As explained in the opening graphic, Hamnet and Hamlet were interchangeable names in Shakespeare’s time. Paul Mescal plays the Bard early in his career (which is almost never discussed), but it’s Jessie Buckley, as his wife, who center’s the film and firmly establishes her place as one of her generation’s finest actors. Their marriage is tested after the death of their young son, Hamnet, which culminates in the production of the famous play at the Globe Theatre (the film’s most powerful and touching sequence). Buckley runs the range of emotions and her skill at showing new insights into emotions is inspiring. Mescal if full of intensity and the young actors who play Hamnet (Jacobi Jupe) and Hamlet (Noah Jupe) not only prove exceptionally moving, but happen to be brothers in real life. Director Chloé Zhao has staged many of the scenes in wide shots, feeling more like a play without the expected closeups. Her gentle direction still exposes the rawness of pain, esp. in Buckley’s case. Also with Zhao, expect a somber pace and this film does take its time. While it does get a bit wearying with it’s slow scenarios, it ultimately proves an intimate and moving mediation on love and grief.
The second half of this musical is totally different from the first. The original was bright, colorful and delightful. This time the story dives deep into the downside. Almost every song (including the 2 new ones) is sullen and plaintive. Nothing upbeat. Even though Cynthia Erivo and Ariana Grande still have chemistry, they aren’t allowed much emotional intensity, except maybe the final scene. This makes their numbers less effective. Michelle Yeo and Jeff Goldblum make passable villains, but even Jonathan Bailey’s dashing prince is more muted. The whole thing is dark in more ways than one: Cinematographer Alice Brooks made it sometimes hard to see the faces (I don’t know you’d even watch it on a phone). Fans of the musical will already recognize the new elements (songs, scenes and even glimpses of Dorothy) and they may appreciate the resolution. Even though it ties things up, the film “defies” the dazzling charm of the first one.
Once again, the trailer is deceptive. Would that this were a rom-com. Alas, it’s a rom-dram. Elizabeth Olsen and Miles Teller play a long-married couple. He dies and she follows soon after. When they get to the transition place, she has to decide whether to spend eternity with him or with her first love, who died young and waited 67 years for her (Callum Turner). There is potential for comedy, but the few meager moments come courtesy of supporting “Afterlife Coordinators” John Early and Da’Vine Joy Randolph. Otherwise, it’s a back-and-forth drama, where the tangled trio debates the pros and cons of their potential lasting relationship. Fortunately, the chemistry among the 3 leads makes the uninteresting script more bearable. Otherwise, this is an attempt at heart-warming romance, but it only manages to be moderately endearing.
Michelle Dockery is cast as an Air Marshal, who’s assigned to accompanying a mob witness to trial (Topher Grace). Their flight across the Alaskan wilderness soon turns dangerous when the pilot’s true identity is revealed (Mark Wahlberg). Almost all of this takes place on the small plane, so it’s up to director Mel Gibson to make the thrills take flight. First, there’s lots of stupidity in the script, which simply can’t be overcome. Dockery does OK as the one in charge and Grace brings his comic ability to make his character enjoyable. Wahlberg goes all out to create a creep, but his over-the-top performance is an embarrassment. Even though he’s supposed to be balding, the first scene without his cap clearly shows the shaved hairline. Obs, Gibson is versed in going too far, so he certainly gets some of the fault. If you give in to the cheesy aspects and want a mindless thriller, this isn’t horrible.
Stellan Skarsgård plays a renowned cinema director who reunites with his daughters after years of estrangement (Inga Ibsdotter Lilleaas & Renate Reinsve). He has one final project and wants their participation. Toss in an American actor (Elle Fanning) who complicates things. This isn’t really about his film, but about the complex family dynamics that are explored. Writer/director Joachim Trier gets strong work out of his cast, even though it’s in typical Scandinavian style with nuanced reactions and reserved emotions. As I described it in his last film, “The Worst Person in the World,” (my review) “The performances are subtle, but effective…offering unsentimental and honest examinations of their relationships.” This European export will appeal to those who appreciate this type of underplayed, quietly probing drama.
After the first film, when the hero (Jorma Tommila) defeated hundreds of ****, he returns to his home in Russian-occupied Finland where his wife and children were brutally murdered. He loads up a truck with his home’s disassembled timber and heads back to safety in his country. Meanwhile, the Communists are out to stop him. This excerpt from my original review also applies this time (my review): “He becomes a sort of John Wick, violently killing his opposition, while remaining virtually unscathed. Even when he gets wounded and worse, he manages to emerge to continue his quest. This attitude is the approximate translation of the title, “courage and determination.” The only reason to see this film is for the brutal acts of death, which are sometimes cleverly dispatched.” The big difference this time is that the stunts are absurdly over-the-top, jumping the shark as it goes. They’re still brutal, vicious and quickly dispatched, but he’s overcoming odds that only a superhero could endure. If you can accept the absurdity of it all, there are lots of bloody encounters. BTW, he does make it to the “Finnish” line.
