"Dumbo" Review: The Film Doesn't Soar

2019 promises to give us a slew of live-action films based off of some classic property. Aladdin, The Lion King and Dumbo are the titles parents can get ready to take their kids to. As a parent of young children, I now realize that some films my parents took me to growing up is another example of their love because sitting through it must have been hard to endure. Dumbo is retribution for their sacrifice, and I can only hope the rest of the year doesn’t exact more vengeance!

Danny DeVito runs the Medici Bros circus as Max Medici. His circus of outsiders travel from town to town in 1919 by train, bringing fun to the towns they stop in. Amongst the circus family is Holt Farrier (Colin Farrell) and his two children: Milly (Nico Parker) and Joe (Finley Hobbins). They take care of the elephants, which includes Dumbo, the newest addition to the clan. Dumbo has oversized ears and they quickly learn that the tickle of a feather can make him fly. 

Once the word is out that there’s a flying elephant in the world, the chance to bring the spectacle under his own circus brings tycoon V.A. Vandevere (Michael Keaton) running. He buys the Medici circus and pushes to make Dumbo the main event. You can imagine the heroism that has to follow in order to keep Dumbo safe.

This film comes down to casting and it’s hit and miss. Danny DeVito is great, but he gets put into a closet literally and figuratively after Vandevere takes over. Keaton enjoys playing Vandevere a little too much, becoming a caricature of the evil villain missing a mustache but with a bad toupee. Farrell’s southern accent is absolutely ridiculous, and Nico Parker’s delivery of her lines is equally cringeworthy. 

The first half of the film feels like Disney got director Tim Burton to succumb to their bright and beautiful ways, but once Dumbo goes under Vandevere control the film takes a darker tone. Cinematographer Ben Davis changes the bright and hopeful lighting scheme to a dark and oppressed washed out dark blue. There’s no doubt that Burton is able to capture some of the wonder and awe of the circus through his set pieces and swells in the score, but that’s the best part of the film and it’s not enough.

My kids loved the film, and I was shocked at the number of adults in the theater without kids as well. So this film will definitely have an audience of kids or adults looking for a nostalgia fix from the 1941 animation. If it’s an indication of the films we’re about to see this year take a deep breath and make sure you’re seats are reclinable because at least your money will go toward getting a comfortable spot to watch the back of your eyelids.

Rating: C-

"The Brink" Review: The Charismatic Uncle That Needs To Sit Down Somewhere

Steve Bannon is a conservative media and political strategist and the former chief strategist for Donald Trump’s presidential campaign. Just in case you weren’t aware. If you’re expecting to leave The Brink knowing more about his background and what made him who he is, this isn’t that type of documentary. However, that’s the one thing that makes it intriguing because it doesn’t ask you to pick a side, nor does it build its main character up. It simply gives you a slice of life look at Bannon and let’s you do what you’d like with that information.

An early scene in the documentary shows Bannon talking about how well engineered the German death camp at Birkenau was. (Auschwitz used buildings that were already there while Birkenau was built from scratch.) He describes coming to an epiphany that there was a group of people who got together to plan out how to efficiently erect an infrastructure to kill, dispose and repeat the process with Jews. He says he can see the coffee and strategy conversations that were had. While his admiration is more than a bit haunting, this isn’t a random scene, it’s the set up for the rest of the film and metaphor for his life.  

From there we continue to get a fly on the wall look at Bannon’s life shortly after departing from the Trump White House. Director Alison Klayman doesn’t give us a structured storyline outside of following him to the 2018 midterms, and jumps from event to event, hotel room to hotel room, and rally to rally across Europe and America. The sum of many parts allows certain stump speeches, phrases, and interactions to become clear to the viewer. As much as Bannon gives off the cool, charismatic uncle that needs to sit down somewhere vibe, he bathes in his own hype to try to wash his insecurities.

Bannon is given room to be himself and dig himself in a hole with some of the things he says within the film. He even mentions how he’ll be crushed after the doc comes out.  He’s self-aware and understands how to use negative press to his advantage. His charm and doggedness to see economic nationalism grow makes it clear why he’s successful with his base. Yet, even while he’s interacting with people and crowds on a weekly basis, there’s a hint of loneliness and isolation in the road he’s chosen. Klayman could have cut it out or not captured it, but you never see a real sense of connection to anyone. 

