"Wicked: For Good": The Magic of Feeling Over Thinking
What’s more New York than the Empire State Building and a Broadway show? Having seen Wicked on the big screen, we found ourselves taking in the hit Broadway musical during a Spring Break trip to the Big Apple. Sandwiched between the cinematic release of part one and part two, my family and I discovered the magic of the stage play. Wicked: For Good may be the inferior of the three experiences but it still manages to pull off one trick: a theater full of strangers vibing to the songs and spectacle with the sound of sniffles at the end.
Twelve tide turns since Elphaba (Cynthia Erivo) came into her own and defied gravity, For Good dives further into the world of Oz. It opens showing a yellow brick road that has been laid and the animals who are being used to continue the work. As the freedom fighter, political activist and Wicked Witch of the West, Elphaba, continues to wreak havoc against any plan that the Wizard (Jeff Goldblum) has, Madame Morrible (Michelle Yeoh) has managed to prop Glinda (Arianna Grande) up as the goodwill ambassador for the Wizard. As Elphaba fights for persecuted animals and tries to clue the citizens of Oz to the truth, she lives in the woods to keep her distance from her sister, Nessarose (Marissa Bode), the new Governor of Munchkin Land. In a world where the true good is muffled and the performative good is promoted, it’s a true political slight of hand fit for the times.
It’s the same slight of hand in the movie that writers Stephen Schwartz, Winnie Holzman, and Gregory Maguire want viewers to experience outside of it. The gap in time leaves plot holes that likely would have helped part two be as strong as part one. It’s the journey of seeing Elphaba and Glinda grow in their relationship and power that makes the ending of Wicked so powerful. Here, we have to just go with the jumps in character development. How did Nessa become captor over lover of Boq (Ethan Slater)? Why is Fiyero (Jonathan Bailey) captain of the Wizard’s guards? While the movie does explain Glinda’s desire to be accepted as her reason for sticking around, we don’t quite get an understanding as to why Elphaba would tolerate her bestie continuing to participate in the charade. Regardless, the film isn’t asking you to think. Instead it wants you to feel.
So if you’re willing to roll with it, you can get swept away in the feels of the story. After all, musicals are an outward expression of what we feel through song. The songs and vocals don’t disappoint here. It’s leading ladies have lungs for days. While arguably Wicked holds the more powerful ballads, the songs in Wicked: For Good support the character development and moments that make this musical touching.
The film, like the stage play, rushes the second half of the story. It loops in some of the major plot points of The Wizard of Oz, giving the behind the scenes that we didn’t know while making sure we don’t focus on Dorothy and her companions too much. Ultimately, as the movie made it’s way to it’s final running time, I heard the sound of sniffling in the screening I was in. I saw a grown man crying next to my daughter on one side and a mother holding her young daughter while wiping tears on the other side of me. So plot holes aside, Wicked: For Good is still affective and may still your heart for a clock tick.
Rating: B-
"Jurassic World Rebirth: Enter At Your Own Risk"
Jurassic Park installations aren’t very innovative. Usually someone wants power, wealth and thinks they can achieve that by manipulating gigantic pre-historic creatures. There’s someone who has worked closely with the species or studied them heavily who gets pulled in to an adventure or nefarious task. There’s always the cool rebel who has street smarts and perhaps a military background. Probably most importantly, there’s some kid in the mix. Jurassic World Rebirth is the same formula, different mission, but still has elements of spectacle.
Probably the most interesting thing about this film is that it takes place in a world where people don’t care about dinosaurs anymore. They’re no longer flocked after by the masses in zoos or theme parks. In fact, they’re dying in climates outside of the equator. Rather than stay in a community where extinction is happening, Zora Bennet (Scarlett Johansson) is propositioned to go to a dangerous island where dinos are thriving to retrieve blood from some of the oldest dinosaurs to try to eradicate heart disease. The gun for hire is desperate for one last job that will allow her to retire, having spent most of her life on special ops, she’s the best person to lead the team being pulled together by pharmaceutical executive Martin Krebs (Rupert Friend). From there, they pull in Dr. Henry Loomis (Jonathan Bailey), Duncan Kincaid (Mahershala Ali), and some more rag tag mercenaries to round out the group.
