Cindy Prascik's Retro-Review: Flashback Cinema Presents Harry Potter and the Prisoner of Azkaban

Dearest Blog: Yesterday it was off to Marquee Cinemas for Flashback Cinema's presentation of Harry Potter and the Prisoner of Azkaban.

As this third installment in the Harry Potter franchise turns 15 years old this summer, I daresay no one is reading this who hasn't formed an opinion by now, so we'll call this a discussion rather than a proper review. In other words: Here be spoilers. Please chime in with your thoughts in the comments!
A dangerous felon escapes from the Wizarding World's most terrifying prison in search of the Boy Who Lived.

The Harry Potter books and movies, to me, seem much like Beatles records: The early ones are very sweet and innocent, and the later ones sometimes almost impossibly heavy; it's those middle ones that find that perfect tonal balance. Prisoner of Azkaban is my favorite HP book and movie, and not just because it introduced my beloved Mr. Oldman to this magical universe. (Shut up, I know you were thinking it!)

Prisoner of Azkaban features major transitions in the Potter universe. As mentioned, the tone begins to turn darker. "Darker" is relative in a story that begins with a baby orphaned in an attempt on his own life, but here the threat seems more constant and fully permeating. Even fun moments are tinged with a hint of worry, like Dementors hovering just outside the Hogwarts grounds.

Following Harry Potter & the Chamber of Secrets, Christopher Columbus ceded the director's chair to Alfonso Cuaron. While I think every director did a fine job with his bit of the Potter world, I have long contended that none of the others *truly* understood magic the way Cuaron did. At times I think it meant more butting heads with author J.K. Rowling, who retained a great deal of creative control over the films (I seem to recall a story about her vetoing his wish to have little people dancing on pianos?), but ultimately it resulted in the most magical feel of any of the movies. Despite releasing in the summer, Azkaban's production design boasts a very Halloween-ish atmosphere that fully expresses Cuaron's vision, with especially brilliant use of the Whomping Willow to indicate the change of seasons. Maestro John Williams' final Harry Potter score also reflects the picture's creepier tone. While my favorite piece for any of the Potter movies comes from the previous film (Fawkes the Phoenix), overall I find Azkaban's score to be the most immersive of the franchise, and the best reflection of its film.

In Harry Potter and the Prisoner of Azkaban we see Michael Gambon's first turn as Albus Dumbledore, following the sad loss of Richard Harris. (RIP.) While many prefer Harris' kind-hearted Headmaster, I feel Gambon better captures Dumbledore's kookiness, and the hardness that allowed him to ask the same great sacrifices of others--including children--that he expected of himself. There's a brand new look for Professor Flitwick this outing, and several notable cast additions, including my Gary as the titular jailbird, David Thewlis as Lupin, the new Dark Arts professor, Emma Thompson as flighty Divination professor Trelawney, Timothy Spall as the Potters' childhood friend Peter Pettigrew, and the brilliant Dawn French in an all-too-quick appearance as the Fat Lady.

In POA, Daniel Radcliffe turns in a a more mature performance that really begins to reflect how seriously he takes his craft. Watching him grow up as a fine actor and even finer young man has been such a joy! Rupert Grint and Tom Felton cement their places as the strongest of the young performers, and Emma Watson gets to add a few more layers to her Hermione. The Weasley twins, my favorite characters in the Potter universe, turn up only briefly, but enjoy one of their more defining moments in this installment as well.

Harry Potter and the Prisoner of Azkaban clocks in at 142 minutes and is rated PG for "frightening moments, creature violence, and mild language."

Harry Potter and the Prisoner of Azkaban marks the finest moment in one of the world's best and most beloved movie franchises. Of a possible nine Weasleys--and being the only film that actually features all nine Weasleys (photo evidence below!)--Harry Potter and the Prisoner of Azkaban of course gets nine.

N.B.: My everlasting regrets regarding the Potter franchise are that I never got to see Rik Mayall as Peeves, nor hear Uncle Vernon utter the words, "Dementy-Whatsits."

Fangirl points: You. Guys. I forgot how hard I ship Sirius/Remus. I will go down with that ship!
Until next time...

