Cindy Prascik's Review of A Million Little Pieces

Thanks to less-than-enticing cinema listings and a sketchy weather forecast, this weekend I elected to seek out a new(ish) movie for home viewing. A Million Little Pieces (with Charlie Hunnam) was two bucks cheaper to rent than The Courier (with Gary Oldman), so I went with A Million Little Pieces. Dear reader(s), sometimes you get what you pay for.

Spoiler level here will be mild, if anyone cares, which you really shouldn't.

A young man with a long history of addiction lands in rehab and discovers that the best drug is Billy Bob Thornton.

Directed by Sam Taylor-Johnson and starring her husband Aaron Taylor-Johnson, the weighty subject matter makes A Million Little Pieces feel like a vanity project, the couple hoping to show off a bit with the serious material. Unfortunately, it's a superficial exercise, and the only thing it really shows off is Mr. Taylor-Johnson's not-so-little Mr. Taylor-Johnson. Yep, you heard me. In the first of the film's incessant attempts to shock for shock's sake, A Million Little Pieces comes right out of the box with the equivalent of a Hollywood unicorn: full frontal male nudity. (It also hits that beat again later on, for good measure.) Taylor-Johnson fronts a reasonably capable cast, including (as mentioned) Thornton and Hunnam, Hunnam's fellow Sons of Anarchy alum Ryan Hurst, Juliette Lewis, and one of my favorite "that guy who was in that thing" actors, David Dastmalchian. There's really nothing wrong with any of the performances, but there's not much anyone can do with the lame dialogue and paper-thin characters. The tale plays out predictably, fleshed out by clumsy flashbacks and punctuated with all the gross bodily functions a rehab story could ever need. The movie does such a poor job painting the lead character's picture that you might end up rooting for the drugs. If you're looking for a film that effectively depicts the layers of addiction and the challenges of recovery, well, you're gonna have to keep looking.

A Million Little Pieces clocks in at 113 minutes and is rated R for "drug material, language throughout, some graphic nudity, and sexual content."

If I had to think of one nice thing to say about A Million Little Pieces, it's that Charlie Hunnam looks really, really good for the ten measly minutes he's onscreen.

Next time I'll pay the two extra bucks for Gary Oldman. Of a possible nine Weasleys, A Million Little Pieces gets one. Until next time...

Cindy Prascik's Review of 1917

Yesterday it was off to the cinema for a long-awaited and much-anticipated screening of 1917.

Spoiler level here will be mild, nothing you wouldn't know from the trailer. In the midst of World War I, a pair of British soldiers is sent on a dangerous mission to deliver an important message.

Dearest reader(s), my expectations for 1917 were so high--SO HIGH--and the movie managed to exceed them in every way. 1917 is a close-up depiction of both the horror and the heroism of war.

Lacking big battle scenes, it follows two young men on a harrowing and deeply personal mission. Bigger names in the cast, including Colin Firth, Benedict Cumberbatch, Andrew Scott, Mark Strong, and Richard Madden, turn up for what amounts to little more than cameos, while George MacKay and Dean-Charles Chapman do the heavy lifting. A fine job of it they do, particularly MacKay, who surely should have been acknowledged among the year's finest performances. The movie is mostly quiet and deliberate, with the subdued soundtrack providing an ominous undertone, so each burst of noisy violence is an ugly shock to the system. The "single shot" format (actually several long shots) is highly effective, making the perilous journey feel almost like real time. 1917 looks gorgeous and offers a gut-punch or two to remind everyone of the terrible cost of war.

Art is subjective, and I don't think anyone's opinion is more valid than anyone else's; however, if you're reading this, I assume you're at least somewhat interested in mine, so here's the bottom line: When I watch a movie like Once Upon a Time in Hollywood or the Irishman, much of what I see on the screen is the director's ego. The beauty of great art is that there is no trace of that; every person's effort--however extraordinary--is entirely in service to the art itself. Many exceptional talents conspired to create the work of art that is 1917, and Once Upon a Time in Hollywood isn't fit to carry its muddy boots.

1917 clocks in at 119 minutes and is rated R for "violence, some disturbing images, and language."

1917 is a reminder of how magical a truly exceptional film can make the cinema experience.

Of a possible nine Weasleys, 1917 gets all nine. Until next time...

