MOVIE REVIEW: CAPONE

Chronicling the final days of notorious gangster Al Capone as he succumbs to dementia and relives his past through tormenting memories.

Director: Josh Trank

Cast: Tom Hardy, Linda Cardellini, Jack Lowden, Noel Fisher, Kyle MacLachlan,  Matt Dillon

Release Date: May 12, 2020

Biography, Crime, Drama

Rated R for strong/bloody violence, pervasive language and some sexuality

Runtime: 1 h 43 min

Review:

Capone, a messy misfire, makes Josh Trank’s first film Chronicle look like beginner’s luck more than signs of greatness.  Trank has a ripe bit of story that could have been genuinely interesting and a game star but what he delivers is a messy and boring film that never takes advantage of any of it.  Instead we get a film where Tom Hardy where he’s buried under horrible zombie like make up as he uses an interesting voice inflection before he devolves into communicating through grunts.  Adding into the strangeness, Hardy is given two occasions to sing because why not.  The supporting cast tries their best to do what they can with their roles but it’s a lost cause as this relatively short film feels incredibly long.  Those hoping there’d be some sort of deep dive into Capone’s madness or even his past will be left disappointed.  There’s a scene early on in the film with Hardy’s Capone loses his bodily functions while sleeping, it’s an apt statement about the film in general.


D

Cindy Prascik's Review of Bloodshot

This week's home cinema offering, Bloodshot, features Vin Diesel as a fallen soldier reanimated with enhanced abilities.

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

Bloodshot actually hit my theater a week or two before the Great Shutdown of 2020, but for some reason I didn't make it out, despite my great love of Vin Diesel. I think "for some reason" may be that the movie just didn't look all that good, but I'm pleased to report it's not as bad as I'd feared.

Despite the whole "enhanced abilities" thing, Bloodshot isn't really a superhero movie. If a franchise ensues (as I understand is the intent), it may become that, but it's not there yet. That's neither good nor bad, but in the interest of full and fair disclosure it's worth noting. Vin Diesel is quite good, and the role is a good fit for him. It's nothing too challenging or too different from his usual fare, but there's something to be said for knowing your strengths and sticking with them. Bloodshot is violent, but not overly gory, and sometimes goofy enough to undermine itself. The movie features well-paced action, a likable cast, and nifty effects, an entertaining enough bit of fluff despite its lack of originality.

Bloodshot runs 109 minutes and is rated PG13 for "intense sequences of violence, some suggestive material, and language."

Even in a crisis-free world, Bloodshot was never going to set the world on fire, but it's a solid enough precursor to the usual summer slate of superhero fare.

Of a possible nine Weasleys, Bloodshot gets six and a half.

Until next time...stay safe and sane, dear reader(s)!

MOVIE REVIEW: VALLEY GIRL

A valley girl and a punk rocker from the city defy their parents and friends to stay together.

Director: Rachel Lee Goldenberg

Cast: Jessica Rothe, Josh Whitehouse, Mae Whitman, Judy Greer

Release Date: May 8, 2020

Genres: Comedy, Musical, Romance

Rated PG-13 for teen partying, language, some suggestive material, and brief nudity

Runtime: 1h 42min

Review:

The Valley Girl remake, much like the Hairspray remake before it, takes a beloved 80s cult classic and sprays a fresh coat of gloss and glitter to deliver a fizzy and nostalgic candy coated pill.  Rachel Lee Goldenberg is respectful of the original but it’d be fair to call it more of a spiritual remake than a straight up remake.  The original captured a specific moment in time and Nic Cage’s first real introduction to the world with all his general weirdness on full display.  This remake drops all that and goes super colorful with rose colored glasses of nostalgia.  A new framing sequence explains the jukebox musical element early on letting the filmmaker go all in with their conceit.  The musical sequences are all well choreographed with one near the middle truly shining with three separate 80s jams going back and forth.  Jessica Rothe sits firmly at the center of this film and she’s always the most interesting person on screen.  She just has an innate magnetism that shines through every sequence much like her work in Happy Death Day.  Rothe drives the film and makes a solid on screen couple with Josh Whitehouse who looks like a tall Great Value Robert Pattinson.  He’s charming and charismatic enough to work for this film but those yearning for Nic Cage’s take will be disappointed.  Mae Whitman gives a nice supporting turn even if her character is both superfluous and underused.  Ultimately, if you love the original you’ll probably enjoy this one since it’s different enough to enjoy on its own.   On its own accord it’s a fun little film that’s got the caloric value of a donut. 

B

Cindy Prascik's Review of Endings, Beginnings

Ahhh...dear reader(s)...two weeks in a row!

Beginning to feel like old times again, eh? To anyone new to my reviews, I apologize. It must seem like I don't like any movies. On the contrary, historically I've been a little too easy to please at the cinema, but...well...it feels like a very long time since I've seen a good movie. I am sorry to say the unlucky streak continues with Endings, Beginnings.

