MOVIE REVIEW: IF

After discovering she can see everyone's imaginary friends, a girl embarks on a magical adventure to reconnect forgotten IFs with their kids.

Director: John Krasinski

Cast: Cailey Fleming, Ryan Reynolds, John Krasinski, Fiona Shaw, Alan Kim, Liza Colón-Zayas, Phoebe Waller-Bridge, Louis Gossett Jr., Steve Carell

Release Date: May 17, 2024

Genre: Action, Adventure, Sci-Fi

Rated PG for thematic elements and mild language.

Runtime: 1h 44m

Review:

John Krasinski’s first foray into family films, IF, has plenty of ideas for its saccharine sweet story but its unfocused nature keeps it from really being something special.  Krasinski's film does have a certain earnestness that's endearing enough to carry the film through some of the film's slower moments.  However, there is a somber undercurrent that pervades the film's narrative as it deals with the trauma of loss and grief which stands in contrast to the candy-colored visuals onscreen.  It works in sections but for a film that's only an hour and forty-four minutes it feels decidedly longer than it actually is because it can't maintain a consistent rhythm.  It’s a shame because you're left feeling there's a better film in there somewhere if Krasinski had focused on the original trauma angle and storyline instead of pivoting to rediscovering your inner child theme in the back half of the film.  Story issues aside he's blessed with a game ensemble cast of Cailey Fleming, Ryan Reynolds, Steve Carrell and Phoebe Waller-Bridge doing solid work throughout.  Fleming has a likable screen presence throughout which makes her easily relatable as we follow her journey.   Reynolds plays against his usual sarcastic type here playing more of a straight man against the CGI creations that pepper the screen.  Steve Carrell and Phoebe Waller-Bridge carry the lion's share of the voice work as the imaginary friends who get the most screen time with both doing strong work even if their characters could have benefited from some added depth.  Louis Gossett Jr. manages to leave a strong paternal impression with his final screen credit as an elderly teddy bear who sets up a retirement home for forgotten Ifs.  A bevy of other A listers voice cameo as other Ifs which makes for a fun game of whose who as they pop up onscreen.  You can't deny that IF has its heart in the right place and it delivers some emotional punch in spots, but it proves to be more of a middling experience when compared to something like Monsters Inc. which covers some of the same territory.

B-

Cindy Prascik's Reviews of The Beatles Let It Be & The Idea of You

My dear readers: With apologies for the lengthy radio silence, this Mother's Day weekend I offer my takes on a pair of streaming options: Let It Be and the Idea of You.

Spoiler level here will be mild.

First on my weekend agenda, a restoration of the maligned 1970 Beatles documentary, Let It Be.

A disclaimer: The Beatles are my whole life, and I debated whether to watch the new Let It Be. I remember being traumatized by the movie's depiction of strife within the band when I was a kid, but - with the context provided by Peter Jackson's Get Back documentary, and with an adult understanding of the complexities of adult relationships - I hoped the film might hit differently. I'm pleased to say it absolutely did. The members of the Beatles often were at cross-purposes during this time, but their disagreements seem much less the focus of the movie than I remember. Truly, the film spends most of its time on the birth of now iconic songs from the Beatles' Let It Be and Abbey Road albums, culminating on the rooftop with their final live performance. It is not a particularly well-crafted documentary, especially in light of last year's Get Back, but it is an important piece of Beatles history, and I'm grateful to see it restored for the next generation of Beatlemaniacs...and the next and the next.

On the heels of Get Back, Let It Be feels like the CliffsNotes version of this story, but you can't go wrong with 90 minutes of Beatles music.

Of a possible nine Weasleys, Let It Be gets seven.

Let It Be is now streaming on Disney+.

Next on the docket, the May-December romance the Idea of You.

A young pop star and an older art museum owner become romantically involved.

A qualifier on this one, too: A rumor persists that this film is based on a Harry Styles fanfiction. I refute this picture based on it being sourced from a Harry Styles fanfiction that is not Tired Tired Sea. However, Anne Hathaway is a perpetual favorite of mine, and Nicholas Galitzine is a new favorite of mine, and the movie is free on Prime, so who am I to say no?

The Idea of You is a big ol' cliche, or, more specifically, a bunch of littler ones. There are a many cringey artistic choices (the lingering stares physically hurt me), and more cringey dialogue. The film survives on the charm of its leads, but even this much charm barely gets it off life support. It's certainly not something I could see making it to the big screen in "the before times."

There are no surprises in the Idea of You, but maybe when you settle in with a movie like this you want comfortable more than surprising. Of a possible nine Weasleys, the Idea of You gets four.

The Idea of You is now streaming on Prime Video.