MOVIE REVIEW: LITTLE WOMEN

In the years after the Civil War, Jo March lives in New York and makes her living as a writer, while her sister Amy studies painting in Paris. Amy has a chance encounter with Theodore, a childhood crush who proposed to Jo but was ultimately rejected. Their oldest sibling, Meg, is married to a schoolteacher, while shy sister Beth develops a devastating illness that brings the family back together.

Director: Greta Gerwig

Cast: Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel, Chris Cooper, Meryl Streep

Release Date: December 25, 2019

Genres: Drama, Romance

Rated PG for thematic elements and brief smoking.

Runtime: 2h 15  min 

Review:

It's impossible to not walk away from Greta Gerwig's adaptation of Little Woman feeling uplifted.  Sure it's a story that's been told multiple times before but Gerwig's take feels fresh and timely.  Some alterations to the story make it feel more modern and the film overall is better for it.  She shuffles up the chronology of the novel which makes the familiar story much more interesting and engaging.  Gerwig is blessed with a stellar cast which makes the whole thing incredibly watchable.  Her muse, Saoirse Ronan, couldn't be better suited to play the head strong Jo.  It's easy to forget that she's only 25 since she's so naturalistic and engaging as an actress.  Florence Pugh is just as strong in this film even pulling off the incredible feat of of making Amy less annoying and interesting.  Emma Watson and Eliza Scanlen round out the other tow sisters with their performances being solid but more subdued.  Ultimately it's Ronan's film and she carries it with great ease even though we already know the majority of the story beats.  The story does start to drag a bit near the end of it's run time and it's easy to see where 15 or 20 minutes could have been shaved off.  Regardless, Gerwig's film is a fine example of how to bring something new to a well worn story but keeping it's spirit at the same time.  

A-

My Favorite Films from 2019

Welcome to my list of favorite films from 2019.  Some are critical darlings while others are more standard crowd pleasers but ultimately, they’re all films that left an impression on me.  

First up are films that I'd classify as pleasant surprises but not quite top 10 worthy;

READY OR NOT – I’m always happy when a fun, well-made horror movie comes out of nowhere.  This film is fun on multiple levels and you’ll need to keep your eye on Samara Weaving in the future.



BOOKSMART – Olivia Wilde’s directorial debut is incredibly polished but more so, its incredibly funny and heartfelt.



LAST CHRISTMAS – Sure it looks like a paint by the numbers Rom-Com but it’s something fresh and unexpected with a charming lead.



DOCTOR SLEEP – Mike Flanagan successfully pulled off making a sequel to Stanley Kubrick’s The Shining which was respectful of that film and solid enough to stand on it’s own two feet.



GOOD BOYS – A preteen Super Bad probably sounds like a risky idea but this movie made it work on so many levels.



JOKER – I’m not nearly as high on this film as most but I can still appreciate it even if it mines Martin Scorsese’s catalog and successfully graphed it on a comic book character.



TOY STORY 4 – A fourth entry wasn’t necessary in this series and there is no reason for it to be as good as it is, an impressive epilogue.



DOLEMITE IS MY NAME – Eddie Murphy’s return to R rated fare, reminds you why he was such a big deal back in the 80s.



AD ASTRA – A high concept mash up of 2001 and Apocalypse Now that nearly pulls off something impressive.



JUDY - Renée Zellweger proving she’s worthy of her first Oscar by delivering another award’s worthy performance.



MARRIAGE STORY – Sure the topic and themes are well worn in Hollywood, but this newest entry is propped up by a pair of the best performances of the year.



THE IRISHMAN – If you ever wanted to watch all of Martin Scorsese’s films but didn’t want to watch multiple films, may I present to you The Irishman.

Now onto my 10 favorite films of 2019

10) YESTERDAY – Yesterday is an understated Rom-Com fantasy with a big heart, it’s earnest and thoughtful and sure to leave you with a smile on your face.




9)  KNIVES OUT – A throwback to the classic Agatha Christie films, a sharp script and an A list cast make this one of the more enjoyable films of the year.



8) ALITA: BATTLE ANGEL – It took over a decade for James Cameron passion project  to finally hit the screen, the result is one of the better sci-fi films of the last few years and probably one of Robert Rodriguez's most polished films.