Cindy Prascik's Review of Spider-Man: Into the Spider-Verse

Dearest Blog: After rather a long hiatus, yesterday it was off to Marquee Cinemas for Spider-Man: Into the Spider-Verse.

Spoiler level here will be...uh...you know what, we're five weeks in and I never did see a trailer for this, so let's just say read on and take your chances.

Many Spideys from many dimensions join forces to fight a common threat.

Dear reader(s), the week Spider-Verse was released, we had five new movies opening locally. As the busy holiday season left me time for only two and I am prone to poor life choices, I opted for The Mule and Mortal Engines. Yesterday was my first opportunity to catch up with Spider-Verse, and, while I normally wouldn't bother reviewing a movie this late in its run*, Spider-Verse is so extraordinary that if I can convince even one person to get out and see it while it's still on the big screen, it's my civic duty to do that.

Spider-Man: Into the Spider-Verse is a terrific film, sans genre qualifier. The story is clever and layered without being muddled, and it explains itself well enough that even those not well-versed  in the multi-verse should have no trouble keeping up. Glorious visuals could pass for pages pulled directly from a comic; in fact, there's more than one panel I'm pretty sure *was* pulled directly from a comic. Your enjoyment may ebb and flow depending on the amount of time "your" Spidey spends on screen (I'm a Peter Parker girl myself), but the movie is at its best when all the Spideys share scenes together. A familiar stable of villains lends a comfortable feel to the proceedings, but a great sense of humor and multiple focal points keep the picture moving at pretty frantic pace. Daniel Pemberton's fantastic score and a positive, empowering message wrap up the heroic proceedings with a neat little bow.

Spider-Man: Into the Spider-Verse clocks in at 117 minutes and is rated PG for "frenetic scenes of animated action violence, thematic elements, and mild language."

Spider-Man: Into the Spider-Verse is an exceptional movie that stands out among a glut of super-hero movies and sets a new standard for animation.

Of a possible nine Weasleys, Spider-Man: Into the Spider-Verse gets nine.

Until next time...

*Feel free to laugh at this remark when my next review is of a movie that turns 15 years old this summer.

MOVIE REVIEW: ESCAPE ROOM

Six adventurous strangers travel to a mysterious building to experience the escape room -- a game where players compete to solve a series of puzzles to win $10,000. What starts out as seemingly innocent fun soon turns into a living nightmare as the four men and two women discover each room is an elaborate trap that's part of a sadistic game of life or death.

Director: Adam Robitel

Cast: Logan Miller, Deborah Ann Woll, Taylor Russell, Tyler Labine, Jay Ellis, Nik Dodani

Release Date: January 4, 2019

Genres: Drama, Mystery, Sci-Fi

Rated PG-13 for terror/perilous action, violence, some suggestive material and language

Runtime: 1h 39 min

Review:

Escape Room is one of those January horror releases that pop up every year.  For all intents and purposes, it should be terrible and forgettable.  Escape Room is surprising in that it’s actually an entertainingly brisk sci-fi horror film.  The film itself plays out like a blood and gore less version of Saw, at least on the surface.  As the film goes on, you’d be hard pressed to ignore a more than passing similarities to the 1997 sci-fi gem Cube.  Nobody would ever accuse this film of being as intelligently written as Cube but it works more often than it doesn’t.  That’s because the film cast is surprisingly likeable even though their characters are written with only the most basic levels of layering.  Recognizable faces such as Deborah Ann Woll, Tyler Labine and Jay Ellis give the film a bit more clout than you’d usually expect from films of this ilk.  Sadly, the film does lose a bit of steam in its final act where it seems to rush through the conclusion only to set up a possible sequel, never allowing this original entry’s plot to settle.  Ultimately, Escape Room is one of those fast food style films where you’re liable to forget about it shortly after you leave the theater but then have a sequel pop up a year later.

C+

MOVIE REVIEW: ON THE BASIS OF SEX

Ruth Bader Ginsburg is a struggling attorney and new mother who faces adversity and numerous obstacles in her fight for equal rights. When Ruth takes on a groundbreaking tax case with her husband, attorney Martin Ginsburg, she knows it could change the direction of her career and the way the courts view gender discrimination.

