MOVIE REVIEW: GRETEL & HANSEL

When their mother descends into madness, siblings Gretel and Hansel must fend for themselves in the dark and unforgiving woods. Hungry and scared, they fortuitously stumble upon a bounty of food left outside an isolated home. Invited inside by the seemingly friendly owner, the children soon suspect that her generous but mysterious behavior is part of a sinister plan to do them harm.

Director: Oz Perkins

Cast: Sophia Lillis, Charles Babalola, Jessica De Gouw, Alice Krige

Release Date: January 24, 2019

Genres: Fantasy, Horror, Thriller

Rated PG-13 for disturbing images/thematic content, and brief drug material

Runtime: 1h 27min

Review:

There are certain films that come out of nowhere and end up leaving a major impression.  Oz Perkins’s third film is a visually arresting film that grabs your attention from its opening frame and never really lets it go.  This adaptation of the famous Grimm fairytale follows most of the basics beats but it adjusts portions of the tale to give a more meaty meaning and resonance.  The film is buoyed by two excellent performances from Sophia Lillis and Alice Krige.  Sophia Lillis performances continue to impress and this turn is tailor made for her ability to emote strength and intelligence.  She’s displays a maturity that some actors never reach but she’s boosted here by her interplay with Alice Krige.  Krige is the kind of character actor that really seems to relish being hidden behind make up and costuming. Krige and Lillis scenes together are some of the film’s highlights as the mentor and student relationship plays out.  The story plays out in an interesting and clever way while Perkin’s borrows heavily on cues from Dario Argento and Stanley Kubrick that will delight horror aficionados.   If there is a small issue it’s that for a horror movie it’s never really scary instead it’s atmospheric and moody.  Ultimately, it almost feels like the remake of Suspira people wanted all along. 

A-

MOVIE REVIEW: THE GENTLEMEN

Mickey Pearson is an American expatriate who became rich by building a marijuana empire in London. When word gets out that he's looking to cash out of the business, it soon triggers an array of plots and schemes from those who want his fortune.

Director: Guy Ritchie

Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant

Release Date: January 24, 2019

Genres: Action, Crime

Rated R for violence, language throughout, sexual references and drug content

Runtime: 1h 55min

Review:

The Gentlemen is a fun return to the genre that made Guy Ritchie a name back in the early 2000s.  It’s easy to forget how fun his older films like Lock Stock and Smoking Barrel and Snatch were because his subsequence films have fallen into a general blandness that’s made unmemorable.  That’s not to say that certain films like his Sherlock Holmes movies or his underrated The Man from U.N.C.L.E. aren’t fun but they felt way too polished and glossy.  The Gentlemen is a film that’s far better than it deserves to be.  The plot isn’t quite as clever as it thinks it is but the cast of characters and actors make the film so incredibly fun and watchable that you can overlook some of those failings.  Each of the cast delivers performances that make it clear that they are having the time of their lives in this film.  McConaughey gives us a solid mix of charm and underling menace with Charlie Hunnam delivering one of best film work thus far.  The supporting cast shines throughout with Hugh Grant, playing against type with great gusto, and Colin Farrell leaving the biggest impressions.  The story drags here and there but when the cast is clicking it’s the kind of throwback that makes you remember why people noticed Guy Ritchie’s type of filmmaking in the first place instead of something like Aladdin.

B

Cindy Prascik's Review of The Gentleman

Yesterday it was off to the pictures for back-to-back screenings of Guy Ritchie's the Gentlemen.

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

The kingpin of Britain's largest marijuana enterprise attempts to ease into retirement and finds there's nothing easy about it.

Dear reader(s), it's important for me to note that I saw the Gentlemen twice yesterday. While I often see movies more than once (hey there, Jack Sparrow!), seldom do I see them more than once before I write about them. In this case, it made a difference of a half to a full point improvement on the film's final Weasley score, so that's material enough to warrant a mention.