7)  FORD V FERRARI – A classically styled prestige film that takes a real-life tale and makes it’s an engaging dramedy carried by two movie stars.



6) 1917 – Sam Mendes war epic is a technical marvel even with a bare bones story that's been told multiple times before, it deserves to be seen on the big screen. 



5) JOJO RABBIT – A weird concept that ends up being something that’s funny, meaningful and incredibly endearing.




4) ROCKETMAN – Rocketman is an example of how you shake up the musical biopic genre with something original, appropriate and appreciative of the central artist.



3) PARASITE – Bong Joon-ho's newest film is a success on a multiple levels.  Unlike many arthouse films, this is easily accessible and even easier to love.  It's funny, timely and tragic.



2) ONCE UPON A TIME IN HOLLYWOOD – Quentin Tarantino’s love letter to 70’s Hollywood seems to stream directly out of the director’s brain onto the screen.  Throw in a pair of excellent turns by Leonardo Dicaprio and Brad Pitt and a fanciful story that’s Tarantino through and through even though its surprisingly bloodless for the most part.



1) MIDSOMMAR – Ari Aster made two films and each of them have left a lasting impression.  Midsommar though reflects an incredible leap in craftsmanship and overall quality.  Midsommar is a film that needs to be viewed multiple times to appreciate the nuance of skill at work.

MOVIE REVIEW: PARASITE

Greed and class discrimination threaten the newly formed symbiotic relationship between the wealthy Park family and the destitute Kim clan.

Director: Bong Joon-ho

Cast: Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam

Release Date: October 11, 2019

Genres: Comedy, Drama, Thriller 

Rated R for language, some violence and sexual content

Runtime: 2h 12 min 

Review:

Bong Joon-ho can't be accused of making the same kind of film even certain themes do tend to carry over from The Host, Snowpiercer and now Parasite.  His newest film is one of the funniest and ultimately tragic films of the years.  Bong Joon-ho visual style is instantly engaging and engrossing as he relates so much information via visuals and some sharply written dialogue.  One of the most impressive things about this art house film is how easily accessible it is to the audience.  You don't have to be a movie aficionado to appreciate how well made and funny this film is all around. The performances the cast are great all around with Yeo-jeong Jo being particularly fun as the aloof wife.  The cast and director all lull you into a strange sense of safety and fun while dropping clues and cues about the film's overall message.  Once the film hits it's final act and the tone shifts in a shocking way it shouldn't come as much of surprise because Boon Joon-ho has been building to this from the beginning.  As a whole, the film is a impressive cinematic experience that is sure to have a massive level of rewatchablity.  

 

A-

MOVIE REVIEW: 1917

Two British soldiers receive seemingly impossible orders during World War I. In a race against time, they must cross into enemy territory to deliver a message that could potentially save 1,600 of their fellow comrades -- including one's own brother.

Director: Sam Mendes

Cast: George MacKay, Dean-Charles Chapman, Mark Strong, Andrew Scott, Richard Madden, Claire Duburcq, Colin Firth, Benedict Cumberbatch

Release Date: December 25, 2019

Genres: Drama, War

Rated R for violence, some disturbing images, and language

Runtime: 1h 59min

Review:

It takes a special kind of talent to a take a simplistic story, which has been done before, and make it a thoroughly engrossing journey from start to finish.  Sam Mendes pulls this off by using some visual trickery to make the film seem like it runs in a series of unbroken cuts and populating his film with memorial visual moments. Oscar winning cinematographer Roger Deakin's visual flair is on full display here, matched with Mendes direction gives the audience some truly mesmerizing moments some of which feel closer to horror movie beats than a war film.  These visual cues make what amounts to a simplified Saving Private Ryan engaging right from the start even though there are far fewer characters to follow.  The cast primarily consist of George MacKay & Dean-Charles Chapman with the latter carrying the majority of the load.  Much like Saving Private Ryan, you have a handful of name actors pop up here and there for quick cameos but ultimately it's MacKay that's the audience's primary proxy.  He delivers a strong performance which makes you feel every moment of his trek from fear to exhaustion  even in the film's quieter moments which are just as frazzling as the more action fueled sequences.  As a whole, the film is a technical marvel that doesn't forget to capture the human moments in the horror of war. 

A-