Rental families are real agencies in Japan that provide actors to stand-in for a family member or friend. In this case, Brendan Fraser plays an American who’s been living in Tokyo for l7 years without much luck. He starts to work with this group and his first two clients are a young girl who needs a father and an ailing actor who deserves some final respect. Needless to say, his involvement becomes more than a job, which is the crux of the film. Sadly, Hikari has directed with a gentle pace, which means slow and lacking much variety. Even the conflicts are polite and the emotions are restrained. Fraser leans into his sweet persona and he’s the movie’s best asset. This drama attempts to be poetic and heartwarming, but it’s not deep or dark enough to generate the desired effect.
The original quartet of illusionists returns after 10 years (Jesse Eisenberg, Woody Harrelson, Dave Franco and Isla Fisher) and they’re joined by 3 younger magicians. The plan is to steal the world’s most valuable diamond, but the elaborate heist goes on from there. The sequel was pretty terrible (I gave it 1.5 stars), but this new one is back on track. Here’s part of what I said about the original: “The tricks are cool, the look is glossy, the pace never lags and the writing keeps it tight. Just like a good illusion, it’s mostly flashy surface with minimal deep meaning (thankfully). Go expecting slick summer fun and you’ll be thoroughly entertained.” All that holds true this time. The locations add even more visual appeal, the dialogue is still snappy and director Ruben Fleischer has kept it slick. Abandon any hope of these tricks or the plot being remotely realistic and just enjoy the fun.
This is a remake of the 1987 version that starred Arnold Schwarzenegger as the runner/winner (in an ironic Easter egg his image is on their new money). Glen Powell plays the down-on-his-luck dad who enters the competition to help his wife and ailing child. The televised contest requires that he elude killers, amateurs and pros, for 30 days, while on the run. This is obviously an opportunity for great action scenes, but the chases and fights are less impressive than hoped (often shot/edited with more chaos than clarity). This is especially unfortunate considering that the director is Edgar Wright, who’s handled this stuff in hits like “Baby Driver” and “Shaun of the Dead.” Powell handles the physical and dramatic aspects just fine, but this film lacks any opportunity for him to employ the smirky charm that makes him so likable. There are also questions that present themselves as holes in the plot, plus a heavy reliance on dissing the evils of the corporate conglomerate. On the positive side, the futuristic design is cool and Powell still manages to anchor the film with confidence and skill.
The title refers to the only full-length concert that John Lennon did after leaving the Beatles. It was at Madison Square Garden in 1972, but this film covers lots more. One thing that makes it stand out is that every musical number is performed in its entirety… not just a verse/chorus then more soundbites. There’s also lots of additional footage from John and Yoko’s time in New York, including their protests and their Village apartment. It also features lots of additional historical clips that reflect the political culture of the time. The highlight is seeing Lennon and his band performing and the cause for the concert isn’t revealed until near the end, presenting some devastating footage of institutionalized children. It’s even more moving when they’re brought to Central Park for a day of fun, while Lennon sings “Imagine” (tears guaranteed). The political reflections are even more relevant today, while offering one more chance to enjoy the couple’s activism and affection.
Jennifer Lawrence goes all out for a tour de force performance. In various scenes in the random timeline, she’s pregnant or postpartum, but almost always unhappy. Robert Pattinson plays her husband, who’s constantly trying to patiently cope with her increasingly destructive behavior. This examination of her conflicted character gives Lawrence plenty of time to emote, but the shifting storyline creates arbitrary episodes that add to viewer frustration. As the mother-in-law, Sissy Spacek adds the few moments of caring and warmth, while she has her own inconsequential subplot. Director Lynne Ramsay blends elements of experimental cinema (and an old-school screen ratio) in what’s probably an attempt to mirror the mother's own mental state. As a result, there’s little real empathy created for her dilemma, making this more an edgy character study than a compelling drama.
After a car breaks down, a man working in the garage recognizes the driver. The next day he kidnaps him to revenge the brutal injustices he endured as a political prisoner. His journey to confirm the identity and seek retribution involves several other people, as they drive around the city trying to decide how to deal with this dodgy situation. Iranian writer/director Jafar Panahi has suffered some of these issues himself, so he’s created this drama with ethical quandaries surrounding the social critique. His style is minimal: The camera is usually static, allowing the interactions to play out in wide shots without any editing to create emotional tension. The dilemmas faced by the group are involving, but they include lots of talky debate about the best outcome. The ambiguous final scene offers an interesting conclusion.