Spoiler level here will be mild, very little you wouldn't know from the trailers.

After a hasty decision leaves her jobless and homeless, a young woman attempts to get her life back on track.

Endings, Beginnings is a "finding yourself" movie. Kinda like Wild, but younger and with less pooping in the woods. Our heroine, Daphne (portrayed by Shailene Woodley), is the stereotypical screwed-up millennial, constantly attempting to rebound from poor life choices, with just enough visible ink and piercings to make your mom roll her eyes if she's watching this with you. (Spoiler Alert: Unless your mom is cool with people having sex on the kitchen counter, don't let her watch this with you.)

A problematic lead requires skilled handling.  With vile characters, it's up to the filmmakers to convey their loathsomeness without making a movie everyone hates. With troubled characters like Daphne, it's up to the filmmakers to earn them the viewer's support on their journey. While I think a person's tolerance for such troubled characters may reflect their own experiences (it's no fun having a Daphne in your life), this film doesn't do much to get you on her side, either. Woodley could play this role in her sleep, but lingering shots of her sobbing and staring out the window will hardly be the highlight of her sizzle reel. The traumatic event and subsequent decisions that leave Daphne where we find her at the beginning of the film — unemployed and living in her sister's pool house — are serious, yet the movie never quite distances them from what we're lead to believe is Daphne's history of pointlessly sketchy choices. We're meant to buy into Daphne's attempts at personal growth and redemption over the course of the film, yet (minus any spoilery specifics) the picture ends with her making an extremely selfish decision, weakly disguised as her finally having grown up. It's beyond offensive; it's repulsive.

Endings, Beginnings has a nice supporting cast, with Wendy Malik and Kyra Sedgwick in small roles as Daphne's mother and mother-like figure, and Jamie Dornan (using his real Irish accent... *swoon*) and Sebastian Stan as Daphne's potential suitors. At risk of sounding like a broken record, I think Sebastian Stan is the finest actor of his generation, and it's a shame he seldom gets a project that lets him flex more than the Winter Soldier's metal bicep. He turns in some nice work here, as does Dornan, but, really, the characters are paper dolls and there just isn't much to work with. (Broken Record II: Please check out the short-lived TV series Kings, available for streaming or download from all the usual places. Stan is magnificent in it.)

Petty annoyances: In addition to the many (MANY) overlong shots of Daphne crying herself to sleep and moping over her "suffering" Spotify playlist, Endings, Beginnings also repeatedly features dialogue overlapping the scene where it was spoken, but out of synch with the visual. I think it was supposed to be artistic. I've seen it work in other movies. Here it’s off just enough to look like someone messed up the editing. There's a New Year's Eve party with a "2019" balloon clearly visible in the background, but our hipster heroine is wearing a gold lame dress that looks like it barely escaped a 1986 prom with its life. Like the aforementioned Wild, which featured the abominable line, "I'm not even in the driver's seat of my own life!" Endings, Beginnins offers this nugget: "I don't think you understand who's next in line to be loved by you. It's YOU." (*shoots self in head*)  If you, dear reader(s), will forgive my bringing Woodley's Big Little Lies co-star Reese Witherspoon into play yet again, Endings, Beginnings is a little like a miserable version of This Means War.

Endings, Beginnings clocks in at 110 minutes and is unrated. In the absence of official MPAA guidelines, please be warned of graphic language, semi-graphic sex, alcohol and drug use, and pretty much non-stop smoking.

Endings, Beginnings offers solid evidence that sometimes people who try to "find themselves" should just stay lost. Of a possible nine Weasleys, Endings, Beginnings gets four.

Until next time...

(PS: I double-checked our web page, and the last good movie I saw was the Gentlemen on January 25th. Yikes.)

MOVIE REVIEW: UNDERWATER

Disaster strikes more than six miles below the ocean surface when water crashes through the walls of a drilling station. Led by their captain, the survivors realize that their only hope is to walk across the sea floor to reach the main part of the facility. But they soon find themselves in a fight for their lives when they come under attack from mysterious and deadly creatures that no one has ever seen.

Director: William Eubank

Cast: Kristen Stewart, Vincent Cassel, Jessica Henwick, John Gallagher Jr., Mamoudou Athie, and T.J. Miller

Release Date: January 10, 2020

Genres: Action, Drama, Horror

Rated PG-13 for sci-fi action and terror, and brief strong language

Runtime: 1 h 35 min 

Review:

