Cindy Prascik's Reviews of All the Money in the World & The Greatest Showman

Dearest Blog: Yesterday it was off to Marquee Cinemas to close out the busy movie week with All the Money in the World and The Greatest Showman.

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

First up: All the Money in the World.

Inspired-by-true-events tale of the kidnapping of JP Getty, III, and his mother's desperate attempts to secure his release.

Let's see, dear reader(s), where do we start with this one? Well, I was pretty young at the time of the Getty kidnapping, so I remember enough to have known the outcome, but not enough to say how many liberties are taken along the way in this telling of the story. I'm not sure if being aware of the ending contributed to the movie's seeming rather long and slow, but long and slow it certainly does seem. It's never dull, but I was still pretty happy when it finally cruised to its conclusion. The eldest JP Getty appears, at least from this depiction, to be so loathsome an individual that it hardly would have been a disservice to him to have allowed his portrayal by a sexual predator to remain in the film, though of course it would have been a great disservice to everyone else. The movie suffers no ill effects from hasty re-shoots necessitated by the Kevin Spacey controversy; on the contrary, Christopher Plummer's solid turn as as the cantankerous old billionaire is woven seamlessly into the picture. Charlie Plummer (no relation) is also great as the young victim, but it's Michelle Williams who carries this movie with such extraordinary skill that you'll scarcely be able to take your eyes off her. Mark Wahlberg seems miscast as Getty's right-hand man/security expert (spoiler alert: putting glasses on a guy doesn't actually make him seem smart), but he's a likable enough actor that I didn't mind. As mentioned, the movie is deliberately paced and somewhat overlong, but the the kidnapping and surrounding events are nerve-wracking enough that I doubt anyone could be bored with it. There's a bit of up-close and personal violence/gore that may be a little much for some viewers.

Daniel Pemberton's subdued score and cinematography by the brilliant Dariusz Wolski set an appropriately somber tone for this sad and scary story.

All the Money in the World clocks in at 132 minutes and is rated R for "language, some violence, disturbing images, and brief drug content." I can't say it's something I'd ever watch again, but All the Money in the World is a riveting tale bolstered by exceptional performances.

Of a possible nine Weasleys, All the Money in the World gets six.

Next on the agenda: The Greatest Showman.

A heavily-fictionalized musical account of the rise of PT Barnum.

Yet again I found myself with a bit too much time between flicks yesterday, and happened upon a negative article beating up on The Greatest Showman for its rose-colored-glasses version of Barnum.

It was difficult putting it from my mind once the movie started, but movie's sunny demeanor and lively tunes ultimately won the day.

Hugh Jackman is a treasure unmatched in 2017 Hollywood. Top-notch at acting, singing, and dancing, no picture ever has to make allowances for his weaknesses; he doesn't have any. The Greatest Showman is a lightweight film that doesn't remotely tax his skills, but it's thanks to him the movie is elevated from entertaining-but-forgettable to something special. Zac Efron continues to surprise with each new role, a gifted and eminently watchable young talent. If I was dazzled by Michelle Williams in All the Money in the World, The Greatest Showman was quick to remind me why I usually loathe her; her simpering smiles and silly twirling wear thin very quickly. The "circus" players do a fine job and all seem to be having great fun with their limited screen time, and the remaining supporting cast is peppered with familiar faces that are more than up to what little the film asks of them. La La Land composers Benj Pasek and Justin Paul have again provided tunes lacking any real flair, but The Greatest Showman's musical numbers make an impact with interesting choreography and eye-popping costumes, hair, and makeup, along with Jackman's irrepressible charisma. The story is hokey at times, as many great old-school musicals are, but if this version of PT Barnum is an upgrade from the real deal, the film itself keeps pace with a positive, inclusive tone that is more than welcome at the end of a divisive, difficult year. The Greatest Showman is pure joy onscreen, the very definition of can't-miss cinema.

The Greatest Showman runs a quick 105 minutes and is rated PG for "thematic elements, including a brawl."

The Greatest Showman’s opening number includes the line, "All that was real is left behind," a perfect setup for the most magical bit of movie humbug I've seen all year.

Of a possible nine Weasleys, The Greatest Showman gets eight and a half.

Fangirl points: Will Swensen! Byron Jennings! Frederic Lehne!

Until next time...

MOVIE REVIEW: MOLLY’S GAME

The true story of Molly Bloom, a beautiful, young, Olympic-class skier who ran the world's most exclusive high-stakes poker game for a decade before being arrested in the middle of the night by 17 FBI agents wielding automatic weapons. Her players included Hollywood royalty, sports stars, business titans and finally, unbeknown to her, the Russian mob. Her only ally was her criminal defense lawyer Charlie Jaffey, who learned there was much more to Molly than the tabloids led people to believe.

Director: Aaron Sorkin

Release Date: Dec 25, 2017

Cast: Jessica Chastain, Idris Elba, Kevin Costner, Michael Cera, Brian d'Arcy James, Chris O'Dowd

Rated R for language, drug content and some violence

Runtime: 2 hr. 20 min.

