MOVIE REVIEW: SHIRLEY

A famous horror writer finds inspiration for her next book after she and her husband take in a young couple.

Director: Josephine Decker

Cast: Elisabeth Moss, Michael Stuhlbarg, Odessa Young and Logan Lerman

Release Date: June 5, 2020

Genres: Biography, Drama, Thriller

Rated R for sexual content, nudity, language and brief disturbing images

Runtime: 1h 47min

Review:

Shirley is an art house film through and through for better or worse.  Josephine Decker’s engaging and unsettling film recalls the classic film Who's Afraid of Virginia Woolf?  This fictional account of Shirley Jackson’s life uses a lot of the same skeletal frame of that film but it’s done in a decidedly disorientating way.  Some of the sequences work better than others while some just feel pretentious.  Luckily the film is anchored by another stellar performance by Elisabeth Moss.  There is a tempered but palatable ferocity in every shot she’s in; needless to say she’s always the most interesting thing on screen. Moss and Odessa Young make an interesting pair on screen especially as the plot moves towards its finale.  Young is solid throughout but it’s hard to compete with Moss’s electric turn which may ultimately lead to awards for her.  The film as a whole tends to be more hit or miss since some of the choices work better than others. 

B-

MOVIE REVIEW: THE HIGH NOTE

Set in the dazzling world of the LA music scene comes the story of Grace Davis, a superstar whose talent, and ego, have reached unbelievable heights. Maggie is Grace's overworked personal assistant who's stuck running errands, but still aspires to her childhood dream of becoming a music producer. When Grace's manager presents her with a choice that could alter the course of her career, Maggie and Grace come up with a plan that could change their lives forever.

Director: Nisha Ganatra

Cast: Dakota Johnson, Tracee Ellis Ross, Kelvin Harrison Jr., Bill Pullman

Release Date: May 29, 2020

Drama, Music, Romance

Rated PG-13 for some strong language, and suggestive references

Runtime: 1h 53m

Review:

The High Note is a romantic comedy that doesn’t aspire to any great heights but as a serviceable low rent version of The Devil Wears Prada it works.  Nisha Ganatra delivers a glossy looking film that looks slightly like a Nancy Meyers film set in the music industry.  Still, it’s decently paced with a nice sweet tone throughout even if it only brushes on bigger subjects but never engages them.  Instead it’s content with the basic rom-com plot points.  As is, the film works well enough to keep it entertaining mainly due to the film keeping a light easy going feel for the length of the film.  Dakota Johnson is fine in the lead even though she’s about as vanilla as they come and her character is written to take advantage of her blandness.  She’s never annoying or really all that interesting but she keeps the film moving.  Thankfully Johnson and Kelvin Harrison Jr share some solid screen chemistry which makes their love story thread better than it should be.  The film does perk up noticeably when Tracee Ellis Ross is on screen, she’s tailor suited to playing a legendary songstress and she’s got the pipes to back it up.  Her character deserved more nuance and depth than the film gives her which is a shame since it would have made the whole thing more impactful.  Ice Cube has a smaller supporting role and it’s good to see him play a different type of character here.  The High Note isn’t a perfect film and could have used a bit of trimming here and there but still an enjoyable watch even if doesn’t bring anything new to the table.

B

Cindy Prascik's Review of The Last Thing He Wanted

This weekend the never-ending Quest for Quality Home Viewing lead me to a Netflix nugget called the Last Thing He Wanted. While the Last Thing He Wanted boasts a hilariously discouraging five (5) percent rating on Rotten Tomatoes, it stars Oscar winners Ben Affleck and Anne Hathaway, both of whom I adore. How bad could it be? Well...

Spoiler level here will be mild-ish.

Hathaway portrays Elena McMahon, a journalist who, thanks to her no-good father, gets mixed up in her own story about Central American arms dealing.

