MOVIE REVIEW: FORD V FERRARI

American automotive designer Carroll Shelby and fearless British race car driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary vehicle for the Ford Motor Co. Together, they plan to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

Director: Jason Mangold

Cast: Matt Damon and Christian Bale, Jon Bernthal, Caitriona Balfe, Tracy Letts, Josh Lucas, Noah Jupe, Remo Girone, and Ray McKinnon

Release Date: November 15, 2019

Genres: Action, Biography, Drama

Rated PG-13 for some language and peril

Runtime: 2h 32min

Review:

Ford v Ferrari an interesting throwback film that’s got so much more going on besides racing.  James Mangold directs his film with a glossy veneer that just screams prestige picture.  A two and half hour film needs to be engaging to keep from becoming a slog.  Thankfully, the film’s story is thoroughly entertaining throughout, so much so that if rarely feels slow.  Having a cast of top level talents all delivering excellent performances.  Matt Damon gives his Carroll Shelby a good old boy charm and dogged determination which shines through an understated delivery.  Christian Bale delivers another physical transformation for this performance but beyond that he gives his character a likable stubbornness that provides the film its beating heart.  Together Damon and Bale make this bromance work and it’s incredibly watchable.  The supporting cast is equally strong with Tracy Letts, Jon Bernthal and Caitriona Balfe all leaving their mark in limited screen time.  On its surface, the film is about winning a car race but peeling back some of the layers reveal a beefier and headier story at work about creation, invention and innovation.

A

Cindy Prascik's Reviews of Last Christmas & Midway

This weekend was a "because the schedule says so" weekend at the cinema. I really wanted to see Doctor Sleep, but the two-and-a-half-hour runtime, coupled with a wrench in its Saturday showtimes, left me with Last Christmas and Midway. Can we say "ho" and "hum?"

I think we can. Spoiler level here will be mild for anything plot-specific, but there's a general observation about Last Christmas that I think any fair review has to make.

First on my agenda: Last Christmas.

It's the holiday season in London, and a young woman who has made a habit of poor life choices hopes to get back on a good path.

Last Christmas is, in the words of one wise friend, Not A Cindy Thing (TM). The trailers sell a feel-good holiday romance/redemption story, maybe a step up from what the Hallmark Channel's going to be feeding you for the next month and a half. Dearest reader(s), I'm here to tell you: Last Christmas is quite a bit more than that, and I expect that's a double-edged sword. I've fallen a bit out of love with the cinema this year, and I was delighted to be reminded that movies can still surprise, even in the Internet age. Those who have their hearts set on straight-up warm holiday fuzzies might be less pleased with the picture's extra layers.

Last Christmas benefits greatly from the inherent charm that seems to permeate all British entertainment. Emilia Clarke has it in spades, and--even when she's at her worst--you find yourself worrying about the road our lead character is on. Once she meets swoon-worthy (relative) newcomer Henry Goulding, well, you'll be holding your breath, just waiting for true love to fix the mess she's made of her life. Co-writer Thompson is, as always, a scene-stealer with limited screen time, but the real star of Last Christmas is the music of George Michael. Much like Yesterday and Blinded by the Light, Last Christmas has made creative use of an iconic artist, and it is a delight to behold. The movie's festive holiday atmosphere is enhanced nearly to its breaking point by the fact that Clarke's character works in a Christmas shop and spends a good bit of the film dressed as an elf. Ho. Ho. Ho. It's a sharp, well-paced, funny, and moving film that's one of the cinema's happiest surprises of 2019.

Last Christmas clocks in at 102 minutes and is rated PG13 for "language and sexual content."

Last Christmas finds its way to some holiday spirit, but the trip doesn't take the road you expect. Of a possible nine Weasleys, Last Christmas gets eight.

Fangirl points: Patti LuPone! (My queen!) Peter Serafinowicz!

Next up: Midway.

The true story of the 1942 Battle of Midway. Midway is an incredible story that deserves far better than this broadly-drawn telling. The film boasts exceptional visuals, with sweeping aerial shots and magnificent panoramas of great ships. It is truly a feast for the eyes. Unfortunately, its physical beauty is no match for awkward dialogue, shameless posturing, exaggerated accents (plenty of growly Batman voices too), and a melodramatic score. Over-acting throughout is so extreme as to be laughable, and a bloated runtime makes even the tensest battle scenes seem plodding. It's easily-digestible "patriotism" for the chest-thumping set, and it is nowhere near worthy of the story it attempts to tell.

Midway runs 138 minutes and is rated PG13 for "sequences of war violence and related images, language, and smoking."

If you'd have told me Midway would somehow be the worse of the two movies on my agenda yesterday, I'd have said you were crazy, but...here we are.


Of a possible nine Weasleys, Midway gets four. Fangirl points: Luke Evans! (And if I had to say something really nice about the movie, it only made me wait eight minutes for him to turn up.)

This Veterans' Day/Remembrance Day weekend, I would like to say thank you to all those who serve and have served, whose bravery and sacrifice make it possible for me to sit here and make fun of a movie that tells their story so badly.

I remain in your debt. Until next time...

