Cindy Prascik's Review of Demon House

Dearest Blog: Today I elected to pass on lackluster offerings at the cinema in favor of Zak Bagans' documentary Demon House.

 

Spoiler level here will be mild-ish. I'm including some particulars, but nothing that would make it less worth your watching the film yourself.

 

Renowned paranormal investigator Zak Bagans documents experiences at the famous "demon house" in Gary, Indiana.

 

Well, dear reader(s), this may be the easiest review I'll ever write. If you're a fan of Zak Bagans and his Travel Channel series Ghost Adventures, you'll likely enjoy this documentary. If you aren't, maybe take a pass. I am a fan, and I was not disappointed.

 

Demon House is basically an extended Ghost Adventures episode. It's got more swearing (just to let you know we aren't on cable anymore), but is missing GA's most entertaining aspect, Aaron Goodwin. In fact, Goodwin is the only GA principal missing from Demon House, as Billy Tolley and Jay Wasley both make appearances. (Wasley also shares a producer's credit.)

 

Bagans adopts a morose demeanor throughout, as if to let viewers know he's still carrying the burden of the experience. As does the Travel Channel series, Demon House offers interviews with many who experienced the house's malevolence firsthand; it does not, however, include any first-person accounts from the family that last lived there. Initially, another family member states they will not speak with Bagans because he has been in the house and the demon already may have attached itself to him, but later the film suggests they were simply pirated by a big Hollywood producer who hoped to adapt their story for the big screen. Following Ghost Adventures' model, Demon House features cheesy reenactments and reserves its most shocking bit of evidence for the second act. Several of those involved complain of lingering effects that timing allows them to chalk up to their encounters with the creepy abode.

 

Demon House is unlikely to change anyone's mind on the paranormal in general or demonic possession in particular. If you are a believer, you will see things as the film intends: something evil was afoot in Gary, Indiana. If you are a skeptic, it's likely you'll think the evidence is a scam, despite experts' assertations to the contrary. 

 

Demon House clocks in at 111 minutes and is unrated. It does have a fair few f-bombs, as well as many images and scenarios that will be unsettling to believers or to those who are suggestible. As the film itself warns: "View at your own risk."

 

Renting Demon House from XFinity On Demand cost me about fifty cents more than I would have paid to see something at my cinema this weekend, and I'm reasonably confident I enjoyed it at least fifty cents' more than I would any of the weekend's new releases. 

 

Of a possible nine Weasleys (or should they be Wasleys here?), Demon House gets seven.

 

Until next time...

MOVIE REVIEW: TOMB RAIDER

Lara Croft is the fiercely independent daughter of an eccentric adventurer who vanished years earlier. Hoping to solve the mystery of her father's disappearance, Croft embarks on a perilous journey to his last-known destination -- a fabled tomb on a mythical island that might be somewhere off the coast of Japan. The stakes couldn't be higher as Lara must rely on her sharp mind, blind faith and stubborn spirit to venture into the unknown.

Director: Roar Uthaug

Cast: Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu,  Kristin Scott Thomas

Release Date: March 16, 2018

Genres: Action, Adventure 

Rated PG-13 for sequences of violence and action, and for some language

Runtime: 1h 58min

Review:

The rebooted Tomb Raider is a solid if paint by the numbers origin story which also makes it one of the better video game adaptations.  Of course that’s hardly high praise since video game adaptations have a fairly terrible track record.  Luckily Norwegian director Roar Uthaug, who directed the impressive 2015 Norwegian disaster film The Wave, gives his film a palpable plus even if the script is fairly basic.  Uthaug delivers some solid action set pieces throughout along with a shipwreck sequence which could serve as a solid test for epilepsy.  Uthaug film feels strangely like a 90’s Michael Bay film if you removed all of Bay’s bombast.  It’s an interesting bit of alchemy that works more often than not.   

Tomb Raider wouldn’t work at all if Alicia Vikander couldn’t pull off the role of Laura Croft which she did incredibly well. For the uninitiated, the video game character was rebooted in 2013 as a younger, more grounded take which serves as the basis for this film. So all the cartoonish proportions of the video game and caricature of Angelina Jolie’s 2001 portrayal are thrown by the wayside for a more realistic and grounded approach which works in the film’s favor.   

Vikander is fully committed to the character and she’s clearly enjoying herself as the heroine.  She pulls off a steady balance of strength while still being green and learning her way.  Outside of her childlike grunts, Vikander is always the best thing on the screen and gives the film its heart.  

The supporting cast though is sadly underused and developed.  Walton Goggins is given one of the most basic villain characters to play which is a shame since Goggins is such an interesting actor.  It’s a fairly large misstep mainly due to the script which doesn’t provide any depth.  Daniel Wu’s character is the very definition of a one dimensional character, sure he does some things during the film but he’s more a function than a full-fledged character.  Dominic West also isn’t given much to do outside of a wear a terrible wig and look slightly confused and nuts.  

Tomb Raider is a perfectly watchable film and fans of the video game series will enjoy seeing certain sequences from the 2013 game lifted and woven into this film’s narrative but it all feels incredibly safe.  The door is left wide open for a sequel should this film prove to be successful, which with Alicia Vikander in the lead isn’t a bad thing.

B-

April Sokol's Review of A Wrinkle in Time

Movie review: A Wrinkle in Time

A Wrinkle in Time is the latest adaptation of the beloved children's book of the same name.

