors
Best Director: Edgar Wright.
Best Actor: Gary Oldman, Darkest Hour. (No, I haven't seen it yet, but there isn't nor will there be any other answer to this question.)
Best Actress: Michelle Williams, All the Money in the World. (Likely to be displaced by Jessica Chastain once I see Molly's Game.)
Best Supporting Actor: Gil Birmingham, Wind River.
Best Supporting Actress: Hong Chau, Downsizing.
Best Original Score:Daniel Pemberton, King Arthur: Legend of the Sword. (Along with POTC's
Silent Mary crew, this is the best thing the movies had to offer in 2017.)
So, dear reader(s), there it is, my take on the year that's ending. It's probably not much like anyone else's, but I guess if you wanted anyone else's you'd go read their lists instead. I remain grateful that you’re reading mine, and welcome civil discourse on our agreements and disagreements.
Happy New Year, and I'll see you at Marquee Cinemas in 2018!
Dearest Blog: Yesterday it was off to Marquee Cinemas to close out the busy movie week with All the Money in the World and The Greatest Showman.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First up: All the Money in the World.
Inspired-by-true-events tale of the kidnapping of JP Getty, III, and his mother's desperate attempts to secure his release.
Let's see, dear reader(s), where do we start with this one? Well, I was pretty young at the time of the Getty kidnapping, so I remember enough to have known the outcome, but not enough to say how many liberties are taken along the way in this telling of the story. I'm not sure if being aware of the ending contributed to the movie's seeming rather long and slow, but long and slow it certainly does seem. It's never dull, but I was still pretty happy when it finally cruised to its conclusion. The eldest JP Getty appears, at least from this depiction, to be so loathsome an individual that it hardly would have been a disservice to him to have allowed his portrayal by a sexual predator to remain in the film, though of course it would have been a great disservice to everyone else. The movie suffers no ill effects from hasty re-shoots necessitated by the Kevin Spacey controversy; on the contrary, Christopher Plummer's solid turn as as the cantankerous old billionaire is woven seamlessly into the picture. Charlie Plummer (no relation) is also great as the young victim, but it's Michelle Williams who carries this movie with such extraordinary skill that you'll scarcely be able to take your eyes off her. Mark Wahlberg seems miscast as Getty's right-hand man/security expert (spoiler alert: putting glasses on a guy doesn't actually make him seem smart), but he's a likable enough actor that I didn't mind. As mentioned, the movie is deliberately paced and somewhat overlong, but the the kidnapping and surrounding events are nerve-wracking enough that I doubt anyone could be bored with it. There's a bit of up-close and personal violence/gore that may be a little much for some viewers.
Daniel Pemberton's subdued score and cinematography by the brilliant Dariusz Wolski set an appropriately somber tone for this sad and scary story.
All the Money in the World clocks in at 132 minutes and is rated R for "language, some violence, disturbing images, and brief drug content." I can't say it's something I'd ever watch again, but All the Money in the World is a riveting tale bolstered by exceptional performances.
Of a possible nine Weasleys, All the Money in the World gets six.
Next on the agenda: The Greatest Showman.
A heavily-fictionalized musical account of the rise of PT Barnum.
Yet again I found myself with a bit too much time between flicks yesterday, and happened upon a negative article beating up on The Greatest Showman for its rose-colored-glasses version of Barnum.
It was difficult putting it from my mind once the movie started, but movie's sunny demeanor and lively tunes ultimately won the day.
Hugh Jackman is a treasure unmatched in 2017 Hollywood. Top-notch at acting, singing, and dancing, no picture ever has to make allowances for his weaknesses; he doesn't have any. The Greatest Showman is a lightweight film that doesn't remotely tax his skills, but it's thanks to him the movie is elevated from entertaining-but-forgettable to something special. Zac Efron continues to surprise with each new role, a gifted and eminently watchable young talent. If I was dazzled by Michelle Williams in All the Money in the World, The Greatest Showman was quick to remind me why I usually loathe her; her simpering smiles and silly twirling wear thin very quickly. The "circus" players do a fine job and all seem to be having great fun with their limited screen time, and the remaining supporting cast is peppered with familiar faces that are more than up to what little the film asks of them. La La Land composers Benj Pasek and Justin Paul have again provided tunes lacking any real flair, but The Greatest Showman's musical numbers make an impact with interesting choreography and eye-popping costumes, hair, and makeup, along with Jackman's irrepressible charisma. The story is hokey at times, as many great old-school musicals are, but if this version of PT Barnum is an upgrade from the real deal, the film itself keeps pace with a positive, inclusive tone that is more than welcome at the end of a divisive, difficult year. The Greatest Showman is pure joy onscreen, the very definition of can't-miss cinema.
