MOVIE REVIEW: BIRD BOX

When a mysterious force decimates the population, only one thing is certain -- if you see it, you die. The survivors must now avoid coming face to face with an entity that takes the form of their worst fears. Searching for hope and a new beginning, a woman and her children embark on a dangerous journey through the woods and down a river to find the one place that may offer sanctuary. To make it, they'll have to cover their eyes from the evil that chases them -- and complete the trip blindfolded.

Director: Susanne Bier

Cast: Sandra Bullock,  Trevante Rhodes, Jacki Weaver, Rosa Salazar, Danielle Macdonald, Lil Rel Howery, Tom Hollander, BD Wong, Sarah Paulson, Colson Baker John Malkovich

Rating: R for violence, bloody images, language and brief sexuality

Release Date: December 21, 2018

Genres: Drama, Horror, Sci-Fi

Runtime: 2h 4 min

Review:

Bird Box the film is one of those film's that ultimately suffer from comparisons to another better film from this year, The Quiet Place.  The interesting thing is that the film only shares a handful of conceits with that film instead it feels much closer to a slightly elevated version of M. Night Shyamalan god awful The Happening.  That proximity doesn't do the film any favors especially since both expect you to take people running away from wind seriously and dramatically.  Bird Box, at the very least, gives a passing mention of a more supernatural explanation for the situation but it's clearly not interested in exploring the cause with any depth.  What works for the film is its direction and cast which make the film far more watchable than it should be.  Sandra Bullock carries the film with ease even if her character isn't the most likable character of the group.  Trevante Rhodes character comes off slightly better but his character isn't explored enough to come off as a fully formed character.   The remaining cast is filled with well known names and faces, all of whom elevate what amounts to fodder to get picked off as the film proceeds.  Its a missed opportunity since the cast, had they been given meatier roles, could have made for a more impactful film.  As is, Bird Box is a passable genre entry that will be quickly forgotten the instant it's over.

C 

MOVIE REVIEW: ROMA

A story that chronicles a year in the life of a middle-class family's maid in Mexico City in the early 1970s.  From Academy Award winner Alfonso Cuarón, director of "Gravity" & "Children of Men." Written and directed by Alfonso Cuarón.

Director: Alfonso Cuarón

Cast: Yalitza Aparicio, Marina de Tavira, Marco Graf, Daniela Demesa, Enoc Leaño, Daniel Valtierra

Rated PG for frenetic sequences of animated action violence, thematic elements, and mild language

Release Date: November 21, 2018

Genres: Drama

Runtime: 2h 15min

Review:

Alfonso Cuarón’s Roma is an experience and one of those films that truly captures a slice of life in an authentic and meaningful way.  Roma plot is simplistic by nature but it’s deceptively deep at the same time.  Cuarón frames each shot with such an impressive technical mastery that you’d need to revisit the film a few times to capture everything he’s laid out for you.  Your enjoyment of the film will depend on your connection to its characters and Yalitza Aparicio does a fine job of carrying the better part of the film.  There’s an air of authenticity about every movement and reaction that makes the film a special quality that’s rarely seen.  Roma’s themes are deep and universal but it’s hard to overlook that Cuarón has made a decidedly Mexican film which speaks to the culture and heritage in a meaningful way while tackling larger human moments that define a life.

A

MOVIE REVIEW: MARY POPPINS RETURNS

Now an adult with three children, bank teller Michael Banks learns that his house will be repossessed in five days unless he can pay back a loan. His only hope is to find a missing certificate that shows proof of valuable shares that his father left him years earlier. Just as all seems lost, Michael and his sister receive the surprise of a lifetime when Mary Poppins -- the beloved nanny from their childhood -- arrives to save the day and take the Banks family on a magical, fun-filled adventure.