Some films pull inspiration from classics while others unabashely rip elements from them and while repackaging them with enough variety to keep them legally clear.  Underwater is a classic example of the latter.  It's not a terrible movie, director William Eubank delivers some impressive set pieces builds suspense throughout, but anyone who's ever seen Ridley Scott's Alien will notice some striking similarities.  The setting changes from space to underwater but the it all feels very familiar even if you don't get a chest busting or cat rescue sequence.  Eubank doesn't seem to care if you notice all the cross contamination so he just runs with it like a modern day Roger Corman.  The film taken on it's own rights is decent enough even if everything feels fairly routine and predicable.  The cast of character's runs the gamut of disposable fodder with each meeting a predictable although occasionally gruesome fate.  Kristen Stewart leads the film as quietly as humanly possible, her character isn't all that interesting but then again nobody else is either.  The rest of the cast is made of recognizable faces who do their best to give their characters some meat even though they all written in terribly one dimensional fashion.  The film does excel in creature design and setting, using both to maximum effect.  It keeps the film engaging during it's lean 95 minute run time while making the equivalent of cinematic sci-fi fast food.

C+

Cindy Prascik's Reviews of Extraction & The True History of the Kelly Gang

My dear reader(s), I hope you are keeping well — physically and mentally — in these strange, strange times.

Following a prolonged and entirely unintentional hiatus, yesterday I attempted an at-home double-bill, just I like I used to do at the cinema except the popcorn's not as good and nobody's kicking the back of my seat.

On yesterday's agenda, the Netflix original Extraction and the True History of the Kelly Gang.

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

First up: Extraction.

When a drug lord's son is kidnapped by a rival kingpin, a troubled mercenary is his only hope of survival.

Extraction is a serviceable thriller that's heavy on fighting, chasing, and bleeding, and light on surprises. The movie trades on the fact that most of us probably *would* trust Chris Hemsworth with our lives, making it less insufferable than it could have been, despite its not quite earning its runtime. If Hemsworth is a guy that brings you to the movies, you won't be disappointed; this is definitely his movie. Inhabiting broadly-drawn characters, supporting players are neither good nor bad enough to make a lasting impression. (But if there's an award for obviousness, please hand it to David Harbour now.) By-the-numbers fight scenes are likewise fine but unremarkable, peppering a seemingly endless race to the finish. There's been a bit of buzz about the single(ish)-shot chase scene, but all its technical prowess couldn't keep me from longing for its eventual end, while predictable twists and redundant action diminish the plot's high stakes. Outside an eyeful of Hemsworth, Extraction's high points for me were unintentional (probably?) nods to Gladiator and Crocodile Dundee II, but, you know, desperate times and all.

Extraction clocks in at 116 minutes and is rated R for "strong bloody violence throughout, language, and brief drug use."

Like Triple Frontier before it, Extraction proves that Netflix can play the action game with the big boys. Like Triple Frontier before it, Extraction also makes one wonder if that's a game worth playing anymore.

Of a possible nine Weasleys, Extraction gets five and a half.

Next on the docket, the True History of the Kelly Gang.

The maybe-sorta-kinda-trueish story of Australian outlaw Ned Kelly.

It's imperative that I preface what follows with a disclaimer: No matter what I want or expect of a movie, and no matter how far from that it may land, I always try to keep an open mind and give it a fair shake. That being said...

Y'all know I watched this movie for Charlie Hunnam, right? If you're thinking of paying for this film expressly to see Charlie, here's the scoop: Charlie's not in it a lot, but there's a lot of Charlie in it. His character is relevant only to the first 30-or-so minutes, and after that it's a whopping 90 minutes of Charlie-less movie. Forewarned is forearmed.

1917's George MacKay headlines this biopic, following the infamous Ned Kelly from his horrifying childhood through his brief, criminal, adult life. MacKay was nothing short of brilliant in 1917, and he's equally so here, though the material is less impressive. Russell Crowe is great, as usual, in a small but pivotal role. The True History of the Kelly Gang plods along at a snail's pace, making it seem very long indeed. Punk musical stylings and trippy, strobe-lit frames underscore Kelly's unhinged descent into violent, unlawful behavior. The movie sometimes seems to shock just for shock's sake, with vile language, grotesque violence, and uncomfortable situations. I don't flinch from any of the above when necessary and deftly handled, but here they're only sometimes the former and never the latter. Ultimately, the movie serves as a nice showcase for MacKay's talent, but has little else to recommend it.

The True History of the Kelly Gang runs 124 minutes and is rated R for "strong violence throughout, bloody images, pervasive language, sexual content, and some nudity."

The True History of the Kelly Gang features strong performances, but it struggles with the complexity of an anti-hero that history both loves and hates. Of a possible nine Weasleys, the True History of the Kelly Gang gets five.

Until next time, dear reader(s), please keep yourselves safe and well, and I'll hope to see you at the cinema soon!

MOVIE REVIEW: EXTRACTION

A black-market mercenary who has nothing to lose is hired to rescue the kidnapped son of an imprisoned international crime lord. But in the murky underworld of weapons dealers and drug traffickers, an already deadly mission approaches the impossible.