The Greatest Showman runs a quick 105 minutes and is rated PG for "thematic elements, including a brawl."
The Greatest Showman’s opening number includes the line, "All that was real is left behind," a perfect setup for the most magical bit of movie humbug I've seen all year.
Of a possible nine Weasleys, The Greatest Showman gets eight and a half.
Fangirl points: Will Swensen! Byron Jennings! Frederic Lehne!
The true story of Molly Bloom, a beautiful, young, Olympic-class skier
who ran the world's most exclusive high-stakes poker game for a decade before
being arrested in the middle of the night by 17 FBI agents wielding automatic
weapons. Her players included Hollywood royalty, sports stars, business titans and finally, unbeknown to her,
the Russian mob. Her only ally was her criminal defense lawyer Charlie Jaffey,
who learned there was much more to Molly than the tabloids led people to
believe.
Director:
Aaron Sorkin
Release Date: Dec 25, 2017
Cast: Jessica Chastain, Idris Elba, Kevin
Costner, Michael Cera, Brian d'Arcy James, Chris O'Dowd
Rated R for language, drug content and some
violence
Runtime: 2 hr. 20 min.
Genres: Biography, Drama
Review:
Molly’s Game, the directorial
debut of renowned screenwriter Aaron Sorkin, is a crackling dialogue driven
legal thriller.Sorkin’s move behind the
camera is fairly effortless as he directs his film with a confident steady
hand.His style isn’t overly flashy,
outside of an expertly crafted opening sequence, he keeps a steady and measured
hand allowing his actors and script to do the heavy lifting.The script is everything you’d expect from
Aaron Sorkin, the snappy dialogue is as plentiful as the extended
monologues.The film carries a sort of
Social Network feel to it, especially in the first act, before it settles into
its own rhythm.Molly Brown’s story is a
fascinating perversion of the American Dream.Jessica Chastain is electric in the lead role and she’s nearly always
the most magnetic person on screen.It
probably helps that she’s glam vamped for the better part of the film as her
character routinely transformed herself into the “Cinemax” version of
herself.Chastain’s talent is on full
display as she simultaneously displays sexuality while still radiating an
intrinsic intelligence and unbridled drive throughout the entire film.There’s a running theme about an overbearing
father that feels slightly off especially in its resolution even though Kevin
Costner turns in decent work in an undercooked role.Idris Elba spends the most time with Chastain
in the post arrest scenes and he’s just ready made for Sorkin’s writing.He and Chastain share solid chemistry
together, making their mutual intellect and respect believable.A few of the courtroom scenes in the third
act do feel a bit clunky and convenient when compared to the majority of the
film that came before it.Still,
Sorkin’s first foray into directing is an impressive and entertaining success.
Tonya Harding rises through the ranks of
competitive figure skating only to find disgrace when her husband tries to
eliminate her rival.
Director: Craig Gillespie
Cast: Margot Robbie, Sebastian Stan,
Julianne Nicholson, Caitlin Carver, Bobby Cannavale, Allison Janney
Release Date: Dec 8, 2017
Genres: Biography, Drama, Sport
Rated R for pervasive language, violence,
and some sexual content/nudity Runtime: 1h 59 min
Review:
I, Tonya is a solid biopic that overcomes
some of the story’s drawbacks with stellar performances from the cast.Craig Gillespie keeps his film interesting by
framing the film as a pseudo documentary with interviews spliced through the
entire film.What we get are 3
unreliable narrators who weave together a story stranger than fiction even as
it occasionally veers into high end Lifetime movie territory.That’s not to say it’s not intriguing as it
touches on themes of tabloid fame and illusion of the American Dream.At its center is Margot Robbie in the titular
role.Robbie presents Harding as a
doggedly determined individual who can’t reach the summit because of a variety
of reasons even if some are not entirely her fault.Underneath it all, there’s a frayed and
broken person who is looking for acceptance and love.It’s an impressive performance that’s topped
off with a silence sequence of Robbie looking into the mirror running a gamut
of emotions before the climatic performance at the Lillehammer Olympics.The supporting roles played by Allison Janney
and Sebastian Stan are just as strong with each leaving a lasting
impression.Allison Janney gives the
cinematic world another legendary evil mother to pantheon of evil mothers.It’s an engaging and arresting performance
that just as strong as Robbie’s.Sebastian Stan’s turn as Jeff Gillooly equally impressive as he
disappears into the role, he captures the mannerisms and vocal inflections
perfectly.The film builds to the final
act where we’re witness to the bumbling cast of characters that lead to the
attack on Nancy Kerrigan and the subsequent aftermath.It’s all anti climatic since we all know how
the story ends but watching this collection of actors deliver top notch
performances is the real treat.