This is the type of film that makes the film festival circuit, does low numbers in the box office and finds a home on some streaming network. That’s where I’d catch it, if you’re one of the folks that would be interested in what goes on behind the scenes of Steve Bannon’s life.

Rating: C 

"Us" Review: Be Prepared for Nightmares

A little over two years ago, Jordan Peele told us to Get Out.  This time he wants us to look at ourselves in his new movie Us. While this film doesn’t rise to the masterpiece heights of its predecessor, it sure proves that Peele understands cinema and he’s no one hit wonder. Usually I’d say the hype is real, but the truth is true this time around, and Us is the sci-fi/horror truth! 

As a young girl, Adelaide Wilson (Lupita Nyong’o) wandered off from her parents at the Santa Cruz beach. The experience left her speechless and in therapy for years. So years later, when her husband Gabe (Winston Duke) decides that her and the kids should go to the same beach for vacation, she begrudgingly goes. They meet up with the Tyler family and Adelaide learns Kitty’s (Elizabeth Moss) secret to dealing with life is booze, while Gabe and Josh (Tim Heidecker) compare boat sizes. 

Once they finally get home and Zora (Shahadi Wright Joseph) and Jason (Evan Alex) are tucked in, the lights go out and things get weird. A family stands at the edge of the drive way and won’t budge off the property. Once the Wilson family realizes the family is comprised of themselves (called the tethered), a story only Jordan Peele could unveil begins. 

Peele hits every note of suspense in setting up scenes that we as an audience are frightened by and using every element of cinema to capitalize on that fear in a way in which you feel like you are in the situation. He uses sound and the lack thereof to build those fight or flight moments that we experience in real life. He’s not afraid to let a moment breathe and build the tension in a scene like some directors in the genre back away from these days. His blocking of characters shows an understanding of a frame of film and how to use it. In a scene with Adelaide riding shotgun in the foreground on the way to the beach with a look of absolute nervousness and Gabe in the background obliviously happy, he allows the story to be told without a useless back and forth of camera shots. 

Lupita Nyong’o gives a stellar performance as both Adelaide and her tethered, Red. She plays a range of emotions as both characters and is stellar at it. Red’s presence is almost good enough to put her in the top lists of movie villains. The rest of the cast equally play their parts well in such a way that once the story comes together, you’ll have tons to talk about in the parking lot.

You better believe I’m talking around this film so you can go in as blank as possible. Us does have some story issues, but the setup and storytelling more than make up for those issues. See this film with as many black people as possible! It will only enhance your experience because this is definitely a film you may find yourself talking to the screen in throughout its second and third acts. If you don’t know how to do it, sit back and take notes because it might get hilarious in all the right ways. The best part is, the main characters don’t constantly make silly decisions. It’s old fashion horror and sci-fi with all the good twists and turns it seems we will come to expect from a Jordan Peele movie. With this film, it seems we’re on the verge of seeing a new auteur in the suspense thriller genre.

Rating: B+

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"Captive State" Review: An Earnest Attempt At Something New But Familiar

Science fiction films have an amazing way of drawing out the collective wonder, mystery about the universe, and our relationship to it. Good sci-fi finds a balance between questions unknown and what we do know. Captive State works because it shies away from what we expect to see in a film about an invasion of our planet. We expect to see aliens. We expect to see technology we don’t understand. Instead, co-writer/director Rupert Wyatt gives us a tense thriller dealing with what the beginnings of an uprising looks like with science fiction as the backdrop.

We’re immediately dropped into a family car tearing through the streets of Chicago just after a species has descended upon us and are making their dominant presence known. Lines are drawn, and there are certainly places that humans can’t or won’t go. The Drummond family ignores the rules, resulting in the mother and father being vaporized in front of their two sons, Gabriel (Ashton Sanders) and Rafe (Jonathan Majors). Nine years later, humanity is fully submissive to the alien race. 