MOVIE REVIEW: DOCTOR SLEEP

Struggling with alcoholism, Dan Torrance remains traumatized by the sinister events that occurred at the Overlook Hotel when he was a child. His hope for a peaceful existence soon becomes shattered when he meets Abra, a teen who shares his extrasensory gift of the "shine." Together, they form an unlikely alliance to battle the True Knot, a cult whose members try to feed off the shine of innocents to become immortal.

Director: Mike Flannagan

Cast: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Cliff Curtis

Release Date: November 8, 2019

Rated R for disturbing and violent content, some bloody images, language, nudity and drug use.

Runtime: 2 hr. 31 min.

Genres: Drama, Fantasy, Horror

Review:

Doctor Sleep is a daunting challenge for anyone. Following up a classic by Stanley Kubrick a is tough task but Mike Flannagan is up to the task for the most part. Flannagan echos Kubrick here and there, personally I could have done with a few less tracking shots, but still manages to create his own beast. The film itself is a solid tome that's reeks of Stephen King. It's a good and bad thing, some of the scares are well constructed while some of the characters seem hollow to the point of being goofy. Thankfully, Ewan McGregor is the focal point of the film and he makes the entire thing work even with a shoddy New England accent. He's extremely watchable throughout the film delivering a well rounded performance. Rebecca Ferguson makes an attractive and menacing villain while Kyliegh Curran is one of the stronger child actors I run across since Jacob Trembly. Saying anything too in depth about how the story would be a disservice but rest assured that diehard The Shining fans will leave extremely happy and satisfied.

A

MOVIE REVIEW: LAST CHRISTMAS

Nothing seems to go right for young Kate, a frustrated Londoner who works as an elf in a year-round Christmas shop. But things soon take a turn for the better when she meets Tom -- a handsome charmer who seems too good to be true. As the city transforms into the most wonderful time of the year, Tom and Kate's growing attraction turns into the best gift of all -- a Yuletide romance.

Director: Paul Feig

Cast: Emilia Clarke, Henry Golding, Michelle Yeoh

Release Date: November 8, 2019

Genres: Comedy, Drama, Romance

Rated PG-13 for language and sexual content

Runtime: 1h 42min

Review:

Last Christmas looks and smells like a romantic comedy and for the better part of its runtime it is a wonderful one. Anyone who has been paying attention though should know to expect something a little different from Paul Fieg. Fieg directs the film with a deft hand, delivering a charming breezy film populated with incredibly likable characters. Emilia Clarke at her charming best here and ably carries the film. She's so damn loveable that it hard to take her character's disastrous life seriously. She's matched with an equally impressive Henry Golding whose character is just too good to be true. If this all sounds like basic rom com fodder it is and it isn't. Fieg and the razor sharp script have a turn that makes the film so much more than it appears at it's onset and it gives the film a much stronger message than you would have expected. 

A-

TERMINATOR: DARK FATE

In Mexico City, a newly modified liquid Terminator -- the Rev-9 model -- arrives from the future to kill a young factory worker named Dani Ramos. Also sent back in time is Grace, a hybrid cyborg human who must protect Ramos from the seemingly indestructible robotic assassin. But the two women soon find some much-needed help from a pair of unexpected allies -- seasoned warrior Sarah Connor and the T-800 Terminator.

Director: Tim Miller

Cast: Linda Hamilton, Arnold Schwarzenegger, Mackenzie Davis, Natalia Reyes, Gabriel Luna, Diego Boneta

Release Date: November 1, 2019

Genres: Action, Adventure, Sci-Fi

Rated R for violence throughout, language and brief nudity

Runtime: 2h 8min

Review:

Terminator: Dark Fate is an interesting reboot / refresh of the franchise which needs a shot in the arm after the disastrous Terminator Genisys.  Tim Miller mimics a lot of beats from James Cameron’s first two entries while wiping out anything after T2.  There is plenty of incredibly staged action to be found here and it really drives the better part of the film with some sequences like a battle in a crashing air carrier really leaving a memorable mark.  The story itself should feel familiar because it decides to borrow heavily from the first two films and it’s not shy about it.  Sure the characters might have been flipped to refresh the story but it’s very much the same story.  The reason the whole thing works is because the characters are all engaging enough.  Bringing back Linda Hamilton was a masterstroke and she delivers in spades.  Hamilton’s performance is a perfect bend of anger and heartbreak while maintaining inner strength which made her character so iconic in T2.  Mackenzie Davis might have seemed like a strange casting choice but she’s surprisingly good as this chapter’s designate protector of Natalia Reyes who’s essentially the Sarah Connor here. Arnold Schwarzenegger shows up in the latter portion of the film and how the story deals with his appearance might divide a few people but it’s still good fun to see him and Hamilton again.  Ultimately, you won’t find much new or groundbreaking here but it does feel like a proper sequel to T2 even after multiple misfires.  

B-

Cindy Prascik's Review of Mary

CINDY PRASCIK·SATURDAY, NOVEMBER 2, 2019·2 MINUTES As anyone with even a passing familiarity with me or my writing or my Instagram will know: I have a real soft spot for Academy Award winner Gary Oldman. (Yes, you have to say it like that now.) When Gary is in a movie or show, I see it. If I can, I own it. I own a Gary movie that's in Japanese, one where he plays a guy who puts Chapstick on his butt, and one that Gary, himself, has called "the worst movie ever made." (Those are Rain Fall, Nobody's Baby, and Sin, respectively, if you didn't know and were interested.) Today I am a little bit horrified to report on a movie that will be right at home with lemons like Tiptoes, the Backwoods, and that revisionist version of the Scarlet Letter that co-starred Demi Moore. Friends, I give you: Mary.