Simultaneously, a family is crossing the Atlantic in the middle of nowhere. In yet another place that writers Michael Chrichton and David Koepp miss the boat (hehe), this family dynamic is explained just enough for us to fill in the blanks on their current relationship but is barely developed over the course of the film. Reuben Delgado (Manuel Garcia-Rulfo) has his daughters, Teresa (Luna Blaise) and Isabella (Audrina Miranda) on this once in a lifetime trip. Teresa’s boyfriend, Xavier (David Iacono), is a lazy stoner who seemingly may have made the voyage under a condition for Teresa to go. Xavier is another character who is underwritten but may be one of the most captivating of the group.
With that we have our characters for the film. Director Gareth Edwards does well when he seemingly pays homage to the Spielberg style of filmmaking. He uses camera angles that show the scale of the dinosaurs versus humans. He pushes in for close-ups to give characters a pivotal line or to show the intensity of a moment. Cinematographer John Mathieson helps in these moments with the golden glow of light that captures a character in the frame. This is all counterbalanced by the visually alarming CGI that’s used. It felt more like the special effects from The Lost World (1925). A perfect example is a scene with a T-Rex waking up to come after the Delgados. The initial camera work and suspense of the scene will have you hold your breath, but you can breathe out once the dino gets moving alongside the family. It looks like they’re superimposed in the frame.
This film brings into question the length of movies made today. Rebirth could have started at sea (about 25 minutes in) and still worked. Why do we have to assemble a team for twenty minutes? What if we meet the team in progress and learn about them during the mission? There is a two to three minute expositional dialogue between Bennet and Kincaid on the ship that is a drag. However, maybe it wouldn’t have been so boring if that was the background info we received on the characters instead of the drawn out set up prior.
Jurassic World Rebirth is predictable and carries a nostalgic familiarity. There are glimpses of brilliance followed by segments of mundanity. It doesn’t know the film style it wants to rely on and is certainly two films in one that come together in the end. It’s entertaining for the moment and forgotten once you hit the lobby of the theater. I couldn’t justify the price for my family to see it in theaters, but nothing beats seeing a dinosaur on the big screen. Enter at your own risk.
Rating: D+
"Gladiator II" Review: Standing In The Shadow of Its Predecessor
Twenty four years ago, the world of cinema was in a different place. Upon Gladiator’s 2000 release, CGI (computer generated imagery) was burgeoning. The film boasted of scenes of a coliseum built by a computer’s hand. A lot has changed since then. What once was done by trained professionals can be done by anyone with an app on their cell phone. This idea of a culture being shaped and moved into different directions by time is a theme within Gladiator II as well. What will become of our legacy? The statement that Maximus (Russell Crowe) made “What we do in this life echoes in eternity.” before his death, is still wrestled with here. The question is, is this legacy sequel worthy to stand with its predecessor?
Photo Credit Cuba Scott
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Taking place sixteen years after the death of Maximus, a farmer-soldier named Hanno (Paul Mescal) stands between Rome and the impending conquest of his home, Numidia. Surviving the battle but losing the war makes Hanno a prisoner of war; he is sold into the gladiatorial system and shipped to Rome to become entertainment for her people. Of course, this means that he enters the system with a chip on his shoulder and a fury that burns for General Acacius (Pedro Pascal) who took away his former life and loved ones that existed in it.
Rome has changed since we last saw it. It is now governed by twin Emperors Geta (Joseph Quinn) and Caracalla (Fred Hechinger). The twins lust for blood and conquering nations has secretly driven their hero General Acacius to be tired of all the bloodshed. He and his wife, Lucilla (Connie Nielsen), the daughter of Marcus Aurelius, are conspiring to overthrow the twins. This b story is perfect for Hanno’s storyline as he is proving himself to be a fierce competitor for gladiator trader Macrinus (Denzel Washington). Hanno’s one request in exchange for giving his all for Macrinus is the head of Acacius. Thus, a race between the two desires sets course, pitted against the backdrop of three days of Coliseum games.
As different mysteries are revealed, the fading cloud of a dream that Marcus Aurelius had of Rome is continually brought to the forefront by characters. While various characters have their dream of how to achieve a better Rome, it’s clear, the current path and generation at the helm must be ousted. This is the difference between Gladiator and Gladiator II. The former had heart and conviction from a rooted place, while the latter is a shadow imprinted by its forerunner. There is a breaking point in the film in which questions being answered and plots revealed totally let’s out the steam of this engine.
Photo Credit Paramount Pictures
That said, Gladiator II is a spectacle that should be seen on the big screen. Director Ridley Scott’s vision for this time period, the Coliseum, the games, and the bloodlust that still can be prevalent today is on full display. With fights involving baboons, sharks, a rhinoceros, and gladiators there is an impressive use of camera work and fight choreography. Costume designers David Crossman and Janty Yates craftsmanship is exquisite to look at as well.