As the title suggests, this is a re-imagining of the Ibsen classic, but the only elements from writer/director Nia DaCosta’s version are the basic bones of the plot (and much of that has been reworked). This version takes place on a fabulous estate during one long elaborate party. Tessa Thompson is magnetic in the title role, while Nana Hoss matches her dramatic power as the love/hate interest. DaCosta has created a decadent world where everything is presented in grand operatic style with side glances, furtive encounters and epic emotions. It’s to the point where she’s pushed reality into melodrama in a very artificial way. While the final scenes are the film’s most powerful, the extended shots and long pauses make this more an experiment in stylistic presentation than an examination of the story’s emotional power.
As the title suggests, Colin Farrell pretends to be a high-stakes English Lord gambler, when he’s actually a down-on-his luck con man. He’s escaping his past debts in Macau, while being pursued by a mysterious character (Tilda Swinton looking frumpy). He also forms an inexplicable relationship with a local woman (Margaret Cheung). All of his messy situations are rendered even more implausible and over-the-top by the direction of Edward Berger ( “Conclave” & “All Quiet on the Western Front”). Farrell is in almost every scene and he’s continually pushing the envelope of dramatic intensity. At least the glittering locations add some visual appeal. The story veers into some wonky directions, which doesn’t help make this character drama emotionally relatable or even that enjoyable. NOTE: Stick thru the wacky graphic credits for an unusual dance sequence.
Director Yorgos Lanthimos is one of today’s most idiosyncratic directors and this film continues his unique approach to cinematic storytelling. Emma Stone plays a CEO who’s kidnapped by a conspiracy obsessed man (Jesse Plemons) and his cousin (Aidan Delbis). They believe that she’s an alien here to destroy our planet. This is primarily a two-hander with Stone and Plemons going at each other with continual conflicting dialogue. It’s very wordy and sometimes pretentiously so, but fortunately this duo has the intensity to pull it off. Delbis brings a touch of innocence and sweetness to the otherwise grim exchange. There are glimpses of brilliance, but more often mild frustration with the continual banter and not much else. You can decide if the ending is worth the slog.
The title translates to “New Wave,” the French movement that revolutionized cinema in the early '60s by rejecting traditional conventions to experiment with visual style and other non-traditional approaches. This film details the making of one of the most influential productions, “Breathless,” by a young cinema writer Jean Luc Godard (later becoming one of the most influential filmmakers of his time). His lackadaisical attitude toward typical strictures like a script and schedule resulted in frustration from his producer, crew and actors. Director Richard Linklater has shot this in traditional aspect ratio, black and white with subtitles and he introduces every major historical character with their name. To create the period look even further, he added cue dots, the small black circle in the upper right corner that signifies it’s time to change reels. The actors are mostly French (with the exception of Zoey Deutch as Jean Seberg) and they seem to be enjoying themselves. The feeling of experimentation is captured with a playful nostalgic approach that chronicles this bold era of cinematic history. It’s more of a documentary told in a narrative style, but still captures some of the thrills and challenges of this new movement.
In the gifted hands of writer/director Guillermo del Toro, this classic thriller becomes a tragic tale on a grand scale. The lush, gorgeous production design combined with impressive locations and beautiful costumes are beautifully captured by cinematographer Dan Laustsen. Alexandre Desplat’s evocative score adds even more intensity. As the titular doctor, Oscar Isaac embraces the role with fervor, but it’s an unrecognizable Jacob Elordi, as the creature, who creates a memorable and ultimately touching character. Del Toro’s masterful hand continually heightens the film’s dramatic effect, not only visually, but with an emotional core that’s ultimately becomes a poignant human tragedy.
Jeremy Allen White plays Bruce Springsteen in this drama about a time in the songwriter’s life when he was crafting his 1982 album Nebraska. He was also coping with his own demons, mostly around his troubled relationship with his father, who’s beautifully played by Stephen Graham. Helping him realize his vision is his devoted manager (Jeremy Strong in the dark mode he does so well). Full (sacrilegious) disclosure: I’ve never been a big Springsteen fan, but White does an effective job of recreating the singer on stage. As for the dramatic moments (and that’s most of the movie), he’s appropriately sullen. Despite all of the strum und drang, the emotions never really catch fire. Co-writer/director Scott Cooper, who nailed this approach for his film “Crazy Heart,” doesn’t manage to make this more than a brooding portrait of an artist at a career high point and a personal low point.