When scientists discover how to shrink
humans to five inches tall as a solution to overpopulation, Paul (Matt Damon)
and his wife Audrey (Kristen Wiig) decide to abandon their stressed lives in
order to get small and move to a new downsized community — a choice that
triggers life-changing adventures.
Director: Alexander Payne
Cast: Matt Damon, Christoph Waltz, Hong Chau,
Kristen Wiig, Jason Sudeikis, Udo Kier
Release Date: Dec 22, 2017
Genres: Comedy, Comedy Drama, Satire
Rated R for language including sexual
references, some graphic nudity and drug use. Runtime: 2h 15min
Review:
Downsizing is a fairly surprising film that
sports some stellar supporting turns but ultimately lacks enough focus to make
it truly special.Alexander Payne has
plenty on his mind in this film and he covers bevy topics from
environmentalism, class warfare and self actualization.Its dense film that feels as unfocused as it
is polished.Matt Damon is fine in the
lead role but his character is a bit simplistic throughout while everyone
around him feels more interesting and nuanced.Christoph Waltz and Udo Kier make for some fun neighbors to Matt Damon’s
Paul but its Hong Chau who ultimately steals the show.Hong Chau injects the film with a palpable
sense of humanity and heart, something the film sorely lacked until her
arrival.The cast’s chemistry really
fuels the film even as the film meanders trying to find a definite direction or
purpose.Ultimately, it never nails any
of its points and feels like it could have used some trimming and focus.
After the highs of
winning the world championships, the Bellas find themselves split apart and
discovering there aren't job prospects for making music with your mouth. But
when they get the chance to reunite for an overseas USO tour, this group of
awesome nerds will come together to make some music, and some questionable
decisions, one last time.
Director: Trish Sie
Cast: Anna Kendrick, Anna
Camp, Rebel Wilson, Brittany Snow, Hailee Steinfeld, Hana Mae Lee
Rated PG-13 for crude and
sexual content, language and some action.
Genres: Comedy, Music
Runtime: 1h 33min
Review:
Pitch Perfect started off
as a spunky girl power film that took people by surprise.Sadly, by its third go around it’s lost a
large chuck of its forward momentum simply because it’s not the type of story
that really warranted 3 feature length films.The cast remains the strongest component of the franchise and their
chemistry is still just as strong as it was before.Their interactions are the high points of the
film even though the story feels hacked together.The plot this go around seems to have two
primary purposes, to get to the next song and dance routine and move along a
paper thing story about the USO, DJ Khaled and Fat Amy’s father.It’s weak and really feels more like an after
thought.It’s a shame because they
probably could have gotten more run out of these characters if they’d put just
a tad bit more effort.Sadly, it’s more
of a final victory lap before these characters are put to pasture for
good.
Dearest Blog: Saturday I kicked off the busy Christmas weekend with Downsizing and Jumanji: Welcome to the Jungle.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First on the docket, Downsizing.
In the interest of saving the planet, scientists perfect a process that reduces humans to a fraction of their size.
Ladies and gentlemen: I didn't hate this movie, and that's far better than anything I expected to be able to say about it. At least as far as my reaction, Downsizing reminded me of Collateral Beauty: I suspect it isn't a very good movie, but I liked it maybe better than it deserves.
First, a few of the problems. Downsizing clears two hours by a quarter, and that's just too long for as slow as it gets in places. In the film's defense, I'll admit I was never *quite* bored, but the length is cumbersome. Matt Damon, generally a pretty likable if unspectacular actor, somehow misses the mark in the lead, failing to earn much sympathy for a character who struggles mightily to be a good guy and do the right thing. For the second week in a row, I also had to endure Laura Dern's presence in a movie, thankfully, this time very briefly. Downsizing feels like a "message" movie, but ultimately muddles too many messages for any of them to have much impact.
