During the early days of World War II, the fate of Western Europe hangs
on the newly-appointed British Prime Minister Winston Churchill, who must
decide whether to negotiate with Hitler, or fight on against incredible odds. Director: Joe Wright Release Date: Nov 22, 2017 Cast: Gary Oldman, Lily James, Kristin Scott
Thomas, Ben Mendelsohn, Stephen Dillane Rated PG-13 for some thematic material Runtime: 2 hr. 5 min. Genres: Biography, Drama, History
Review:
Joe Wright’s Darkest Hour
is a perfectly solid historical drama that’s buoyed by an impressive turn by
Gary Oldman. Wright’s movie hits most of
the basic points of interest as he covers roughly a month of Winston
Churchill’s life as he ascends to the role of Prime Minster as Hilter’s forces
close in on Britain. As such, it makes for an
interesting companion pieces to Christopher Nolan’s Dunkirk. While that
film dealt the soldier’s point of view this film is far more concerned with the
political landscape that Churchill was dealing with as he took office. It’s catnip for history buffs even though
everyone knows how it ends. Still, it’s
a fascinating situation to examine considering how badly the odds where stacked
against the UK. Wright does a solid job of
providing a glossy accounting of darken close quarter rooms where major
decisions were being made in the face of impending doom. The film, though, wouldn’t work nearly as
well if it wasn’t for a stellar turn by the film’s star Gary Oldman who
disappears into make up and character. This
isn’t the first time Oldman has lost himself into characters behind make up,
most memorably in Dracula and an underrated and nearly forgotten turn in the
Silence of the Lamb sequel Hannibal. This film is clearly Oldman’s showcase, so much
so that some of sequences might as well have the words “For your Consideration”
emblazoned along the bottom of the screen.
Thankfully Oldman doesn’t disappoint as he delivers one of the best
performances of his career in a long while.
He’s had better roles in the past but this type of biopic seems ready
made for award season.
Dearest Blog: Yesterday it was off to Marquee Cinemas for a pair of true tales: Darkest Hour and Molly's Game.
Spoiler level here will be mild, nothing you wouldn't know from the trailers or, you know, a history book (or maybe a tabloid).
First up: Starting off the New Year right with my Gary in Darkest Hour.
Winston Churchill does not negotiate with Nazis.
Dear reader(s): By now you will have heard that Gary Oldman's transformation into Winston Churchill is nothing short of remarkable. I'm here to tell you, with all the impartiality a person who makes a homemade Gary Oldman calendar every year can muster, that you should believe the hype. Much has been made of the countless hours Gary spent in makeup and prosthetics in order to take on the portly prime minister's appearance--and it is well and truly amazing--but the quality of this performance is not about physical transformation; it's about how well he tends to the details of BEING Churchill: mannerisms, speech patterns, expressions. The look in his eyes at times is just extraordinary. We movie fans are so used to Gary disappearing into his roles that we may take it for granted, but this is a whole other level, a masterful performance for the ages. Darkest Hour's supporting cast is also stellar, with Kristin Scott Thomas, Lily James, Stephen Dillane, and the incomparable Ben Mendelsohn all holding their own opposite Oldman's tour de force turn.
Darkest Hour relates an oft-told story with an outcome well known to everyone, but it isn't handicapped by its familiarity; instead it feels like quite the nail-biter right down to the finish. Despite the somber subject matter, the picture steers well clear of misery and self pity; it is hopeful and actually quite funny at times, that rare awards-worthy bit of filmmaking that seems to care as much about entertaining as it does about accolades.
Darkest Hour clocks in at 125 minutes and is rated PG13 for "some thematic material."
Darkest Hour is a solid historical epic with an Oscar-caliber lead and a sadly-timely message about the dangers of placating tyrants.
Of a possible nine Weasleys, Darkest Hour gets nine.
Fangirl points: My Gary (duh)! Ben Mendelsohn! Joe Armstrong!!