Lorenz Hart (Ethan Hawke) and Richard Rogers (Andrew Scott) wrote numerous successful musicals for 25 years. This film takes place on opening night of “Oklahoma!,” which is the first time Rogers worked with someone else (Oscar Hammerstein). It’s almost a one-man show, as Hawke goes on and on about his talent, his frustrations and his new infatuation (Margaret Qualley). There are a few minor interactions, but the majority of the script is Hart’s ramblings. That said, Richard Kaplow’s script is sometimes smart or clever. Hawke is a longtime collaborator of Richard Linklater and the director has given Hawke the opportunity to create this neurotic character, which he does with admirable skill (and some cinematic tricks to make him look shorter than almost everyone else). It will surely go down as one of Hawkes' career highlights. The movie is less memorable.
Comedian Aziz Ansari wrote and directed, as well as stars, playing a struggling gig worker. Along comes an inept angel (Keanu Reeves), who interferes in his life and that of a rich venture capitalist (Seth Rogen). Ansari’s typical persona holds up, while Rogen just plays frustrated and Reeves channels the vacant character he created for “Bill and Ted.” Everybody’s trying hard, but the script is seldom funny. To make matters worse, the film eventually becomes a morality tale with an anti-capitalist message. The opportunities for humor should run rampant, but the most we get is upbeat energy and occasional smirks.
Frank Dillane plays a young addict living on the streets of London. In the course of the film, he ends up in jail, then gets out for a chance to succeed and more, including some “fantasy” sequences. This is the first feature for writer/director Harris **** (who also has a small part). He keeps his camera mostly static as events happen, some of which are important and others just for flavor. None of it is particularly interesting or moving…just flat events. Dillane gets a few short moments for emotion, but most of the time is less involving. **** moments of artsy escape are just that. The few glimpses into the character’s feelings don’t provide sufficient sympathy to make this more than an objective, somewhat distanced character study.
Julia Roberts plays against her usual big-smile persona as a college professor with issues. Things get worse when her good friend, fellow teacher (Andrew Garflield) is accused of impropriety by a promising student (Ayo Edebiri). Being that this is set at Yale and they’re in the philosophy department, you can expect occasional theoretical discussions, including a debate about the expectations of today’s youth culture. Otherwise, director Luca Guadagnino’s assured hand allows the cast to create exceptional performances (and Chloë Sevigny gets a funky wig for her small part). On the other hand, the intellectual banter and sometimes rambling story dilutes the potential to make this as effective as it could have been. Instead, we have an earnest examination of ethics that makes this more an intellectual exercise than a riveting drama. NOTE: In an interesting homage to Woody Allen, the credits are black and white in his font style, because Guadagnino wanted to evoke the aesthetic of classic New York films while acknowledging the controversy surrounding Allen.
If there was ever any doubt that you can’t trust trailers, this film is a good example. It appears to be a rollicking comedy, but that’s not the movie. It’s based on a true story about a man (Channing Tatum), who robbed 25 McDonald’s restaurants by cutting holes in their roofs, later escapes prison and hides out in a Toys “R” Us for 6 months. During this time, he falls for a single mom (Kirsten Dunst) and establishes a loving relationship with her and 2 her daughters. All of this is fascinating and Tatum brings his full charm to create a sweet, lovable character. Dunst adds even more appeal. The film takes a light tone to create an endearing approach to the man, but there are few genuine laughs. NOTE: The credits feature the inevitable fotos of the real man, plus a news story about the case with many of the real characters.
A nuclear missile is headed toward the United States, but it’s not clear who launched it or why. This film follows the response inside our government agencies, as they try to avert disaster. It’s presented from 3 different angles, adding new information each time, including the final one which features the President (Idris Elba) The cast is jammed with talented actors giving top notch performances, but it’s director Kathryn Bigelow (back after 7 years) who’s the real source of cinematic power. She’s crafted a slow-burn tension that doesn’t lets up, while never showboating. While thoughtfully considering the various arguments, the script also manages to make a complex issue understandable. Politics aren’t even the focus. It’s the chilling possibility that nuclear war could change our planet forever and our hopes of preventing it are terrifyingly untenable.
Diego Luna plays a political prisoner in 80s Argentina who’s joined by a new cellmate, an effeminate homosexual (played by Tonatiuh). As he relates the plot of his favorite movie, they begin to connect. This is the 2nd time that this musical has been brought to the screen. This time Bill Condon is directing and there’s no denying that he knows how to stage gorgeous musicals. When the story transitions into the fantasy, Condon’s creation echoes the Old Hollywood big studio production numbers with beautiful sets, lovely costumes and flashy choreography. Those moments are anchored by a blonde Jennifer Lopez, who’s magnetic in the role. When it’s just the two men in their cell, things are more squalid, but their relationship holds sway. Both actors do a fine job. The balance between the worlds loses some of emotional momentum when it bounces back and forth, but the duo’s final scenes are the film’s most affecting.