There is no exposition as to what the new world order and rule is. We learn through characters and their actions. John Goodman is detective William Mulligan. Crime is at an all time low because the aliens (rarely seen) apparently don’t play that. So police not only serve and protect us, but now observe and keep tabs on humans that may step out of line for the invaders. Mulligan is keeping tabs on his ex-partner’s son Gabriel, whose brother, Rafe, became a recent martyr for an underground resistance called Phoenix. With an upcoming peace rally in which the aliens will make an appearance, surveillance is at an all time high.

Captive State may be fifteen minutes too long, but there is no doubt that screenwriters Erica Beeney and Rupert Wyatt have thought this world through from A to Z. That’s what makes this particular sci-fi film fun. It may take itself too seriously, but you don’t have time to realize that because you’re too busy trying to keep up with what’s unfolding. With strong performances from Goodman, Majors, Sanders and Vera Farmiga as Jane Doe, the world of Captive State feels authentic, lived in, and realistic.

This is the type of film that may not take the box office by storm this weekend, but people will say “that was actually pretty good” as they discover it on streaming platforms in the future. I think its worthy of the big screen treatment for your plans this weekend. Its earnest attempt at giving us something refreshingly new but familiar might just captivate your mind and imagination.

Rating: B

"Yardie" Review: A Run of The Mill Gangster Flick

The gangster film genre has been a favorite since the early beginnings of film. With its rags to riches story of a person who works their way up in the world is the American dream from a sinister angle. Based on the 1992 crime novel by Victor Headley, Yardie, Idris Elba’s directorial debut, walks and talks like a gangster film. It just doesn’t compare to the titans of the genre.

1973 Kingston, Jamaica is the setting for the opening of the film. A young Denis (Antwayne Eccleston), who goes by D, is in that phase of pre-teen life where even though the world around him is full of violence, he still has a chance to go down the right path. His older brother, Jerry “Dread” (Evelrado Creary) is trying to get the two warring factions of the community to put down their guns with a peaceful dance party. Unfortunately, the party ends when Jerry is gunned down by a local boy. This moment in time becomes the shift for D to the dark-side. 

Six years later D (the older D is played by Aml Ameen) is now under King Fox (Sheldon Sheperd), one of the original gang leaders his brother was trying to have squash the beef, and a rising star in the organization. After D gets in hot water with a rival gang he’s sent to London to lay low and handle a cocaine drop overseas until things quiet down. Once there, D reunites with his Jamaican sweetheart and baby momma Yvonne (Shantol Jackson), who left Kingston with their baby for hopes of a better life. He also reunites with hot water.

Cinematographer John Conroy paints just the right amount of vibrant color for Elba’s Kingston, and desaturated Earth tones for a dreary London with his lighting scheme. Elba has a good handle on using the camera to tell the story. Unfortunately, the screenplay from Brock Norman Brock and Martin Stellman just isn’t electric. The ensemble cast’s performances aren’t quite good enough to elevate the words on the page either. So what’s left is a stereotypical, predictable, gangster flick.

All things considered, if Elba had stepped into the role of D, he would have brought the gravity the film could have used to enhance its story. It still wouldn’t dismiss the fact that the screenplay doesn’t leave room for us to truly connect with and care for its main character. Much like Denis, Yardie is just another film caught up in an ever changing lineage of films like it ready to ascend to the throne of our collective top films in the genre. 

Rating: C

"Mapplethorpe" Review: A Living, Breathing Wiki Page of A Film

The first time I became aware of Robert Mapplethorpe was during a lecture in college for a History of Photography course I took that semester. The images that our professor showed us were certainly something, and my fellow classmates had some opinions, but it gave a sense of showing the world what kind of photographer he was. Generally, biopics can go one or two ways. For some, biopics can be an enlightening portrait of the person the film is covering to the point that it shines a new light on them. For others, biopics can often feel rushed, like seeing a Wiki page come to light to showcase the greatest hits. In many cases, those biopics failed to bring up why the people were engrossing to begin with. Sadly, Mapplethorpe falls into this realm. For such a provocative photographer, this biopic fails to do him justice. Better yet, it fails to showcase why he was such a compelling figure to begin with.