Next on the docket: Molly's Game.
The rise and fall of Molly Bloom, a one-time Olympic contender who made and lost a fortune running an exclusive high-stakes poker game.
It won't be news to anyone who's seen so much as a single trailer that Molly's Game rises and falls on Jessica Chastain's outstanding turn in the lead. Chastain seems born to acclaimed writer (and first-time director) Aaron Sorkin's rapid-fire style, and she gets to glam it up as the high-class hostess to elite celebrities, athletes, and world leaders. You will not be able to take your eyes off of her. While the supporting cast is solid, there's not much room for anyone but Chastain as Bloom narrates her own story, with others popping in and out merely as grout to her tile. No disrespect to Chastain, who is entirely Oscar worthy, but I'd be remiss if I didn't take this opportunity to remind filmmakers that more Idris Elba is always better. (Please make a note of it.) Sorkin's direction weaves seamlessly between Bloom's present-day legal battles and her relating of the events leading to said battles. As is Sorkin's trademark, the dialogue is superb, even if the poker language might as well have been some alien tongue for all I understood it. Daniel Pemberton continues his win streak with another striking score. The film slows down just enough that a small trim might have made a more efficient whole, but that's a petty quibble with what is ultimately a couple great hours of cinema.
Molly's Game runs 140 minutes and is rated R for "language, drug content, and some violence."
Molly's Game is a fascinating story and a worthy showcase for one of the finest actresses of her generation.
Of a possible nine Weasleys, Molly's Game gets eight.
Fangirl points: Keep those eyes peeled for for about two seconds of Jose Bautista in newsreel footage at the start of the film.
An ice rink PA is playing George Harrison's son singing my favorite George Harrison song. Chris O'Dowd! Justin Kirk! Brian d'Arcy James!
Elisa is a mute, isolated woman who works as a cleaning lady in a
hidden, high-security government laboratory in 1962 Baltimore. Her life changes
forever when she discovers the lab's classified secret -- a mysterious, scaled
creature from South America that lives in a water tank. As Elisa develops a unique bond with her
new friend, she soon learns that its fate and very survival lies in the hands
of a hostile government agent and a marine biologist.
Director: Guillermo del Toro
Release Date: Dec 1, 2017 Cast: Sally Hawkins, Michael Shannon,
Richard Jenkins, Doug Jones, Michael Stuhlbarg, Octavia Spencer
Rated R for sexual content, graphic nudity,
violence and language
Runtime: 2 hr. 3 min.
Genres: Adventure, Drama, Fantasy
Review:
The Shape of Water is a lovely modern day fable
brought to life by Guillermo
del Toro.It’s a fascinating and elegant
film that’s got a hopeful sensibility running throughout its runtime.Guillermo del Toro’s film is visually
striking to look at and engaging throughout.The story paints in broad strokes with most of the characters feeling
more like types than actual people but the cast delivers strong enough
performances to make it work.Sally
Hawkins is front and center throughout and she delivers a magnetic
performance.Hawkins displays an
impressive ability to transmit emotions through looks and mannerisms which
allows the audience to follow her characters emotional journey.It helps that she and Doug Jones, who plays
the creature, share some tangible screen chemistry, all displayed non verbally
making it even more impressive.The
supporting cast is equally impressive with each leaving their signature on the
film.Richard Jenkins and Octavia
Spencer make for a likeable pair of friends for Elisa even though both could
have used a bit more depth.Michael
Stuhlbarg’s character is an interesting mixture of grey area where you don’t
quite know where he stands until near the end of the film.Michael Shannon makes for an impressive
villain for the piece.The character is
a solid blend of all the negative aspects of white males in post WW2 American
and as portrayed by Shannon he one of the most interesting characters in the
piece.Del toro doesn’t quite reach the heights he in did in
Pan’s Labyrinth with The Shape of Water but he does deliver another vividly
impressive live action fable.