The Last Thing He Wanted has many moving pieces. SO many moving pieces. Rather than shifting them craftily around a chess-board of a film, the movie throws them in the air a-la 52 Pickup. I'm not sure they all come down. Players move in and out of frame — revealing and concealing motives — as the picture's various paths attempt to converge on one cohesive road. Hathaway does a good job in the lead. Some of her dialogue is clunky, but she's a bit of a bright spot in a movie that has few enough. A weirdly-shiny Affleck "enjoys" less screen time, and certainly does less with it. His character is pretty obvious, so most or even all of that may not be his fault. The picture boasts an impressive list of supporting talent, including Willem Dafoe, Rosie Perez, Edi Gathegi, and the always wonderful Toby Jones. As terrifying as McMahon's trip down the rabbit hole is, the Last Thing He Wanted never sustains much tension, as most of the characters prove to be exactly what you suspect they are from the first time you see them. A political thriller like this obviously features its share of violence, and one particularly disturbing scene will bother me long after I've forgotten the rest. I am here to warn you, this movie offers you nothing that's worth having this image in your head forever. Having said ALL of that, I didn't hate the Last Thing He Wanted. I didn't hate it right up to the last minute...when it did exactly what I knew it was going to do from the first minute. Then I hated it.

The Last Thing He Wanted runs 115 minutes and is rated R for "language, some violence, disturbing images, and brief nudity."

At risk of stealing a phrase I feel certain already must have been used to describe this movie, the Last Thing He Wanted truly is the last thing any of us wanted. (But Anne and Ben, I still love you and will always watch whatever you do!) Of a possible nine Weasleys, the Last Thing He Wanted gets two.

Until next time, dear reader(s), I hope you all are staying safe and sane as this crisis drags on, and I hope to see you at the cinema very soon!

MOVIE REVIEW: THE LOVEBIRDS

On the brink of breaking up, a couple gets unintentionally embroiled in a bizarre murder mystery. As they get closer to clearing their names and solving the case, they need to figure out how they, and their relationship, can survive the night.

Director: Michael Showalter

Cast: Issa Rae, Kumail Nanjiani, Paul Sparks, Anna Camp, Kyle Bornheimer

Release Date: May 22, 2020

Action, Comedy, Crime

Rated R for sexual content, language throughout and some violence

Runtime: 1 h 26 min

Review:

The Lovebirds doesn’t offer anything new or groundbreaking, if you’ve seen comedy capers like Game Night or Date Night then you’ll know what to expect.  Michael Showalter seems to know that the plot isn’t the strength of this film so he lets his stars carry it from start to finish.  It’s a great decision since Issa Rae and Kumail Nanjiani work so well together on screen with their brand of comedy meshing perfectly.  Issa Rae finally has a big screen vehicle to show off her immense talent.  Those that have already seen her HBO show Insecure will be well versed in her excellent timing but those being exposed for the first time will find plenty to like about her.  Rae has an effortless screen presence and which is matched by Nanjiani.  Both drive the film brisk runtime, its plot is like a goof ball Eyes Wide Shut, as they move from one wacky set piece to another.  There aren’t many curve balls so it’s the definition of a light fun comedy which can be the best kind of escapism. 


B+

MOVIE REVIEW: THE WRONG MISSY

Disaster strikes when a man invites his dream girl to an island resort -- but a previous blind date shows up instead.

Director: Tyler Spindel

Cast: David Spade, Lauren Lapkus, Molly Sims, Geoff Pierson, Jackie Sandler, Sarah Chalke, Nick Swardson

Release Date: May 13, 2020

Comedy, Romance

Not rated

Runtime: 1 h 30 min

Review:

The Wrong Missy feels like a long lost artifact from the late 2000’s comedies like The Heartbreak Kid or Couples Retreat.  It’s an over the top raucous comedy with the simplest of plots that plays out exactly the way you’d expect.  The script in The Wrong Missy doesn’t miss any opportunity to take the most obvious joke and run with it.  Thankfully director Tyler Spindel keeps things moving at a breezy pace never letting much linger on screen for too long which really helps the movie overall.  David Spade leads the film with his signature straight man act but he seems disinterested and is rarely engaging like he was in some of those 90s films everyone remembers from him.  The real life blood of the film is Lauren Lapkus whose manic energy makes the whole thing run.  Lapkus is the type of character actress that’s popped up in supporting roles all over the place over the last few years with this being her first real time to shine.  She runs with it and makes the whole thing watchable and ultimately fun.  The Wrong Missy is the kind of disposable comedy you’ll forget about shortly after you finish it but that doesn’t mean it isn’t a goofy vulgar ride. 

C

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