Photo Credit Aidan Monaghan
Denzel Washington’s Macrinus is certainly worth the hype. As the film moves along and we get to know his character better, his delivery of dialogue and physical gestures may afford him a supporting actor nod if the hype machine is loud enough. Either way, he is fun to watch!
Ultimately, Gladiator II, while uninspired in some ways is still an entertaining movie. Nostalgia is another character that interweaves itself in this storyline. It’s mixed into the opening credits and Harry Gregson-Williams score. It makes the film a popcorn blockbuster that will pass the time, but I’m not sure it will stand the test of time as a classic like Gladiator.
Rating: B-
"Hotel Transylvania: Transformania" Review- May The Franchise Rest In Peace
Hotel Transylvania: Transformania puts the nail in the franchise’s coffin and not a single tear was shed. It’s another film that can bring the family together, but it’s not very inspired. The stakes are logical, it builds on prior films, but there’s no special magic here.
The one thing that Drac (Brian Hull) has always held against Jonathan (Andy Samberg) whether seriously or in jest, is the fact that he isn’t a monster. So it would make sense that when Drac is ready to give his famous hotel to Mavis (Selena Gomez), realizing that Jonathan would help run it as well puts Drac on edge. In fact, he gets cold feet and states to Johnathan that he won’t be able to allow them to inherit the hotel due to a real estate clause that calls for the hotel to be monster owned.
What’s a loving, wanting to impress dad, slightly insecure son going to do to ensure the hotel is bequeathed to Mavis and himself? He talks to Van Helsing (Jim Gaffigan) about being turned into a monster. Of course, things don’t go as planned and we get to spend the remaining running time in a search for the cure for the monsters who have become humans and the human who has become a monster.
It’s hard not to like the good-hearted nature of the ensemble. The addition of voice actor Brian Hull, in replacement of Adam Sandler as Drac, is like a cat in the Matrix. You know something is a bit off if you really listen to Drac’s voice, but otherwise it’s a seamless handoff of the character. Overall, this is a slapstick comedy that earns its sympathy chuckles.
If you’re of a certain age, you remember that when movies would go straight to video it usually meant they weren’t very good. We’re living in an age when movies that go to streaming instead of theaters or a simultaneous release have the same meaning. This wasn’t a Toy Story 3 bow that felt like an end of a franchise and was done beautifully. Instead, this was squeezing the franchise for the last bit of blood it had left. May it rest in peace. You can watch this with the kids on Amazon Prime today!
Rating: C-
"The 355" Review: You've Seen This...Done Better
The only thing refreshing about The 355 is an all female lead ensemble cast. It has the bones of a decent spy film but is missing the muscle and sinew to bring it all together. You’ve seen this before and done so much better!
The film starts with a military team crashing in on the house of a warlord. The shootout ends with one lone agent, Luis (Edgar Ramirez) retrieving a drive that has the power to take planes out of the sky and shut down power grids. It’s a weapon of mass destruction that will start World War III and that’s all you need to know because how it functions doesn’t really make much sense. Thus we have our McGuffin (an object in a movie that everyone wants) that the film keeps as the center.
We’re slowly introduced to our cast of characters. Mace (Jessica Chastain) and Nick (Sebastian Stan) work for the CIA and are going after the drive when Marie (Diane Kruger) steps in to get it. As not to spoil the plot, one by one other agents from agencies around the world come in to the fold. Khadijah (Lupita Nyong’o), Graciela (Penelope Cruz), and Lin Mi Sheng (Bingbing Fan) all step up willingly or unwillingly to help stop possible annihilation of the world.
Character development is poor in a genre that demands it. It takes smart writing to We’re given scenes that inform us that Khadijah has a boyfriend and Marie is a lone wolf trying to evade the shadow of her father’s past, but they don’t have any depth to them. The movie plays out like a beat sheet from a first draft of a better espionage flick. As much as I love Jessica Chastain, she is gifted two fight scenes that seem to go on far longer than needed in this film. Some of the choreography plays out like a one size fits all when it should have played to each particular character’s strengths and physicality.
Co-writer/director Simon Kinberg has good and great films to his producer credits: Logan, Deadpool, Deadpool 2, Chappie, and more. Producing is a different skill than directing though. This film lacks direction. The best action directors can get the audience acquainted with the setting and space a scene is being shot in with an establishing wide-shot and then push in on action. There are so many times where characters enter a setting but seem to have magically appeared in a space due to poor camera direction and editing.
