MOVIE REVIEW: ONE NIGHT IN MIAMI

 

On the night of Feb. 25, 1964, in Miami, Cassius Clay joins Jim Brown, Sam Cooke and Malcom X, and they discuss the responsibility of being successful black men during the civil rights movement.

Director: Regina King

Cast: Kingsley Ben-Adir, Eli Goree, Aldis Hodge, Leslie Odom Jr., Lance Reddick, Joaquina Kalukango, Nicolette Robinson, Beau Bridges

Release Date: December 25, 2020

Genre: Drama

Rated R for language throughout

Runtime: 1 h 54 min

Review:

Regina King’s directorial debut is a confident refined film that tackles some big racial issues.  King displays a keen eye for setting helped greatly by the fact that this script is adapted from a stage play confined to one location.  The dramatized relationships and dialogue humanizes these legendary figures.  The script shines by displaying layered and nuanced people rather than demigods.  Kingsley Ben-Adir leads the foursome of the actors at the center of this film.  His performance as Malcom X is an impressive turn which is sure to lead to awards chatter.  He’s the beating of heart of the story but that doesn’t mean any of the supporting players are outshined.  Eli Goree delivers an equally impressive turn as Cassius Clay where he’s able to capture his spirit and sound to an uncanny degree.  Leslie Odom Jr.’s Sam Cooke is a bit more challenging but it fit perfectly into his wheelhouse.  Odom Jr’s captures his vocals while still bringing a strong sense of heart to his performance.  Aldis Hodge has the least showy part but he turns in a wonderful performance as Jim Brown.  Hodge must have put in an exceptional amount of research because he captures the tenor of his voice perfectly along with his movements.  The actor’s definitely make the film work since very little actually happens with the dialogue driving the narrative while discussing important issues that have modern day relevance.  There’s a sense of hope and melancholy engrained through every frame of the story that makes every word have more impact and resonance with the film leaving a lasting impression.   

A

MOVIE REVIEW: THE MARKSMAN

 

Jim is a former Marine who lives a solitary life as a rancher along the Arizona-Mexican border. But his peaceful existence soon comes crashing down when he tries to protect a boy on the run from members of a vicious cartel.

Director: Robert Lorenz

Cast: Liam Neeson, Jacob Perez, Katheryn Winnick, Juan Pablo Raba, Teresa Ruiz

Release Date: January 15, 2021

Genre: Action, Thriller 

Rated PG-13 for violence, some bloody images and brief strong language

Runtime: 1 h 48 min

Review:

There's an overwhelming sense of mediocrity at the center of The Marksman, Liam Neeson's latest action flick.  Robert Lorenz knows how to shoot scenic vistas and Neeson makes a for surprisingly  effective Client Eastwood proxy in this straightforward film.  Neeson, for his part, is earnest and believable even as his southern drawl comes and goes throughout the film.  The film's main problem is it's plot and script which is filled with plot holes and cardboard cut out characters.  As such there's zero emotional weight or heft to the primary relationship between Neeson's character and Jacob Perez's Miguel.  Sadly,Jacob Perez isn't a talented enough child actor to add anything to his character, making him slightly more grating as the film moves along.  The villain's in the piece are equally one note with random character moments that point to a more nuanced script which the film never explores.  As such the film plays out in an almost perfunctory manner with things happening simply because they have to.  The Markman is a slower paced action vehicle for Neeson's late stage action period and if he had a better script he might have delivered a more memorable entry into his lengthy resume. 

C

MOVIE REVIEW: SHADOW IN THE CLOUD

 

While travelling with top-secret documents on a B-17 Flying Fortress, a female WWII pilot encounters an evil presence on board.

Director: Roseanne Liang

Cast: Chloë Grace Moretz, Taylor John Smith, Nick Robinson, Beulah Koale, Callan Mulvey

Release Date: January 1, 2021

Genre: Action, Horror, War

Rated R for language throughout, sexual references and violence

Runtime: 1 h 23 min

Review:

There’s a clear point in Roseanne Liang gonzo Shadow in the Cloud where you’ll either check out or go all in with the nuttiness on screen.  Its first half is deliberately paced serving as a wonderful showcase for Chloë Grace Moretz talents.  She’s always been an engaging actress whose deserving of a bigger spotlight, this film isn’t nearly good enough to give her a solid boost.  The film itself is a hodgepodge of ideas mashed up into a strange B-Movie where Moretz’s character battles sexual stereotypes, gremlins, the Japanese and motherhood.   Once the film decides to go all in with it’s insanity, it’s best to throw any semblance of logic out the window because the film doesn’t care if any of what you see makes any sense.  You get the sense that in the hands of a better filmmaker there might be a better film in there somewhere.  Unfortunately Roseanne Liang, who heavily rewrote Max Landis’s original screenplay, just isn’t that talented as a filmmaker.  The 2^nd half is clunky on various levels which leaves the movie feeling more like one of the nameless direct to video movies that pepper streaming services.  At the very least, Chloë Grace Moretz makes Shadow in the Cloud far more watchable than it deserves to be.