Directed by Ava DuVernay

Starring: Storm Reid, Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Levi Miller, Chris Pine, Zach Galifianakis and Michael Pena

My review:

Before I start writing I feel as though I should introduce you all to the 12 year old version of myself that was. I was awkward. Lonely. Bookish. Isolated. And completely saved by this book. Meg Murray was one of my very first heroes. Ever. So this movie is directed at a very personal area of me. Even with a stern talking to....my own personal expectations for this movie was pretty high. I'm going to do my level best to divorce the movie from the book. But as any avid book lover knows, that is far easier said than done. But here goes:

A Wrinkle in Time is the story of Meg and her little brother Charles Wallace on a quest to locate their missing father. They are guided on their travels out of our known galaxy by 3 celestial beings (Mrs Which, Mrs Whosit and Mrs Who played by Winfrey, Witherspoon and Kaling respectively). The epic quest quickly goes from lighthearted to dangerous as they're forced to confront the growing evil entity known as The It.

Let's get right to it. Is it any good? Well yes, it is. Is it as good as the book? Of course it's not.

We'll get the bad out of the way. All of the goodwill that was built in the 1st and 2nd acts of the movie is lost as the 3rd act slowly careens off the rails. I found the last 30 minutes or so of the movie to move at a snail's pace. The set up for the final showdown between good and evil was laborious. Were the problems so egregious that I ended up hating the final product? No. But it does feel like a sort of almost miss when you step back and examine the final product as a whole.

Let's get back to the good, shall we? The visuals are stunning. Mrs Whosit (Witherspoon) was really the stand out for me. Her perfect amount of whimsy was spot on. I was pleasantly surprised by how engaged I was with the young actress who played Meg (Reid). The success of this movie was always going to rise or fall upon her shoulders. It's a heavy weight for one so young (Reid is only 14 years old). The themes of this movie are timeless and were handled with deft hands. I felt more than once as though Momma Oprah was speaking wisdom directly to the bruised 12 year old child that still lives inside of me. Loving yourself, not in spite of your flaws, but because of them is a wonderful lesson for children and adults alike. Yet DeVernay never allowed this to creep into the saccharin territory of the too sweet.

A Wrinkle in Time clocks in at 2 hours and is rated PG for thematic elements and peril. I give it a very solid 3 ½ stars out of 5.

Cindy Prascik's Reviews of Gringo & The Hurricane Heist

Dearest Blog: Yesterday it was off to Marquee Cinemas for the rowdy double-bill of Gringo and The Hurricane Heist.

 

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

 

First on my agenda, Gringo.

 

Things go south for a pharmaceutical rep when he unwittingly runs afoul of a Mexican crime lord.

Gringo is a darkly funny outing that certainly won't be everyone's cup of tea. Filled with rough language, drug and sexual references, and up-close-and-personal violence, the story is a crazy one, though clever and sometimes more thoughtful than I expected. David Oyelowo (whose name I'll never learn to spell without looking) heads an excellent cast, striking a perfect tone for our confused and terrified titular gringo. The extraordinary Sharlto Copley shines in a small supporting role, but it's Charlize Theron who really steals the show with a sexy, foul-mouthed turn. Gringo is action packed, well crafted, and makes some surprise turns, building to a suitable and satisfying finale. It does suffer some sluggishness, but if sticking with it occasionally feels like work, the payout is worth it.

 

Gringo clocks in at an efficient 110 minutes and is rated R for "language throughout, violence, and sexual content."

 

Gringo can be a rough ride at times, but a great cast and solid story make it worth the effort. Of a possible nine Weasleys, Gringo gets seven.

 

Fangirl points: Alan Ruck! Yul Vazquez! Harry Treadway! A weird-but-awesome flamenco version of the Cure's Just Like Heaven over the end credits!

 

Next on the docket: The Hurricane Heist.

 

Thieves plan to use a Category 5 hurricane as cover for their attempt to steal $600 million from a US Treasury vault.

 

The Hurricane Heist is that rare picture that is 100% as advertised. It is, in truth, a very stupid movie; however, if you leave disappointed, it can only be due to unreasonable expectations. While it is neither as fun as Geostorm, nor as irrefutably awesome as Den of Thieves, the Hurricane Heist is just wacky enough to get away with its implausible premise and D-list cast. The obvious selling feature for this sort of film is its disaster effects, and here the quality ranges all the way from "pretty sweet" to "stuck in 1939 with The Wizard of Oz." Suffice to say the cast isn't exactly loaded with talent, and it doesn't need to be. True Blood got me used to Aussie Ryan Kwanten speaking with a southern drawl, but I was jarred incessantly by that sound coming out of Toby Kebbell's face. "Starring Maggie Grace" usually means a hard pass from me, so it's no surprise that it was difficult for me to get past her in the lead. The action is wild and the story is as goofy as you'd expect, but--while the movie definitely doesn't take itself too seriously--it's missing a certain element of fun that its wacky premise should have guaranteed.

 

The Hurricane Heist runs 102 minutes and is rated PG13 for "sequences of gun violence, action, destruction, language, and some suggestive material."

 

The Hurricane Heist is a passable couple hours of witless entertainment for those slow, waning weeks of winter. (Also I kept thinking of Justin Timberlake in The Social Network: “Drop the ‘the;’ just ‘Hurricane Heist.’ It’s cleaner.”) 

 

Of a possible nine Weasleys, the Hurricane Heist gets four.

 

Until next time...

MOVIE REVIEW: GRINGO

Mild-mannered U.S. businessman Harold Soyinka finds himself at the mercy of backstabbing colleagues, local drug lords and a black ops mercenary after traveling to Mexico. Crossing the line from law-abiding citizen to wanted criminal, Harold fights to survive an increasingly dangerous situation that raises the question -- is he out of his depth or two steps ahead?