Spoiler level here will be mild, nothing you wouldn't know from a trailer if you've seen one. Odds are you haven't.

In hopes of rebooting his life and his marriage, a man buys a boat and takes his family out to sea...but little does he know of the vessel's cursed history! (DUM DUM DUM!) Mary is one of those movies that makes you think everyone involved should sack their agents posthaste. While it's Gary's name above the title, co-stars Emily Mortimer and Manuel Garcia-Rulfo are no slouches. They all deserve better than this thrill-less thriller that ticks every predictable box in the cheap horror movie lexicon. Startle-scares are so obvious they won't raise even a little jump. A paper-thin backstory has been done to death a thousand times before. The dialogue is simply excruciating. I try mightily to say something nice about everything, but the only nice thing I can say about Mary is that it's mercifully short.

Mary clocks in at 84 minutes and is rated R for "some terror, violence, and language."

Mary is available now on most streaming/download platforms.

Mary is a by-the-numbers thriller that'll make Gary Oldman fans pine for the genius of that 1998 Lost in Space movie.

Of a possible nine Weasleys, Mary gets one (for Gary). Until next time...

Cindy Prascik's Review of Zombieland: Double Tap

This weekend it was off to the pictures--a week late, as has become my norm--for Zombieland: Double Tap.

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

The makeshift family from Zombieland soldiers on in the post-zombie apocalypse world.

Ten years on from the first Zombieland, and with many a zombie offering in between, it's remarkable how fresh Double Tap manages to be. Certainly the personalities from the first film remain the same, and there are a fair few nods to the original, but there are enough new faces and new happenings that Double Tap never feels like a warmed-over cash grab.

Zombieland: Double Tap retains its predecessor's sharp sense of humor, with plenty of laugh-out-loud moments tempering gruesome kills. The terrific cast--Jessie Eisenberg, Woody Harrelson, Emma Stone, and Abigail Breslin-- falls right back in step, and the couple new additions are a good fit, each adding something fresh to the mix. The movie is well-paced and doesn't outstay its welcome, a feat that seems a more and more pleasant surprise on the rare occasions it happens these days. Double Tap serves both as an entertaining continuation and a satisfying conclusion (if it is one?) to a fun series. Be sure to stick around for amusing mid- and post-credits stingers.

Zombieland: Double Tap clocks in at 99 minutes and is rated R for "bloody violence, language throughout, and some drug and sexual content."

Zombieland was my number-one movie of 2009, and, ten years later, Double Tap proves a worthy follow-up.

Of a possible nine Weasleys, Zombieland: Double Tap gets eight.

Until next time...

Cindy Prascik's Review of The Laundromat

Construction having made local traffic an almost insurmountable headache, this weekend I again leaned on Netflix' original content so that I would have something to write about for you--yes, YOU--dear reader(s).  Our film of the week: Cautionary tale the Laundromat.

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

A woman widowed in a freak boating accident experiences firsthand the duplicity of big insurance and the networks that support it.

Oscar winners Meryl Streep and Gary Oldman (yes, I'm always going to remind you he's an Oscar winner now) head a decorated cast that also includes Antonio Banderas, James Cromwell, Robert Patrick, Jeffrey Wright, and Sharon Stone, as well as a host of other familiar faces. Many appearances amount to little more than cameos, and you get the feeling the Laundromat's message is important enough that some pretty impressive names just wanted to be a part of it. So, why does it seem like Netflix is burying this picture? I mean, when I log on, the first thing it suggests is that Breaking Bad movie that's a week old already. (Sorry, Netflix, that's a no go.) I had to do a full-on search to get a Netflix original STARRING MERYL STREEP to even show up. Sure there were some legal hassles over this picture, but those were resolved in Netflix' favor. I think the problem here is that--for all its star power--the Laundromat is a barely average movie.

Starting with the positives, the Laundromat's talented cast does a terrific job with the material. Streep is heartbreakingly perfect in the lead, as of course one would take for granted. Oldman and Banderas are fantastic together, a pair of slimy lawyers telling their "side" of this based-on-actual-events tale. Each familiar face that turns up in a smaller role is a nice surprise that makes the movie worth watching, despite its flaws. The story itself is compelling, and it's told here with grim humor. You'll feel dirty for laughing at it, but laugh you might. The attorneys serve as narrators, and their spin gives the picture a different vibe. I doubt it will make anyone sympathize with them, but it's a clever enough turn. The movie transitions with animated frames that also give it a lighter feel that it might have had otherwise; in fact, the whole has something of a theatrical sense to it. On the flip side, the Laundromat is extremely heavy-handed with its message and--while I'd agree its lessons warrant firm and regular reinforcement--that doesn't do the movie any favors. The film moves slowly, and there are very few likable or sympathetic characters, ultimately making it rather a tedious exercise that feels like a poor man's Big Short.

The Laundromat clocks in at 95 minutes and is rated R for "language, some sexual content, and disturbing images."

The Laundromat has an important message that might have been more impactful if its story were more deftly told.

