Cindy Prascik’s Reviews of The Midnight Sky, Wonder Woman 1984, Soul, Ma Rainey's Black Bottom & The Bee Gees: How Can You Mend a Broken Heart

 Four Movies That Aren't What They Could Have Been...and One That Is Perfect

My dear reader(s): December has finally slowed to a pace that allows for catching up on movies. Sadly, that does not mean the cinema for me right now, but there are some promising titles available for home viewing. Herein I shall offer brief (for me) opinions on a few.

Spoiler level here will be mild, nothing you wouldn't know from the trailers or if you're familiar with actual events and/or the source material where applicable.

First on my Holiday Catch-Up Docket: The Midnight Sky.

Resigned to riding out the end of the world at his arctic outpost, Scientist!Clooney tries to keep a crew of astronauts from returning to a planet that's beyond saving.

The Midnight Sky is one of those movies that passes muster in 2020, but that might have been a more epic product in a normal year. With George Clooney at the helm (both starring and directing), and featuring decorated co-stars like Felicity Jones and David Oyelowo, I have to think somewhere along the line it was meant to be more than it is. What it is, is...fine, I guess? Clooney et al. are more than up to the challenges of their somewhat thinly painted roles. The story has been told before and undoubtedly will be told again and again as panic about the state of our planet sets firmly at the front of people's minds. It's not a new or different tale, but it's respectably told and not as dull as I expected from things I'd seen online before watching it. Neither is the movie's message as overtly heavy-handed as I anticipated, but sketchy effects, too many wasted minutes, and hokey ending make this a slow film without much impact.

The Midnight Sky clocks in at 118 minutes and is rated PG13 for "some bloody images and brief strong language."

If the daily news isn't satisfying your appetite for apocalyptic stories, and you like George Clooney, the Midnight Sky makes a decent bit of holiday viewing. Of a possible nine Weasleys, the Midnight Sky gets five and a half.

The Midnight Sky is now streaming on Netflix.

Next up, the week's big release: Wonder Woman 1984.

Diana Prince battles 80's fashion and a dangerous megalomaniac.

Regular reader(s) will know, I'm a DC girl. Wonder Woman gave us DC folks real hope that DC was getting back on track after a disastrous skid. Wonder Woman 1984 derails that hope almost entirely. A boring, repetitive opening sequence sets the tone by eating up far more time than it earns. The subsequent story is pointless, goofy, and all over the place. Most performances are cringe-worthy. There's even a full-on Macavity moment towards the end that channels last year's Christmas tragedy, Cats. The Wonder Woman brand is well-loved enough that many fans will find something to like here. For those people, I am happy. Me, I was more annoyed with each minute I wasted on this. Only the combined charm of Gal Gadot and Chris Pine, a rousing score by Hans Zimmer, and a delightful mid-credits scene keep Wonder Woman 1984 from being a total loss.

Wonder Woman 1984 runs a bloated 151 minutes and is rated PG13 for "sequences of action and violence."

Wonder Woman 1984 represents yet another missed opportunity for DC. Of a possible nine Weasleys, Wonder Woman 1984 gets four.

Wonder Woman 1984 is now playing in cinemas, and streaming through mid-January on HBO Max.

The middle slot on my holiday catch-up is occupied by the Disney/Pixar offering Soul.

During a near-death experience, a man obsessed with jazz music tries to find his way back, and ends up helping a young soul along the way.

Soul is a solid movie that (lightly) ticks all the Disney/Pixar boxes, though it's missing the qualities that distinguish their truly special pictures. The diverse cast, led by Jamie Foxx and Tina Fey, is terrific. The focus on music is welcome. The art and animation are gorgeous. The story is engaging enough to teach its lessons organically. Still...I had a hard time figuring out exactly where Soul was aiming. Its premise seems too scary for kids, especially younger ones, but it never seems quite enough for anyone older. It's not as pretty as Finding Nemo. It's not as smart as WALL-E. It doesn't tug the heartstrings nearly as effectively as Coco. Ultimately, it's a good movie that just suffers by comparison to its predecessors.