C-

My 10 Favorite Films of 2020

 

2020 was a strange year on many levels but for movie lovers it was a particularly strange one.  This year was probably the first time I didn’t lurk the halls of my beloved theaters for months at a time.  Still there were plenty of films that stood out, since I’m terrible at making and sticking with a top 10 ranking, here are my 10 favorite films of the year in no particular order. 

Birds of Prey

Cathy Yan’s Birds of Prey was one of the early victims of the Covid Pandemic which is a shame since the film is one of the comic book films that truly found its own voice.  Birds of Prey never feels formulaic or cookie cutter as we see Margot Robbie’s Harley evolve into her own. 

Gretel & Hansel

Oz Perkin’s film went under the radar but those looking for a striking horror film will find plenty to like with the mind bending remaining of the classic fairy tale.  Sophia Lillis continues to rack up impressive performances, films like this should make her big break feel like inevitable. 

The Invisible Man

Leigh Whannell’s remake of The Invisible Man seemed ready made for forgettable horror fodder.  What Leigh Whannel and Elisabeth Moss were able to accomplish is quite an impressive feat.  They take a fascinating angle on the concept which made it fresh and timely, paired with a stellar turn from Moss turned this retread into a taut thriller. 

Wonder Woman 1984

Patty Jenkin’s follow up is a overstuffed and unfocused but that doesn’t keep her film from being fun and trying for something meaningful.  Even if she didn’t quite stick the landing you have to respect Jenkin’s attempt to create a 80s superhero film in tone as opposed to just placing it in the 80s.  Gadot was born to play Diana but Kristen Wiig and Pedro Pascal both put in memorable turns.

Promising Young Woman

There are some films that just stick with you long after you’ve left the theater.  Emerald Fennell’s meticulously crafted debut film fits the bill in spades.  Carey Mulligan delivers a career best performance playing against type as the tragic protagonist.    

Palm Springs

Andy Samberg & Cristin Milioti time loop rom/com seemed tailor made for 2020.  The concept has been done plenty of times before but there’s a sweetness and reflective insight that makes this love story work. 

Sound of Metal

Riz Ahmed has built up a solid resume of strong performances but Sound of Metal might be his best.  Ahmed’s work here is a raw, gritty and authentic, so much so that he’s sure to earn best actor nods come award season. 

Soul

Pixar has tackled some big concepts over the years but Soul feels like another step up.  While the candy colored film still has the hallmarks of a kids movie this is the first one that feels like it’s aimed more at the parents than the kids. 

Freaky

Christopher Landon’s third film continues to show how much a horror fan he is while showing that it’s ok to have fun with some of the concepts.  Freaky’s body swap concept works because Vince Vaughn and Kathryn Newton both go all in with the concept to great effect.

Mank

David Fincher’s labor of love is sure to get plenty of awards nods when the season comes simply because Hollywood loves Hollywood.  Still Fincher’s film is a loving homage to the golden era of Hollywood led by strong performance from Gary Oldman who could make these kinds of films for the rest of his career as far as I’m concerned. 

Cindy Prascik's Top Ten Movies of 2020

 

Ahhh...2020. Count me among the many who are delighted to say goodbye to you (goodbye to you-oo, goodbye to you)!

2020 was the weirdest of movie years, with most major releases opting to punt to the hopefully safer months of 2021, and many pictures that elected to test the "direct to home viewing" strategy feeling hurried, unpolished, and much like old TV movies of the week. Even with lockdowns and a hybrid work schedule that had me home more than I'm used to, I watched fewer films that I have in any other year in recent memory. Still, my dear reader(s), I feel like I owe you a list, and a list you shall have.

The usual disclaimers:

There were some noteworthy titles this year on which I deliberately took a pass. It seemed like horror was the genre that best comported itself in these new, strange times, but horror just does not interest me. My horror-loving friends report that I missed some quality offerings there. Some subject matter was just too contentious for me, given the times, such as the Trial of the Chicago Seven. I'm accustomed to seeing movies on opening weekend at the cinema, and I don't always get to streaming offerings as quickly as others, so I had advance warning to steer clear of others, like the Prom, which meant too much to too many people to have been bungled as badly as it was. In other words, the pool from which I drew these ten titles is perhaps even more shallow than it had to be.

Also, as in previous years, a movie's original Weasley score may have little bearing on its year-end placement. Some movies age well, and some do not.

Without further ado, my top ten movies of 2020.

10. Mank

As noted in my original review, Mank is a good movie that I didn't enjoy much at all. It is, however, the only place I saw Gary Oldman in 2020, and that earns it its place here. Mank features masterful dialogue and a peek behind the curtain that undoubtedly makes it an instant favorite for students of film history. And for the record, Gary is brilliant...but of course you already knew that. 