This latest biopic from filmmaker Ondi Timoner, making her narrative directorial debut after helming documentaries like 2004’s DIG! and 2009’s We Live in Public, covers the life of controversial photographer Robert Mapplethorpe (Matt Smith). From his early beginnings as a struggling artist to getting his hands on his first Polaroid camera, Mapplethorpe begins to find his voice photographing nude figures, the BDSM subculture, and still-life, while coming to terms with his sexuality. As his works begin to hit the nerves of certain groups, we see how Mapplethorpe continues to rise and become the photographer that you either like or hate before his death in 1989 due to AIDS.

On the plus side, it’s interesting to see how Timoner seamlessly interweaves Mapplethorpe’s actual photographs into the film, and the ways that the film transitions to the photographs was spot-on. The acting was fine, but nothing special. The soundtrack that was curated for the film wasn’t bad as well. There were a couple of visual flashes that Timoner and her DP, Nancy Schreiber, came up with that really worked for me. In particular, a scene with Mapplethorpe getting rejected after beginning his career and when they show his life flash before his eyes. If the film had a more of a visual style to begin with, which these scenes made evident it could have had, then at least it would have had some flavor to it.

Unfortunately, for such a fascinating figure, this is a dull portrait of a film. The screenplay from Timoner and Mikko Alanne, working from an earlier screenplay by Bruce Goodrich, never gives you insight about Mapplethorpe or what was going on inside his head, but just assumes that you already know. Since it feels like a living, breathing Wiki page film, scenes bounce around without any cohesiveness to connect them, and rushes through important events in his life. Plot threads are introduced that don’t get further explored like his estrangement from his disapproving father (Mark Moses). Characters come and go as the screenplay dictates, but I wanted to see more with his relationship with Patti Smith (Marianne Rendon). Too often, the screenplay has that “been there done that” type of feel that we’ve seen from underwhelming biopics before.

Since the screenplay is weirdly constructed, there is no pacing, which makes the film longer than the 102-minute runtime it has. You also don’t really care for Mapplethorpe, or any of the characters for that matter, since there is no character development. While the visual style for the film gets better towards the end, the first two thirds is flat, and for the type of figure that Mapplethorpe was, you would assume that the style of the film would match his work, but that’s not the case. But hey, there’s a upside to all this, in that it became a fun game to see whether or not at a given time if Smith was using a wig or his actual hair, since it’s fairly obvious in some places.

Overall, I believe there’s a proper way to fully tell his story, but Mapplethorpe doesn’t cut it at all. It’s a misfire on all accounts that make the cardinal sin of filmmaking by being dull. By the time the film ended, I still didn’t know who Robert Mapplethorpe was as a person and what made him tick. If you’re interested in learning more, read up on him or look at his photographs, cause they tell you more about him than this film does. You don’t need to spend your money in the theaters watching this. 

Rating: D+

"Fighting With My Family" Review

Fighting With My Family is the definition of a crowd pleaser. It’s light hearted, but has heart. It’s got the hero’s journey ingrained in it as it’s based off a true story. If you’re a fan of wrestling, this film is definitely for you! It’s a step above your average sports movie and a good bet for your venture to the theater this weekend.

The Knight family has wrestling in their blood. With a piecemeal amateur wrestling company, the family has been wrestling in their town of Norwich, England for years. While Ricky (Nick Frost) and Julia’s (Lena Headey) glory days in wrestling are behind them, it’s obvious that they put a lot of weight on the possibility of their children Zak (Jack Lowden) and Saraya (Florence Pugh) going “all the way” and become pro wrestlers in the World Wrestling Entertainment organization. 

The film boils down to a central point of two conflicts: Saraya and Zak are at odds once she makes makes the cut for the WWE after they both try out, and Saraya has to wrestle with herself to find the drive within to achieve her dream in America with her family thousands of miles away. These conflicts drives the movie forward in a way that no matter where you’re from you can relate to the issues on screen. How do you put aside your feelings to support someone you love who is doing what you were turned down from doing? How do you continue forward knowing your loved one has to stay behind? Is your dream your dream or your family’s dream? What does the weight of your family depending on you make you do? Writer/director Stephen Merchant probes and answers these questions in a delightful way.