Soul runs 100 minutes and is rated PG for "thematic elements and some language."

Soul is a heartwarming bit of family entertainment that deserves a spot in your 2020 holiday planner, even if it never quite finds its spark. Of a possible nine Weasleys, Soul gets six and a half.

Fangirl points: Graham Norton and Richard Ayoade!

Soul is now playing in theaters and streaming on Disney+.

My penultimate picture this weekend was the Netflix Original Ma Rainey's Black Bottom.

In the sweltering Chicago summer of 1927, tensions run high during a recording session with the "Mother of the Blues," Ma Rainey.

Ma Rainey's Black Bottom features exceptional performances by Viola Davis and (in his final role) Chadwick Boseman. When I say Davis is exactly as good as you'd expect, know that I mean you'd always expect her to be the best, and she is nothing less. Boseman, posthumously, is sure to earn some of the awards he's deserved since starring in 42. For a year that specialized in kicks to the gut, 2020 has given none more devastating than the loss of Chadwick Boseman. The story packs an emotional wallop — mostly due to the characters' efforts to buck a system designed to confine them — but the movie never really takes off, due, in my opinion, to its failure to focus on Ma Rainey's music. We're told Ma Rainey is the "Mother of the Blues." We're told many legends found their influence in her. Yet we don't hear much of the music that earned her this lofty status. What that leaves is an hour and a half of sweaty people yelling at each other. Good acting, though. Very good acting.

Ma Rainey's Black Bottom clocks in at 94 minutes and is rated R for "language, some sexual content, and brief violence."

While Ma Rainey's Black Bottom isn't the movie it could have been, two of the year's best performances make it worth a look. Of a possible nine Weasleys, Ma Rainey's Black Bottom gets six and a half.

Ma Rainey's Black Bottom is now streaming on Netflix.

With no small bit of personal bias, I saved the best for last in my Holiday Picture Show: the Bee Gees: How Can You Mend a Broken Heart.

This documentary from director Frank Marshall serves not only to tell the story of the Brothers Gibb, but to justify and underscore their status in the pop music stratosphere. 

The film starts reflectively, with a pensive Barry Gibb noting that he is the only one left, the last surviving Gibb brother. It doesn't take long to shake off the melancholy mood with fantastic pictures and video clips of the very young brothers, and relies on such photos, film snippets, and interviews with the Gibbs and assorted spouses and associates to tell a mostly linear story of the trio's early days, rise to fame, meteoric success in the Saturday Night Fever era, fall from popular favor during the disco backlash of the early 80s, and subsequent success as songwriters and collaborators with other artists. It touches on difficulties with drink and drugs, but never wallows in misery or self-pity. The movie succeeds, not chiefly because this is a great story (though it is), but because it focuses on music, music, and more music. The genesis of songs. The backstory of songs. The creative process used in fashioning songs. So. Many. Great. Songs. Testimonials from artists — all kinds of artists, from every era in the Gibb brothers' musical lifetime — who felt and feel their influence to this day. The movie notes the passing of, and pays tribute to, Andy, Maurice, and Robin Gibb, coming full circle with Barry musing that he would "rather have them all back here and no hits at all." In between a somber start and finish, How Can You Mend a Broken Heart offers a joyful celebration of one of the greatest catalogues in music history, a special trip down memory lane for fans, and a timely reminder that being against anything will never matter as much as being for something. Oh, and To Love Somebody is legitimately one of the greatest songs ever written by anyone, anywhere. Don't forget that.

The Bee Gees: How Can You Mend a Broken Heart runs 111 minutes and is rated TVMA.

The Bee Gees: How Can You Mend a Broken Heart tells the story of the Brothers Gibb, focusing on their extraordinary musical legacy and unbreakable brotherly bond. Current Bee Gees fans and not-yet Bee Gees fans should consider it the year's must-watch documentary. Of a possible nine Weasleys, How Can You Mend a Broken Heart gets all nine.