Director: Mimi Leder

Cast: Felicity Jones, Armie Hammer, Justin Theroux, Jack Reynor, Cailee Spaeny, Sam Waterston, and Kathy Bates

Release Date: December 25, 2018

Genres: Biography, Drama 

Rated PG-13 for some language and suggestive content

Runtime: 2h 0min

Review:

On The Basis of Sex is an engaging if cliched bio pic that is elevated by it's direction and performances. Mimi Leder directs the film with a steady caring hand that treats it's characters with a gentle hand.  Leder moves the film at a steady pace but the film would have been better served focusing on a tighter timeline since it covers a fairly large portion of Ginsburg's life.  At the film's center is Felicity Jones who provides the story it's heart.  Jones turn as Ginsburg captures that intensity and drive that propelled her throughout her early years.  Sure her Brooklyn accent comes and in and out through the film but she does a fine job of carrying the film.  A swoon worthy Armie Hammer is excellent as Ginsburg's loving and ever supportive husband.  The supporting cast is made up of familiar faces along with a rare evil turn from Sam Waterston. There are a few missteps mostly due to the script which over does the schmaltz factor that makes certain sequences feel a bit too "Hollywood" which robs moments of authenticity.  Still it's a solid film enough biopic of an amazing woman who deserves this type of recognition.

B+

MOVIE REVIEW: IF BEALE STREET COULD TALK

In early 1970s Harlem, daughter and wife-to-be Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny. Friends since childhood, the devoted couple dream of a future together, but their plans are derailed when Fonny is arrested for a crime he did not commit.

Director: Barry Jenkins

Cast: KiKi Layne, Stephan James, Colman Domingo, Teyonah Parris, Michael Beach, Dave Franco, Diego Luna, Pedro Pascal, Ed Skrein, Brian Tyree Henry, Regina King

Release Date: December 25, 2018

Genres: Crime, Drama, Romance

Rated R for language and some sexual content 

Runtime: 1h 59 min

Review:

If Beale Street Could Talk is a fascinatingly dense film that tackles a bevy of themes while maintaining an incredible style and intimacy.  Barry Jenkins, adapting the book of the same name, delivers a ponderous film that asks for the audience’s patience while the cast unfurls the story.  KiKi Layne leads the film with an impressive performance that starts off full of innocence but slowly transforms over the course of the film.  She’s a capable and likeable lead, her and Stephen James shares believable chemistry together as the lovers whose story is beautifully tragic and real.  Its cinematography creates a sort of cinematic poetry that’s feels authentic even when it’s stylized.  Some might take issue with its methodical pace but ultimately it adds so much to the overall experience and it’s ruminations on race, love, gender politics and a handful of other topics.  

A-

MOVIE REVIEW: THE FAVOURITE

In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend Lady Sarah governs the country in her stead while tending to Anne's ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.

Director: Yorgos Lanthimos

Cast: Olivia Colman, Emma Stone, Rachel Weisz, Nicholas Hoult, Joe Alwyn, James Smith, Mark Gatiss

Release Date: November 23, 2018

Genres: Biography, Comedy, Drama

Rated R for strong sexual content, nudity and language.

Runtime: 1h 59 min

Review:

At some point during Yorgos Lanthimos cynically funny film, you might get the sensation that you are watching a mash up of Stanley Kubrick’s Barry Lyndon and Milo Foreman’s Amadeus.  That’s hardly a bad thing but as the film moves on its genuinely funny script and biting wit take hold, carried ably by the top notch cast.  The three leads share the sort of chemistry that’s rare to find.  It’s instantly recognizable and they make you care about these fairly terrible human beings.  Olivia Colman, Emma Stone and Rachel Weisz are all in top form with each being given multiple moments to shine.  It’d be criminal not to mention Nicholas Hoult who finds a way to standout in supporting role.  The Favourite is truly a fun ride through and through filled with top notch performance and stellar camera work that’s sure to be iconic as the film ages. 

A