The ensemble cast is fun to watch. They bounce off of one another with dialogue and quips with ease. Most of the film’s depth rests on Pugh as she maneuvers through finding herself and place in achieving her dream. Pugh certainly pulls off the job of playing the loner who desires relationships and the girl who walks to her own beat. With Dwayne “The Rock” Johnson playing himself and Vince Vaughn as the tough but fair WWE scout, the film gives enough star power to believe in the wonder of climbing to the highest heights in wrestling.

This isn’t the greatest sports film to be made, but it’s certainly unique and great to see a true story based on the life of female wrestler Paige (Saraya-Jade Bevis) on the big screen. It doesn’t have the macho action montages that we’re used to, but what it does offer is a nice change of pace, and genuine emotion for the genre.  It’s certainly a good time at the movies this weekend.

Rating: B-

"Glass" Review: A Disappointing End to An Entertaining Trilogy

Almost two decades in the making, Glass (the final piece to the Unbreakable trilogy) written and directed by M. Night Shyamalan is creatively shocking. It could be easy to lose focus in the storyline when making a trilogy over such a long period of time, however Shyamalan certainly connects these films seamlessly. Unbreakable, Split and Glass are three stories that correlate within a semi-realistic world that Shyamalan has created, which is unique and noteworthy in itself. However, while the plot of this final installment is interesting, it’s also where the film falters. With all of the wonderful elements put into the making of this film, it certainly isn’t perfect; Shyamalan’s strengths and weaknesses are displayed in various ways throughout Glass.

The film picks up with David Dunn (Bruce Willis) on the hunt for Kevin Wendell Crumb (James McAvoy). Dunn can see into people’s lives by brushing up against them and is seemingly unbreakable, while Crumb’s split personalities hold the key to The Beast, an animal like persona out for blood. Samuel L. Jackson’s Mr. Glass is the final piece to the trio; he’s the evil genius whose bones are so brittle that they shatter to pieces when hit. They all wind up being tossed into Dr. Ellie Staple’s (Sarah Paulson) psych hospital to be analyzed as humans who believe they are superheroes.

The casting of this film couldn’t be more perfect and I would be remissed not to talk about the performance of James McAvoy (Kevin Wendell Crumb), the villain with 24 split personalities (good and bad) in one body. His performance is truly amazing to say the least, as he is able to stay in each character authentically, yet split into a new character instantly; I have never seen a performance like this one and his talent should be noted. Alongside James McAvoy, Sarah Paulson is notable. She grabs your attention almost hypnotically throughout the film. Sarah Paulson is well known for her roles in the hit series American Horror Story and her skills as a horror film actress do not go unnoticed in this film. Her character is eerie and engaging at the same time; she is an interesting addition to Shyamalan’s universe. Finally, Bruce Willis and Samuel L. Jackson- they certainly make this film and are the reason why the trilogy is as great as it is. Bruce Willis has aged but is the same action hero we all know and love. Samuel L. Jackson is a badass not to be messed with and his character Mr. Glass is exactly the same. All together the acting is great; the cast is strong- especially with previously supporting characters making a come back as well. 

Cinematographer Mike Gioulakis (known for: It Follows, Split and Under the Silver Lake) uses the different characters to display camera angles from their perspective. Gioulakis is brilliant when it comes to filming the multiple personalities of Kevin Wendell Crumb, he uses the camera to note the change of personality and emphasizes the new personality with camera framing. Gioulakis is the cinematographer for ⅔ of the Unbreakable trilogy so it is understandable why the cinematography is strong in Glass!

Glass is entertaining but it is also disappointing. One positive thing about the plot is the seamless connection between all three films within the trilogy, which is certainly well done. However, the storyline is limiting and doesn’t allow space for much excitement in its climax. There is not much variation in scenery which becomes boring. At times there are nods towards other possible plotlines but the film decides to follow the most anticlimactic path. To say the least, the film is enjoyable because of the other strong elements but the storyline does not live up to the potential it could have. It is unfortunate that the trilogy is finalized with a film that doesn’t entirely satisfy the Unbreakable series, especially since it started off strong.
Glass is not the best film, but it is not the worst. With some praiseworthy elements of in it, I highly doubt it will win any awards or turn too many heads. With that being said, I do recommend seeing the film in theaters because the visuals are incredibly well done and the actors are extremely entertaining to watch. You should especially see this film in theaters if you are a fan of the trilogy, it does answer questions but since it is an M. Night Shyamalan film, it sparks more questions as well. As a fan of the trilogy, overall the film is entertaining and it isn’t all bad, but I am definitely disappointed with the anticlimactic storyline and wish Shyamalan put more effort into the climax of the iconic trilogy.