Until next time...

MOVIE REVIEW: KINGDOM OF THE PLANET OF THE APES

 

Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.

Director: Wes Ball

Cast: Freya Allan, Owen Teague, Kevin Durand, Peter Macon, William H. Macy

Release Date: May 10, 2024

Genre: Action, Adventure, Sci-Fi

Rated PG-13 for intense sequences of sci-fi violence/action

Runtime: 2h 25m

Review:

Kingdom of the Planet of the Apes is a technical marvel with its impressive motion-capture performances and visceral action set pieces, but it’s grounded by strong storytelling that makes you care about the digitally created characters.  Wes Ball takes the reigns of the revived franchise with a solid sense of direction and confidence as he opens up a new chapter in the story.   Ball clearly has a love for the franchise as he peppers his film with a bevy of nods to the original film in both visual and musical cues throughout.  His most impressive feat though is managing all the visual effects while never losing focus on the characters.  The film only contains three major action sequences which are visually dazzling but there's a degree of care taken in between to make sure those moments matter.  Owen Teague is tasked with filling the massive shoes left by Andy Serkis as the new lead character.  His performance is thoughtfully authentic and heartfelt as he gives the character a believable sense of guilt and self-doubt that plague the accidental hero.  It’s an engaging, likable turn that forms a tangible emotional connection with audience from the opening sequence with Lydia Peckham's Soona and Travis Jeffery's Anaya.  Peckham and Jeffery make the most with their limited screen time, leaving a noticeable impression which bodes well for future installments.  Likewise, Peter Macon's turn as the orangutan Raka is surprisingly effective which leaves the film missing his presence once he's off the screen.  Kevin Durand's Proximus Caesar makes for an intriguing villain but the film doesn't spend enough time on him to make him as layered as they could have before becoming full on murderous in the final action sequence.  The concept of having Caesar's ideals being warped in the years after his death is fascinating but the story doesn’t explore it in any serious way which feels like a missed opportunity.  Freya Allan serves as the main human actor for the majority of the film and does solid if unremarkable work compared to her costars.  William H. Macy makes a late stage appearance but doesn't really make much of an impact outside of having a familiar face relay some background exposition.  The final act does have a strangely rushed feel to it especially since the previous two acts had a measured more methodical pace.  It’s not bad enough to make the story collapse but a noticeable stumble getting to the finish line.  

B+

MOVIE REVIEW: UNFROSTED

 

In 1963, Kellogg's and Post, sworn cereal rivals, race to create a pastry that will change the face of breakfast forever.

Director: Jerry Seinfeld

Cast: Jerry Seinfeld, Melissa McCarthy, Jim Gaffigan, Max Greenfield, Hugh Grant, Amy Schumer

Release Date: May 3, 2024

Genre: Biography, Comedy, History

Rated PG-13 for some suggestive references and language

Runtime: 1h 33m

Review:

Unfrosted, Jerry Seinfeld's directorial debut, is a fictional farce fueled by nostalgia and an endless supply of celebrity cameos but it's noticeably lacking on the story side.  Right off the bat, the film has a goofy, surreal tone that only becomes more prevalent as the film goes on, making it readily apparent that this story is mostly detached from reality outside of a few incidental exceptions.  Instead, it leans heavily into a cartoonish series of outlandish sequences, there's even an absurdist take on the events of January 6th, played out by equally cartoonish characters that gives Seinfeld's collection of famous friends a chance to ham it up throughout.  It makes for a mixed bag of results with some bits working better than others as the story uses the skeleton of The Right Stuff as a loose map for the entire thing.  Seinfeld is clearly having a ball as he embraces ever silly instinct and a cast who is more than willing to go along with it.  Melissa McCarthy, Jim Gaffigan, Max Greenfield and Amy Schumer get the largest share of screen time and they're surprisingly uneven especially early on as the story tries to find some sort of comedic footing.  Hugh Grant fares far better as the Shakespearean actor slumming it as a cereal mascot with the film perking up every time he pops up.  It’s a recurring theme as the film hits its highpoints during some of the extended cameos that pepper the back half of the film with one in particular being the biggest surprise even though it’s the most obvious crossover once it occurs.   A recurring joke with Walter Cronkite is equally effective but it’s not enough to keep the comedic energy going making the film feel much longer than it actually is.  It all makes Unfrosted feel like a missed opportunity that never takes full advantage of the impressive amount of talent assembled.  

C+

MOVIE REVIEW: THE FALL GUY

 

After leaving the business one year earlier, battle-scarred stuntman Colt Seavers springs back into action when the star of a big studio movie suddenly disappears. As the mystery surrounding the missing actor deepens, Colt soon finds himself ensnared in a sinister plot that pushes him to the edge of a fall more dangerous than any stunt.