9. The Last Full Measure

The Last Full Measure is a bit pedestrian and, thus, isn't the movie it could have been, but it earns a spot in my year-end top ten for a couple reasons: First, its emotional wallop is enormous, and I felt it strongly among the veterans with whom I shared a cinema the day I saw it. Secondly, it represents a decent role for Sebastian Stan, who consistently punches below his weight with Marvel and other parts that don't half tax his enormous talent. More of this for Sebastian, please.

8. Hamilton

Does the filmed version of the Broadway musical Hamilton count as a movie? In the interest of filling ten spots, it sure does! Hamilton is a once-in-a-generation event, and that the original company was captured for posterity and shared so freely is pretty monumental. This recorded version mostly captures the spirit of the show, and hopefully engages many who otherwise might not have access to the theatre in general and a show of this caliber in particular.

7. Jingle-Jangle: A Christmas Journey

Jingle-Jangle: A Christmas Journey is an instant classic filled with festive settings, bright costumes, and bouncy tunes. A top-notch cast makes this Netflix original a holiday home run. Be sure to make time for Jingle-Jangle: A Christmas Journey, as the Twelve Days of Christmas wind down!

6. Tenet

Christopher Nolan serves up another mind- and time-bending adventure that represents one of 2020's few truly epic pictures. John David Washington and Robert Pattinson shine in an exciting movie you'll be thinking about long after you leave the cinema.

5. The Go-Gos

The first of three music documentaries to make this year's list, the Go-Gos chronicles the career of the first (and, so far, only) all-female band to achieve a number-one album with songs written by the band members themselves. From early punk roots through a meteoric rise to fame, substance abuse issues, and recent reunion, the Go-Gos is a remarkable story filled with great music. Get these ladies into the Rock n' Roll Hall of Fame NOW, please.

4. The Gentlemen

I was lucky to see the Gentlemen at my cinema twice before the world went sideways back in the spring. It is very much the type of movie I most enjoy: testosterone heavy, with lots of violence and swearing. (I'm a simple creature, I like simple things.) In my opinion, it also represents Charlie Hunnam's best role to date. Colin Farrell steals the show, as he is wont to do, but, really, the entire cast is just brilliant, and the story takes many turns before tying itself up in a neat little bow. Probably the most fun movie I saw all year.

3. The Bee Gees: How Can You Mend a Broken Heart

The second of three music documentaries in this year's list is How Can You Mend a Broken Heart, which relates the incredible and sometimes tragic story of the Brothers Gibb. The movie maintains a positive vibe without skirting difficult issues, but primarily it's a wonderful trip down memory lane guided by hit after hit, great song after great song. The Bee Gees have a story worth telling, and director Frank Marshall was smart enough to let their music tell it. A must see!

2. Gordon Lightfoot: If You Could Read My Mind

My top music documentary and second-favorite film of 2020 is Gordon Lightfoot: If  You Could Read My Mind. Like the Bee Gees documentary, this film leans heavily on the subject's exceptional catalogue, with frank commentary from Lightfoot himself, who offers fascinating and often surprising insights. This one is also a can't-miss, for fans and not-yet-fans alike. 

1. Bill & Ted Face the Music

Bill & Ted Face the Music is the final installment in this time-traveling trilogy, and what a finish it is! Bill & Ted 3 is a sweet, funny, nostalgic adventure with a positive and hopeful message. It may not be a perfect movie, but it is definitely the perfect movie for 2020, and, thus, it earns the number-one spot on my year-end list.

2021 is here, and with it hope for better days ahead. The first and best way for all of us to help make that happen is to, as Bill and Ted say, "Be excellent to each other."

Until next time...

MOVIE REVIEW: SOUND OF METAL

 

A heavy-metal drummer's life is thrown into freefall when he begins to lose his hearing.

Director: Darius Marder

Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff, Mathieu Amalric

Release Date: December 4, 2020

Genre: Drama, Music 

Rated R for language throughout and brief nude images 

Runtime: 2 h 10 min

Review:

Sound of Metal, Darius Marder's directorial debut, is a evocative, gritty drama that's simplistic on it's surface but emotionally dense.  It's conceit is fairly simple and Marder's approach gives the film an lived in almost documentary feel to it.  The pacing is leisurely but intense at the same time with Riz Ahmed's performance pulling you into his character's pain instantly.  Ahmed displays a simmering frustration and anger especially in the early portion of the film but subtly softens it as the story moves along.  He's able to emote so much via gestures or looks that you feel everything his character is going through as he learns to live with his situation.  This is a film that doesn't have a lot of large movements to the story but Marder uses sounds to put us in the main character's head, its a deft move that brings a tangible connection to his situation.  There's a sense of melancholy that permeates the entire film that makes it feel more authentic as we follow Ruben's journey of self realization.  As such, we feel those highs and lows he experiences throughout the story.  In lesser hands this kind of story might have felt too Hollywoodish or artificial but Marder and Ahmed deliver something meaningful and impactful.  

A