Rating: B-

"The Upside" Review: Solid Performances, Formulaic Story

The Upside is one of those films that tackle how two vastly different people’s lives can intertwine to help one another see the brighter side of life. The film is based off a true story and a remake of the 2011 French film The Intouchables. While the performances are solid, this version ultimately lands a bit flat.

Philip (Bryan Cranston) is a quadriplegic in need of a live in assistant. Dell (Kevin Hart) is an ex-con in search of employment. After Dell stumbles upon the job interview, Philip hires him as the worst candidate for the job in hopes that he might just kill him with his lack of experience. As the two get to know one another, they are called out on their excuses that they make for the cards that life has dealt them.

This film is certainly Hart’s film. When he’s in scenes, they come to life, and when he’s not the film’s energy is sucked out. As a comedian at the top of his game, this film is Hart’s vehicle that will help him crossover in being taken seriously as a dramatic actor. The interactions between Hart and Cranston are authentic and at times hilarious. Due to their blunt honesty with one another, we’re able to analyze life truths that resonate. Nicole Kidman turns in a subtly wonderful performance as Philip’s executive in charge of his affairs. 

The issue with the film is that it’s full of beautiful but formulaic moments. These moments are loosely strung together with choppy start-stop pacing. Furthermore, it fails to pull you in and genuinely care for its main characters. You may appreciate Dell and Phillip’s relationship, but you don’t really feel the connection to them that is necessary for the film to soar. 

If you’re looking for a feel good film to take grandma to see this weekend, this is it. However, this is a film that I’d suggest you wait to catch when it’s streaming. You’ll forget about it moments after leaving the theater.

Rating: C

"Replicas" Review: Best Sleep I've Had In The Theater in A While!

When a film opens cold (not screened to critics ahead of time) that’s never a good sign. It signifies that there was a point during the production of Replicas in which someone said, “this isn’t going to do well.” By that point, it was too late to go back or abandon ship, and the production pushed forward and was distributed to theaters. 

Will Foster (Keanu Reeves) is a scientist on the cusp of transferring human consciousness by mapping the brain of the recently dead and inserting it into a synthetic brain. If the science of what I just said doesn’t make sense, don’t worry, there’s more! After a recently failed attempted transfer, Will and his family decide to take off for the weekend. On the rainy streets of Puerto Rico they get in an accident in which Will is the sole survivor.

Will quickly calls Ed (Thomas Middleditch), his assistant of sorts, to come to the scene so that they can get his family’s consciousness in hopes of cloning them. From there we get a series of moral debates, more scientific jargon that doesn’t make sense, and a scene in which Will grieves more over picking a name out of a bowl than when his family initially died.

This film is not even half baked, it hasn’t even been in the oven. Our connection to the characters in this film is as weak as Will’s to his family. We barely see them interact before the accident, and therefore his push to replicate feels as lifeless as Reeves acting in this film. Middleditch is the bright spot of the film as he offers up the moral questions to the premise that just didn’t transfer well to the big screen. However, his character continues to be complicit in the “nefarious” behavior as even he notes.

The best part of this movie was the minute of sleep that I got during the third act. I woke up refreshed, ready to take on the rest of the snoozer, and push through. I wouldn’t even watch this when it comes out on Netflix if I were you.

Rating: F

"The Upside" Review

Based on a true story, The Upside is a film that is both unexpectedly hilarious yet humbling. Bryan Cranston plays a wealthy quadriplegic named Phillip and Kevin Hart is his caretaker, Dell. Both Cranston and Hart are an unstoppable duo on screen. The duo are no strangers to comedy which makes their interactions more genuine and comical. Their endearing relationship gives you hope for humanity. Alongside the serious moments, the comedy is well written and delivered with perfection. 