Fangirl points: the Beatles and Ed Sheeran both turn up in this. Yay!

The Bee Gees: How Can You Mend a Broken Heart is now streaming on HBO Max.

Until next time...

MOVIE REVIEW: NEWS OF THE WORLD

 

Five years after the end of the Civil War, Capt. Jefferson Kyle Kidd crosses paths with a 10-year-old girl taken by the Kiowa people. Forced to return to her aunt and uncle, Kidd agrees to escort the child across the harsh and unforgiving plains of Texas. However, the long journey soon turns into a fight for survival as the traveling companions encounter danger at every turn -- both human and natural.

Director: Paul Greengrass

Cast: Tom Hanks, Helena Zengel, Michael Covino, Bill Camp, Michael Covin, Fred Hechinger, Neil Sandilands, Thomas Francis Murphy

Release Date: December 25, 2020

Genre: Action, Adventure, Drama

Rated PG-13 for violence, disturbing images, thematic material and some language

Runtime: 1 h 58 min

Review:

 News of the World is Paul Greengrass and Tom Hanks second collaboration and it couldn't be anymore different than Captain Phillips.  News of the World won't leave your nerves frazzled like that film and Greengrass pulls back his usual kinetic style in favor or a slower more pensive approach.  There are plenty of dusty vistas on display along with a plethora of scenic sunsets to appreciate throughout.  The story itself is a fairly basic conceit and this film is more about the journey than the destination.  Its easy to get some strong True Grit vibes throughout especially with Tom Hanks paternal but grizzled performance here. His Captain Kidd is a weather worn man whose haunted by his past, it's a measured and layered turn. Newcomer Helena Zengel turns in an impressive naturalistic performance which is the linchpin to the entire film.  Zengel and Hanks have a natural repour together and they serve as the lifeblood of the film.  Their relationship is central to the entire film even though you won't find many surprises as the film plays out in a fairly predictable path.  In their trek they meet the kind of characters that typically populate these type of westerns with the good and bad guys being instantly recognizable.  News of the World isn't a film that's interested in trailblazing any new territory but that doesn't take away from the fact that it's a well made western that feels like comfort food.

B+

MOVIE REVIEW: PROMISING YOUNG WOMAN

 

Nothing in Cassie's life is what it appears to be -- she's wickedly smart, tantalizingly cunning, and she's living a secret double life by night. Now, an unexpected encounter is about to give Cassie a chance to right the wrongs from the past.

Director: Emerald Fennell

Cast: Carey Mulligan, Bo Burnham, Alison Brie, Clancy Brown, Jennifer Coolidge, Laverne Cox, Connie Britton

Release Date: December 25, 2020

Genre: Comedy, Crime, Drama

Rated R for strong violence including sexual assault, language throughout, some sexual material and drug use

Runtime: 1 h 53 min

Review:

Promising Young Woman is a wickedly sharp dark comedy/revenge thriller from first time filmmaker Emerald Fennell.  Fennell writes and directs her film with an impressive bit of visual flair.  Certain scenes are framed with such meticulous care that you have to appreciate the talent and craftmanship on display.  Her script is equally impressive with biting dialogue that pops from the opening sequence.  At the center of the whole thing is a career defining performance from Carey Mulligan who delights in playing against type.  Her Cassie is a force of vengeful nature whose laser focused on her task.  Mulligan is clearly enjoying herself in the role but she and the script are savvy enough to open up Cassie and give her some semblance of happiness during the middle of the film.  Fennell and Mulligan lull you into an uncomfortable sense of calm before ripping the rug right from under your feet.  It's one of the most searing gut punch of a finale of the year that's bound to stay with you long after the film ends.  The ending is a bit too tidy for my taste but you can't deny that it's a cathartic release and the indictment of the bro/rape culture especially in our current environment.

A-

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-