Kiera Knightley plays a political journalist who takes on what she expects to be a lighter assignment, a cruise on a superyacht full of rich people. After she witnesses a woman being thrown overboard, she fights against doubters to solve the mystery. This isn’t as much Agatha Christie as it is a paranoid thriller with her trying to outwit the expanding group of suspects. The best thing about the film is the beautiful boat where it all takes place. Otherwise, it’s a rather uninteresting puzzle with unlikely developments that strain credibility. Knightly is adequate, but Simon Stone’s direction doesn’t manage any real tension until near the end and even then, it’s not much of a payoff.
When the original “Tron” came out, it was a dazzling futuristic visual treat and a cool technological feat. This latest version ups the game to look even more impressive. A tech company can create almost anything out of lasers, including powerful androids. The main one (Jared Leto) is sent on a mission thru the digital space, which also leaks into our reality. This turns the film into an extended chase, with evil bots chasing him and his human accomplice (Greta Lee). It’s not about plot or character: The focus is on the futuristic design of the digital world, which is neon beautiful and continually cool. Add a pounding soundtrack by Trent Reznor and Atticus Ross to increase the intensity. Director Joachim Rønning has kept the energy moving, so there’s no lag in the pace and yes, Jeff Bridges makes an appearance. If you can look past the tiny efforts for empathy or message, you’ll be treated to a visually electrifying adventure. BTW, I saw it in 3D, which made it even more impressive.
This biopic is about Mark Kerr, a mixed-martial arts and UFC champion. As expected from a sports story like this, he rises before the inevitable fall. His addiction to painkillers plays a much smaller part in the story than would usually happen in a film like this. Dwayne Johnson piled on the prosthetics to help create his character and mold his decent performance as the movie’s centerpiece. Emily Blunt does a remarkable job as his bold girlfriend. Despite the potential for clinching emotions, writer/director Benny Safdie has kept things more on the surface. He’s also peppered the action with too many fights, which get downright dull. There’s an interesting story about the sensitive man behind the blows, but it lacks the depth or power to make it a moving drama.
Daniel Day-Lewis came out of retirement to star in this film, which he co-wrote with his son Ronan, who also directed. The very thin plot involves a brother (Sean Bean) travelling to the countryside where his brother (Day-Lewis) lives a hermit life after a life-changing event. Meanwhile, the wife and son (Samantha Morton and Samuel Bottomley) deal with the issue back home. This basically involves minimal dialogue with Day-Lewis getting 2 juicy monologues. Otherwise, there’s lots of dull scenery, long slow tracking shots and interminable pauses. This is an extremely self-indulgent project, rendered more so by the sluggish direction and tedious editing. Sure, Day-Lewis wants to support his son in his first feature, but he should have continued to enjoy his retirement instead…certainly more than I enjoyed this experience.
This film is set in an Irish boy’s reform school in the 90s. Cillian Murphy plays the headteacher, who attempts to manage the unruly students, confront the facility’s shutdown and cope with his own personal issues. Toss in a fake documentary crew to make things more disruptive and add brief useless insights into all the players. This feels more like theatre than cinema: Every scene is played out with extended pauses and intense dramatic intent. Frankly, it gets tedious. The actors are all giving their most passionate performances, but the suffering starts to feel self-indulgent on their part, the writing and direction. Because the script attempts to cover so many characters, none of them gets the depth to create much empathy. Some may find this drama powerful and/or moving, but the tedious pace combined with sometimes random scenes and stagy one-to-one encounters just left me not caring for Steve or anyone else in the film
Parker is the last name of the character played by Mark Wahlberg. He’s based on a series of novels by Richard Stark about an efficient, but ruthless large-scale thief. As expected, he lands a new heist opportunity that goes in several directions, good and bad. This film isn’t about the story, it’s about the action. The opening racetrack sequence sets us up for a barrage of insane chases, fights and one impressive final crash. Wahlberg is effective in the role, thanks to his natural stiffness and flat delivery (with occasional amusing asides). His “actor” friend LaKeith Stanfield adds the only real personality. Director Shane Black maintains a steady pace, while pulling off the action sequences with flashy style. In some ways this is a poor man’s “Oceans 11” with fewer clever interactions and more bludgeoning. Judging by this film, Wahlberg may have landed himself a new novel franchise. (Ironically, this film takes place in New York City, but was shot in New Zealand with lots of visual effects.)