Director: Nash Edgerton

Cast: David Oyelowo, Charlize Theron, Joel Edgerton, Amanda Seyfried, Thandie Newton, Sharlto Copley

Release Date: March 9, 2018

Genres: Action, Comedy, Crime

Rated R for language throughout, violence and sexual content

Runtime: 1h 50min

Review:

Gringo is a weird mismash of knock off Tarantino films that seemed to litter the cinematic landscape after Pulp Fiction hit in the late 90s.  Nash Edgerton film is overly busy and needlessly complex.  The characters themselves are interesting and eccentric enough but none of them have any tangible depth to them to make them overly interesting.  To its credit, the film boast a stellar cast who make the film far more watch able than it deserves to be.  David Oyelowo is the main attraction since he’s clearly having a great time playing against type.  Oyelowo who’s usually a dramatic actor has some solid comedic chops and provides of the films best moments.  Charlize Theron & Joel Edgerton are terribly underused especially in the second half of the film.  The same goes for Sharlto Copley’s character who’s interesting but he’s introduced late in the film leaving you wanting more.  Gringo as a whole feels like a missed opportunity, it’s not an unenjoyable film but you can’t help but feel like there is a much better film there.

C

MOVIE REVIEW: RED SPARROW

Prima ballerina Dominika Egorova faces a bleak and uncertain future after she suffers an injury that ends her career. She soon turns to Sparrow School, a secret intelligence service that trains exceptional young people to use their minds and bodies as weapons. Egorova emerges as the most dangerous Sparrow after completing the sadistic training process. As she comes to terms with her new abilities, Dominika meets a CIA agent who tries to convince her that he is the only person she can trust.

Director: Francis Lawrence

Cast: Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, Charlotte Rampling, Mary-Louise Parker, Jeremy Irons, Ciaran Hinds

Release Date: March 2, 2018

Genres: Mystery, Thriller

Rated R for strong violence, torture, sexual content, language and some graphic nudity

Runtime: 2h 19 min

Review:

Red Sparrow is a solid if predictable throwback to 80’s cold war spy thrillers like Gorky Park.  Those walking into this film expecting a fast movie action centric spy film will be thoroughly disappointed.  Francis Lawrence film moves at a snails pace with the cast keeping everything interesting even during some of the quieter moments.  The plot plays out in a pretty straightforward fashion so the twist and turns that inevitably occur don’t really surprise or shock that much.  Some of the graphic sequences are uncomfortable but they don’t hit the intended tone.  Thankfully, Jennifer Lawrence carries the film ably even though she’s acting through some impressive bangs an unconvincing Russian accent.  Still, she’s always interesting and engaging.  If this film had cast a lesser actress in the lead the film would have been thoroughly unbearable.  The supporting cast is rounded out with the excellent actors like Joel Edgerton, Jeremy Irons and Ciaran Hinds.  Sadly, Edgerton and Lawrence don’t really share much chemistry making their relationship feel forced throughout.  Jeremy Irons character could have used a bit more screen time to flesh out his motivations which are sadly passed off in single sequence late in the game.  Red Sparrow isn’t a terrible movie, it just one that feels like it could have been much better.

C+

Cindy Prascik's Reviews of Death Wish & Red Sparrow

 

 

 

Dearest Blog: Yesterday it was off to Marquee Cinemas to kiss Awards Season goodbye with Death Wish and Red Sparrow.

 

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

 

First on the docket: Death Wish.

 

A surgeon goes vigilante after his family is attacked.

 

Regular reader(s) will not be too shocked to hear I couldn't be bothered to revisit the original Death Wish (which I've seen exactly once) before checking out the the remake/reboot/whatever, so...no comparisons here, sorry.

 

2018's Death Wish is a by-the-numbers revenge thriller that holds few surprises. With Bruce Willis in the lead, it's passably entertaining, but not really dark enough to be taken seriously nor crazy enough to be much fun. Vincent D'Onofrio is wasted in a cookie-cutter sidekick role, though the silver lining is mercifully little screentime for the annoying Elisabeth Shue. Law enforcement is played as bumbling comic relief, with a standard baddie around every turn. I clocked shout-outs to two of my favorite made/set in Chicago movies, The Dark Knight and Ferris Bueller's Day Off, but I'm pretty sure they weren't on purpose. Ultimately, I enjoyed Death Wish because it's my kinda movie, but I in good conscience I couldn't recommend it to anyone who doesn't share my affinity for witless shoot 'em ups.

 

Death Wish runs 107 minutes and is rated R for "strong bloody violence and language throughout."

Death Wish is a reasonably entertaining way to give your brain a couple hours' rest, but you'll forget it almost as soon as you exit the theater. 

 

Of a possible nine Weasleys, Death Wish gets five.

 

Next up: Red Sparrow.

 

When a Bolshoi ballerina's career is ended, she's recruited for a secret Russian intelligence service.