Of a possible nine Weasleys, the Laundromat gets six.

Until next time...

MOVIE REVIEW: ZOMBIELAND: DOUBLE TAP

Zombie slayers Tallahassee, Columbus, Wichita and Little Rock square off against the newly evolved undead.

Director: Ruben Fleisher

Cast: Woody Harrelson, Jesse Eisenberg, Abigail Breslin, Emma Stone, Rosario Dawson, Zoey Deutch, Luke Wilson

Release Date: October 18, 2019

Genres: Action, Comedy, Horror

Rated R for bloody violence, language throughout, some drug and sexual content

Runtime: 1h 39min

Review:

Sometimes delayed sequels to beloved films can leave fan feeling short changed there are plenty of examples out there from Anchorman to Zoolander follow ups.  So it’d be fair to say that going into Zombieland: Double Tap you wouldn’t be remised if you came into this sequel with lowered expectations. Added to the fact, zombies have kind of peppered the cultural zeitgeist since the original premiered.  Somehow Ruben Fleisher and his cast pulled off an impressive bit of alchemy by delivering a worthy follow to the original film.  The film moves at a breakneck speed but it still give you time to get reacquainted with the characters from the first film before introducing a handful of new characters which work impressively well.  Woody Harrelson, Jesse Eisenberg, Abigail Breslin and Emma Stone all fall back into their roles with incredible ease, their love of the character are apparent in each frame of the film.  Joining the group is Zoey Deutch who steals nearly every scene she’s in as vapid blond.  Rosario Dawson is always a welcome addition and she works well as a counter point and love interest to Woody Harrelson’s Tallahassee.  More familiar faces show up before the whole things done, don’t leave right when the credits roll, and its all so much fun you don’t really notice or care that there’s not really much a plot in this sequel which ultimately doesn’t matter. 

A-

Cindy Prascik's Reviews of Judy & Joker

This weekend it was off to the pictures for a pair of acting powerhouses: Renee Zellweger's Judy and Joaquin Phoenix' Joker.

Spoiler level here will be moderate, nothing plot-specific, though I will make some general observations that may be considered spoilery.

First on the docket: Judy. In desperate financial straits, a failing Judy Garland agrees to a series of shows in London.

Judy focuses on a few weeks towards the end of Judy Garland's life, when she accepted a London residency in an attempt at career and financial salvation. It's a very obvious film in every way, a clear awards-grab by Zellweger in a not-so-deftly-told "perils of fame" story. It is elevated by the icon whose name it bears, and by Zellweger's extraordinary performance, but beyond that its emotional wallop turns out to be the worst sort of Hollywood fakery. Zellweger is physically transformed into the aging Garland, her slightly-slouched posture barely diminishing the diva of younger days. Though Zellweger is a capable singer, and it's all her voice in the film, most of the numbers are lip-synched rather badly on camera. The story moves steadily, but feels a bit slow. It is expectedly difficult to watch the worst of Judy's struggles, and quick flashbacks to the abuses visited on the young star by MGM shed a painful light on her later dependency on drugs and alcohol. A moving scene with a pair of fans at the stage door is, to me, the film's shining moment, and finding out afterwards that it--as well as the climactic final scene--was fabricated was a great letdown. While both were meant to "represent" real, pivotal parts of Ms. Garland's life, learning they were entirely made up very much diminished the movie's emotional impact for me. Comparing with Rocketman for a moment, if your story is billed as a musical fantasy, you may do pretty much as you please. If your movie is sold as a straight-up biopic (see also: Bohemian Rhapsody), making stuff up just pulls the rug out from under it.

Judy runs 118 minutes and is rated PG13 for "substance abuse, thematic content, some strong language, and smoking." (She is literally NEVER without a cigarette!)

Judy is worth seeing for Renee Zellweger's exceptional work, but it is otherwise a by-the-numbers biopic you'll soon forget.

Of a possible nine Weasleys, Judy gets six. Fangirl points: Rufus Sewell!

Next on my agenda (finally!), Todd Phillips' Joker. A troubled loner hits his breaking point.

Much had already been made of this dark origins tale before the film was even released, and, as I'm a week late seeing it, I doubt I have much to add that hasn't been said already, BUT...when has that ever stopped me?

Though the Joker is, arguably, DC's most iconic villain, there is no obvious DC branding to be found in this film. It's clear from the outset that Joker isn't intended as a comic book movie, or as part of a super-hero universe.

It's a miserable story about the effect hard times can have on anyone, particularly those less mentally-capable of facing what the world throws at them.

Joaquin Phoenix is considered a shoo-in awards contender for his work in the lead, and his performance is truly mesmerizing. He can't have Taron Egerton's Oscar, though, and that's that. Sorry, Joaquin. Phoenix' body appears ravaged for the role; he's painfully thin, with his ribs and shoulder blades protruding so much it almost hurts to watch. Heath Ledger's Joker had a fluidity of movement that was one of my favorite things about his performance in the Dark Knight. Here Phoenix adds a harsh edge that makes his every move look like a painful sort-of dance, elegant in its ugliness. His portrayal of Arthur Fleck's condition--a coarse laugh that is often entirely at odds with both his mood and the situation--is absolutely chilling. Grim production design and a somber score accentuate the film's sense of hopelessness and foreboding. Who wouldn't be driven to extreme measures by such circumstances? Certainly the movie borrows heavily from some that have come before, but it's mostly effective despite being derivative.