Dearest Blog: Today we take a fond(ish) look back at 2017, grateful, at least, that it didn't fail us at the cinema as it did in so many other ways.
To start, the usual disclaimers:
1-a.) I live in a rinky-dink town, so most of the real awards heavyweights won't turn up here until they're nominated for Oscars, then they'll split four screens across two cinemas for one week and I'll need Hermione Granger's Time Turner to catch up with all of them.
1-b.) If we're being honest, most of said awards heavyweights wouldn't affect this list in the slightest, anyway. The Post would probably sneak on here, and maybe Molly's Game, but it's fair to say that the Academy and I do not share many common "best picture" criteria.
2.) A picture's original Weasley rating has little bearing on its end-of-year placement. Some movies wear well with repeat viewings, some not so much, and some I haven't had a chance to revisit since their cinema runs.
3.) This is gonna get long. If I can drop 1200 words on Batfleck, you can only imagine how many I'll need for ten winners, a handful of runners-up, a few disappointments, and other assorted miscellany.
So, without further ado, buckle up and let's get to it...
My Best of 2017
10. It
"We all float down here."
One of Stephen King's best works gets a worthy big-screen treatment. Sure, they screwed the pooch on Pennywise, whose CGI'd scares are too fake to freak, but the kids are extraordinary and the story is such a beautiful blend of nostalgia, hope, and melancholy that the film comes out a winner despite any petty quibbles.
9. Detroit
"It's a war zone out there."
Kathryn Bigelow's harrowing trip down memory lane to the 1967 Detroit race riots is terrifying, compelling, and sadly still timely in 2017. Brilliant performances highlight a picture so tense as to feel almost like living the horrific events in real time. Difficult as it is to stomach, Detroit is must-watch cinema.
8. John Wick, Chapter 2
"Somebody please get this man a gun."
If you think the John Wick movies are nothing more than a lot of shoot-'em-up machismo, you haven't been paying attention. What appears, on the surface, to be a big, dumb, action sequel is a wonderfully choreographed, strikingly filmed bit of movie magic that serves as the perfect vehicle for its limited-but-lovable star, Keanu Reeves. John Wick, Chapter 2, is that rare sequel that's even better than the original.
7. Goon: Last of the Enforcers
"I need to protect my team."
It was never likely Last of the Enforcers would duplicate the pleasant surprise of the original Goon. The sequel has fewer laugh-out-loud moments and lacks the feel-good underdog vibe of its predecessor, but Last of the Enforcers is blessed with a great cast and tons of heart, as well as writers who obviously cared enough to make the right choices for its much-loved characters. It was a story well worth continuing.
6. Kingsman: The Golden Circle
"I hope you're ready for what comes next."
The Golden Circle is another sequel that had no real hope of matching the surprising perfection of the original Kingsman, but it was still one of 2017's most fun and exciting cinema offerings. Throw in the year's best cameo by Sir Elton John and Mark Strong's heartfelt and hilarious performance of Country Roads, and you've got an epic actioner that's not to be missed.
5. Dunkirk
"We have a job to do."
Dunkirk is a big movie that manages to go small in its storytelling. Rather than relate the famous tale from a familiar grand standpoint, Christopher Nolan delivers intimate stories from ordinary folks who faced impossible circumstances. Gorgeous cinematography and stellar performances are the crowning glory of another Nolan masterpiece.
4. Coco
"There's something that makes me different."
Ladies and gentlemen, if there's one 2017 movie I would recommend to everyone, enthusiastically and without hesitation, it would be Disney/Pixar's glorious Coco. Coco is visually stunning, with a wonderful message underscoring its magical story. Delightful characters bring the celebration of Dia de los Muertos to life in warm, colorful, family-friendly fashion. Grab your friends, your family, and everyone else you can find and get out to see Coco on the big screen--as it's meant to be seen--while you can!
3. Justice League
"Dressed like a bat. I dig it."
