MOVIE REVIEW: WONDER WOMAN 1984

 

Diana Prince lives quietly among mortals in the vibrant, sleek 1980s -- an era of excess driven by the pursuit of having it all. Though she's come into her full powers, she maintains a low profile by curating ancient artifacts, and only performing heroic acts incognito. But soon, Diana will have to muster all of her strength, wisdom and courage as she finds herself squaring off against Maxwell Lord and the Cheetah, a villainess who possesses superhuman strength and agility.

Director: Patty Jenkins

Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen

Release Date: December 25, 2020

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of creature action and violence throughout

Runtime: 2 h 31 min

Review:

 Patty Jenkins follow up to the her wildly successful original is a film that has soaring ambitions but the execution doesn't land perfectly. That being said she accomplishes so much during her trek through the 80s.  She manages to hit on every 80s trope you can imagine while never losing focus on her characters.  It's a fun trek that's surprisingly light on actual superhero action outside of rousing action set pieces.  Jenkins focuses far more on the the characters as the work through living their wish fulfillment.  The trope that the script uses to bring back Pine is an interesting choice but it does sort of fit in with the goofy 80s vibe and it allows the film to explore more of the characters desires and wants.  In a weird way sort of plays out like a superhero version of the Last Temptation of Christ.  Kristen Wiig seemed like  a strange choice to play Barbara Minerva originally but it works as she plays the nerdy dork who turns into a fox of cheetah in this case.  Wiig and Gadot have great chemistry together which makes their friendship more believable and grounded.  Gadot at this point is just the walking embodiment of Diana Prince, she has the ability to pull off the mixture of grace, empathy and strength so effortlessly that you just have to sit back and appreciate it.   Pedro Pascal plays the primary villain and he does so with a crazy amount of gusto.  His turn as Lord has some overt Trumpian tones taken to the extreme which makes him more of a caricature than a fully realized character.  Its a shame since it would have have given the film's conflict a bit more heft than it has but you have to wonder if it's intentional since the overall theme is much more internal and personal.  The film was written and filmed more than a year ago but there is something in it's incredibly hopeful message about selflessness that seems incredibly precedent in 2020.  Once the required battle between Diana and Barbara's newly born Cheetah, the script sadly doesn't really explain this transformation so it feels like it's just checking a box, the story turns into one of the more interesting superhero finales.  Instead of a massive showdown it's more of a reflective message that grounds the story with its hopeful sense.  It's a lofty ambition which doesn't quite work as well as it should onscreen because the story has a hard time connecting it all together. Its easy to appreciate the intention but it doesn't quite stick the landing.  Still, Wonder Woman 1984 is very much on brand with ideal that they established in the original about what the character stands for.  Longtime fans will find plenty to love here like Diana sporting the Golden Eagle armor and other treats, be sure to stay through the credits for a fun surprise.   

B

MOVIE REVIEW: MANK

 

1930s Hollywood is reevaluated through the eyes of scathing wit and alcoholic screenwriter Herman J. Mankiewicz as he races to finish "Citizen Kane."

Director: David Fincher

Cast: Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, Joseph Cross, Jamie McShane, Toby Leonard Moore, Monika Gossmann, Charles Dance

Release Date: November 13, 2020

Genre: Biography, Comedy, Drama

Rated R for some language

Runtime: 2 h 11 min

Review:

David Fincher’s Mank is a labor of love through and through.  Written by Fincher’s late father, it has been a passion project of Fincher’s since the late 90’s when he intended to film it after 1997’s The Game.  The fact that it has made its way to the screen after so much time is a testament to Fincher and the result is technically impressive and rather engaging especially for people who enjoy a bit of cinematic history.  Fincher gives the film a distinctive style by using cues and techniques in line with the golden age of cinema.  The dialogue also has a snappy back, and forth which make the film sing with a certain kind of lyricism.  It is a fascinating bit of cinematic alchemy which recalls 2011 Academy Award winning film, The Artist, where style is part of the character of the film.  It rises about that film with a stronger cast who are clearly having a blast in their roles.  Gary Oldman leads the film with great gusto using a voice inflection that sounds like Burgess Meredith in the Twilight Zone in the 50’s.  Oldman’s Mank is always the smartest man in the room, even when it is to his detriment.  The snappy dialogue flows naturally from Oldman as you follow this fascinating if somewhat tragic tale, he generally the most interesting person on screen but that is not to say his supporting cast isn’t more than up to the cast.  Amanda Seyfried turns in one of her best performances here, totally losing herself in the role.  She’s generally a capable actress but he she just seems far more committed than usual.  Charles Dance makes for a formidable Randolph Hearst but his scenes are few and far in between.  Similarly, I would have enjoyed a bit more screen time for Tom Burke’s Orsen Welles whose one scene with Oldman’s Mank is a late act treat.  Whether that interaction or any of them ever happened in real life is left up to the more dedicated viewer to research.  If there is a failing here is that’s while we follow Mank’s journey through his memories we are always kept at an emotional distance so that when the final scene plays you don’t feel the emotional punch as intended.  