Matthew McConaughey plays a school bus driver who also has issues with his son (played by his real offspring Levi). Suddenly, he and one teacher (America Ferrera) have to drive 22 students thru blazing terror during the 2018 Camp Fire in Paradise, CA. This is based on a true story, but since the director is Paul Greengrass (best known for the Bourne action films), you can expect the addition of some lethal threats and close calls. Even though the story is hindered by some cliches and the action slows for personal moments, McConaughey and Ferrera do a good job of capturing the stress. Actually, the scenes of the infernos and its spread are most impressive. While there are certainly moments of tension, the story meanders, but it still creates a captivating ride.Since this was from Apple, it only played theaters for 2 weeks, which is a shame because it deserved to be seen on a big screen for the full effect of the fire’s immersion.
Paul Thomas Anderson is a writer/director with a mixed bag of hits and nots. This one falls in the middle. Leonardo DiCaprio and Teyana Taylor play a couple that’s involved in radical bombings as part of their revolutionary uprising protests. One particular army officer (Sean Penn) takes a special interest in them and pursues their takedown. This is a sprawling drama that plays out with extreme views on both sides. Even so, this film isn't about the politics, but the personal situations that surround their actions. DiCaprio centers the film with his stoned character, but it’s Penn who makes the strongest impression. He’s magnetic in every scene, including the occasional amusing moments. Taylor also proves captivating with her personal and sexual bravura. At 162 minutes the film could use a bit less sprawl, but Anderson manages to keep it involving most of the time, primarily due to the performances. Only during the final act (esp. the unusual car chase) does any real tension or emotional involvement happen. [usr =3.5]
Emma Thompson straps on her best Midwestern accent as a widow who’s ice fishing in Minnesota when she stumbles upon a kidnapping. She musters up her minimal resources and pluck to rescue the young woman. Thompson has the grit as an actor to pull of the challenges of the role, while she gets a bit of empathy with flashbacks to her marriage. Director Brian Kirk, who’s primarily does TV thrillers, provides more intrigue than tension, as we watch the small cast navigate the frozen setting. There are a few holes in the logic that undermine the film’s effectiveness, but the final encounter is reasonably tense. It’s more about watching this clever woman manage to thwart the enemies than creating any real suspense.
In a rather absurd premise (based on a Stephen King novel), our nation has been decimated by an unknown war and the economy is in a shambles. In a “Hunger Games” style competition, 50 young men take the titular march with one rule: If you stop or go below a certain speed, you’ll be shot immediately. The primary character is played by Cooper Hoffman (son of Philip Seymore Hoffman) and he’s surrounded by a cast of talented young actors doing strong work. Toss in a gravelly Mark Hamill as the mean commanding officer. Ironically, it’s directed by Francis Lawrence, who helmed of 3 of the Hunger Games movies. He manages to keep the interactions and kills involving, while ignoring some basic flaws, esp. the fact that none of them are wearing any kind of appropriate shoe. Despite the flaws, the talented cast and Lawrence’s direction manage to create an involving little drama with a personal and political message.
Paul Mascal plays a Kentucky boy with a musical gift who meets a fellow musician at college (Josh O’Connor). Their friendship is instant and erotic. They eventually embark on a journey thru the woods of America to record folk songs on wax discs (it was the 1900s). While this was their mission, the story revolves around their love affair and the eventual outcome. Mascal gives yet another nuanced and compelling portrayal, while O’Connor charms with his sparking eyes and winning smile. Director Oliver Hermanus has kept the emotions restrained and could have upped the pace. Even so, this sprawling story is both sad and sweet.
Christopher Guest, Michael McKean and Harry Shearer return in long gray wigs as the fictional heavy metal band, 41 years after the original fake documentary. It’s helmed once again by Rob Reiner, who also interviews them. Here’s an excerpt from my 1984 review, “they cop arrested-adolescent attitudes to the banal interview questions while they preen and grimace to the absurd songs.” Their deadpan ignorance is still intact, but sadly it’s seldom even mildly amusing. The addition of some real rock icons (most notably Paul McCartney & Elton John) is impressive, but lacks any satirical edge. Actually, the whole movie’s that way…sadly trying too hard and seldom succeeding.
The Crawleys and their staff are back for a final wrap-up of the franchise. All the primary characters have returned to their privileged life, when scandal erupts. In addition, financial issues threaten their heritage. This is basically more of the same from creator Julian Fellowes: challenges met with grace, smart dialogue, interesting character development and lovely visuals. It’s like settling into an old estate, musty memories and all. The returning cast continues their appeal with a few new characters for spice. Fans of the show will find this a well-done, expected finale with everyone happy.