That being said, Joker has its problems. It plods through one depressing scene after another at a snail's pace. I understand it's meant to be dark, but there is literally NO light here, no hope. The film plays hell with the canonical timeline, with a very young Bruce Wayne making a brief appearance opposite Phoenix' decidedly middle-aged Joker. (There's not so much as a hint of a Bat.) A cold, self-centered Thomas Wayne (played by the always wonderful Brett Cullen) doesn't resemble any other Thomas Wayne I know. While the picture carries an important message about the way we, as a society, sometimes dismiss mental-health issues, it is very heavy-handed with its delivery. A weird scene backed by Gary Glitter's Rock n' Roll Pt. 2 is almost bizarre enough to absolve the movie of all its other sins, but not quite.

Joker clocks in at 122 minutes and is rated R for "strong bloody violence, disturbing behavior, language, and brief sexual images." (They’re serious, folks. This isn’t one for the kids.)

Joker may be a character from the pages of a comic book, but there's nothing cartoonish about the ugly world portrayed in this film. Of a possible nine Weasleys, Joker gets seven. And, for the record, I haven't seen a double-bill this depressing since I watched Dallas Buyers' Club and Twelve Years a Slave back-to-back.

Fangirl points: Hey you guys, it must be Awards Season because heeeeeeere's Shea Whigham!

Until next time...

MOVIE REVIEW: JOKER

Forever alone in a crowd, failed comedian Arthur Fleck seeks connection as he walks the streets of Gotham City. Arthur wears two masks -- the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he's part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director: Todd Phillips

Cast: Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Glenn Fleshler, Bill Camp, Shea Whigham, Marc Maron

Release Date: October 4, 2019

Genre: Crime, Drama, Thriller

Rated R for strong bloody violence, disturbing behavior, language and brief sexual images

Runtime: 2 h 2 min

Review:

After watching a bit of Todd Phillip’s Joker you get the strong feeling that Phillip’s really hopes that you’ve never seen Taxi Driver.  To say that he mines that particular film seems like a understatement since there are multiple direct references to it through out.  Needless to say, Phillip’s film isn’t as groundbreaking as it thinks it is.  The story of a disaffected loner pushed to the edge is story that’s been told multiple times particularly in Taxi Driver or the underappreciated Henry Portrait of a Serial Killer.  The film can stand on its own merit with some wonderfully composed shots that really leave you feeling grimy and dirty.  Ultimately though, the gas in this particular vehicle is Joaquin Phoenix who throws himself into the roles with such intensity that it’s hard to look away.  His performance elevates the material and makes the whole thing much more prestigious and watchable than it deserves to be.  As for the story, it’s an interesting take on this character but it’s hard to tell if Phillip’s wants us to root for character or despise him.  Nearing the finale you get a sense that Phillip’s is propping him up as a sort of hero of madness and chaos which is a strange message to send in a film like this even as some of the more ham fisted attempts at modern day relevancy fall flat.  It’s certainly a film that will draw plenty of discussion even though it’s really a shadow of better films.  


B-

MOVIE REVIEW: JUDY

Thirty years after starring in "The Wizard of Oz," beloved actress and singer Judy Garland arrives in London to perform sold-out shows at the Talk of the Town nightclub. While there, she reminisces with friends and fans and begins a whirlwind romance with musician Mickey Deans, her soon-to-be fifth husband.

Director: Rupert Goold

Cast: Renée Zellweger, Jessie Buckley, Finn Wittrock, Rufus Sewell, Michael Gambon

Release Date: September 27, 2019

Genre: Biography, Drama, History

Rated PG-13 for substance abuse, thematic content, some strong language, and smoking

Runtime: 1 h 58 min

Review:

You walk into some movies knowing full well its awards fodder.  Biopics in the fall are generally the biggest culprits and whether those films sink or swim is usually up to the central star of the piece.  Renée Zellweger in Rupert Goold’s film delivers a transformative performance that overcomes some of the story’s shortcomings.  Goold’s direction is steady and loving but he’s clearly more comfortable during the musical sequences.  Those musical sequences are the kind of award moments that are moving and sort of magical.  Whether you like Renée Zellweger’s voice is a matter of personal taste but she pours everything into those moments and you’d be hard pressed not to be moved by pain and sadness of Garland’s final days.  The film itself is a bit clunky in spots particularly with expositional flashbacks that are used to flesh out Garland’s early days.  Those sequences are ok but they feel shoehorned in and sort of unnecessary since Zellweger is more than capable of convening her tragic life and pain. Judy is one of those types of film’s that is better than it deserves to be because of a singular start delivering an Oscar worthy performance.


A-

Cindy Prascik's Reviews of Downton Abbey / Rambo: Last Blood

 

Yesterday it was off to the pictures for the peculiar pairing of Downton Abbey and Rambo: Last Blood.

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

First up: The big-screen version of ITV/PBS' breakout TV hit Downton Abbey.

The Crawleys prepare for a visit from King George V and Queen Mary.