Now, the good news: Downsizing does boast a pair of extraordinary performances, from Christoph Waltz, who leaves any movie better for having him, and from Hong Chau, who steals the show with a moving and powerful turn. Downsizing is quite funny at times, though the the whole feels tinged with the natural melancholy of irreversible choices. If the movie has one message that ultimately does hit home, it's the importance of being honest with ourselves and accepting the real reasons we do the things we do.
Downsizing clocks in at 135 minutes and is rated R for "language including sexual references, some graphic nudity, and drug use." (There are penises a-plenty in this movie, a fact I mention only because it is so unusual. If you're not okay with that sort of thing, take a pass.)
Downsizing is a confused morality tale that's more entertaining than expected. Of a possible nine Weasleys, Downsizing gets five.
Fangirl points: YOU GUYS THERE'S A BODEANS SONG IN THIS MOVIE!!
Next on my agenda: Jumanji: Welcome to the Jungle.
Four high schoolers are sucked out of detention and into the world of an old video game, where their avatars must play for their very lives.
Dear reader(s), full disclosure: I have no special affection for the original Jumanji, so I was never as appalled as the Internet-at-large over the idea of a remake/reboot/sequel. However you may feel about the original, I suggest you give the fun, funny 2017 version a try; I don't think you'll be sorry.
Jumanji: Welcome to the Jungle has end-to-end action and plenty of laugh-out-loud moments. Dwayne Johnson, Kevin Hart, Karen Gillan, and Jack Black have great chemistry and do a remarkable job of channeling their real-world, younger selves. It's a testament to the four youngsters--Alex Wolff, Ser'Darius Blain, Morgan Turner, and Madison Iseman--that you'll actually miss them when they're replaced by their more famous "avatars." Johnson leads with his usual easy charm; it would be impossible not to enjoy a film with him in the lead. (Yes, I even liked Tooth Fairy!) Bobby Cannavale chews the scenery in a terrific turn as the picture's primary baddie, and Karen Gillan only gets more and more amazing with every movie. The movie's effects are solid, and a lively score by Henry Jackman perfectly underscores all the action. The crowd at my screening broke into applause multiple times over the course of the film.
Jumanji: Welcome to the Jungle runs 119 minutes and is rated PG13 for "adventure action, suggestive content, and some language."
It can be a hard pill to swallow when the things we love reach the age of being re-done for a new generation, but Jumanji: Welcome to the Jungle got a better reaction from my theater than The Last Jedi, Justice League, and Thor...combined. It's an action-packed family comedy with a little something for everyone. Of a possible nine Weasleys, Jumanji: Welcome to the Jungle gets eight.
Dear reader(s), I hope you enjoy these final, festive days of December, and I'll look forward to seeing you at the movies.
Luke Skywalker's peaceful and solitary existence
gets upended when he encounters Rey, a young woman who shows strong signs of
the Force. Her desire to learn the ways of the Jedi forces Luke to make a
decision that changes their lives forever. Meanwhile, Kylo Ren and General Hux
lead the First Order in an all-out assault against Leia and the Resistance for
supremacy of the galaxy.
Director:
Rian Johnson
Release Date: Dec 15, 2017
Cast: Mark Hamill, Carrie Fisher, Adam
Driver, Daisy Ridley, John Boyega, Oscar Isaac, Laura Dern
Rated PG-13 (for sequences of
sci-fi action and violence)
Runtime: 2 hr. 32 min.