The 355 has the formula of a spy film but lacks needed elements to make the equation add up to a satisfying outcome. The cast have given us memorable performances in the past, but this will be a film that we quickly forget about and that they were involved in. It may be worthy of a Netflix night, but definitely not worth getting out in these COVID streets to see in theaters!
Rating: D+
"Sing 2": Sophomore Jitters But Still A Good Time!
Sing 2 suffers from the sophomore jitters. The film goes bigger than Sing but relies on the same “Buster Moon (Matthew McConaughey) must prove himself” ideal that we saw in its predecessor. That said, it’s still a fun time in the theaters with the family.
We already know the main players, so Sing 2 throws us into the group’s latest performance. It’s a beautiful rendition of Alice in Wonderland that showcases Meena (Tori Kelly), Ash (Scarlett Johansson), and Johnny (Taron Egerton) in their own ways. Buster, however, wants to go bigger! He has a dream of taking his team to perform in the entertainment center of the world, Redshore City, but not just anyone can get a show in this Las Vegas style city. You have to get the approval of Mr. Crystal (Bobby Cannavale), a wolf who seems to be head of the mob in Redshore.
After sneaking their way into an audition for Mr. Crystal, Moon and associates have Crystal’s backing with a blank check under one condition: they promise to have rock star-turned recluse Clay Calloway (Bono) in the show. The only problem is, they don’t know where Calloway is themselves. Thus, this starts a race to create a unique show fit for the high expectations of a Redshore City show, Mr. Crystal’s intimidating persona, and getting Calloway to come out of seclusion.
The theme of overcoming the odds and believing in yourself is front and center again. Which is great for kids and families. However, getting to the point that the team is seeing their dreams come true in the race to pull off an amazing show is based on Moon lying his way into that position. The film never addresses this and thus there is a conflict of morals in the messaging. “Hey kids, you can do anything you put your mind to, even if you don’t tell the truth to get there along the way!” If there is a Sing 3, which there very well could be, writer/director Garth Jennings, needs to rethink Buster’s constant need to lie and somehow successfully pull off tasks. Life doesn’t work that way.
That big issue aside, the movie is fun and fast moving. A special shoutout has to be given to the Animation Department and Patrick Delage, the animation director. Sing 2 essentially is a movie that showcases a broadway style theatrical show and the animators nail it! From behind the scenes to the set design, everything looks and feels like a big theatrical show.
New characters, Porsha Crystal (Halsey), Suki (Chelsea Peretti) and Nooshy (Letitia Wright) are fun to watch and worth mentioning. Porsha is Mr. Crystal’s daughter who can sing like an angel but can’t act to save her life, forcing the Moon to choose between talent and pleasing Mr. Crystal. Suki is Mr. Crystal’s chief of staff of sorts whose animated bob and wardrobe is worth studying in and of itself in terms of character design. Nooshy is a street cat that has the performing skills that can’t be taught, or maybe they can if she can help Johnny.
The stakes are higher, sets are bigger and better, and the songs are just as fun as they were in Sing. My kiddos watched the screener I received five times within three days. I kid you not. So the kids will love the film! It’s a good time at the movies this holiday season!
Rating: B+
"Black Widow" Review: The Long Awaited MCU Espionage Thriller
Black Widow opens with arguably one of the top 3 openings in a Marvel film to date! Much like its television shows, Black Widow doesn’t feel like most Marvel films. It’s an espionage thriller with a mix of super heroes. It start strong, lulls, and finds its footing again. A solid entry in the development of a long-overdue solo film for Natasha Romanoff (Scarlett Johansson).
The film is a snapshot of what happened after the battle of Leipzig/Halle Airport in Captain America: Civil War. It starts further back in Natasha’s childhood, setting up an understanding of her psyche and her family dynamics. The opening sequence is equal parts you name it Spielberg kids scene and Jason Bourne action. From there, the film is off to the races sending us to present post-battle life.
While this film struggled to the release finish line, the film’s secret weapon is its ensemble cast. Florence Pugh’s entrance into the Marvel Cinematic Universe (MCU) is worth the film being created alone. As Natasha’s sister, Yelena, Pugh establishes herself as a take no prisoners, dark humor, force to be reckoned with. There is no doubt that she will make a mark and quickly become a fan favorite in future films. David Harbour and Rachel Weisz bring the gravity and nuance to their roles as Natasha’s parents. Harbour’s comic timing as a dad reliving his greatest battles/missions is reminiscent of Mr. Incredible from The Incredibles, but a real life version.