For fans of the TV series, the Downton Abbey movie is like a visit with a much-missed old friend. From the opening notes of the show's iconic theme, the whole thing just feels...comfortable. Having said that, this film is very much a stand-alone piece that explains itself well enough that anyone should be able to keep up.

The Downton Abbey movie is mostly light in tone, with the chaos of preparing for a royal visit providing its own comedy. In addition to the expected witticisms from Violet and Isobel (Maggie Smith and Penelope Wilton), Mr. Molesley (Kevin Doyle) is used almost exclusively for comic relief (to great effect, I might add). Sub-plots involving Tom Branson (Allen Leech) and Thomas Barrow (Robert James-Collier) take a more serious turn and add a genuinely tense undercurrent. Magnificent costumes and sets make the film a thing of lush beauty. The final scene does go on just a bit longer than it needs to, but that's a very petty quibble with a pretty perfect movie.

The Downton Abbey TV series ended on a mostly-satisfying note, leading to some concern in my household that an addendum might upset that applecart. ("Like Sex & the City!" my sister kept saying, whereupon I kept my secret: I don't remember enough about Sex & the City--series or movies--to commiserate!) Happily, the big-screen Downton Abbey only adds another satisfying chapter to its story, leaving enough loose ends to continue the tale if demand is there, but not the kind that leave viewers frustrated for lack of resolution.

Downton Abbey clocks in at 122 minutes and is rated PG13 for "thematic elements, some suggestive material, and language."

The Downton Abbey movie adds a worthy new chapter to the adored television series. Of a possible nine Weasleys, Downton Abbey gets nine.

Fangirl points: You. Guys. A LOT of these people have been on Midsomer Murders!

Next on the docket: Rambo: Last Blood.

John Rambo is out for vengeance.

One last time. Having a mere two minutes to spare between the end of Downton Abbey and the beginning of Rambo, I sprinted (I. SPRINTED.) across the cinema expressly for the pleasure of seeing Oscar Jaenada on the big screen, which doesn't happen nearly often enough. Per my usual M.O., I didn't care enough to revisit previous Rambo installments before checking out his 2019 adventure, but Last Blood is not smart or deep enough to require any background to follow along.

Sylvester Stallone is a favorite of mine. He's making bank these days playing tired, old versions of his classic characters, and generally I have no problem with that; however, Last Blood is so wholly constructed of over-used movie tropes, painful dialogue, and wooden acting that it's beyond saving. Laughable levels of carnage are elevated to beyond ridiculous by some of the most gruesome sound effects ever, and an over-abundance of weird extreme close-ups make the movie feel like a cheap soap opera. If there's one good thing to be said about Rambo: Last Blood (besides the fact Jaenada gets a fair bit of screen time), it's that the movie is mercifully short.

Rambo: Last Blood runs 89 minutes and is rated R for "strong graphic violence, grisly images, drug use, and language."

If you are totally invested in the Rambo series, or if you are totally invested in opportunities to see Oscar Jaenada on the big screen, Last Blood may be worth a trip to the cinema. If not, spend your ticket money on something that works harder to earn it. Of a possible nine Weasleys, Rambo: Last Blood gets three.

Fangirl points: Uh...did I mention Oscar Jaenada? Until next time...

MOVIE REVIEW: AD ASTRA

Thirty years ago, Clifford McBride led a voyage into deep space, but the ship and crew were never heard from again. Now his son -- a fearless astronaut -- must embark on a daring mission to Neptune to uncover the truth about his missing father and a mysterious power surge that threatens the stability of the universe.

Director: James Gray

Cast: Brad Pitt, Tommy Lee Jones, Ruth Negga, Liv Tyler, Donald Sutherland,

Release Date: September 20, 2019

Genre: Adventure, Drama, Mystery

Rated PG-13 for some violence and bloody images, and for brief strong language

Runtime: 2 h 3 min

Review:

Ad Astra answers a question nobody ever asked, what if Apocalypse Now and Solaris had a baby.  The answer is laid bare in beautifully filmed, poetic film that thinks subject matter is meatier than it actually is.  James Gray delivers an impressively filmed movie that’s filled with striking visuals that echo 2001 and Solaris on multiple levels.  It’s hard to not appreciate the level of craftsmanship even if the film moves at a snails pace with random bit of surprising violence.  To say that Brad Pitt carries the film would be an understatement.  Pitt delivers one of the best performances of his career with measured, thoughtful delivery.  While the film’s story has a big celestial basis, it’s a very much a personal story.  Unfortunately, the main crux of the film deals with daddy issues which seems like a theme that’s been beat into the ground.  It’s hardly a fatal flaw but do sort of wish that the story had something new or more meaningful behind it.  It still doesn’t take away from those few passing moment of Pitt and Tommy Lee Jones performing together in some incredibly moving and heartbreaking sequences.  Ad Astra is the type of film that will be remembered fondly by cinefiles but rarely revisited.


A-

Cindy Prascik's Review of It Chapter 2

Yesterday it was (finally) back to the cinema for It Chapter 2.

Spoiler level here will be moderate, nothing plot-related, but I'll offer one general thought that may be considered spoilerey. Forewarned is forearmed.

Nearly three decades after the events of Chapter 1, the Losers Club is called back to Derry to face off with their old nemesis.