Director: Sam Hargrave

Cast: Chris Hemsworth, Rudhraksh Jaiswal, Pankaj Tripathi, Randeep Hooda, Golshifteh Farahani, Suraj Rikame,  David Harbour

Release Date: April 24, 2020

Genres: Action

Rated R for strong bloody violence throughout, language and brief drug use.

Runtime: 1 h 56 min 

Review:

Extraction bare bone action plot could have resulted in a big dud had it not been for the impressive direction from Sam Hargrave and a subdued but effective performance from Chris Hemsworth.  Sam Hargrave's seems fully aware that the story is a retread so he doesn't try to make it anything more than it is.  As such, he focuses on building impressive action set pieces that deliver a visceral punch.  These sequences pepper the film and they are the beating heart of the whole film.  The action is fast bloody and thoroughly enjoyable.  Is it a smart film, no far from it but it never pretends to be either.  At its heart the film is a body count shoot up in the vein of 80's classics like Commando or Rambo. Chris Hemsworth is ready made for this kind role and he delivers a strong but understated performance that's strong enough to keep his character interesting even if he's just fairly one dimensional.  The supporting characters are sparse with Rudhraksh Jaiswal getting the most screen time but his character doesn't have much depth.  David Harbour pops in for a quick second but he's gone before you know it adding very little to the film overall.  That's not to say anything about his performance because he's hardly phoning it but the film is just as bare bones as they come.  Hargrave's wants to deliver a sleek actioneer and he does so with impressive aplomb.  

B

MOVIE REVIEW: SONIC THE HEDGEHOG

The world needed a hero -- it got a hedgehog. Powered with incredible speed, Sonic embraces his new home on Earth -- until he accidentally knocks out the power grid, sparking the attention of uncool evil genius Dr. Robotnik. Now, it's supervillain vs. supersonic in an all-out race across the globe to stop Robotnik from using Sonic's unique power to achieve world domination.

Director: Jeff Fowler

Cast:  Ben Schwartz (voice), Jim Carrey, James Marsden, Tika Sumpter, Natasha Rothwell, Adam Pally, Neal McDonough

Release Date: February 4, 2020

Genres: Comedy/Family

Rated PG for action, some violence, rude humor and brief mild language.

Runtime: 1h 39 min 

Review:

Sonic the Hedgehog is one of those family film's that's not just inoffensive but it does so aggressively.  That's not to say it's a bad film because it's not but it's so light and inconsequential that's it's liable to float away at any moment.  Jeff Fowler does pull an impressive magic trick, delivering a video game adaptation that actually works even though the game itself is incredibly light on plot to begin with.  The script is fun but safe all around with Ben Schwartz delivering a likable turn as the titular animated hedgehog.  Sonic isn't annoying for the majority of the film, instead the script treats him like an over caffeinated toddler.  James Mardsen gets straight man duty to Schwartz animated character and he does what he can with the role.  The real star of the show though has to be Jim Carrey who rediscovers his 90s comedic energy.  His Dr. Robotnik is like a long lost In Living Color character from Carrey's formative days.  Its a treat for the audience and you can tell he's having a ball really going all out again.  The film as a whole is perfect for the kids even though the adults might feel it start to drag near the end even with it's brisk runtime.

B-

MOVIE REVIEW: TROLLS WORLD TOUR

Poppy and Branch discover that there are six different troll tribes scattered over six different lands. Each tribe is also devoted to six different kinds of music -- funk, country, techno, classical, pop and rock. When rockers Queen Barb and King Thrash set out to destroy the other music, Poppy and Branch embark on a daring mission to unite the trolls and save the diverse melodies from becoming extinct.

Director: Walt Dohrn

Cast: Anna Kendrick, Justin Timberlake, James Corden, Kunal Nayyar, Ozzy Osbourne, Zooey Deschanel, Rachel Bloom

Release Date: April 10, 2020

Genres: Animation, Adventure, Comedy

Rated PG for some mild rude humor

Runtime: 1h 34min

Review:

Trolls World Tour is a fizzy lighthearted follow up to the original film.  The scope of the film expands even if the story is simpler than the first go around.  This entry is brighter and more energetic than the first and its chalk full of jukebox sing a longs that’s sure to get your toes tapping.  Walt Dohrn’s direction keeps the story moving at a swift pace which keeps the film from dragging for the most part.  Anna Kendrick and Justin Timberlake both ease back into their roles easily while newcomers like Kelly Clarkson and Ozzy Osborn fit right end with their particular musical genres.  There are plenty of musical jokes that are aimed more at the parents than the kids which gives everyone something to enjoy.  Rachel Bloom is solid if underdeveloped as the defacto villain.  The story doesn’t really give you a ton of information or backstory on her character so she mostly works as a function of a story telling tool.  Overall, the story overcomes some of it short comings by carrying a sweet message in an easy to like package. 

B

Cindy Prascik's Review of The Courier

Greetings, movie fans!