B

MOVIE REVIEW: MONSTER HUNTER

 

Behind our world, there is another -- a world of dangerous and powerful monsters that rule their domain with deadly ferocity. When Lt. Artemis and her loyal soldiers are transported from our world to the new one, the unflappable lieutenant receives the shock of her life. In a desperate battle for survival against enormous enemies with incredible powers and unstoppable, terrifying attacks, Artemis teams up with a mysterious hunter who has found a way to fight back.

Director: Paul W. S. Anderson

Cast: Milla Jovovich, Tony Jaa, Tip "T. I." Harris, Meagan Good, Diego Boneta, Josh Helman, Jin Au-Yeung, Ron Perlman

Release Date: December 18, 2020

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of creature action and violence throughout

Runtime: 1 h 39 min

Review:

Paul W. S. Anderson and Milla Jovovich collaborations produce certain types of films, the entire Resident Evil franchise is a testament to that.  Monster Hunter could probably fit in that franchise if you just changed the name because it’s so sparse on plot and mythology that it feels intentionally unfinished.  Anderson delivers some big dumb CGI battles which are surprisingly fun but don’t expect any sort of explanation on what’s going or why.  In fact, there’s nary an attempt at explaining any sort of a plot until about halfway through the film when Ron Perlman, sporting a gloriously massive blonde wig, and a cat cook show up on the screen.  Even then it’s mostly throwaway lines about some sort of ancient race and a tower that looks like it was lifted from Mordor.  I’ve seen my share of terrible movies but I can’t say this is the worst thing I’ve ever sat through.  Jovovich and Jaa actually have some fun chemistry during the first half of the film which mixed with the big battles makes for utterly mindless cinema.  The supporting cast is dispensed with early on so there’s no reason to get attached since they are mostly fodder for the fire.  You almost marvel at how unapologetically brazen Monster Hunter is delivering loud dumb fun, it’ll never be considered a good film but the worst kind of fast food.    

C-

MOVIE REVIEW: ALL MY LIFE

 

Jennifer Carter and Solomon Chau are a sweet, fun-loving, newly engaged couple who are ready to start their lives together. But when Solomon is diagnosed with terminal liver cancer, their hopes for a summer wedding become impossible. With time running out, their friends and families soon devise an inspirational plan to help Jennifer and Solomon realize their dream wedding.

Director: Marc Meyers

Cast: Jessica Rothe, Harry Shum Jr., Kyle Allen, Chrissie Fit, Jay Pharoah, Marielle Scott, Keala Settle

Release Date: December 4, 2020

Genres: Drama, Romance

Rated PG-13 for brief language

Runtime: 1h 33min

Review:

All My Life won’t win any prizes for realism or depth but it works because of the charisma and chemistry of its two leads.  Marc Meyers directs the film with a generally rose tinted hue even when the film hits some of its more tragic notes.  As such some people might be disappointed the film didn’t delve into the pain of cancer with a bit more realism in fact Harry Shum Jr.’s Sol never displays any sort of physical decline during the course of the film.  It feels like the film would have packed a bit more of a punch had given that aspect of the story a more realistic arch.  That issue aside Jessica Rothe & Harry Shum Jr. make the film far more watchable than it deserves to be because it’s schmaltzy with a clear intention to pull at your heart strings.  As a light breezey romantic comedy / tragedy hybrid it works because Rothe & Shum are incredibly easy to like and they both give their character more depth than what’s actually written on the page.  They make you care about their story and journey even though the film itself is a step up from a Lifetime movie of that week.  That being said, once you reach the finale nearly everyone will be reaching for the tissues over this glossy retelling of love story cut tragically short, 

B

MOVIE REVIEW: PROM

 

Down-on-their-luck Broadway stars shake up a small Indiana town as they rally behind a teen who wants to go to the prom with her girlfriend.