Justice League brings DC's most notable heroes to the big screen together for the first time, while taking a much lighter tone than other recent DC offerings. It's a formula that works, thanks to excellent casting and mostly well-placed humor. Justice League's primary baddie is a bit underwhelming, but otherwise the movie boasts solid action and humor, terrific chemistry, iconic characters, and, for my money, the best live-action Batman/Bruce Wayne ever to have graced the screen, one of my favorite cinema experiences of 2017.
2. Pirates of the Caribbean: Dead Men Tell No Tales
"The dead have taken command of the sea."
Dead Men Tell No Tales earns a spot on this list as my favorite movie of 2017. It enjoys first-runner-up status thanks to its extraordinary rendering of the Silent Mary's ghost crew, the best thing to come out of the cinema all year long. Upon repeat viewings I found scenes that don't feature Captain Salazar and his men didn't hold up as well as those that do, but I remain overwhelmed by the exceptional effects, makeup, wardrobe and hairstyling, not to mention performances, that bring this cursed band of pirate hunters to life. Every viewing yields some new, remarkable detail, making Dead Men Tell No Tales a joy to watch again and again.
1. Baby Driver
"Your name's 'Baby?' B-A-B-Y, Baby?"
Writer/director Edgar Wright takes his striking use of music in movies to extraordinary new heights in this imaginative tale of a getaway driver who needs his tunes to get the job done. The result is exciting, clever, funny, totally unique proof that Hollywood is NOT out of good, original ideas, as so many complain. Baby Driver staked its claim to my number-one spot upon first viewing, and has had no serious competition since. Thank you, Edgar Wright, for always giving movie fans a real reason to get out to the cinema.
Widely Reviled/Ridiculed Movies that Tip-Toed Very Near My Top 10
King Arthur: Legend of the Sword. It should have been epic, and it could have been hilariously awful, but it's actually supremely entertaining and even surprisingly quick-witted at times, with nice-looking effects, cool action, and shirtless Charlie Hunnam. #winner
Transformers: The Last Knight. Yeah, you all hated it. I got that. Me, I go to the cinema for hugeness. Three Billboards loses nothing if I watch it on my TV or even on my phone, but Optimus Prime? I like seeing him transform in all the glory a 50-foot screen and mammoth surround-sound have to offer. The Last Knight boasts all the hugeness a hugeness fan like me could want, as well as some good laughs and a fair bit of screen time for one of my lesser-known favorites, Santiago Cabrera.
Power Rangers. Considered a flop in the US, its overseas box office may give this reboot a chance to grow into success. As a big fan of Power Rangers in any incarnation, I liked this story, loved the cast, and look forward to more. Plus, any year that gives me a Power Rangers or a Ninja Turtles movie is a win in my book!
The Great Wall. Ridiculous, but visually magnificent, I'd watch The Great Wall again and again just for the pleasure of looking at it.
Geostorm. A wildly improbable plot and ham-handed performances couldn't stop Geostorm from being the most fun movie outing of 2017. Terrific disaster effects didn't hurt, either. Can't wait to own this one when it becomes available for download!
Biggest Disappointments
Free Fire. Trailers led me to believe Free Fire would land near the top of my 2017 best-of list. Instead it's a clumsy waste of an extraordinary cast that was almost impossible to get through, despite its brief runtime.
Logan Lucky. Another movie whose trailers promised far more than it delivered. The caper is fun, but nothing new, and laughs are too sparse. Demerits for barely a hint of Sebastian Stan.
American Made. With the eminently-watchable Tom Cruise in the lead, this inspired-by-actual-events tale should have been edge-of-your-seat exciting; instead it's dull and overlong. It was still a nice rebound for Cruise after The Mummy, but nowhere near what it should have been.
Worst of 2017
Valerian and the City of a Thousand Planets. Every bit as painfully awful as the trailers promised/threatened. I can't remember the last time I suffered through something this horrible, and I have never in my life seen so many people walk out of a movie.