It Chapter 2 is easily the weaker half of this iconic Stephen King tale, and stretching it to a bloated three-hour runtime did it no favors, though steady pacing keeps the movie from bogging down too much. Creature and gore effects are solid, and the de-aging process used on the youngsters from Chapter 1 didn't bother me, though it's been much maligned elsewhere. There isn't much scary about the film--even the cheap jump scares are too obvious to have much effect--but it is blessed with a talented, likable cast, fronted by Oscar nominee Jessica Chastain and Golden Globe nominee James McAvoy. McAvoy and the less-decorated Bill Hader are especially strong throughout. The kids from Chapter 1 are still solid, though with far less to do than in round one. Frankly, the adults are never quite as interesting.

On the strength of its cast and well-formed characters, It Chapter 2 works best when focused on people and relationships. The story of friendship, reconnecting, and redemption is a timeless one that never fails to engage; unfortunately, the horror/fantasy aspects just don't measure up, and even come off a bit laughable. Thanks to a few tweaks, this version of IT feels less melancholy than the original, and I fear it will fade from memory much more quickly.

It Chapter 2 clocks in at 169 minutes and is rated R for "disturbing violent content and bloody images throughout, pervasive language, and some sexual material."

Despite its many flaws, you'll still want to see the Losers Club through to the end with It Chapter 2.

Of a possible nine Weasleys, It Chapter 2 gets six. Until next time...

MOVIE REVIEW: HUSTLERS

Working as a stripper to make ends meet, Destiny's life changes forever when she becomes friends with Ramona -- the club's top money earner. Ramona soon shows Destiny how to finagle her way around the wealthy Wall street clientele who frequent the club. But when the 2008 economic collapse cuts into their profits, the gals and two other dancers devise a daring scheme to take their lives back.

Director: Lorene Scafaria

Cast: Constance Wu, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Cardi B

Release Date: September 13, 2019

Comedy, Crime, Drama

Rated R for pervasive sexual material, drug content, language and nudity

Runtime: 1 h 50 min

Review:

Hustlers is a surprisingly engaging film mixed with a strong undercurrent of feminism and female friendship.  Lorene Scafaria has crafted a film that’s funnier than it is dramatic at any point.  You can’t help but feel that there’s probably a deeper story in there somewhere and we only get to know the characters on their most basic levels. Still, it’s entertaining easy flowing film that’s more fun than it deserves to be.  Scafaria keeps the action moving at a steady pace never lingering too much on anything in particular, this makes some of the more superficial aspects of film brush off easier.  Constance Wu carries the film with ease while showing off a hefty bit of range as she goes all in with her character.  Her character isn’t the showiest role in the film but it’s the heart and soul of the film.  Jennifer Lopez does solid work here even though you get the distinct feeling that she’s just playing a version of her own personality in real life with a stronger tan.  Keke Palmer and Lili Reinhart are fun in supporting roles, unfortunately Julia Stiles is sadly underused.  Hustlers is the kind of crime dramedy just fun even if it’s not particularly deep.  

B

MOVIE REVIEW: IT CHAPTER TWO

Defeated by members of the Losers' Club, the evil clown Pennywise returns 27 years later to terrorize the town of Derry, Maine, once again. Now adults, the childhood friends have long since gone their separate ways. But when people start disappearing, Mike Hanlon calls the others home for one final stand. Damaged by scars from the past, the united Losers must conquer their deepest fears to destroy the shape-shifting Pennywise -- now more powerful than ever.

Director: Andrés Muschietti

Cast: Jessica Chastain, James McAvoy, Bill Hader, Isaiah Mustafa, Jay Ryan, James Ransone, Andy Bean

Release Date: September 6, 2019

Genre: Horror

Rated R for disturbing violent content and bloody images throughout, pervasive language, and some crude sexual material.

Runtime: 2 h 50 min

Review:

It Chapter Two has the unenviable task of trying to tie up the story started in the original film.  Much like the original novel and mini series adaptation the latter half of the story doesn’t quite have the pop or elegance of the first half of the story.  This sequel is bigger and has a more expansive mythology.  It has an impressive collection of big name actors as the grown versions of the Losers Club who all play their roles fairly well.  Still, as you sit through Andrés Muschietti’s nearly 3 hour opus you keep waiting for something amazing or truly terrifying to happen.  It never does as we go through a variety of side stories and back stories.  That’s not to say there aren’t any thrilling or mildly scary sequences because there are but the problem is that it all feels sort of routine leaving the film like a hodgepodge collection of horror tropes blended into a single film.  It’s never a bad film per say but it’s not a great film either.  The main issue is that the central villain is put on display much too often which makes each subsequent appearance less and less scary.  By the conclusion some of the moments come off as funnier as opposed to spine tingling, making it feel closer to a late era Nightmare on Elm Street which is fitting since there’s a visual nod to the 5^th film in that series.


B-

MOVIE REVIEW: READY OR NOT

Grace couldn't be happier after she marries the man of her dreams at his family's luxurious estate. There's just one catch -- she must now hide from midnight until dawn while her new in-laws hunt her with guns, crossbows and other weapons.