 

Hey you guys, remember that George Clooney movie The American? The trailers sold it as a thriller, but in actual fact it was the slowest, quietest movie in the history of movies?* (*Including silent movies and The Revenant.) Well, welcome to The American's step-sister, Red Sparrow. While Red Sparrow is neither as quiet nor as plodding as The American, it disappointed me in many of the same ways. Red Sparrow runs two hours plus and moves at a snail's pace. Criminally underusing the talents of James Newton Howard, it's often so quiet I could hear the people ten rows behind me chewing their popcorn. The movie spotlights every uncomfortable, disturbing, or just plain gross moment for the sake of it; in more skilled hands it could and should have been genuinely disturbing, but instead it's just sensationalized for shock value's sake. (It hurts me to say that, as director Francis Lawrence masterfully helmed three episodes of one of my all-time favorite TV series, NBC's short-lived Kings.) Though it's pretty tense throughout, Red Sparrow didn't once surprise me; its twists and turns are too easily anticipated. The film is a decent vehicle for showcasing the brilliance of Jennifer Lawrence, and the supporting cast is plenty solid (nice to see you, Ciaran Hinds!), but it's a shame the movie isn't half as smart as it wants to be. Red Sparrow's one real accomplishment is giving me a weird crush on Joel Edgerton, which I'm guessing won't be too rewarding for the creative team. Oh, and, hey...don't forget to make fun of me for hating this in two weeks when I tell you all how awesome Sherlock Gnomes is, m-kay?

 

Red Sparrow clocks in at 139 minutes and is rated R for "strong violence, torture, sexual content, language, and some graphic nudity." (Movie fans, they're serious. This one is not for the squeamish.)

 

Red Sparrow is a coulda-shoulda-woulda been thriller that's worth seeing for Jennifer Lawrence, but not for much else. 

 

Of a possible nine Weasleys, Red Sparrow gets four.

 

Until next time...

MOVIE REVIEW: GAME NIGHT

Max and Annie's weekly game night gets kicked up a notch when Max's brother Brooks arranges a murder mystery party -- complete with fake thugs and federal agents. So when Brooks gets kidnapped, it's all supposed to be part of the game. As the competitors set out to solve the case, they start to learn that neither the game nor Brooks are what they seem to be. The friends soon find themselves in over their heads as each twist leads to another unexpected turn over the course of one chaotic night.

Director: John Francis Daley and Jonathan Goldstein 

Cast: Jason Bateman, Rachel McAdams, Kyle Chandler, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Michael C. Hall, Danny Huston, Jeffrey Wright

Release Date: Feb 23, 2018

Genres: Action, Comedy, Crime 

Rated R for language, sexual references and some violence 

Runtime: 1 hr 40 min

Game Night is one of those zany comedies with a simple premise that just works.  Director’s John Francis Daley and Jonathan M. Goldstein craft an efficient and hilarious comedy that moves quickly enough to avoid letting any of the misfires linger very long.  Their biggest asset though is the cast who have great comic timing and chemistry.  Leading the way is Jason Bateman and Rachel McAdams who bounce off each other easily throughout the film.  Bateman does his usual Bateman act which still works after all these years.  Rachel McAdams is equally funny; her comic timing is vastly underrated.  The supporting players are all funny in their own right with each given their chance to shine.  A cavalcade of familiar faces pop up as things get more out of hand.  Game Night’s is a perfect turn your brain off and just laugh type of comedy.

A-

MOVIE REVIEW: ANNIHILATION

Based on Jeff VanderMeer’s best-selling Southern Reach Trilogy, Annihilation stars Natalie Portman, Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, Tuva Novotny and Oscar Isaac. It was written and directed by Alex Garland (Ex Machina, 28 Days Later).

Director: Alex Garland

Cast: Natalie Portman, Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, Tuva Novotny and Oscar Isaac

Release Date: Feb 22, 2018

Genres: Action, Adventure, Sci-Fi

Rated R for violence, bloody images, language and some sexuality

Runtime:  1 Hr 55 min

Review:

Annihilation, Alex Garland’s 2^nd directorial feature, is a lush, dense science fiction film that’s recalls Tarkovsky's Solaris, Kubrick’s 2001 mixed with a splash of Alien.  On its most basis level, it’s a fascinating decent into sci-fi madness.  Garland maintains a steady sense of uneasiness throughout, blending beautiful visuals with brutal and visceral moments straight out of classic creature features.  The flashbacks that pepper the film are a strong clue that Garland is after something deeper and more meaningful than a straight up science fiction film.  

Annihilation is the type of film that requires contemplation afterwards because it does not present you with easy answers.  Once you get past the trippy visuals, especially during the final act, and start dissecting what you’ve seen there’s plenty to think about and appreciate, similar to Denis Villeneuve’s The Arrival.  If there is a small draw back it’s that the characters are types and never overly developed outside of basic features and personality traits.  Still, the cast deliver strong performances across the board.  Natalie Portman is solid in the lead role, maintaining a steady sense of bewildered wonder and dogged determination. Jennifer Jason Leigh, Tessa Thompson, Tuva Novotny and Oscar Isaac all turn in workman like performances servicing the film more than themselves.  Gina Rodriguez does leave a strong impression playing against type, at least to anyone familiar with her TV work, as the group’s tough girl.  As a whole, Annihilation should sate science fiction fans hunger for multi layered genre fare.

A

Cindy Prasick's Reviews of Early Man & Black Panther

Dearest Blog: After a two-week hiatus, yesterday it was back to Marquee Cinemas for what I thought was a promising pair: Early Man and Black Panther.

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

First up: Early Man.

The fate of a pre-historic tribe rests on a soccer game. Yes, you read that right.

Well, dear reader(s), it hurts me to say it, but Early Man just plain stinks. I wanted the wacky premise to be as funny as it sounds. I wanted the voice cast to be as amazing as it looks on paper. I wanted to love this movie, and I had every reason to believe I would, but it didn’t give me a chance.

Early Man is populated with forgettable characters who lack any charm.  The premise is improbable enough that it could have been hilarious, but instead it's just idiotic. The film doesn't even run a full hour and a half, but I lost count of the number of times I nearly nodded off. I can't imagine Early Man holding anyone's attention, nevermind the young audience at which it is directed. The few good laughs don't half make it worth your time.