Flatliners/The Dark Tower. I almost put these two on the "Disappointments" list, but then it occurred to me that I'd have to have expected better for them to disappoint. I expected nothing of either, and they both delivered just that: nothing. A terrible waste of time, money, and in the case of The Dark Tower, the incredible Idris Elba.
Would Have Made My 2016 Top 10 If It Had Played Here In Time
Hidden Figures. An inspiring true story featuring lovely, sincere performances. Should be considered mandatory viewing.
2017's Individual Honors
Best Director: Edgar Wright.
Best Actor: Gary Oldman, Darkest Hour. (No, I haven't seen it yet, but there isn't nor will there be any other answer to this question.)
Best Actress: Michelle Williams, All the Money in the World. (Likely to be displaced by Jessica Chastain once I see Molly's Game.)
Best Supporting Actor: Gil Birmingham, Wind River.
Best Supporting Actress: Hong Chau, Downsizing.
Best Original Score:Daniel Pemberton, King Arthur: Legend of the Sword. (Along with POTC's
Silent Mary crew, this is the best thing the movies had to offer in 2017.)
So, dear reader(s), there it is, my take on the year that's ending. It's probably not much like anyone else's, but I guess if you wanted anyone else's you'd go read their lists instead. I remain grateful that you’re reading mine, and welcome civil discourse on our agreements and disagreements.
Happy New Year, and I'll see you at Marquee Cinemas in 2018!
Dearest Blog: Yesterday it was off to Marquee Cinemas to close out the busy movie week with All the Money in the World and The Greatest Showman.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First up: All the Money in the World.
Inspired-by-true-events tale of the kidnapping of JP Getty, III, and his mother's desperate attempts to secure his release.
Let's see, dear reader(s), where do we start with this one? Well, I was pretty young at the time of the Getty kidnapping, so I remember enough to have known the outcome, but not enough to say how many liberties are taken along the way in this telling of the story. I'm not sure if being aware of the ending contributed to the movie's seeming rather long and slow, but long and slow it certainly does seem. It's never dull, but I was still pretty happy when it finally cruised to its conclusion. The eldest JP Getty appears, at least from this depiction, to be so loathsome an individual that it hardly would have been a disservice to him to have allowed his portrayal by a sexual predator to remain in the film, though of course it would have been a great disservice to everyone else. The movie suffers no ill effects from hasty re-shoots necessitated by the Kevin Spacey controversy; on the contrary, Christopher Plummer's solid turn as as the cantankerous old billionaire is woven seamlessly into the picture. Charlie Plummer (no relation) is also great as the young victim, but it's Michelle Williams who carries this movie with such extraordinary skill that you'll scarcely be able to take your eyes off her. Mark Wahlberg seems miscast as Getty's right-hand man/security expert (spoiler alert: putting glasses on a guy doesn't actually make him seem smart), but he's a likable enough actor that I didn't mind. As mentioned, the movie is deliberately paced and somewhat overlong, but the the kidnapping and surrounding events are nerve-wracking enough that I doubt anyone could be bored with it. There's a bit of up-close and personal violence/gore that may be a little much for some viewers.
Daniel Pemberton's subdued score and cinematography by the brilliant Dariusz Wolski set an appropriately somber tone for this sad and scary story.
All the Money in the World clocks in at 132 minutes and is rated R for "language, some violence, disturbing images, and brief drug content." I can't say it's something I'd ever watch again, but All the Money in the World is a riveting tale bolstered by exceptional performances.
Of a possible nine Weasleys, All the Money in the World gets six.
Next on the agenda: The Greatest Showman.
A heavily-fictionalized musical account of the rise of PT Barnum.
Yet again I found myself with a bit too much time between flicks yesterday, and happened upon a negative article beating up on The Greatest Showman for its rose-colored-glasses version of Barnum.
It was difficult putting it from my mind once the movie started, but movie's sunny demeanor and lively tunes ultimately won the day.