The Gentlemen is a rollicking tale that's as clever as it is crass. A wordy script is liberally seasoned with swearing and slurs, weaving its way from twist to unexpected turn. The movie gets off to a bit of a slow start (which I found much less noticeable the second time around), but once it gets rolling, it is ROLLING, through a tense, violent, funny, and often surprising tale. The Gentlemen is blessed with a cast that is perfect in every way. Matthew McConaughey is crafty, dashing, and just the right amount of menacing as the mogul with an eye on retirement. Hugh Grant is hilarious as a sleazy PI looking out for number-one, while Henry Golding impresses as an up-and-comer with his eye on the prize. Downton Abbey's Michelle Dockery holds her own with the guys, no refined Lady Mary, this one, but, per usual, it's Colin Farrell who steals the show with a smart, funny turn. Annnnnnnd...to my Charlie People (and all you future Charlie People): this is a GREAT role for Charlie Hunnam. He gets just about the most screen time of anyone in the terrific ensemble, and he absolutely nails it. One of the reasons I'm proud to call myself a Charlie Person (and why I continue to evangelize new Charlie People) is because, despite his obscenely good looks, Charlie Hunnam has never traded on that commodity. He takes interesting roles in interesting projects, almost always aiming higher than he really has to. As McConaughey's smart, stoic, sweatered wing man, Hunnam is given a great opportunity to shine in the Gentlemen, and shine he does. One of my favorite performances from him to date.

The Gentlemen clocks in at 113 minutes and is rated R for "violence, language throughout, sexual references, and drug content." (I really, really feel like the "drug content" should be first there, but oh well.)

The Gentlemen is a humorous, exciting, well-crafted, and perfectly-cast film that takes viewers on a wild ride and effectively corrals an almost impossible number of moving pieces.

Of a possible nine Weasleys, the Gentlemen gets eight. Until next time...

MOVIE REVIEW: BAD BOYS FOR LIFE

Old-school cops Mike Lowery and Marcus Burnett team up to take down the vicious leader of a Miami drug cartel. Newly created elite team AMMO of the Miami police department along with Mike and Marcus go up against the ruthless Armando Armas.

Director: Bilall Fallah, Adil El Arbi

Cast: Will Smith, Martin Lawrence, Vanessa Hudgens, Alexander Ludwig, Charles Melton, Paola Núñez, Kate del Castillo, Nicky Jam, Joe Pantoliano

Release Date: October 18, 2019

Genres: Action, Comedy, Crime

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

Runtime: 2h 3min

Review:

It’s understandable to wonder if the Bad Boys franchise really needed a third entry.  Michael Bay’s film’s played like forerunners to series like the Fast and Furious franchise in terms of excess, fun and logical silliness.  The 2^nd film in particular saw Michael Bay really exploring his excesses for better or worst but at the very least it felt like Mike Lowery and Marcus Burnett’s story was finished.  Needless to say this film has very little reason for existing outside of a money grab.  There’s really very little reason for this film to be any good but it defies expectations and really delivers a fun ride that’s in keeping with Michael Bay’s style.  Directors Bilall Fallah and Adil El Arbi are clearly fans of Bay, he even makes a quick cameo, so you get shots and sequences which feel very much pulled from his bag of tricks.  It’s glossy and illogical but the film’s story is fun enough that you really don’t care all that much.  Will Smith and Martin Lawrence ease back into their characters with incredible ease even after a 17 year layoff.  Their interplay has always been the best part of this series and it’s no different here.  The story takes into account their advancing age which make the story meatier than it deserves to be and you even get some real stakes for the characters.  The crew of the AMMO group adds a solid mix of new characters which really keep the film pumping along even if the film starts to wear a bit in spots.  A few well placed edits would have made this entry really strong addition to the action genre.  That being said its worlds better than it deserves to be. 

B

Cindy Prascik's Review of A Million Little Pieces

Thanks to less-than-enticing cinema listings and a sketchy weather forecast, this weekend I elected to seek out a new(ish) movie for home viewing. A Million Little Pieces (with Charlie Hunnam) was two bucks cheaper to rent than The Courier (with Gary Oldman), so I went with A Million Little Pieces. Dear reader(s), sometimes you get what you pay for.

