MOVIE REVIEW: THE MATRIX RESURRECTIONS

 

To find out if his reality is a physical or mental construct, Mr. Anderson, aka Neo, will have to choose to follow the white rabbit once more. If he's learned anything, it's that choice, while an illusion, is still the only way out of -- or into -- the Matrix. Neo already knows what he has to do, but what he doesn't yet know is that the Matrix is stronger, more secure and far more dangerous than ever before.

Director: Lana Wachowski

Cast: Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Jessica Henwick, Jonathan Groff, Neil Patrick Harris, Jada Pinkett Smith, Priyanka Chopra Jonas, Christina Ricci

Release Date: December 22, 2021

Genre: Action, Sci-Fi

Rated R for violence and some language

Runtime: 2h 28m

Review:

The first two sequels to the Matrix were a prime example of the law of diminishing returns.  Each entry became more entrenched in philosophical musings and mythology that ultimately weighed them down.  Eighteen years later Lana Wachowski revives the franchise with a more meta approach, echoing what Wes Craven did with Freddy Kruger in 1994's A New Nightmare, in the first half of her film.  It's a fun and fascinating take that sure to set a lot of fans off kilter initially.  This approach gives the story and franchise a spark of life it desperately needed in order to warrant another sequel.  There are plenty of story threads that could have been explored from that vantage point but Wachowski just can't pull the trigger before falling into what the previous sequels did before them.  The film hits some very familiar beats from the original film before moving into more standard sci-fi fare which isn't nearly as engaging.  The action is plentiful if rather uninspired mainly due to the fact that the film turns into a slog due to it's unnecessarily long runtime.  The back half of the film is a pseudo love story between the franchises main two characters.  It's undeniably fun to see Keanu Reeves and Carrie-Anne Moss slip back into their iconic roles especially when they do it with such ease.  Reeves, deservedly, gets the lion share of the screen time but Moss and her inherent strength and ferocity shine through in her limited screen time.  The newcomers to the franchise are a mixed bag with Jessica Henwick making the best impression.  Yahya Abdul-Mateen II is solid as Morpheus 2.0 but he can't quite capture Fishburn's sage cyber sensei the same way. Jonathan Groff does the best he can as the new Agent Smith but like Abdul-Mateen II he doesn't bring the same energy of his predecessor.  Neil Patrick Harris and Jada Pinkett Smith, in some embarrassingly terrible old people make up, are shockingly bad with their turns leaving you wonder if they were in a different movie all together.  The Matrix Resurrections had the chance to trying something riskier and more engaging but it ultimately falls back on it's safety net which isn't terribly innovative and groundbreaking.

C+

MOVIE REVIEW: BEING THE RICARDOS

 

In 1952, Hollywood power couple Lucille Ball and Desi Arnaz face personal and professional obstacles that threaten their careers, their relationship, and their hit television show.

Director: Aaron Sorkin

Cast: Nicole Kidman, Javier Bardem, J. K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, Clark Gregg

Release Date: December 10, 2021 

Genre: Biography, Drama

Rated R for language

Runtime: 2h 5m

Review:

Being The Richardos is a showy biopic that's held together by a wonderful turn from it's cast but it lacks consistency from start to finish.  Writer/director Aaron Sorkin brings his signature dialogue to his film and it drives the narrative as expected.  A strange and unnecessary faux documentary framing device though saps the film of forward momentum by moving the focus off the titular couple. Once onscreen, Nicole Kidman and Javier Bardem make for an interesting couple even if their physical similarities to the real people are less than convincing especially Bardem.  Kidman is fully committed to the role and delivers a strong performance, capturing Ball's signature raspy voice and mannerisms.  There are portions of the film where she just disappears into the role especially in the few scenes where iconic moments from the original show are recreated.  Outside of mere mimicry, Sorkin and Kidman give us moments that display Ball's eye for comedy and others that display her strength as the TV heavyweight she was.  Bardem is solid throughout even though his performance isn't able to escape his gravelly voice and distinct style.  Its a minor issue as Bardem and Kidman share some strong moments together onscreen especially in the film's final act.  The supporting cast is made up of familiar faces like Alia Shawkat, Tony Hale and Jack Lacy who all deliver workman turns.  J.K. Simmons and Nina Arianda though leave the biggest impressions, once you overlook the fact that neither looks anything like their real life counter parts, with memorable turns as William Frawley and Vivian Vance who played the Mertz.  It all makes for an entertaining biopic that uses heavy dramatic license to condenses multiple life events in the Balls life but Being The Richardos is not the homerun it should have been.  