Genres: Action, Adventure, Fantasy
Review:
Star Wars: The Last Jedi is an
enjoyable entry into the long running series.It has some moments that feel iconic but as a whole it never really
captures a consistent feel that some of the better Star War films like The
Empire Strikes Back and Rogue One.Rian
Johnson delivers a solid entry that doesn’t deliver a bevy of familiar beats
like The Force Awakens did three years ago.Instead we get some interesting story choices that don’t necessarily hit
as well as they should have.I do give Johnson
credit for trying something different instead of playing it safe but none of
the choices really make for any sort of memorable moments.Instead we get 3 disparate storylines that
run concurrently but never seem naturally cohesive.Separating the 3 new leads robs the story of
letting these new generation characters form any sort of ongoing
chemistry.Daisy Ridley is just as
energetic and magnetic as she was in The Force Awakens.Ridley and Mark Hamill share solid chemistry
together with Hamill adding impressive range and depth to Luke Skywalker.Oscar Issac is given more screentime, to the
films benefit, this go around and Issac takes full advantage.He brings a strong sense of bravado and charm
to the role which feels like a new generation’s Han Solo.John Boyega is still a little broad for my
taste, it’s not his fault.The character
is written very broadly much to Boyega’s detriment because he’s a solid actor
but he isn’t given much to do here until the final act.Carrie Fisher delivers her final bow on film
and it’s very much a fitting swan song even if her character is taken off the
board for a large chunk of the film.My
biggest issue is still Adam Driver’s Kylo Ren whose character is nothing more
than a whiny emo man baby.There are a
few choice bits written into his character which posits some interesting ideas
about legend and legacy but it not enough for me to get past the fact that’s
the character is eerily similar to Anakin Skywalker in the prequel
trilogy.The film does boast some
impressive set pieces sprinkled throughout even though you can’t help but think
it all could have been trimmed down by a good 45 minutes.One subplot in particular feels like it could
have been excised entirely while finding something slightly more interesting
than a casino planet or the worlds slowest space chase.Star Wars: The Last Jedi is at the very least
better than The Force Awakens in that if finds its own path.It’s not the perfect entry some have made it
out to be but it’s an enjoyable entry.
Dearest Blog: 'Tis the season where I never work a five-day week, so yesterday I took advantage of a Friday away from the office to beat the (worst) crowds to The Last Jedi and Ferdinand.
Spoiler level here will be mild, nothing you wouldn't know from the trailers, BUT...as people are uber-sensitive about Star Wars I'm gonna say spare us all the stress and just don't read this until you've seen the movie. I might have a thought that hints at an idea that will utterly destroy your experience or something.
Normally I write in the order I see, but as a courtesy I'm going to drop Ferdinand first so parents who are wondering, "Should I take my kid to this?" don't have to wade through 2,000 words on why I've been in love with Luke Skywalker since I was ten before getting their answer.
A gentle bull called Ferdinand has to save himself and his friends from the bullfighter's ring and the Burger King.
Ferdinand is a cute, mostly benign kids' movie. I hesitate to call it a family movie because, really, there's not much here to entertain anyone over the age of ten...or most people over the age of ten, I guess, because I liked it well enough. Ferdinand's art and animation are merely decent, and the predictable story--while enjoyable--is certainly not on par with its most recent animated competition, the extraordinary Coco. A lively score from the brilliant John Powell works especially well with the film's brighter and more colorful bits. Wrestler John Cena isn't overtaxed in the lead, and, oddly, my screening seemed mostly filled with Cena fans, just one little kid among them. There's not much to say about the supporting crew other than Kate McKinnon is marginally less annoying than she was in Ghostbusters, and the animated David Tennant has WAY more lines than the animated David Tennant did in How to Train Your Dragon. To me some of Ferdinand's themes seem a little harsh for smaller kids. The film is pretty clear on what happens to the bulls, whether or not they make it to the ring, so if you still hope to feed your kids that Hamburger Helper on a busy night, maybe take a pass on this one. I don't have children and always assume kids of any age know more than I'd guess, but I also thought the language was somewhat crass for very young audiences, so, again, skip it if your kids aren't already at an age where everything "sucks."
Ferdinand runs 106 minutes and is rated PG for "rude humor, action, and some thematic elements."
Ferdinand is a passable kids' movie that offers little for the rest of the family...but I liked it.
Of a possible nine Weasleys, Ferdinand gets five.
Fangirl points: David Tennant! Raul Esparza!
Okay, now onward to Star Wars: The Last Jedi.
With hope all but lost, the Resistance seeks a new hope. Erm...hang on.......
When a property is as iconic as Star Wars, it's more important than usual to offer a disclaimer on where these opinions come from, because I feel like most opinions on such things come from more than whether or not the movie itself is any good. So...I was ten when the first Star Wars came out. If memory serves, it was the first movie I ever saw in a theater. I fell in love with Luke Skywalker and have been in love with Luke Skywalker ever since. Thus, even though The Force Awakens is pretty universally well loved (and I, myself, loved much of it), it was also a bitter disappointment to me due to the lack of Luke. You can keep your Han. You can keep your Leia. For me it's all about Luke.