Spoiler level here will be mild, if anyone cares, which you really shouldn't.

A young man with a long history of addiction lands in rehab and discovers that the best drug is Billy Bob Thornton.

Directed by Sam Taylor-Johnson and starring her husband Aaron Taylor-Johnson, the weighty subject matter makes A Million Little Pieces feel like a vanity project, the couple hoping to show off a bit with the serious material. Unfortunately, it's a superficial exercise, and the only thing it really shows off is Mr. Taylor-Johnson's not-so-little Mr. Taylor-Johnson. Yep, you heard me. In the first of the film's incessant attempts to shock for shock's sake, A Million Little Pieces comes right out of the box with the equivalent of a Hollywood unicorn: full frontal male nudity. (It also hits that beat again later on, for good measure.) Taylor-Johnson fronts a reasonably capable cast, including (as mentioned) Thornton and Hunnam, Hunnam's fellow Sons of Anarchy alum Ryan Hurst, Juliette Lewis, and one of my favorite "that guy who was in that thing" actors, David Dastmalchian. There's really nothing wrong with any of the performances, but there's not much anyone can do with the lame dialogue and paper-thin characters. The tale plays out predictably, fleshed out by clumsy flashbacks and punctuated with all the gross bodily functions a rehab story could ever need. The movie does such a poor job painting the lead character's picture that you might end up rooting for the drugs. If you're looking for a film that effectively depicts the layers of addiction and the challenges of recovery, well, you're gonna have to keep looking.

A Million Little Pieces clocks in at 113 minutes and is rated R for "drug material, language throughout, some graphic nudity, and sexual content."

If I had to think of one nice thing to say about A Million Little Pieces, it's that Charlie Hunnam looks really, really good for the ten measly minutes he's onscreen.

Next time I'll pay the two extra bucks for Gary Oldman. Of a possible nine Weasleys, A Million Little Pieces gets one. Until next time...

Cindy Prascik's Review of 1917

Yesterday it was off to the cinema for a long-awaited and much-anticipated screening of 1917.

Spoiler level here will be mild, nothing you wouldn't know from the trailer. In the midst of World War I, a pair of British soldiers is sent on a dangerous mission to deliver an important message.

Dearest reader(s), my expectations for 1917 were so high--SO HIGH--and the movie managed to exceed them in every way. 1917 is a close-up depiction of both the horror and the heroism of war.

Lacking big battle scenes, it follows two young men on a harrowing and deeply personal mission. Bigger names in the cast, including Colin Firth, Benedict Cumberbatch, Andrew Scott, Mark Strong, and Richard Madden, turn up for what amounts to little more than cameos, while George MacKay and Dean-Charles Chapman do the heavy lifting. A fine job of it they do, particularly MacKay, who surely should have been acknowledged among the year's finest performances. The movie is mostly quiet and deliberate, with the subdued soundtrack providing an ominous undertone, so each burst of noisy violence is an ugly shock to the system. The "single shot" format (actually several long shots) is highly effective, making the perilous journey feel almost like real time. 1917 looks gorgeous and offers a gut-punch or two to remind everyone of the terrible cost of war.

Art is subjective, and I don't think anyone's opinion is more valid than anyone else's; however, if you're reading this, I assume you're at least somewhat interested in mine, so here's the bottom line: When I watch a movie like Once Upon a Time in Hollywood or the Irishman, much of what I see on the screen is the director's ego. The beauty of great art is that there is no trace of that; every person's effort--however extraordinary--is entirely in service to the art itself. Many exceptional talents conspired to create the work of art that is 1917, and Once Upon a Time in Hollywood isn't fit to carry its muddy boots.

1917 clocks in at 119 minutes and is rated R for "violence, some disturbing images, and language."

1917 is a reminder of how magical a truly exceptional film can make the cinema experience.

Of a possible nine Weasleys, 1917 gets all nine. Until next time...