Director: David Leitch

Cast: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, Winston Duke

Release Date: May 3, 2024

Genre: Action, Comedy, Drama

Rated PG-13 for action and violence, drug content and some strong language.

Runtime: 2h 5m

Review:

David Leitch's The Fall Guy is a breezy sort of blockbuster, packed with massive stunts and a pair of perfectly matched stars.  The film uses its madcap set up as an excuse for Leitch to lovingly show his appreciation for the stunt side of the movie business which he came from.  The plot serves as little more than an excuse to move from one action sequence to another with the central romance serving as the propulsive force behind the whole thing.  There's a heavy rom-com feel to the quieter moments that relies heavily on its two leads to carry the momentum.  Thankfully, the film is blessed with Ryan Gosling and Emily Blunt's inherent charm and charisma.  Gosling brings his goofy, likable energy to the lovelorn stuntman who's willing to do what it takes to get the girl.  The film noticeably perks up when he and Blunt share the screen, be it in person or by way of old school split screen.  Their interchanges possess the kind of natural ease that makes it easy to believe the two care for each other in spite of the artificial obstacles the plot presents them with.  The onscreen couple are destined to be together from the start which is sort of refreshing in its lack of contrived conflict that usually pops up in rom-coms.  It’s a fun pairing that makes the film far better than it should be since the story's twists aren't terribly surprising since they are telegraphed fairly early on.  This is a film that leans heavily on its cast with the supporting players made up of familiar faces like Aaron Taylor-Johnson, Hannah Waddingham, Winston Duke and Stephanie Hsu.  Johnson and Waddingham are clearly having a ball hamming up it as Hollywood stereotypes.  Winston Duke makes for a solid wingman for Gosling’s character but the film doesn't make the most of the pairs natural chemistry.  Stephanie Hsu makes the most of her limited screen time, especially in one big action sequence.  It all makes for a fun film that's never too deep or weighty which makes it the kind of disposable summer blockbuster that might not linger in your memory too long afterwards. 

B-

MOVIE REVIEW: BOY KILLS WORLD

 

Boy is a mayhem machine who's been training to assassinate the bloodthirsty Hilda Van Der Koy and avenge his family's murder. Guided by his sister's mischievous spirit, Boy uncovers one stunning revelation after another as he barrels toward Hilda.

Director: Moritz Mohr

Cast: Bill Skarsgard, Jessica Rothe, Michelle Dockery, Famke Janssen, Sharlto Copley, Brett Gelman, Isaiah Mustafa, Andrew Koji

Release Date: April 26, 2024

Genre: Action, Crime, Thriller

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

Runtime: 1h 51m

Review:

Moritz Mohr's manic Boy Kills World is heavy on blood splatter style but equally light on story that makes for an uneven experience overall.  Mohr has the scaffolding of a story set up and his film does a quick bit of world building in its opening act before quickly moving to what he's more interested in, a series of fun but increasingly gory action sequences.  To his credit, the majority of those sequences work with a kinetic energy that seeps through the screen by way of aggressively choreographed fights, one involving a cheese grater is sure to make a lot of people winch more than a few times.  There's plenty of style on display throughout but the script is so haphazardly slapped together it hard to get too engaged in any of the characters or the storyline since it all feels like an afterthought.  A few twist and turns in the final act would have worked far better if there'd been just a bit more energy spent on fleshing out the characters and dystopian world presented. The cast makes the most of it, managing to bring a tangible sense of energy to the screen in spite of the thinly written characters.  Bill Skarsgard gets as much traction as humanly possible from his mute character by bringing an impressive physicality to role while managing to play the film's dark humor especially when he's reacting to his internal monologue provided by H. Jon Benjamin.  Skarsgard has some solid chemistry with Quinn Copeland and Andrew Koji throughout the film but neither is taken full advantage of with each coming on and off the screening far too quickly.  Sharlto Copley and Brett Gelman are both having a ball hamming it up every time they're onscreen with Copley being criminally underutilized.  Michelle Dockery and Famke Janssen do their best with underwritten characters who barely have a chance to register even though one of them is supposed to be the big bad of the whole story.  Jessica Rothe's character suffers a similar fate as there's far more time spent on the character's look than anything else.  It’s a credit to Rothe that she's able to get as much mileage as she does out of her helmeted character but you just wish she'd had a better chance to shine.  Boy Kills World manages the rare feat of being simultaneously undercooked and overly long which saps the film of the over the top zaniness energy it starts with leaving it a missed opportunity at making something truly memorable.    

C