The acting is great; the relationship between Dell and Phillip in the film seems genuine and playful. The actors are able to portray the writing in a beautiful way that exposes a different aspect of the relationship Dell and Phillip have (they are still friends to this day). In a way, both of the characters are outcasts of society; Phillip as a quadriplegic doesn’t often receive the respect he should, even in small interactions; Dell has a similar experience being formerly incarcerated and now looking for a job. Their relationship builds off of their differences and in result of their friendship growing, they come to find that they are very similar. This development alone is one of my favorite aspects of the film and it is the first reason to go and see The Upside. Cranston and Hart lead the film with great acting but one cannot overlook the talented performances of Nicole Kidman and Golshifteh Farahani as supporting actors as well. 

The second reason to go see the film is for the writing, the comedy is innovative and edgy, especially with the quips that Dell and Phillip throw at each other. I found that some of the humor is so awkward and cringe-worthy, you can’t help but laugh. The comedy delivered through the acting carries the film as Bryan Cranston and Kevin Hart truly have a positive chemistry which makes it even better. Together the duo forces the audience to experience every emotion they’re experiencing, and they don’t hold anything back. Both of the characters go through significant change with each other and it is a beautiful process to see.

Alongside the writing and acting, the camera work is lovely and even whimsical. The director of photography, Stuart Dryburgh captures the film in a significant way; at times the cinematography reminded me of a painting, especially when the visuals are paired with dramatic moments. The director uses a technique with the cinematographer to expose bits and pieces of Phillip’s past through imaginative visual representations in a way that’s well executed. Joined with the drama and comedy within the film, the cinematography allows space when it is needed, the breathtaking shots are peaceful and meditative; it is almost as if the audience is supposed to feel the peace the characters do. These small decisions of the director and cinematographer makes the film stunning in a unique way.

Overall The Upside is great, it forces the audience to think differently about how to treat the outcasts of society and how much we take for granted on a day to day basis. If you wish to see a film that is action packed with explosions, this is not the film for you. However, if you wish to view the world differently and open your mind to new perspectives, this is a wonderful film to watch. I highly recommend this film if you are familiar with the actors, they certainly hold true to their acting reputations. See The Upside in theaters while you still can, the lovely visuals are made to be seen on a big screen.

Grade: A

"Ralph Breaks The Internet" Review

When Wreck-It Ralph was first released in 2012, it quickly became one of my favorite animated Disney films to come out within the last few years. It was innovative, the video game references I grew up with were fun, and it was a perfect starring vehicle to utilize the talents of John C. Reilly. When Disney announced that a second one was coming, it was one of the films I was looking forward to watch this year. After watching the film, even though there are some bumps on the road, I’m happy to report that Ralph Breaks the Internet is a solid sequel.

Set six years after the events of the first film, Ralph (Reilly) and his best friend Vanellope (Sarah Silverman) find themselves traveling to the world of the Internet after Mr. Litwak (Ed O’Neill) recently installs a WiFi connection in his arcade. When a mishap causes a player to accidentally break the controller to Sugar Rush, Ralph and Vanellope have just days to find the part and raise the money before Mr. Litwak pulls the plug on Sugar Rush for good. Along the way, Ralph and Vanellope come across a game called Slaughter Race, which sparks Vanellope’s interest and causes her to question if she wants more to life.

First off, the animation in this film is still absolutely gorgeous to look at. Returning director Rich Moore and co-director Phil Johnston (who co-wrote the first film) and their animators do a good job in separating the different worlds and characters apart to have each stand on their own. Conceptually, Moore and Johnson’s visualization of the Internet to make it a futuristic and Utopic view, works well. Initially, I was somewhat worried that the product placements in the film, since it takes place on the web, would be overbearing or just be paid advertisements for the various apps or websites featured, but for the most part, the filmmakers don’t shove it down your throat, or have the story be compromised with the apps or websites that agreed to be in this film. 

Since this is a Disney release, luckily, they don’t overdo the synergy of their various franchises that are featured in this. You can believe the hype you’ve been hearing about Vanellope meeting the Disney Princesses. In an amazing act of genius they got all of the actresses to come back and the banter includes a fun joke at another animation company that Disney owns. The film really begins to hit its groove when Ralph and Vanellope need to find the funds to get the new piece, and some of the skewing of the material is absolutely spot-on and extremely funny at times.