B-

MOVIE REVIEW: NIGHTMARE ALLEY

 

In 1940s New York, down-on-his-luck Stanton Carlisle endears himself to a clairvoyant and her mentalist husband at a traveling carnival. Using newly acquired knowledge, Carlisle crafts a golden ticket to success by swindling the elite and wealthy. Hoping for a big score, he soon hatches a scheme to con a dangerous tycoon with help from a mysterious psychiatrist who might be his most formidable opponent yet.

Director: Guillermo del Toro

Cast:  Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, David Strathairn

Release Date: December 17, 2021

Genre: Action, Crime, Drama, Thriller

Rated R for strong/bloody violence, some sexual content, nudity and language

Runtime: 2h 30m

Review:

Guillermo del Toro's Nightmare Alley is a lavishly directed film noir morality tale that's as engrossing as it is engaging.  Del Toro channel's plenty of classic noir films in this remake of the 1947 original while adding his own personal twist.  The visually lean heavily on art deco designs with tinges of the macabre which fits with Del Toro's style.  Bradley Cooper is at the center of the film and does impressively well as the charlatan who drives the film.  Cooper's performance transforms as the character evolves over the course of the film's runtime with broad and occasionally more subtle choices.  It's a fascinating performance that blooms as the film moves on.  Willem Dafoe, Toni Collette and David Strathairn carry the majority of the supporting load in the first half of the film with each leaving a strong impression before the scene shifts.  The second half though belongs to Cate Blanchett who's the defacto femme fatale of the piece.  Blanchett's angelic yet menacing face fits the role perfectly as she delivers lines with steely precision and intensity.  This film is an actor's playground which makes its leisurely pacing easier to digest as you appreciate the performances on display.  Nightmare Alley isn't going to be everyone's cup of tea but for those who can appreciate meticulous filmmaking with top notch performances will find plenty to love here.  

A-

MOVIE REVIEW: SPIDER-MAN: NO WAY HOME

 

With Spider-Man's identity now revealed, our friendly neighborhood web-slinger is unmasked and no longer able to separate his normal life as Peter Parker from the high stakes of being a superhero. When Peter asks for help from Doctor Strange, the stakes become even more dangerous, forcing him to discover what it truly means to be Spider-Man.

Director: Jon Watts

Cast: Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Jamie Foxx, Willem Dafoe, Alfred Molina, Benedict Wong, Tony Revolori, Marisa Tomei

Release Date: December 17, 2021

Genre: Action, Adventure, Fantasy, Sci-Fi

Rated PG-13 for sequences of action/violence, some language and brief suggestive comments

Runtime: 2h 28m

Review:

Spider-Man: No Way Home is a crowd pleasing trilogy capper for Tom Holland's run as the webslinger.  Jon Watts film is initially chaotic and contrived as he tries to set the table for the plot.  Once the film gets moving in earnest Watts and Holland start hitting that sweet spot with the latter bringing that youthful optimism and naivety to Parker that fits the character perfectly.  Plot threads from there on out become difficult to discuss without spoiling the fan service that's doled out in copious amounts in the film's last two acts.  There's a significant story at play in the background which deals with the characters legacy and future at the same time.  It's a hefty bit of character work and Tom Holland delivers one of his best performances in the role.  His turn here is more nuanced and layered than his previous takes and the film is the better for it.  Zendaya and Jacob Batalon return as Parker's girlfriend and best friend with the script not asking much from them other than playing it light and moving the story along as needed.  Jon Favreau and Marisa Tomei are in a same boat but Tomei does get a moment to really shine for the first time in this series.  Willem Dafoe, Jamie Foxx, Alfred Molina, Thomas Haden Church and Rhys Ifans return to the Spider-Man universe with varying degrees of effectiveness.  Molina who gets the most screen time early on does an impressive job of channeling his original performance.  Willem Dafoe is equally impressive bring back his Green Goblin and even builds on it as the story moves along which is sure to leave an impression.  On the opposite end of the spectrum is Jamie Foxx who decides to ham it up every time he's on screen to a distracting degree.  A minor hiccup considering the amount of effort employed to get all these characters on screen at once.  Spider-Man: No Way Home manages to balance all these story threads while zeroing in the character's heart in the finale.  That being said, it's not perfect since there's a tangible sense that the film could have been streamlined and trimmed by at least a half an hour.  It's also easy to forget that the kicking off point of the entire story is incredibly contrived and nonsensical.  Ultimately, long term fans probably won't care by the time the film ends since it ultimately delivers on multiple levels

B

MOVIE REVIEW: WEST SIDE STORY

 

Love at first sight strikes when young Tony spots Maria at a high school dance in 1957 New York City. Their burgeoning romance helps to fuel the fire between the warring Jets and Sharks -- two rival gangs vying for control of the streets.