Early Man clocks in at 89 minutes and is rated PG for "rude humor and some action."

If you were thinking of seeing Early Man, I'd suggest you save your money and watch Wallace & Gromit again instead. Of a possible nine Weasleys, Early Man gets three, including one bonus Weasley for having an actual Weasley (Mark Williams) among the cast.

Fangirl points: Richard Ayoade!

Next on my agenda, Black Panther.

Following the death of his father, new challenges face T'Challa both as king of Wakanda and as the Black Panther.

My usual disclaimer: I'm a DC girl through and through, so generally I find Marvel product enjoyable but forgettable. My notable exception has been Captain America: The Winter Soldier, but now I have two exceptions.

You. Guys. Black Panther is SO good. Other than being just a hair too long, it gets everything right. Chadwick Boseman carries the mammoth blockbuster with all the ease of the best A-lister. He's been so good so often it shouldn't be a surprise, but this is a very, VERY large stage and he owns it. His supporting cast is extraordinary to a person, with special mention to Danai Gurira--often the only watchable thing about the Walking Dead--and the always-remarkable Andy Serkis. The film boasts striking visuals with nifty tech, solid effects, majestic costumes, and glorious scenery. The humor is spot-on, never Iron Man-forced; in fact, one of the best things about Black Panther is the lack of intrusion by the other Avengers. The film reflects and respects African culture without so much as a hint of patronizing, and does an incredible job of planting everyone on equal footing. Characters in Black Panther aren't written to do things just because they're black or white, male or female; they're complicated people with complicated feelings and motives. The film bears important messages about our obligations to one another and those commitments that don't change with circumstances or our feelings. Black Panther has plenty of action, smart performances, layered interpersonal connections, and even a touch of romance, a little something for everyone.

Black Panther runs 134 minutes and is rated PG13 for "prolonged sequences of action violence, and a brief rude gesture."

Black Panther is that rare Marvel offering that is truly something special. Of a possible nine Weasleys, Black Panther gets nine.

Fangirl points: Don't wanna spoil anything but STICK AROUND FOR THE SECOND POST-CREDITS SCENE!

Until next time...

MOVIE REVIEW: BLACK PANTHER

After the death of his father, T'Challa returns home to the African nation of Wakanda to take his rightful place as king. When a powerful enemy suddenly reappears, T'Challa's mettle as king -- and as Black Panther -- gets tested when he's drawn into a conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people.

Director: Ryan Coogler

Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, Andy Serkis

Release Date: Feb 16, 2018

Genres: Action, Adventure, Sci-Fi

Rated PG-13 for prolonged sequences of action violence, and a brief rude gesture

Runtime: 2h 14 min

Review:

Black Panther is a bit of a watershed moment for Marvel films for a variety of reasons.  First and foremost, the cast and director are primarily people of color and it carries over on screen.  The film has a decidedly strong theme of African Heritage running throughout all within the trapping of a superhero story.  Ryan Coogler does an impressive job of giving his film a visual distinctiveness that’s missing from most of Marvel entries.  As such, Black Panther has a strong identity and it uses it to its advantage by telling an emotionally engaging and thoughtful story.  Chadwich Boseman leads the film with an easy charisma that’s hard to resist.  Boseman has an effortless way about himself all the while maintaining a sense of nobility in T’Challa.  The supporting cast is probably one of the best assembled for any of the Marvel movies.  Lupita Nyong’o, Danai Gurira, Letitia Wright and Martin Freeman all leave lasting impressions on the film.  Their characters aren’t simply throwaway supporting players but instead feel like well rounded characters equal to the lead.  Michael B. Jordan makes for a fine villain.  He’s a strong counterpart to Boseman’s T’Challa in every manner of speaking.  The character’s motivations actually make sense and pose some interesting questions.  Unfortunately, the film doesn’t spend nearly the amount of time it should fleshing him out which could have made him iconic.  It’s a minor issue compared to the whole.  Black Panther, much like last year’s Wonder Woman, elevates the super hero genre and forces future entries to raise their game.   

A

MOVIE REVIEW: EARLY MAN

A plucky cave man named Dug, his sidekick Hognob and the rest of their tribe face a grave threat to their simple existence. Lord Nooth plans to take over their land and transform it into a giant mine, forcing Dug and his clan to dig for precious metals. Not ready to go down without a fight, Dug and Hognob must unite their people in an epic quest to defeat a mighty enemy -- the Bronze Age.

Director: Nick Park

Cast: Eddie Redmayne, Tom Hiddleston, Maisie Williams, Timothy Spall

Release Date: Feb 16, 2018

Genres: Animation, Adventure, Comedy

Rated PG for rude humor and some action

Runtime: 1h 29 min

Review:

Early Man, Nick Park’s latest claymation entry, is as decidedly charming as it is British.  It’s got some solid laughs even if never really nails an emotional center.  Park’s characters are fun and eccentric but the film’s brisk pace never lets us get too close to any of them.  Eddie Redmayne’s Dug is central character and he’s a likeable sort matching Redmayne’s endearing voice work.  Tom Hiddleston hams it up as the film villain who’s never any sort of real threat.  I would have liked to have seen Maisie Williams character get more to do but she’s still solid in parts.  The movie’s real MVP is Dug’s side kick Hognob, a prehistoric hog, who is good for laughs throughout.  Early Man probably won’t be remembered as one of Nick Park’s classics like some of his Wallace and Gromit films or even Chicken Run.  That being said, it is a charming family film that’s going to leave a smile on most people’s face.