As COVID_19 Rules kept me confined to my own four walls on the High Holy Day of Gary Oldman's birthday last Saturday, I celebrated by watching the only Gary project I hadn't seen already, The Courier. I must say, his birthday deserved better.

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

A London courier finds herself at the center of a plot to assassinate a valuable witness.

Gary Oldman is no stranger to taking sketchy projects for the paycheck; this is a well-documented fact. With an Academy Award under his belt (if you think it's ever NOT going to be mentioned, you're mistaken), I am equally impressed and disappointed that he still doesn't mind tackling a script that leaves me wondering how it ever got past his agent. The Courier is so very bad from the outset, I kinda wonder how it got past *anyone's* agent.

The Courier lays its groundwork broadly, through news clippings shown over the opening credits. Following is such a by-the-numbers outing that it's not only easy to guess every twist and turn, but I caught myself saying dialogue out loud before the characters did. (The beauty of home viewing, I guess?) Though the stakes are high, there's nary a hint of tension; it's that predictable. The film is as violent as you might expect, with plenty of up-close beatings and kills for your viewing "pleasure." Transitions among three primary locations — New York City, London, and Washington, DC — are choppy and awkward, and the acting can only be described as Shatner-esque. Gary gets a fair bit of screen time, though not nearly enough to make it worth enduring the rest. Two weird things that worked my nerves worse than the rest: the young woman who had her handbag on her arm at all times, even though she was mostly just walking around her house, and the guy who appeared to be channeling (poorly) Stansfield, Gary's character in 1994's The Professional.

The Courier clocks in at 99 minutes that feel like 99 years.  It is rated R for "strong violence, including bloody images, and language throughout."

Hollywood has already been trending towards the quicker release of bigger and better films for home viewing, and the current health crisis is only hastening that trend. Let's hope it will soon let movies like The Courier be mercifully lost in the shuffle.

Of a possible nine Weasleys, the courier gets one, for my Gary.

Until next time, stay well movie fans!

Cindy Prascik's Review of Spenser Confidential

Well, hey there. Remember me? It's been awhile. As yet another weekend has gone by without time for a visit to my poor, neglected local cinema, I decided to give the Netflix original Spenser Confidential a try, just so I'd have something for you — yes, YOU, dearest reader(s) - to read about.

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

Upon his release from prison, a disgraced ex-cop steps right into a mystery that threatens not only his freedom, but his life.

Spenser Confidential is hardly gritty realism, but it's not quite as comical as I expected, either. Neither keeps it from being an entertaining ride, but sometimes it feels a bit tonally unsettled.

Mark Wahlberg is perfectly capable in the lead, as well he should be; this is basically the same not-as-dumb-as-he-looks tough guy he's played dozens of times before. No surprises, no complaints. Winston Duke is a treat as his more subdued sidekick, and the movie is, of course, better for having the brilliant Alan Arkin.

Spenser Confidential kicks off to the strains of Boston's Foreplay/Longtime, in what may be the most effective use of a dinosaur rock classic in a film since Kingsman's Freebird church massacre. Following are some fisticuffs, a chase scene or two, the standard troubled love affair, and a decent number of excuses for Wahlberg and Duke to appear shirtless. The movie gets funnier as it goes along, building to a ridiculous climax that starts out a little like a poor man's Fast & Furious. Ultimately, Spenser Confidential is the film equivalent of comfort food: it's pretty basic and not at all challenging, but you won't mind because it's exactly what you want and expect.

Spenser Confidential clocks in at 111 minutes and is rated R for "violence, language throughout, and sexual content."

If you're tired of worrying about everything going on in the real world right now, Netflix' Spenser Confidential is a great escape. Of a possible nine Weasleys, Spenser Confidential gets six.

Until next time...let's hope there is a next time.

MOVIE REVIEW: THE HUNT

Twelve strangers wake up in a clearing. They don't know where they are -- or how they got there. In the shadow of a dark internet conspiracy theory, ruthless elitists gather at a remote location to hunt humans for sport. But their master plan is about to be derailed when one of the hunted, Crystal, turns the tables on her pursuers.

Director: Craig Zobel

Cast: Betty Gilpin, Ike Barinholtz, Emma Roberts, Hilary Swank, Ethan Suplee, Sturgill Simpson

Release Date: March 13, 2020

Action, Horror, Thriller

Rated R for strong bloody violence, and language throughout.