There are some pacing issues with this stand alone film. Somewhere in act two the film comes to a halt as it settles into one of its themes of family. While the moment provides reflection and character building, it’s hard not to notice the difference in pace and change of tone. It’s as though we can see writer, Eric Pearson, step into a hole and try to write his way out without thinking of how to skip the hole in the first place.
Ultimately, Black Widow is a fun, espionage installment in the MCU with big set pieces and action sequences that give a nice curtain-call for Romanoff. We know her fate, but now we know a little more of her backstory. Most importantly, she has a sister that we’ll see a lot more of!
Rating: B-
"Wonder Woman 1984" Review: A Made For TV Hero Film
It’s not that “Wonder Woman 1984” is not entertaining. I found myself invested in Diana Prince’s (Gal Gadot) journey by the time it was coming to a close. It’s just not as inspired and handled with the same care that director Patty Jenkins had with its predecessor, Wonder Woman. While the studio was brave in releasing the film in 2020 to HBO Max and theaters during COVID, this film is suited for small screen excitement. It’s not much of a visual spectacle and suffers from a predictable story.
The last time we learned about Diana Prince’s back story it was focused during World War I. This time we’re in Washington D.C. in 1984. (As a 10 year DMV resident, D.C. is displayed well in the film.) Diana works at the Smithsonian and is burdened by her responsibilities as a protector of her city, while not having a true relationship with anyone due to her double life. After a jewelry heist she thwarted reveals precious artifacts were squirreled away in said store, the artifacts wind up coming to the Smithsonian to be analyzed by Dr. Barbara Minerva (Kristen Wiig).
Barbara is the overlooked lab geek that just wants to be noticed. She gets special attention from Maxwell Lord (Pedro Pascal), a failing serial entrepreneur, who is driven to succeed at all costs. He's after the crystal that’s recently come into her possession and seems to be the only person who knows it is a Dream Stone. Anyone who touches it and makes a wish will have it granted at a price. That’s it. That’s the bad guy, the McGuffin, and the lesson. Be careful what you wish for. Diana, Barbara, and Maxwell all get a chance to make a wish, knowingly or unknowingly.
The story is unremarkable and the characters are dull. The problem with characterization in this film is that every person that you think “something ain’t right with him/her”, you’re correct. There is no subtlety in the design and depth of these characters. Everyone as written, whether child actors, villains or heroes are stereotypes of archetypes we’ve seen before. Even the glow up of Kristen Wiig from baggy clothed nerd to beauty feels pedestrian.
Gal Gadot has a strong on screen presence throughout the two and a half hour running time. In fact, her earnest performance is what makes the film palatable. In a year in which we’ve had an unprecedented lack of super hero films, it’s nice to have a moment to escape! I highly recommend seeing it in the comfort of your home over seeing it in theaters. You won’t regret it. Oh, and stick around mid credit roll to see a nice cameo!
Rating: C
Middleburg Film Festival 2020: "Concrete Cowboy" Review
Concrete Cowboy is not an original story. Estranged son and father come together to try and correct the son’s behavior has been done before. While much of its premise is familiar territory, this film takes a look at traditions of old and what reconnecting or staying in touch with them can do for a person, a family, and a community.
After Cole (Caleb McLaughlin) gets into trouble at school, his mother (Liz Priestley) has had enough. She decides to drop him off with his father, Harp (Idris Elba), to try and have some discipline instilled in him. It’s evident that the neighborhood recognizes Cole, but it’s been long enough for him to be groggy on most of the who’s who. He does know his cousin Smush, (Moonlight’s Jharrel Jerome) who pulls up in a nice ride with some dope kicks. Smush wants Caleb to ditch the stables and hit the streets to make real money.
As most films like this go, after some time of friction, Cole begins to understand his father’s urban cowboy way of life. He appreciates the hard work, respect of tradition, and taking care of horses. Smush’s way of life doesn’t fly in Harp’s home, so Cole is forced to make a tough decision on the way he wants to go.
The film boasts of an all star line up. Caleb McLaughlin sheds his Stranger Things persona for a coming of age turn as “Cole from Detroit”. Method Man reminds us that he has some acting chops as Leroy, the former urban cowboy turned lawman. Perhaps the surprise casting comes from the real riders of Fletcher Street in Philadelphia. Sprinkled throughout the group of urban cowboys, these real life cowboys give the film its culture and authenticity.