B

MOVIE REVIEW: THE CLOVERFIELD PARADOX

The story set in the near future, centers on a team of astronauts on a space station making a terrifying discovery that challenges all they know about the fabric of reality, as they desperately fight for their survival.

Director: Julius Onah

Release Date: Jan 12, 2018

Cast: Gugu Mbatha-Raw, David Oyelowo, Daniel Brühl, Elizabeth Debicki, Chris O'Dowd, Zhang Ziyi

Not Rated

Runtime: 1 hr. 42 min.

Genres: Horror, Mystery, Sci-Fi

Review:

Years from now The Cloverfield Paradox, originally titled The God Particle, will be remembered mostly for Netflix’s release strategy more than the actual content of the film.  Ultimately, Netflix’s strategy of releasing a repurposed sci-fi film, which had been delayed a couple of times before, after the Super Bowl shortly after premiering the first trailer gave the film the kind of visibility it wouldn’t have received otherwise.  The gambit surely paid off in spades even though the final product is lacking in several areas.  Sadly, for all the hoopla the film is simply a passable sci-fi film that recalls better films like Sunshine or even Event Horizon with a heaping serving of Star Trek’s oft used multiverse conceit.  The result is an uneven story with a subplot grafted onto it’s spine that tries desperately to connect the main story to the larger franchise.  It’s a choppy feel throughout resulting in a story that never finds it’s footing even with the ensemble’s best effort.  The cast assembled is impressively strong but the script leaves way too many of them hampered with one dimensional character.  Gugu Mbatha-Raw does her best to give the entire production a heart beat and is only partially successful; displaying some real chops in the film’s final act.  The rest of the cast is populated by top notch actors like David Oyelowo and Daniel Brühl who try their best to bring some sort of life to uncooked characters but they can only do so much with razor thin characterizations.  Elizabeth Debicki’s character could have been thoroughly fascinating if she’s been explored properly.  In the end, The Cloverfield Paradox is a glossy looking misfire which could have used more fine tuning and less overt franchise shoehorning to work effectively. 

C

Cindy Prascik's Reviews of Hostiles & Maze Runner: The Death Cure

Dearest Blog: Yesterday it was off to Marquee Cinemas for another uninspiring pair of January releases: Hostiles and Maze Runner: The Death Cure.

Spoiler level here will be mild, but I'd hazard a guess, dear reader(s), that you won't much care either way.

First on the agenda: Hostiles.

Nearing retirement, an Army captain is coerced into one final official chore: escorting a dying Cheyenne Chief and his family back to their home.

Hostiles is is blessed with a great cast, intriguing characters, and a multi-layered story, so after seeing it I can only ask: How can it be SO bad?

We'll start with the obvious. Hostiles wants you to understand from the outset that it is a Very Serious Movie. As such, everything Very Serious about it is overdone to the point of being comical. The opening scene is brutal, yet its outcome is hilariously improbable. Christian Bale throws down two hours of his best Ennis Del Mar impersonation, mumbling and maintaining such a persistent scowl I'd be surprised if his face didn't stick that way. (Everyone's mother said it would, right?!) As characters suffer terrible losses, the camera lingers on their fabricated grief so long the faces become caricatures. There are many (many, many) panoramic shots of the parade of horses on their journey...across the plains, over the mountains, through the forest. WE GET IT, YOU'RE GOING SOMEPLACE! The film overuses every tired Cowboys-and-Indians trope to such a degree your brain will become convinced the picture hasn't just borrowed the overused cliches, but rather that you've seen this actual movie somewhere before. Hostiles tries to show each side of every situation as both the good and the bad guys, but--rather than weaving thoughtful complexities--it is contrived and impossible to believe that some of the characters could have gotten from Point A to Point B over the film's duration. Its messages are many and mixed; your moral compass won't know where to aim. Finally, and most egregiously, Hostiles is a criminal waste of the extraordinary Ben Foster, who doesn't have more than 15 minutes total screen time.

Hostiles runs 134 minutes and is rated R for "strong violence and language." (Trigger warning: Though it's not in the official MPAA warning, the film does allude to a rape that is not depicted onscreen.)

Its trailers made Hostiles seem a surefire awards darling, but, sadly, it's an exercise in frustration that will leave you wondering how it could fail so spectacularly with the tools at its disposal.

Of a possible nine Weasleys, Hostiles gets three.

Up next, the final (?) installment in the Maze Runner series, The Death Cure.

The kids from the Maze aren't in the Maze anymore. Now it's like the Walking Dead, but younger and less sweaty.

Confession time: I can't remember much of anything about the first two Maze Runner movies. I don't remember how these people got out of the Maze, or how they got into the Maze in the first place, or if the Maze even has anything to do with where they find themselves in Installment #3. I didn't care enough to refresh before seeing the movie, and I definitely wasn't interested enough to try filling in the gaps after. That being said, thanks mostly to an engaging cast, I didn't hate The Death Cure. (I don't think I hated the middle one either, though I'm pretty sure I hated the first one. Nah...not worth looking THAT up, either.)

As any Young Adult series will tell you, when the world is falling apart, it's up to young heroes to save it. The Maze Runner series filmed quickly, compared with some other YA sets, yet it's hard not to feel the leads have aged out of their roles a bit. Still, Dylan O'Brien effectively sells it one last time, Thomas Brodie-Sangster is always a delight, and the older cast is more than capable. (Is there anything that can't be improved by the presence of Walton Goggins? I think not.) The film kicks off with an exciting sequence straight out of The A-Team, and from there it seldom lets up, a wise choice given its excessive length and lack of real substance. Effects are solid, tension is pretty amped up at times, and the picture does have a few small surprises up its grungy sleeve, tying things up in a satisfying, if predictable, bow at the end.