Runtime: 1 h 29 min

Review:

The Hunt is every bit as stupid as it looks and that’s not necessarily a bad thing.  It’s over the top Twitter political comment fight come to gruesome life is goofy and ham handed.  A bit of subtleness would have made this film just a tad bit more meaningful but as it’s an Itchy and Scratchy cartoon come to life.  In the first few minutes you sense every strand of it’s Grindhouse origin, it owes a lot to the 80s splatterfest Turkey Shoot.  Taken in that context, it’s a fun lark with a goofy but fun script.  Craig Zobel and his cast all have their tongue firmly in cheek so it’s never overly serious which lets all the blood and gore play as funny.  The cast, especially at the beginning, is made of a round table of familiar faces from TV but don’t get to attached to anyone because only a few are long for this brisk film’s runtime.  At it’s center is Betty Gilpin who carries the whole film with her wonderful turn which will remind people of Samara Weaving in last years Ready or Not and Sharni Vinson in Your Next.  It’s a fun performance that makes you look past the fact that her character is a murder machine in a Victoria Secret body.  It’s nothing new for Gilpin whose mastered that type of dichotomy in Netflix’s GLOW but here she can just go all out and have fun.  There’s no subtlety to this film and you’ll probably enjoy it more than you’d willingly admit.


C+

MOVIE REVIEW: ONWARD

Two teenage elf brothers, Ian and Barley Lightfoot, go on an journey to discover if there is still a little magic left out there in order to spend one last day with their father, who died when they were too young to remember him.

Director: Dan Scanlon

Cast: Tom Holland, Chris Pratt, Julia Louis-Dreyfus, Octavia Spencer

Release Date: February 29 2020

Genres: Animation, Adventure, Comedy

Rated PG for action/peril and some mild thematic elements

Runtime: 1h 42min

Review:

Onward is a fine addition to the Pixar catalogue even if it’s not quite a classic.  Dan Scanlon does some solid work with a fun bit of world building using all types of D&D creatures.  It makes for a fun journey through this gentrified mystical world.  Most scenes are full of gags and jokes making it a rich and vibrant world.  At its center are Tom Holland and Chris Pratt who both are perfectly suited for their roles.  They work well together and really give the film its heart which drives the whole thing.  Julie Louis-Dreyfus and Octavia Spencer have a fun buddy comedy side story going which makes the film even more enjoyable.  The story itself is fairly basic even though there is a healthy bit of heart in it.  While there is plenty to appreciate all around, the film is kind of forgettable.  Pixar films are usually so memorable when one doesn’t quite leave a lasting impression you are left wondering why it didn’t work as well as it should have.  That’s not to say that Onward is a total misfire, because it’s not, but just that it didn’t quite reach the level of Pixar’s prestigious back catalogue. 

B

MOVIE REVIEW: IMPRACTICAL JOKERS: THE MOVIE

Impractical Jokers: The Movie is a 2020 American reality comedy film directed by Chris Henchy, based on the truTV television series Impractical Jokers'. The film stars Brian Quinn, James Murray, Sal Vulcano and Joe Gatto, also known as The Tenderloins

Director: Chris Henchy

Cast: Brian Quinn, James Murray, Sal Vulcano,  Joe Gatto

Release Date: February 21, 2020

Genres: Comedy

Rated PG-13 for suggestive content, language, some drug references and brief nudity

Runtime: 1h 33min

Review:

Chances are that if you are sitting in the theater having paid to watch something called Impractical Jokers: The Movie your already a fan of the show.  If not, it's a random thing to pay to watch but that doesn't mean it can't be enjoyed.  The movie much like the show is a series of challenges among the four friends with the film adding in a wafer thin plot to the proceedings.  The "story" is probably the weakest part of this whole endeavor and ultimately it feels superfluous.  This whole concept works because the guys are likable goofs who are constantly ribbing each other during the challenges.  The challenges themselves are funny but they really don't feel like anything special that would demand the big screen treatment.  As is, this feels more like a super sized extended episode.  It'll probably make fans happy and confused at the same time since you'd expect something a bit bigger for the big screen.  As is, this doesn't quite reach the heights of something like the Jackass Movies which took the show and amplified to the tenth power.     

C+

MOVIE REVIEW: THE INVISIBLE MAN

The Invisible Man is a 2020 science fiction horror film written and directed by Leigh Whannell. A contemporary adaptation of the novel of the same name by H. G. Wells and a reboot of The Invisible Man

  

Director: Leigh Whannell

Cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Oliver Jackson-Cohen

Release Date: February 28, 2020

Genres: Horror, Mystery, Sci-Fi

Rated R for disturbing violence, some bloody images, language and brief nudity

Runtime: 2h 5min

Review:

The opening of The Invisible Man might give you flashback of Julia Roberts' very 90s thriller Sleeping with The Enemy.  Leigh Whannell sets the stage nicely for the this reboot which changes the basis of the story, making it timely and effective.  Whannell shows a talent for crafting impressive shots that create tension without falling back on cheap jump scares, even though there are a handful of those.  The film is a slow burn and it at its best during the first two thirds of the film.  During that time, the pervasive and ever present sensation of being watched is ever present on Elisabeth Moss's character.  Moss, whose mastered playing frayed tortured woman, is perfectly suited for the role. Her performance carries the film making it far more impactful than it would have been in lesser hands.  She's always the most interesting thing on screen which is an impressive task considering she's reacting to nothing for the better part of the film.  Aldis Hodge is strong in a supporting role even though you are left wishing he'd been given a bit more to do.  Thematically the story works as a horror show for the women who've been abused or stalked but it's final act suffers a bit as the sci-fi portion of the story is resolved.  The final showdown is predictable from the start, so much so that you wish Whannell had played a bit more with the main character's state of mind. A bit more ambiguity would have given the film even more impact but still you have to respect how well this reboot pull off the 90s thriller vibe. 