Director: Steven Spielberg

Cast: Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, Corey Stoll

Release Date: November 19, 2021

Genre: Crime, Drama, Musical, Romance

Rated PG-13 for some strong violence, strong language, thematic content, suggestive material and brief smoking.

Runtime: 2h 36m

Review:

Steven Spielberg's West Side Story isn't really necessary in the grand scheme of things since the 1961 Robert Wise film is considered cinematic royalty.  Perhaps Spielberg is one of the few directors around who could pull off the amazing feat of delivering a vibrant and relevant refresh of this story. The film pulsates with a palatable verve from it's opening frame.  Each shot is meticulously constructed and composed which displays the amount of care that went into this production.  The songs are instantly recognizable but the choreography and costuming are just breathtaking to behold in terms of size and scope.  Ansel Elgort and Rachel Zegler lead the cast as the star crossed lovers.  Zegler, in her big screen debut, is perfect from the moment she hits the screen with a voice that's sure to leave an impression.  There's an air of authenticity in her performance that bleeds through the screen. Elgort though feels like a weak spot in the cast with his performance and voice coming off flat for large portions of time.  Zegler and Elgort don't share that spark of onscreen chemistry you'd expect from the central couple and in a lesser film it'd probably sink the whole production.  It's a testament to the film that it really doesn't matter in the long run since the supporting cast more than makes up for it.  Mike Faist turn as Riff is a kinetic punch of charismatic juvenile delinquency making him the most interesting person onscreen for a large portion of the film.  David Alvarez is equally strong as Riff's rival Bernardo.  Alvarez reeks of masculinity and machismo which fits perfectly with the character.  Ariana DeBose, who takes on Rita Moreno's role from the original film, manages to leave a huge impression with her energetic and ultimately tragic turn with the centerpiece being her performance of America.  Spielberg's West Side Story is a rare cinematic feat especially for a remake, it's engrossing, uplifting, timely and moving in the best way.

A-

MOVIE REVIEW: C’MON C’MON

 

Johnny is an emotionally stunted and softspoken radio journalist who travels the country interviewing a variety of kids about their thoughts concerning their world and their future. Then Johnny's saddled with caring for his young nephew Jesse. Jesse brings a new perspective and, as they travel from state to state, effectively turns the emotional tables on Johnny.

Director: Mike Mills

Cast: Joaquin Phoenix, Gaby Hoffmann, Scoot McNairy, Molly Webster, Jaboukie Young-White, Woody Norman

Release Date: November 19, 2021

Genre: Drama

Rated R for language

Runtime: 1h 49m

Review:

Mike Mills C’mon C’mon is a simplistic but elegant bit of introspection about life.  It’s the kind of cinema veritas that takes the mundane in life and makes it significant and meaningfully.  It’s a quiet soft spoken film that relies on dialogue more than anything and does so with great effectiveness.  Those looking for a hard charging plot will be left wanting for more here as very little actually happens throughout the majority of the film.  Its leisurely pace rhythm may be off putting for certain audience but there is plenty to enjoy for those that can connect to the interpersonal relationships on display.  The central relationship between Joaquin Phoenix and newcomer Woody Norman provide the beating heart for the film.  Phoenix is understated and authentic from the onset which shouldn’t be a major surprise but Woody Norman is a revelation.  Norman and Phoenix share a rare kind of screen chemistry that’s hard to find and it elevates the film which avoids most of the big clichés of the self discovery genre.  Both should be getting plenty of awards recognition once the time comes.  Gaby Hoffman and Scoot McNairy deliver strong supporting turns with Hoffman getting more time to shine.  C’mon C’mon isn’t the type of film that will appeal to everyone because of it’s pace and methodical approach to the subject matter but for those that can appreciate subtle and delicate storytelling there is plenty to love here.    

A-