Maze Runner: The Death Cure clocks in at a bloated 141 minutes and is rated PG13 for "intense sequences of sci-fi violence and action, language, and some thematic elements."

Maze Runner: The Death Cure doesn't reinvent the wheel, but, compared to some of January's other offerings, it doesn't seem so bad.

Of a possible nine Weasleys, Maze Runner: The Death Cure gets four.

Fangirl points: Giancarlo Esposito! Aidan Gillen!

Until next time...

MOVIE REVIEW: THREE BILLBOARDS OUTSIDE EBBING MISSOURI

After months have passed without a culprit in her daughter's murder case, Mildred Hayes makes a bold move, painting three signs leading into her town with a controversial message directed at William Willoughby, the town's revered chief of police. When his second-in-command, Officer Dixon -- an immature mother's boy with a penchant for violence -- gets involved, the battle is only exacerbated. 

Director: Martin McDonagh

Cast: Frances McDormand, Woody Harrelson, Sam Rockwell, Caleb Landry Jones, Lucas Hedges

Rated R for violence, language throughout, and some sexual references

Genres: Crime, Drama

Runtime: 1h 55min

Review:

Three Billboards Outside Ebbing Missouri is a challenging pitch black dramdey that’s engaging throughout even if it never offers any clear answers or resolutions to it’s story.  Martin McDonagh has experience dealing with deeply flawed characters with some humor mixed in, something he did wonderfully in In Bruges.  Martin McDonagh deals with similarly troubled character here even if he doesn’t quiet work the same alchemy he pulled off with In Bruges.  McDonagh film mostly works even though the tonal shifts are occasionally jarring.  Its anchor throughout is Frances McDormand who is simply a force of nature throughout.  Her performance is even more impressive since she’s pulls it off fairly effortlessly.  Woody Harrelson is always a welcome sight and he’s on his game here, sadly he’s only in the film’s first third and the film misses his presences afterward.  Sam Rockwell is solid throughout even if the character fairly unlikable.  There’s a bit of a redemption arch presented but it’s a slightly strange message since his character is referenced as having done terrible things before the story starts.  The film is filled those kind of challenging contradictions and it can occasionally be difficult but the performances make it worthwhile.

B+

MOVIE REVIEW: LADY BIRD

An outspoken teen must navigate a loving but turbulent relationship with her strong-willed mother over the course of an eventful and poignant senior year of high school.

Director: Greta Gerwig

Cast: Saoirse Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, Timothée Chalamet, Beanie Feldstein

Release Date: Nov 3, 2017

Genres: Comedy, Drama

Rated R for language, sexual content, brief graphic nudity and teen partying

Runtime: 1h 34min

Review:

Lady Bird is the kind of indie gem that pops up from time to that perfectly nails the coming of age story.  Coming of age stories are a dime a dozen but Greta Gerwig’s film captures the flawed humanism of that makes these characters feel thoroughly authentic. She directs an efficient film that never feels rushed even though it’s just over an hour and a half long.  At its center is Saoirse Ronan who’s perfectly loveable as the titular Lady Bird.  Her performance is subtle yet totally convincing.  Laurie Metcalf’s turn as Lady Bird’s mother is just as impressive.  Her ability to juggle the many facets of her character, from the passive aggressiveness, loving and perpetually frayed, seamlessly is impressive to watch.  Tracy Letts is a solid counterpoint to Metcalf’s character as the loving but depressed father.    There’s very little to dislike about this charming tome even if the story plays out exactly as you’d expect with little to no surprises.  It’s a testament to the talent at work that’s it still manages to engage the way it does.

A-

Cindy Prascik's Reviews of The Commuter & The Shape of Water

 

 

 

Dearest Blog: A heavy slate of January releases and an unusually chaotic real life (ughhhhh...real life!) have conspired to set me behind at the cinema, so yesterday I burned an afternoon's PTO to head to Marquee Cinemas for a pair of films that didn't particularly excite me: The Commuter and The Shape of Water. If you thought one was markedly better than the other, you would be mistaken.

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

 

First up: The Commuter.

 

Liam Neeson Liam-Neesons his way through the sort of crisis that seems to follow Liam Neeson, this time on a commuter train.

 

A moviegoer could be forgiven for assuming that The Commuter is merely Taken on a train...or Non-Stop on a train...or Run All Night on a train, but I'm sorry to tell you it's a whole lot worse than that. Sure, the Taken movies are getting samey, but I enjoyed all but the middle one. Non-Stop was pretty good fun, and I actually loved Run All Night. The Commuter's every turn is obvious, every character as easy to figure out as the ending of a Nicholas Sparks novel. The dialogue is pitiful, and the delivery just as bad. The fight scenes are ho-hum, and even the daring train stunts are so poorly executed as to be laughable. Sam Neill and Patrick Wilson, two pretty extraordinary actors, are wasted on small, easy-to-peg roles. If there's any good news, it's that the insufferable Vera Farmiga enjoys similarly little screen time. When I heard Liam Neeson planned to retire from action films, I felt a bit sad, but if this is what he's being offered, it's probably the right decision. 

 

The Commuter clocks in at 105 minutes and is rated PG13 for "some intense action/violence, and language."

 

One of The Commuter's early scenes shows a poster for Paddington 2 hanging on a train station wall, almost as if the movie itself were pointing you towards a better use of your time. Of a possible nine Weasleys, The Commuter gets three.

 

Fangirl points: Shazad Latif! ("Yes I can hear you, Clem Fandango!) Kingsley Ben-Adir!