Although Bill Murray is the big name on this film, he’s in very few scenes. Most of the drama takes place after he’s gone, centering around the women in his life…family, lovers and ex-wives. The primary focus is on his close friend, played by Naomi Watts. She ends up with his 150lb. Great Dane in her small New York apartment and as expected, her initial disdain turns into affection. Watts is eminently watchable, as she navigates all manner of emotion. The film itself is rendered dreary by the long dramatic dialogues and repetitive situations. There are enjoyable scenes, but more often it drags. Ultimately, there’s a sweet story about a woman accepting her past and reestablishing her creative life, packaged in a dog love movie.
The original version of this movie came out in 1984 and was a funky, wacky, low-budget cult hit. This new version casts Peter Dinklage as the hard-working employee of the healthcare company emitting deadly waste. After being tossed in the toxic goo, he emerges as a highly-mutated, but strangely powerful creature with a lethal mop. His primary target is the man who runs that company, played by an over-the-top Kevin Bacon. Actually, the point of this franchise is over-the-top. Not only is the story rather preposterous, the writing, directorial style, production design and effects are pushed to hilarious absurdity. There are inside jokes, including the graphics, that add to the fun. Dinklage brings the same talent he does with his dramatic roles to this comic character. The cast also includes Elijah Wood in his fun version of Igor. The violent scenes feature quickly dispatched kills in funny and inventive ways, thanks primarily to that mop. The pace romps along with wild abandon. I looked up my original review and this final line still applies, “The absurdity of it all and the grisly killings should appeal to the sick-witted.” NOTE: Stay thru credits for breakfast.
“The War Of The Roses” came out in 1989 and here are excerpts from my review (with the names changed): “It’s about love gone sour in a very vicious way. Olivia Colman and Benedict Cumberbatch start out happily, but after years their marriage deteriorates. Their battle becomes more and more unpleasant while remaining wickedly funny to the bitter end.” All of this applies to this new version. As always, Colman is a delight, with a cheery smile that’s heartbreaking when it turns sour. Cumberbatch is the more reserved character, but he still manages to merge the comedy with the drama. Supporting couple Kate McKinnon and Andy Samberg provide additional comic fun. The script is smart and incisive, while Jay Roach’s direction mines every hint of humor, while keeping the love intact (the original was helmed by Danny Devito). The final line from that earlier review still works: “It’s a deliciously dark story of love and hate.” And the final scene of this version is even more tasty!
Four residents at a lovely retirement home enjoy solving cold case murders: Helen Mirren, Pierce Brosnan, Ben Kingsley and Celie Imrie. Their hobby turns serious when real dead bodies turn up. With such a stellar cast, you can expect top notch performances and they all do fine without being exceptional or stepping far outside their regular style. The only exception is Mirren, who hilariously stands out as the officious, efficient leader (at least for the first hour, before she becomes empathic and loses her edge). The fine supporting actors also include other well-known Brits like David Tennant, Jonathan Pryce and Richard E. Grant. Despite the predictable story and somewhat lackluster situations, director Chris Columbus has kept things moving briskly. There a health issues that add an element of sadness and warmth, bit the movie is mostly a sweet, upbeat little confection that could have used a bit more quirk to offset the continual blandness.
This documentary is anchored by an interview with the eponymous actor, who continues his claim that he was beaten by 2 white men. His case went in different directions with additional revelations, all of which are discussed by the investigators and others involved with Smollett. Ultimately, new information is disclosed that seems to reinforce his innocence. The doc is shot in traditional style with numerous interviews and media clips. It builds a compelling story and ultimately, places that question mark in the title for the viewer to decide.
This is like a 21st century version of a Hitchcock thriller: An innocent man (Austin Butler) finds himself in the middle of an escalating puzzle of violence and danger, relying on his wits to stay alive. With this role, Butler continues his ascension as one of our most charismatic and talented young actors. His continual confusion and desperate attempts to avoid danger keep his character engaging. The supporting cast has some enjoyable characters: the sardonic cop (Regina King), the punk crook (Matt Smith in a wild mohawk), Live Schreiber and Vincent D’Onofrio as Hasidic gangsters, an almost unrecognizable Griffin Dunne as the bar owner and one surprise cameo at the end. The real star of the movie is director Darren Aronofsky, who’s crafted a non-stop complex of mean violence, moments of comedy, frantic chases and intimidating character interactions in a crime-ridden 90s NYC. Sit thru the credits because they feature cool, colorful animation.