Genres: Biography, Drama

Review:

Molly’s Game, the directorial debut of renowned screenwriter Aaron Sorkin, is a crackling dialogue driven legal thriller.  Sorkin’s move behind the camera is fairly effortless as he directs his film with a confident steady hand.  His style isn’t overly flashy, outside of an expertly crafted opening sequence, he keeps a steady and measured hand allowing his actors and script to do the heavy lifting.  The script is everything you’d expect from Aaron Sorkin, the snappy dialogue is as plentiful as the extended monologues.  The film carries a sort of Social Network feel to it, especially in the first act, before it settles into its own rhythm.  Molly Brown’s story is a fascinating perversion of the American Dream.  Jessica Chastain is electric in the lead role and she’s nearly always the most magnetic person on screen.  It probably helps that she’s glam vamped for the better part of the film as her character routinely transformed herself into the “Cinemax” version of herself.  Chastain’s talent is on full display as she simultaneously displays sexuality while still radiating an intrinsic intelligence and unbridled drive throughout the entire film.  There’s a running theme about an overbearing father that feels slightly off especially in its resolution even though Kevin Costner turns in decent work in an undercooked role.  Idris Elba spends the most time with Chastain in the post arrest scenes and he’s just ready made for Sorkin’s writing.  He and Chastain share solid chemistry together, making their mutual intellect and respect believable.  A few of the courtroom scenes in the third act do feel a bit clunky and convenient when compared to the majority of the film that came before it.  Still, Sorkin’s first foray into directing is an impressive and entertaining success.

A-

MOVIE REVIEW: I, TONYA

Tonya Harding rises through the ranks of competitive figure skating only to find disgrace when her husband tries to eliminate her rival.

Director: Craig Gillespie

Cast: Margot Robbie, Sebastian Stan, Julianne Nicholson, Caitlin Carver, Bobby Cannavale, Allison Janney

Release Date: Dec 8, 2017

Genres: Biography, Drama, Sport

Rated R for pervasive language, violence, and some sexual content/nudity

Runtime: 1h 59 min

Review:

I, Tonya is a solid biopic that overcomes some of the story’s drawbacks with stellar performances from the cast.  Craig Gillespie keeps his film interesting by framing the film as a pseudo documentary with interviews spliced through the entire film.  What we get are 3 unreliable narrators who weave together a story stranger than fiction even as it occasionally veers into high end Lifetime movie territory.  That’s not to say it’s not intriguing as it touches on themes of tabloid fame and illusion of the American Dream.  At its center is Margot Robbie in the titular role.  Robbie presents Harding as a doggedly determined individual who can’t reach the summit because of a variety of reasons even if some are not entirely her fault.  Underneath it all, there’s a frayed and broken person who is looking for acceptance and love.  It’s an impressive performance that’s topped off with a silence sequence of Robbie looking into the mirror running a gamut of emotions before the climatic performance at the Lillehammer Olympics.  The supporting roles played by Allison Janney and Sebastian Stan are just as strong with each leaving a lasting impression.  Allison Janney gives the cinematic world another legendary evil mother to pantheon of evil mothers.  It’s an engaging and arresting performance that just as strong as Robbie’s.  Sebastian Stan’s turn as Jeff Gillooly equally impressive as he disappears into the role, he captures the mannerisms and vocal inflections perfectly.  The film builds to the final act where we’re witness to the bumbling cast of characters that lead to the attack on Nancy Kerrigan and the subsequent aftermath.  It’s all anti climatic since we all know how the story ends but watching this collection of actors deliver top notch performances is the real treat.

B+

MOVIE REVIEW: DOWNSIZING

When scientists discover how to shrink humans to five inches tall as a solution to overpopulation, Paul (Matt Damon) and his wife Audrey (Kristen Wiig) decide to abandon their stressed lives in order to get small and move to a new downsized community — a choice that triggers life-changing adventures.

Director: Alexander Payne

Cast: Matt Damon, Christoph Waltz, Hong Chau, Kristen Wiig, Jason Sudeikis, Udo Kier

Release Date: Dec 22, 2017

Genres: Comedy, Comedy Drama, Satire

Rated R for language including sexual references, some graphic nudity and drug use.

Runtime: 2h 15min

Review:

Downsizing is a fairly surprising film that sports some stellar supporting turns but ultimately lacks enough focus to make it truly special.  Alexander Payne has plenty on his mind in this film and he covers bevy topics from environmentalism, class warfare and self actualization.  Its dense film that feels as unfocused as it is polished.  Matt Damon is fine in the lead role but his character is a bit simplistic throughout while everyone around him feels more interesting and nuanced.  Christoph Waltz and Udo Kier make for some fun neighbors to Matt Damon’s Paul but its Hong Chau who ultimately steals the show.  Hong Chau injects the film with a palpable sense of humanity and heart, something the film sorely lacked until her arrival.  The cast’s chemistry really fuels the film even as the film meanders trying to find a definite direction or purpose.  Ultimately, it never nails any of its points and feels like it could have used some trimming and focus.

C+

MOVIE REVIEW: PITCH PERFECT 3

After the highs of winning the world championships, the Bellas find themselves split apart and discovering there aren't job prospects for making music with your mouth. But when they get the chance to reunite for an overseas USO tour, this group of awesome nerds will come together to make some music, and some questionable decisions, one last time.