 

Next on the docket: awards darling The Shape of Water.

 

A laboratory cleaning lady forms a relationship with a captive creature.

 

I did not expect to love The Shape of Water. I did not expect it to be my top pick for Best Picture. I DID expect it to be a great movie that just isn't my cup of tea, but I was mistaken. 

 

The Shape of Water is extraordinary on several fronts, the first and most obvious being its performances. This movie is an acting master class! Sally Hawkins is breathtaking in the lead role, expressive and sympathetic. Michael Shannon and Richard Jenkins, on opposite ends of the likability scale, turn in layered performances. Michael Stuhlbarg is incredible as usual, and I'm delighted he continues to get such high-profile work; however, it's Octavia Spencer who is the film's highlight, sometimes serving as the movie's comic relief, other times as its foot in reality. The Shape of Water also boasts glorious visuals, carrying through the water theme in lovely, unexpected, and sometimes uncomfortable ways. It takes itself seriously, but it's also very funny at times. Part love story, part monster movie, The Shape of Water is, at least, a pretty interesting idea.

 

'Til about the midway point, I was prepared to say I didn't hate The Shape of Water as much as I thought I would. Sadly, it hit a downhill skid that culminated in the most ill-fitting movie scene since the ending of La La Land, and at that point I gave up and called it a total loss. In the interest of avoiding spoilers, I make no comment on the scene itself being good or bad, happy or sad, only about how the scene felt IN the movie, which was so far off it took me out of the picture entirely, and I did nothing but check the clock from that point on. The creature doesn't appear much removed from 1954's Creature from the Black Lagoon, which I imagine is meant as a sort-of love letter to old school horror, but--in 2018--it makes taking the film seriously pretty difficult. Unsubtle parallels are drawn between prejudice against the creature and other prejudices that were prevalent just a few decades ago; this is a message movie trying to hide behind a fairy tale and failing miserably.

The Shape of Water runs an interminable 123 minutes and is rated R for "sexual content, graphic nudity, violence, and language."

 

The Shape of Water is lovely music with nonsensical lyrics, aesthetically pleasing but not good for much else.  Of a possible nine Weasleys, The Shape of Water gets four.

 

Until next time...

MOVIE REVIEW: PADDINGTON 2

Settled in with the Brown family, Paddington the bear is a popular member of the community who spreads joy and marmalade wherever he goes. One fine day, he spots a pop-up book in an antique shop -- the perfect present for his beloved aunt's 100th birthday. When a thief steals the prized book, Paddington embarks on an epic quest to unmask the culprit before Aunt Lucy's big celebration.

Director: Paul King

Cast: Hugh Grant, Brendan Gleeson, Sally Hawkins, Ben Whishaw, Hugh Bonneville

Release Date: Jan 12, 2018

Rated PG for some action and mild rude humor

Runtime: 1 hr. 44 min.

Genres: Animation, Adventure, Comedy

Review:

The first Paddington was a surprisingly fun adaptation of the classic children’s book.  It was the rare film that actually captured the spirit of the character instead of just mining the source material for a quick buck.  Having lighting strike twice seemed like a long shot but Paul King’s lovingly made sequel continued the first film’s legacy.  It’s nearly impossible not to be charmed by the story from the start.  It’s the best kind of kid’s film, one that never panders to its audience and has a tangible heart beat.  Ben Whishaw is just a perfect in this sequel as the titular bear, making him endearing and lovable.  The returning cast members like Hugh Bonneville and Sally Hawkins are solid throughout with Hawkins getting more to do in the second half of the film.   Hugh Grant is clearly having a ball as Phoenix Buchanan, the villain in this chapter.  Buchanan’s character is a lot more memorable than the first film’s adversary which is to the sequel’s benefit.  Add in a fun supporting turn by Bredan Gleenson and you’ve got the rare kids sequel that improves on original while never losing the spirit of the characters.        

A

MOVIE REVIEW: THE POST

Katharine Graham is the first female publisher of a major American newspaper -- The Washington Post. With help from editor Ben Bradlee, Graham races to catch up with The New York Times to expose a massive cover-up of government secrets that spans three decades and four U.S. presidents. Together, they must overcome their differences as they risk their careers -- and very freedom -- to help bring long-buried truths to light.

Director: Steven Spielberg

Release Date: Jan 12, 2018

Cast: Meryl Streep,Tom Hanks, Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whitford, Bruce Greenwood, Carrie Coon

Rated PG-13 for language and brief war violence

Runtime: 1 hr. 56 min.

Genres: Biography, Drama, History

Review:

The Post is a highly polished, well acted prestige film from Steven Spielberg that couldn’t feel timelier if it tired.  The film is set the in 70s but it hard not to see modern day parallels throughout.  Spielberg tries his best to keep the film self contained but its hard not to see it as a message movie.  In the hands of a lesser talent the film would have come off as more overtly preachy.  The top tier cast helps that by putting on some stellar performances.  Meryl Streep and Tom Hanks are front and center for most of the film and each turns in impressive but varied performances.  Streep turn as Katharine Graham is a study in subtleness and nuance as we watch her character find her place and ultimately her resolve to lead.  Tom Hanks is a rougher around the edges but still likable and relatable even though he and Streep play fairly Waspy characters.  The supporting characters are all played by top level character actors, like Bob Odenkirk, Carrie Coon and Bradley Whitford, and they give the film a strong steady feel throughout.  While the film has all the right ingredients there’s just something about it that keeps the audience at arms length that keeps it from being a classic.  The Post is still strong enough to make for a perfect companion All The President’s Men.

A-