The most unusual thing about this film is that it’s true. During the early 30s, three groups of people moved to a remote island in the Galapagos. The initial couple was a philosopher/writer and his companion (Jude Law & Vanessa Kirby). They’re followed by a husband/wife (Daniel Brühl & Sydney Sweeney) and their son with tuberculous (Jonathan ****). Finally, making a grand entrance with a small entourage is the “Baroness” (Ana de Armas) with an upper-crust attitude and unrealistic expectations. The need for food and other basics creates constant tension among them. Director Ron Howard has imbued every scene with a continual aura of suspicion and betrayal. It’s boosted by the all-around exceptional performances, especially de Armas, who’s charismatically and compellingly seductive and Sweeney, in an almost unrecognizable dramatic turn. This film takes it’s time to develop, sometimes even frustratingly. By the ending, it does accumulate tension, creating a dark, intriguing story that’s even more compelling because it’s true.
Riz Ahmed has an unusual job in this film: He brokers payoff deals between corporations with something to hide and the person who has secrets that could bring them down. He keeps everything anonymous but using a relay service for the hearing impaired. Along comes a desperate new client (Lily James) and the clandestine operation begins. This film unfolds with slow, steady stress, as we watch the machinations he goes thru to solve the conflict, while protecting both sides. It’s kinda like watching a spy thriller play out on the streets of NYC. With his easy intensity, Ahmed makes every moment count and James effectively plays the damsel in distress. Director David Mackenzie has the ability to create low-grade tension in almost every exchange and it keeps mounting until the final showdown. Between the continually-clever cloak-and-dagger situations, effective performances and Mackenzie’s skillful craft, the film is a quietly involving paranoid thriller with a bit of character study to add humanity.
Bob Odenkirk returns as the dad with a job that violently dispatches bad guys. He decides to take his family on a vacation that turns into yet another opportunity to kick severe ass. The whole point of this film is to put Odenkirk in violent situations, where he can efficiently and brutally beat people up. In this case, Sharon Stone turns up as the especially cruel villain and she’s fun in the role until she gets over-the-top before the end. The final insane encounter involves other members of his family, as they dispatch dozens of military-style enemies. The plot borders on ridiculous and only serves for the extensive violence. This is the first American film for director Timo Tjahjanto, who’s known for his ultra-violent Indonesian action movies. He continues his trajectory here with a few splashes of humor and minimal emotional involvement. Eventually, the continual carnage lacks much real impact and is just another parade of violence.
Sydney Sweeney and Paul Walter Hauser are just two of the slightly strange people in this film full of unique types. The plot revolves around a valuable Lakota Ghost shirt and several groups who are trying to exploit its value. The story is told in chapters that intertwine the characters and ultimately result in a bloody showdown. Sweeney adds a stutter to her sweet, shy waitress and Hauser plays the softhearted bumbler he does so well. Toss in Halsey as the runaway mom, Gavin Maddox Bergman as her son who thinks he’s Sitting Bull reincarnated, Zahn McClarnon as the real Native American and Simon Rex as the head crook. They all add interesting angles. Director Tony Tost (best known for “Poker Face”) has blended violence, romance and humor to make this new-noir crime drama that’s sometimes surprising and always entertaining.
Vanessa Kirby plays a woman down on her luck and desperate to raise the money to save her family home. It doesn’t help that her mom (Jennifer Jason Leigh) is useless and her brother with Down Syndrome (Zack Gottsagen) depends on her care. She ventures on a night of increasingly messy situations that ultimately result in boring outcomes. Although Kirby does a fine job and the rest of the cast is capable, the situations aren’t especially compelling. Director Benjamin Caron does what he can to make it work, but it ultimately has little in the script to help. Just another mediocre thriller.
Denzel Washington plays a music mogul who has a luxurious life with a beautiful wife, a great son and a magnificent Brooklyn penthouse overlooking Manhattan. A ransom call after a kidnapping upends his life and presents a moral dilemma. This is the 5th time that he and director Spike Lee have worked together and this is some of the best work from both of them. Washington’s performance is enthralling with subtle peculiarities and grand gestures. As his best friend, Jeffrey Wright is equally impressive. Lee launches the story with dynamic energy and polished visuals, while creating dramatic encounters and a bit of action. The film’s only real flaw is that it runs too long and could have trimmed some of the extraneous, even self-indulgent scenes. Even so, this is a slick, stylish, well-crafted drama centered around Washington’s Oscar-worthy achievement. The performance of the title song by Aiyana-Lee Anderson makes a moving final moment. BTW, this story is based on the great filmmaker Akira Kurosawa’s crime thriller “High and Low.”NOTE: Fun Easter egg: Look for the apartment number that’s a shoutout to distributor A24. [usr =4.5]