Hugh Jackman is a treasure unmatched in 2017 Hollywood. Top-notch at acting, singing, and dancing, no picture ever has to make allowances for his weaknesses; he doesn't have any. The Greatest Showman is a lightweight film that doesn't remotely tax his skills, but it's thanks to him the movie is elevated from entertaining-but-forgettable to something special. Zac Efron continues to surprise with each new role, a gifted and eminently watchable young talent. If I was dazzled by Michelle Williams in All the Money in the World, The Greatest Showman was quick to remind me why I usually loathe her; her simpering smiles and silly twirling wear thin very quickly. The "circus" players do a fine job and all seem to be having great fun with their limited screen time, and the remaining supporting cast is peppered with familiar faces that are more than up to what little the film asks of them. La La Land composers Benj Pasek and Justin Paul have again provided tunes lacking any real flair, but The Greatest Showman's musical numbers make an impact with interesting choreography and eye-popping costumes, hair, and makeup, along with Jackman's irrepressible charisma. The story is hokey at times, as many great old-school musicals are, but if this version of PT Barnum is an upgrade from the real deal, the film itself keeps pace with a positive, inclusive tone that is more than welcome at the end of a divisive, difficult year. The Greatest Showman is pure joy onscreen, the very definition of can't-miss cinema.
The Greatest Showman runs a quick 105 minutes and is rated PG for "thematic elements, including a brawl."
The Greatest Showman’s opening number includes the line, "All that was real is left behind," a perfect setup for the most magical bit of movie humbug I've seen all year.
Of a possible nine Weasleys, The Greatest Showman gets eight and a half.
Fangirl points: Will Swensen! Byron Jennings! Frederic Lehne!
The true story of Molly Bloom, a beautiful, young, Olympic-class skier
who ran the world's most exclusive high-stakes poker game for a decade before
being arrested in the middle of the night by 17 FBI agents wielding automatic
weapons. Her players included Hollywood royalty, sports stars, business titans and finally, unbeknown to her,
the Russian mob. Her only ally was her criminal defense lawyer Charlie Jaffey,
who learned there was much more to Molly than the tabloids led people to
believe.
Director:
Aaron Sorkin
Release Date: Dec 25, 2017
Cast: Jessica Chastain, Idris Elba, Kevin
Costner, Michael Cera, Brian d'Arcy James, Chris O'Dowd
Rated R for language, drug content and some
violence
Runtime: 2 hr. 20 min.
Genres: Biography, Drama
Review:
Molly’s Game, the directorial
debut of renowned screenwriter Aaron Sorkin, is a crackling dialogue driven
legal thriller.Sorkin’s move behind the
camera is fairly effortless as he directs his film with a confident steady
hand.His style isn’t overly flashy,
outside of an expertly crafted opening sequence, he keeps a steady and measured
hand allowing his actors and script to do the heavy lifting.The script is everything you’d expect from
Aaron Sorkin, the snappy dialogue is as plentiful as the extended
monologues.The film carries a sort of
Social Network feel to it, especially in the first act, before it settles into
its own rhythm.Molly Brown’s story is a
fascinating perversion of the American Dream.Jessica Chastain is electric in the lead role and she’s nearly always
the most magnetic person on screen.It
probably helps that she’s glam vamped for the better part of the film as her
character routinely transformed herself into the “Cinemax” version of
herself.Chastain’s talent is on full
display as she simultaneously displays sexuality while still radiating an
intrinsic intelligence and unbridled drive throughout the entire film.There’s a running theme about an overbearing
father that feels slightly off especially in its resolution even though Kevin
Costner turns in decent work in an undercooked role.Idris Elba spends the most time with Chastain
in the post arrest scenes and he’s just ready made for Sorkin’s writing.He and Chastain share solid chemistry
together, making their mutual intellect and respect believable.A few of the courtroom scenes in the third
act do feel a bit clunky and convenient when compared to the majority of the
film that came before it.Still,
Sorkin’s first foray into directing is an impressive and entertaining success.