Director: Matt Bettinelli-Olpin, Tyler Gillett

Cast: Samara Weaving, Mark O'Brien, Adam Brody, Henry Czerny, Andie MacDowell

Release Date: August 21, 2019

Genre: Horror, Mystery, Thriller

Rated R for violence, bloody images, language throughout, and some drug use

Runtime: 1 h 35 min

Review:

Ready or Not is one of those film’s that just comes out of nowhere and just surprises in multiple ways.  It’s a great black comedy that’s consistently entertaining from start to finish.  While the basic premise seems incredibly basic, you can find plenty of nuance and texture in it’s dissection of the 1% and gender politics.  It’s never overly didactic because first and foremost it aims to entertain with over the top set pieces and genuine shocks.  Director’s Matt Bettinelli-Olpin & Tyler Gillett crafted a lean efficient thrill ride that’s incredibly fun.  Australian actress Samara Weaving delivers a star making turn as grace.  It would have been easy to play the character as a one dimensional but she adds multiple layers to her which makes her all the more engaging as she goes from frighten to fighting back.  The supporting cast is made up of a bevy familiar character actors along with Andie MacDowell being the biggest name in the whole thing.  Ready or Not feels like a mash up of Your Next and Clue while becoming a crazy special thing of it’s own.


A

Cindy Prascik's Review of Angel Has Fallen

Yesterday it was off to the pictures for Angel Has Fallen, the latest installment in Gerard Butler's Secret Service series.

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

Framed for an assassination attempt on the President, Secret Service agent Mike Banning is on the run for his life.

Angel Has Fallen jumps out of the gate with an intense action sequence and never much lets up. There are a few quiet moments that lay out the private life Agent Bannon has made for himself since last we saw him, but mostly this movie knows where its bread is buttered and keeps the car chases and explosions rolling. Gerard Butler is again serviceable in the lead, a meathead trying hard to look like something more but never quite getting there. The supporting cast is as good as it needs to be, but cringe-worthy dialogue and juvenile humor don't give it much to work with. Despite offering few surprises, Angel Has Fallen maintains tension and is, in places, very nicely filmed. It's a big, loud, end-of-summer romp that is likely to fade from memory before you're out the theater door. Angel Has Fallen clocks in at 121 minutes and is rated R for, "violence and language throughout."

Angel Has Fallen is a by-the-numbers actioner that doesn't exceed expectations, but maybe it doesn't need to.

Of a possible nine Weasleys, Angel Has Fallen gets six. Until next time...

MOVIE REVIEW: GOOD BOYS

Invited to his first kissing party, 12-year-old Max asks his best friends Lucas and Thor for some much-needed help on how to pucker up. When they hit a dead end, Max decides to use his father's drone to spy on the teenage girls next door. When the boys lose the drone, they skip school and hatch a plan to retrieve it before Max's dad can figure out what happened.

Director: Gene Stupnitsky

Cast: Jacob Tremblay, Brady Noon, Keith L. Williams, Molly Gordon, Lil Rel Howery, Will Forte

Release Date: August 16, 2019

Genre: Adventure, Comedy

Rated R for strong crude sexual content, drug and alcohol material, and language throughout - all involving tweens

Runtime: 1 h 29 min

Review:

Good Boys is one of those comedies that pops up every now and then, much in the same vein of Superbad and this year’s Booksmart.  There are similarities to those films but moving the age range down gives its own sense of character and innocence that’s missing from the high school comedies.  Gene Stupnitsky directs his film at a brisk pace letting the jokes shoot by at a dizzying pace.  The script is sharp even if it’s not groundbreaking, the jokes work nearly from start to finish.  The pace of the film never lets anything lingers too long so any jokes that miss don’t hang around long.  The cast is likeable and all three boys share solid chemistry across the board.  Jacob Tremblay is clearly the most talented of the three but Brady Noon and Keith L. Williams more than carry their own weight.  Their delivery of the script is incredibly naturalist and authentic which really helps the film particularly since the film has a hefty amount of heart behind its racy exterior.  Good Boys ultimately has a lot going for it but more than anything it’s genuinely funny with a sweet message behind it.   

B+

Cindy Prascik's Review of Blinded By the Light

This weekend my cinema choice, among a glut of new offerings, was Blinded By the Light.

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

Inspired by the music of Bruce Springsteen, a young Pakistani-British man tries to follow his dream of being a writer, against his traditional father's wishes.

Blinded By the Light marks the third (that I'm aware of?) music-inspired, hope-inspiring movie of 2019, and its beautiful message of perseverance, respect, and acceptance feels like just what the world needs right now.

Blinded By the Light tackles tough subjects like racism and the austerity of mid-80s Britain with humor and charm. Newcomer Viveik Kalra is an engaging lead, always sympathetic even in his worst moments; however, it's Aaron Phagura who really lights up the screen as the friend who introduces our hero to *his* hero, Mr. Springsteen. The two together are a joy to watch! Springsteen tunes and some other choice nuggets provide a nostalgic soundtrack that, along with spot-on costumes and hair, really captures both the ups and downs of the 80s. In these challenging times, it's beautiful to see how universal art really is.

Blinded By the Light runs 117 minutes and is rated PG13 for "thematic material and language, including some ethnic slurs."

Blinded By the Light is an endearing film that highlights the power of music. In our troubled times, it is just what the doctor (or the Boss?) ordered.

Of a possible nine Weasleys, Blinded By the Light gets nine.

Fangirl points: I see you, Duran Duran poster! Until next time...