B+

MOVIE REVIEW: THE LODGE

During a family retreat to a remote winter cabin over the holidays, the father is forced to abruptly depart for work, leaving his two children in the care of his new girlfriend, Grace. Isolated and alone, a blizzard traps them inside the lodge as terrifying events summon specters from Grace's dark past.

Director: Veronika Franz, Severin Fiala

Cast: Riley Keough, Jaeden Martell, Lia McHugh, Alicia Silverstone, Richard Armitage

Release Date: February 7, 2020

Genres: Fantasy, Drama, Horror, Thriller

Rated R for disturbing violence, some bloody images, language and brief nudity

Runtime: 1h 48min

Review:

The Lodge is the kind of horror film that constantly reminds you of other better films while it struggles to find its own identity.  Veronika Franz and Severin Fiala mines films like The Shining, The Others and even bits of Hereditary.  The film is visually impressive with several shots leaving a lasting impression.  The mood and general feel is ominous and oppressive, the fact that they maintain it for the better part of the film’s runtime is fairly impressive.  The performances are all strong across the board.  Alicia Silverstone kicks of the film with a strong performance that leaves an impression and definitely sets the mood for the rest of the film.  That being said this is truly Riley Keough’s film.  Her performance here is avsubtle but measured decent into madness.  Jaeden Martell and Lia McHugh turn in solid supporting performances with neither ever breaking into annoying child actors syndrome.  If the film has an issue it’s that the air of mystery that’s prevalent during the first two thirds of the film should have been maintained longer into the final act since the reveal takes a bit of a steam out of the film.  A bit more ambiguity would have served the better and made it a truly special entry into the horror genre.

B

MOVIE REVIEW: DOWNHILL

A woman starts to have second doubts about her husband after he runs away from an approaching avalanche, leaving her and their two sons behind.

Director: Nat Faxon

Cast: Julia Louis-Dreyfus, Will Ferrell, Miranda Otto, Zoë Chao, Zach Woods

Release Date: February 14, 2020

Genres:  Comedy, Drama

Rated R for language and some sexual material

Runtime:  1h 26min

Review:

Downhill is an oddly frustrating movie when you consider players involved.  This remake of the Swedish film Force Majeure, a film I've heard of but haven't seen, is intriguing in parts but never maintains any momentum to tell a meaningful story.  It's a rare feat that a film can feel both rushed and slow at the same time.  Nat Faxon's film screams like it should be worlds better than it ultimately is and he directs it with a steady hand, taking full advantage of the lovely locale.  Julia Louis-Dreyfus and Will Ferrell are solid together even Ferrell feels miscasted in as the family patriarch.  Dreyfus does get a few chances to show off her range, showcasing her dramatic chops while still nailing her comedic timing.  Zach Woods and Zoë Chao fun in limited roles while Miranda Otto seems to be having the most fun out of the entire cast.  Still the whole thing never connects on a emotional level the way it should, the story and meaning all feeling glossed over.  

C+

Cindy Prascik's Reviews of Birds of Prey & The Last Full Measure

Despite the first real blast of winter rolling through my area this weekend, I was able to slip out to the cinema for Birds of Prey and the Last Full Measure.

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

First on my agenda, the film with the unnecessarily awkward and misleading name, Birds of Prey and the Fantabulous Emancipation of One Harley Quinn.

Following her breakup with the Joker, Harley Quinn struggles to make her way on her own.

Birds of Prey and the Fantabulous Emancipation of One Harley Quinn is misnamed in that it is mostly about Harley Quinn and hardly at all about the Birds of Prey, who pop up only sporadically throughout and not until the very end as a unit. Margot Robbie clearly is having the time of her life as Harley, as is Ewan McGregor as the film's psychotic big-bad. The rest of the cast is unremarkable, outside of Mary Elizabeth Winstead, always a rose even among thorns. Birds of Prey doesn't look half as good as the Gotham TV series as far as its production design and overall appearance and atmosphere, but there are a couple exceptional set pieces, particularly the climactic battle in a fun house. The movie makes great use of some popular tunes and features terrific score by Daniel Pemberton.