As advertised, The Last Jedi features a fair bit of Luke. Surly, difficult, fed up, conflicted, heroic Luke. Mark Hamill turns in an epic performance worthy of an epic installment in an epic series. Luke Skywalker, you remain my hero. The rest of the cast is great and terrible and a little bit in between. Kudos to John Boyega (who needs more to do) and Oscar Isaac, who engage with honesty and charisma. Of course Carrie Fisher is amazing, though her every appearance is a kick-in-the-gut reminder of what we've lost. Domhnall Gleeson's General Hux is a moustache-twirl away from a cartoon, but for my money is a more entertaining and menacing baddie than Kylo Ren, who always feels more like a kid sulking in his room with a comic book than a genuine threat to the galaxy. Much of that may have to do with Adam Driver, who is ineffective at portraying the conflict within this tormented character. Despite her closet full of awards, Laura Dern is about as exciting as a paper doll, and I'm only grateful her screen time is limited enough that it didn't ruin more of the movie for me. Annnnnnnd...Daisy Ridley is somewhere in between all that. Rey is so critical--both to Star Wars in particular and movies in general--sometimes I feel like the actor just doesn't do the character justice.
The Last Jedi starts fast out of the gate, but suffers great lags across its bloated runtime. In addition to my usual complaints (really, there are only so many moves that are interesting and necessary in any fight or chase scene), there are a couple places where the picture drops asides that seem extraneous and could have been eliminated with no real damage to the end result. The effects and CGI look pretty great, and much of the film is simply stunning, visually. The action is exciting and often takes unexpected turns, and there's a good bit of humor that mostly hits the mark without feeling forced. It goes without saying that John Williams' score is once again the very definition of iconic. The Last Jedi does a fine job of giving new players their due, while never seeming to shaft the old favorites, then tying both together in such a way that fans can probably envision this series going on forever, passing the baton from one generation of rebels to the next.
Star Wars: The Last Jedi clocks in at a massive 152 minutes and is rated PG13 for "sequences of sci-fi action and violence."
The Last Jedi has won over critics, while leaving the fandom bitterly divided. I found a lot to love about it, but was left without the euphoria I expected when the end credits rolled. As always, though, I beg you, dear reader(s), not to let the Internet make up your mind about this movie. Get on out to the theater and see it for yourself.
Of a possible nine Weasleys, Star Wars: The Last Jedi gets eight and a half, which includes one (1) bonus Weasley for having an actual Weasley in the cast.
Fangirl points: You guys...ADRIAN FREAKING EDMONDSON is in this movie!
Dearest Blog: Having returned from the Big City, yesterday I utilized my recovery day to sneak in another Justice League screening, justified by pairing it with likely awards favorite Three Billboards Outside Ebbing, Missouri.
Spoiler level here will be mild, nothing you wouldn't know from the trailer.
A grieving mother finds a unique way of holding local law enforcement to account for its failure to find her daughter's killer.
Dear reader(s), Three Billboards left me adrift, so the following may seem disjointed and even contradictory at times. Know that this movie is, without question, worth your time, but it is challenging.
The quality of the performances in Three Billboards is breathtaking. It seems almost unfair to call out anyone individually when the ensemble as a whole is so extraordinary, BUT...Sam Rockwell. Just give this man an Oscar already! Frances McDormand and Woody Harrelson are magnificent beyond words, and Peter Dinklage will manage to break your heart with less than 15 minutes total screen time. Incredible all 'round.
Much of Three Billboards is laugh-out-loud funny, despite the somber subject matter and sad consequences of the characters' actions. For the most part, said characters are are bigoted rubes who behave badly and selfishly, yet they aren't unlikable. The story is riveting, but the picture moves slowly and seems quite a lot longer than it actually is. Language throughout is nearly as brutal as the incident that propels the film, not just your garden-variety swearing, but also racial and homophobic slurs. While it may be realistic, it's also jarring and wears thin very quickly, ultimately making the film feel a lot like work. Without divulging any specifics about the ending, I will say simply that it is sure to be one of those controversial love-it-or-hate-it endings that leaves folks talking for months to come. (For the record, I loved it.)
Three Billboards Outside Ebbing, Missouri runs 115 minutes and is rated R for "violence, language throughout, and some sexual references."
Three Billboards Outside Ebbing, Missouri has been called the best movie of the year. For my money it's not that, but it is a thought-provoking exercise and an acting master class that's well worth your movie dollar.
Of a possible nine Weasleys, Three Billboards Outside Ebbing, Missouri gets eight.