Director: Ryan Murphy

Cast: Meryl Streep, James Corden, Nicole Kidman, Keegan-Michael Key, Andrew Rannells, Ariana DeBose, Tracey Ullman, Kevin Chamberlin, Mary Kay Place, Kerry Washington, Jo Ellen Pellman

Release Date: December 4, 2020

Genres: Comedy, Drama, Musical

Rated PG-13 for thematic elements, some suggestive/sexual references and language

Runtime: 2h 10min

Review:

Ryan Murphy’s Prom is an over the top musical cornucopia of schmaltz and positive message that’s easy to digest.  Those looking for any deep meaning should probably look elsewhere because this film is all glitz and jazz hands.  Character development is sparse with each character representing more of a type than a fully formed person.  The real trick is that Murphy keeps you engaged with each of these characters throughout each musical number.  The cast, which is made up of A listers, helps mainly because they are all clearly having a great time and it shines through in their performances.  Streep, Kidman and Corden all seem very much in their wheel house belting out Broadway style musical numbers so that shouldn’t come as much a surprise.  Somehow Jo Ellen Pellman finds a way to have her moment even with all the luminaries sharing the same proverbial stage. It’s an impressive understated performance that is sure to draw the attention of more than a few casting directors.  The film itself feels a little like a more musical riff on Footloose with a generally upbeat feel which works for the current situation.  It’s overlong, Netflix seems terribly uninterested in reigning in their talent, and overstuffed but it’s the best kind of comfort food for anybody who loves musicals.  

B-

Cindy Prascik's Review of Mank

 

My dearest reader(s): One of the sad casualties of 2020 has been what I will snobbishly call "cinema-worthy" movies, that is, movies that don't feel like they were made for TV. Sure, there have been some, but the pickings have been slim. I am pleased to report that last week Netflix threw a solid entry into the skimpy awards season fray with its original picture, Mank, the reasonably true story behind the writing of Citizen Kane.

Spoiler level here will be mild, nothing you wouldn't know from the trailer or if you're familiar with actual events, which, I assure you, I am not.

Disclaimers, away!

Folks, I hate old movies. That may seem like a weird thing to hear from someone who spends three-quarters of her free time watching movies, but it is the gods' honest truth. If it was made before 1970 and it's not the Wizard of Oz or something with the Marx Brothers, no thank you. Citizen Kane is frequently cited as one of the greatest — if not *the* greatest — films of all time. I couldn't be less interested. Mank is made in the style of those classic, old, black-and-white movies, and that certainly didn't help me warm to it.

On the flip side, Gary Oldman remains my favorite actor in the known universe, and my life has been way too short on Gary Oldman lately. Heck, for the last two years I haven't even had time to make my (in?)famous Gary Calendar; instead I've had to buy premade calendars, and I can assure you, those don't come in "Gary Oldman." A new Gary Oldman movie definitely represents one of 2020's few bright spots.

Art is, by nature, subjective, but, by any objective criteria I can mark, Mank is a pretty good movie. The story is interesting and well-told, jumping from Herman Mankiewicz toiling over the film's screenplay while recuperating after an automobile accident to flashbacks (always notated as they would be in a script) that give us the backstory: Who is Mankiewicz, and how did he end up where he is? Gary Oldman is nothing short of brilliant (she says with maybe a hint of bias), and I think Oscar buzz around his performance is well founded. The supporting cast is very much up to snuff as well, with solid work from Amanda Seyfried, Lily Collins, Tuppence Middleton, Sam Troughton, Tom Burke (yay!), and the always brilliant Jamie McShane. Directed by David Fincher, with a score by Trent Reznor and Atticus Ross, Mank also represents a little reunion of some people who helped create the film that *I* consider the greatest of all time: the Social Network. Other than running a little longer than it needs to, there's nothing practical I can call out as a negative, BUT...I struggled to get through Mank all the same. I was bored enough that at one point I had to put my phone in a drawer I couldn't reach to keep from goofing off instead of paying attention. If you're reading this, I guess you're interested in my honest opinion, so there it is: Mank is a good movie that I didn't like very much, but Gary Oldman makes it worth watching (as he always does).

Mank clocks in at 131 minutes and is rated R for "some language."

Give Gary Oldman another Oscar now, please and thank you. Of a possible nine Weasleys, Mank gets seven.

Until next time...