On the negative side, Birds of Prey is unrelentingly foul in both language and content. I'm a grownup and grownup content doesn't put me off, but the movie tries to shock for shock's sake and that's just boring. I find the character of Harley Quinn rather annoying, and this portrayal hasn't done anything to endear her to me. Much like the Minions--who are the best part of any Despicable Me movie but couldn't effectively carry a whole movie--a little Harley goes a long, long way. "Fun" is the word I've most often heard used to describe Birds of Prey, which for me frequently is code for, "It isn't very good but I liked it anyway." I can definitely see why people like this movie, despite it's not being particularly well done, and I'm grateful that solid reviews and good word of mouth should make it a win for DC, regardless of a (so far) sluggish box office.

Birds of Prey and the Fantabulous Emancipation of One Harley Quinn clocks in at 109 minutes and is rated R for "strong violence and language throughout, and some sexual and drug material."

While Birds of Prey and the Fantabulous Emancipation of One Harley Quinn is built of some great pieces, the whole is too dark to be fun and too silly (bordering on downright stupid at times) to be properly dark. Of a possible nine Weasleys, Birds of Prey gets six.

Next on the docket, the Last Full Measure.

A hotshot government lawyer is assigned (against his will) to review the case of an airman killed in Vietnam, whose brothers in arms are convinced he was wrongfully denied the Medal of Honor.

First and foremost, I would like to give props to my local theater for getting this movie. Even though the film is in wide-release, there doesn't seem to be much buzz around it and I was certain it would pass right by my small town. So, thank you, Marquee Cinemas, for screening the Last Full Measure.

Onward to the movie, beginning where regular reader(s) will expect: with Sebastian Stan. I've said it before and I'll undoubtedly say it again (and again): Sebastian Stan is the finest actor of his generation, and one of the finest actors I've ever seen. If you only know him as a Marvel guy, you are really, really missing out. (Shameless plug: Please check him out in the short-lived series Kings, which you can watch for free on the NBC app.) As a longtime fan, you can bet I was as proud as his mama to see his name at the top of the credits, his first real big-screen lead. This role hardly taxes his talent, but his character is the film's backbone and he serves it well. Most of the acting heavy lifting is left to the older cast members: Samuel L. Jackson, Ed Harris, William Hurt, Peter Fonda, and John Savage, but--while fine performances elevate the material--they can't really save it. The tone is overly sentimental and the script is pedestrian, at times so melodramatic as to be almost comical, which is a sad disservice to its subject. Having said all that, the film does put the spotlight on a very deserving hero, and the folks in my screening and the one before it were largely moved to tears. That's a movie that certainly gets something right.

The Last Full Measure runs 116 minutes and is rated R for "war violence and language."

The Last Full Measure is a film that strikes a nerve, not necessarily because it tells its story well, but because it tells *such* a story. Of a possible nine Weasleys, the Last Full Measure gets seven.

Fangirl points: I mean, Seb, obviously, but Linus Roache was a nice surprise!

Until next time...

MOVIE REVIEW: BIRDS OF PREY

It's open season on Harley Quinn when her explosive breakup with the Joker puts a big fat target on her back. Unprotected and on the run, Quinn faces the wrath of narcissistic crime boss Black Mask, his right-hand man, Victor Zsasz, and every other thug in the city. But things soon even out for Harley when she becomes unexpected allies with three deadly women -- Huntress, Black Canary and Renee Montoya.

Director: Cathy Yan

Cast: Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ali Wong, Ewan McGregor

Release Date: February 7, 2020

Genres:  Action, Adventure, Crime

Rated Rated R for strong violence and language throughout, and some sexual and drug material

Runtime:  1h 49min

Review:

Birds of Prey nails so many things right about Harley Quinn as a character that you'd be hard pressed to find flaw especially if you've been a fan since her inception.  Her debut in Suicide Squad, a movie that's unfairly bashed while still being fun if problematic, was iconic for Margot Robbie and the DC universe in general.  Regardless of how you feel about that movie, she was one of the shining lights of the whole affair.  Now in her own film, flanked by longtime Batman friends and adversaries, she's given full reign on the screen and story.  Cathy Yan helms the film with a kinetic energy that's hard to resist with luminous star in a role she was born to play.  There are so many impressively manic and nutty fight sequences to keep even the most blood thirsty movie goer begging for more.  It's a candy colored assault on the senses that takes a break here and there before it drops a mallet on your head again.  Supporting Robbie are equally game cast mates like Ewan McGregor who's obviously having a ball playing Black Mask.  Needless to say that DC fans will have to appreciate this take on Black Mask and Victor Zsasz because it's both respectful of each character but still their own singular take.  The same can be said of this entrie's take on Black Canary and Huntress played by an underused Mary Elizabeth Winstead.  Each brings a specific type of energy to their role much like the more seasoned Rosie Perez who just fits as Renee Montoya.  Ultimately, they are all floating around Margot Robbie's Quinn who keeps the whole thing rolling.  There's a definite girl power rolling through the entire film and it's the better for it, fitting right in as the crazy cousin to the more refined DC super heroine Wonder Woman.

B+