Director: Trish Sie 

Cast: Anna Kendrick, Anna Camp, Rebel Wilson, Brittany Snow, Hailee Steinfeld, Hana Mae Lee

Rated PG-13 for crude and sexual content, language and some action.

Genres: Comedy, Music

Runtime: 1h 33min

Review:

Pitch Perfect started off as a spunky girl power film that took people by surprise.  Sadly, by its third go around it’s lost a large chuck of its forward momentum simply because it’s not the type of story that really warranted 3 feature length films.  The cast remains the strongest component of the franchise and their chemistry is still just as strong as it was before.  Their interactions are the high points of the film even though the story feels hacked together.  The plot this go around seems to have two primary purposes, to get to the next song and dance routine and move along a paper thing story about the USO, DJ Khaled and Fat Amy’s father.  It’s weak and really feels more like an after thought.  It’s a shame because they probably could have gotten more run out of these characters if they’d put just a tad bit more effort.  Sadly, it’s more of a final victory lap before these characters are put to pasture for good. 

C+

Cindy Prascik's Reviews of Downsizing / Jumanji: Welcome to the Jungle

Dearest Blog: Saturday I kicked off the busy Christmas weekend with Downsizing and Jumanji: Welcome to the Jungle.

 

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

 

First on the docket, Downsizing.

 

In the interest of saving the planet, scientists perfect a process that reduces humans to a fraction of their size.

 

Ladies and gentlemen: I didn't hate this movie, and that's far better than anything I expected to be able to say about it. At least as far as my reaction, Downsizing reminded me of Collateral Beauty: I suspect it isn't a very good movie, but I liked it maybe better than it deserves.

 

First, a few of the problems. Downsizing clears two hours by a quarter, and that's just too long for as slow as it gets in places. In the film's defense, I'll admit I was never *quite* bored, but the length is cumbersome. Matt Damon, generally a pretty likable if unspectacular actor, somehow misses the mark in the lead, failing to earn much sympathy for a character who struggles mightily to be a good guy and do the right thing. For the second week in a row, I also had to endure Laura Dern's presence in a movie, thankfully, this time very briefly. Downsizing feels like a "message" movie, but ultimately muddles too many messages for any of them to have much impact.

 

Now, the good news: Downsizing does boast a pair of extraordinary performances, from Christoph Waltz, who leaves any movie better for having him, and from Hong Chau, who steals the show with a moving and powerful turn. Downsizing is quite funny at times, though the the whole feels tinged with the natural melancholy of irreversible choices. If the movie has one message that ultimately does hit home, it's the importance of being honest with ourselves and accepting the real reasons we do the things we do.

 

Downsizing clocks in at 135 minutes and is rated R for "language including sexual references, some graphic nudity, and drug use." (There are penises a-plenty in this movie, a fact I mention only because it is so unusual. If you're not okay with that sort of thing, take a pass.)

 

Downsizing is a confused morality tale that's more entertaining than expected. Of a possible nine Weasleys, Downsizing gets five.

 

Fangirl points: YOU GUYS THERE'S A BODEANS SONG IN THIS MOVIE!!

 

Next on my agenda: Jumanji: Welcome to the Jungle.

 

Four high schoolers are sucked out of detention and into the world of an old video game, where their avatars must play for their very lives.

 

Dear reader(s), full disclosure: I have no special affection for the original Jumanji, so I was never as appalled as the Internet-at-large over the idea of a remake/reboot/sequel. However you may feel about the original, I suggest you give the fun, funny 2017 version a try; I don't think you'll be sorry.

 

Jumanji: Welcome to the Jungle has end-to-end action and plenty of laugh-out-loud moments. Dwayne Johnson, Kevin Hart, Karen Gillan, and Jack Black have great chemistry and do a remarkable job of channeling their real-world, younger selves. It's a testament to the four youngsters--Alex Wolff, Ser'Darius Blain, Morgan Turner, and Madison Iseman--that you'll actually miss them when they're replaced by their more famous "avatars." Johnson leads with his usual easy charm; it would be impossible not to enjoy a film with him in the lead. (Yes, I even liked Tooth Fairy!) Bobby Cannavale chews the scenery in a terrific turn as the picture's primary baddie, and Karen Gillan only gets more and more amazing with every movie. The movie's effects are solid, and a lively score by Henry Jackman perfectly underscores all the action. The crowd at my screening broke into applause multiple times over the course of the film.

 

Jumanji: Welcome to the Jungle runs 119 minutes and is rated PG13 for "adventure action, suggestive content, and some language."

 

It can be a hard pill to swallow when the things we love reach the age of being re-done for a new generation, but Jumanji: Welcome to the Jungle got a better reaction from my theater than The Last Jedi, Justice League, and Thor...combined. It's an action-packed family comedy with a little something for everyone. Of a possible nine Weasleys, Jumanji: Welcome to the Jungle gets eight.

 

Dear reader(s), I hope you enjoy these final, festive days of December, and I'll look forward to seeing you at the movies.

 

Until next time...