When we view sequels, we tend to see the same song and dance, rinse and repeat again. I appreciate that the screenplay that Johnston and Pamela Ribon concocted in trying to tell something different. If the first film was about how someone who is perceived as bad can become good, this one is about how you grow up and realize that you and your friend sometimes don’t share the same dreams and aspirations as one another and you both come to that crossroad, which is something that I can relate to from time to time. With how they handle it, it’s a nice message and this film wears its heart on its sleeves. Even though we see the Internet these days use for hate and vitriol, this highlights how sometimes the Internet can bring people together for good. Voice wise, the chemistry between Reilly and Silverman is still strong as ever, and they bring some new dimensions to their respective roles that can be quite effective at times. All the other voice actors were good in this and don’t feel out of place, including an uncredited Bill Hader as J.P. Spamley, a figure that Ralph and Vanellope meet along the way, and Gal Gadot as Shank, a racer in Slaughter Race. The cameos in this are fun as well.

Ralph does take a bit to actually get going. Since it’s introducing so many things that at times, it tends to be a little clunky, which is especially evident in the first act. For the 112-minute runtime that this has, Ralph in hindsight, could have been trimmed down in some places as the pacing hits a snag. There are some story threads that the filmmakers introduce that they don’t follow through on, and some of the characters from the first are barely in this, like Fix-It Felix (Jack McBrayer) and Sergeant Calhoun (Jane Lynch).

Overall, I enjoyed what Ralph Breaks the Internet brought to the table and what it was trying to accomplish. Reilly and Silverman give it their all, and the filmmakers were smart in having the sequel focus more on them and their growth. With the beating heart that this sequel shows, if they continue making films in this series, I’ll surely be there every single time. If you’re looking for something to watch with your family during this holiday season, you can’t go wrong with this. When you do, I would suggest staying until the end of the credits for something special that will surely bring a smile to your face. On that note, I would recommend watching this in the theater!

Rating: B

"Creed II" Review: A Sequel 30 Years in The Making

With eight films under its belt, the Rocky franchise has seen its share of recycled story with a new twist. Creed II knows its legacy and the pressure to get it right had to have been high on writers Juel Taylor and Sylvester Stallone. Director Steven Caple Jr. gives us a film that doesn’t live up to the power of Ryan Coogler’s Creed, but still goes the distance.

The film opens with Adonis (Michael B. Jordan) rising to the height of boxing. Simultaneously, in the Ukraine, Viktor Drago (Florain Munteanu), lives a hard life as a blue collar worker while training with his father, Ivan (Dolph Lundgren). The inevitable fight is brokered by promoter Buddy Marcelle (Russell Hornsby), who tells  Adonis his father understood he needed a legacy story that would “stick to the ribs”. Thus, the central concept of Creed II. 

The film understands the dramatic weight it carries and plays off of the hype, although at times feeling undercooked. Yet, much like a fighter, it discerns that it has to shake up the story to keep its audience entertained and engaged. It does that in the form of building character backstory. We learn just what we need to about life for Ivan after the infamous showdown and the affect it had on his son. We see Adonis and Bianca’s relationship bloom as their family grows. With key placements like Phylicia Rashad’s Mary Anne Creed and Brigitte Nielsen’s Ludmilla Drago giving just the right touch of nostalgia and added spectacle, the film manages to make it out of the ring in one piece.

The original Rocky was a little engine that could film. It was a character drama Trojan Horsed inside of a boxing film. It’s the man vs. man, man vs. self storytelling that Creed II hones in on and creates a decent installment in the franchise. After all, seeing Adonis fight Viktor isn’t really what we are going to the movie for. Instead it’s to answer the deep rooted question of what would you do if you could avenge your father’s death in the ring? Will you get back up when you get knocked down? It’s in this space that the the franchise lives and Creed II delivers. It doesn’t quite pack the same punch as Creed, but certainly a solid entry and sure to please fans that never knew this purported sequel to Rocky IV was the film we’ve been waiting over thirty years for. 

Rating: B