Director: Rob Marshall

Cast: Emily Blunt, Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Dick Van Dyke, Angela Lansbury, Colin Firth, Meryl Streep

Release Date: December 19, 2018

Genres: Comedy, Family, Fantasy

Rated PG for some mild thematic elements and brief action

Runtime: 2h 10 min

Review:

I feel obliged to mention that I’ve never actually watched the original Mary Poppins start to finish.  I’m well aware of it by reputation and honestly I’m more familiar with The Simpson’s parody of it than the actual movie.  As such, I head into this reboot with the ability to take Rob Marshall’s sequel mostly on its own merits.  Keeping with the transparency theme, I’ll state that I’ve been a big fan of Marshall’s work since Chicago and Mary Poppins Returns only further confirms my admiration.  Marshall can stage a song and dance sequence like few others can and here he’s in top form delivering some wonderfully fizzy and enjoyable sequences that will leave a smile on your face.  The film moves at a steady pace, rarely lingering too long much less on the barebone’s plot.  It keeps moving on Marshall’s energy and its stars incredible charm and screen presence.  Emily Blunt is everything you could ask for as she takes over the reins from Julie Andrews.  It’s a role that seems tailor made for her and she plays it with palpable energy and vigor.  Manuel Miranda is a bit of an outlier, no so much that he’s bad but he just feels slightly miscast even though he does add some spice into some of songs.  Ben Whishaw and Emily Mortimer are mostly left by the wayside in thankless supporting roles.  It help that three child actors who spend the most time on screen with Blunt prove to be more capable of carrying their own.  It’s a treat to watch and the film as a whole is about as charming and delightful they come.

A-

Cindy Prascik's Reviews of Mortal Engines and The Mule

Dearest Blog: On Friday it was off to Marquee Cinemas for Mortal Engines and the Mule.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First up: Mortal Engines.

In a dystopian future where "predator" cities devour lesser cities whole, a young lady seeks revenge for her mother's death.

Well, you guys, I'd call this Divergent Hunger Maze thingy a disappointment, but for that to be the case I'd have had to expect something, and, truly, I did not.

Beginning with a couple small positives: Anything that is meant to be terrifyingly, impressively huge in Mortal Engines is just that. Even in 2D, the predator cities appear ready to roll right off the screen to crush the assembled...erm...half-dozen paying customers. There's also the matter of Robert Sheehan, who, for the record, is entirely to blame for my seeing this instead of the Spider-Man cartoon. A cookie-cutter role doesn't give him much to work with, but he is the most interesting thing about the movie, as he generally is in any project fortunate enough to have him. Sadly, the good news ends there. In the unlikely event this film could have overcome it's wooden, unlikable lead, Hera Hilmar, there's dodgy green screen, painful dialogue, and some weirdly out-of-synch ADR to make absolutely certain it falls on its face. The thing runs over two hours (Hollywood, please explain yourself!) and consists mostly of pointless running around and Hilmar scowling at things. If Lord of the Rings fans were hoping for something to indicate Peter Jackson was back on the right track, I guess we'll just have to keep hoping.

Mortal Engines clocks in at a bloated 128 minutes and is rated PG13 for "sequences of futuristic violence and action."

If you want to watch something from the people who made Lord of the Rings, well, maybe just stay home and watch Lord of the Rings again. Of a possible nine Weasleys, Moral Engines gets two.

Next on my agenda: The Mule.

When an elderly horticulturist falls on hard times, he accepts a job "driving" for a drug cartel.
Unlike Mortal Engines, I *did* have some expectations for The Mule, and, sadly, it failed to meet even the barest minimum. What trailers sold as genuine awards fodder instead turned out to be a couple hours of aiming for the lowest common denominator. Clint Eastwood stars as an Archie Bunker caricature whose cluelessness and bigotry are played for laughs at every available turn.

Pedestrian storytelling holds no surprises, and performances from a pretty noteworthy cast are anything but noteworthy; however, most unforgivable is the film's criminal waste of the brilliant Clifton Collins, Jr. I'd considered The Mule to be the weekend's "must see," but I think Spidey would have been the better call here.

The Mule runs 116 minutes and is rated R for "language throughout and brief sexuality/nudity."

Nestled deep in the heart of awards season, The Mule can only be considered a bitter disappointment.

Of a possible nine Weasleys, the Mule gets four.

Until next time...