Cinematographer, Minka Farthing Kohl uses natural lighting to draw the viewer in. Small moments like the flickering of firelight used to light subjects, brings a certain amount of intimacy to this story. Director, Ricky Staub, has a way of using the camera and editing to capture moments and lock them in time. Using more mids and close-ups than wide establishing shots, Staub is able to keep the focus on the characters and bring us into their world.
The story of Concrete Cowboy is one of a return to an old fashioned way of life and connection. It lassos the connection of man amongst one another and with horses. It highlights the importance of storytelling amongst generations, with one character even emphasizing the significance of cadence in oral storytelling. This story is a bumpy ride at times in getting to its destination, but there are beautiful visuals and heartfelt moments along the way.
Rating: C+
"TENET" Review: The Rubik's Cube Of Movies
Have you ever wondered if a Rubik’s cube could be described as a movie? If you said yes, then I give you the equally perplexing and entertaining movie, TENET! Directed by Christopher Nolan, in his one of a kind, high quality, action-packed and gritty style! If you’ve experienced one of his prior films, (Dunkirk, Inception, The Dark Knight Trilogy, any one from his catalogue really) you can understand how watching a Nolan movie pulls you in immediately and keeps you feeling an ebb and flow of emotions. Honestly, the previews do this movie no justice.
The film starts with The Protagonist (John D. Washington) being selected for a mission that’s described as a job to prevent a Third World War. During this assignment he learns about inversion (a temporal anomaly which an event happens in reverse). For example, when he drops his gun in an inverse its actually him catching the gun. If that example left you perplexed, don’t worry, you’re in the right place. Throughout this assignment he meets Kat (Elizabeth Debicki), the wife of Andrei Sator (Kenneth Branagh) whom he must protect as she’s a key for saving the past from the future.
John D. Washington and Robert Pattinson’s characters have great chemistry, and their performances are ideal. Washington is a natural lead with Washington performing all his stunts. One of the flaws of the movie is that it was hard to hear some of the dialogue because of the fast-paced scenes and the music being overbearing at times.
This movie continuously keeps you on a rollercoaster ride to figure out what’s going on. As soon as you think you know where the film is headed, it dips in another direction. The cinematography of Nolan’s constant collaborator, Hoyte Van Hoytema, and production in this movie were top tier as expected. I predict a few Oscar nods. This is a well-crafted story that may take a couple of views to fully understand what you’ve seen. The IMAX experience is necessary for this film so I’d recommend seeing in theaters if you can or are willing to go in person (practice social distancing). When you walk out of the theater, you’ll feel as accomplished as if you finished a Rubik’s cube…or at least one side.
Rating: B+
"Dolittle" Review: Do Little To See This One!
Dolittle is an example of a film that tries to save itself in post-production when it should have done it at the script level. Sometimes a known franchise name isn’t worthy of the dust being blown off of it. Well, a $175,000,000 budget with a dismal return on investment just may teach Universal Pictures the lesson!
After losing his wife, Dr. John Dolittle (Robert Downey Jr.) has become a recluse. Far from the famed doctor who could speak to animals and help the world, he lives alone (no humans) with some of his four legged friends in a sanctuary given to him by Queen Victoria. When the queen turns ill, a royal emissary named Rose (Carmel Laniado), calls on the doctor to save the queen. In the midst of the visit from Rose, Tommy Stubbins (Harry Collett), a “force sensitive animal whisperer”, brings Dr. Dolittle a squirrel he accidentally shot. Enamored by Dolittle’s ability to speak with the animals around him, Tommy wants to be Dolittle’s apprentice.
The threat of losing his home due to a clause in a contract forces Dolittle out of his self-imposed retirement. The adventure takes him, his new apprentice and his animal friends across seas to dangerous islands full of bandits and a dragon. Wait, a dragon!? You thought this was a Victorian era period piece? Of course it’s a fantasy, comedy, adventure…honestly, I don’t know what it wants to be.
The storyline and script is muddled enough, but it’s not the only thing that’s muddled. Downey Jr.’s whispery accent is one for the record books! It’s hard to understand what he’s saying as he does his best-worst Jack Sparrow impression. The accent doesn’t accentuate the character and makes for an already difficult view with the amount of ADR (Automated Dialog Replacement) that seemed to have gone on in this film. There are so many moments when characters are speaking with their backs to the camera or the editing quickly cuts around what they’re saying to mask their faces.
It’s movies like Dolittle that give January releases its storied rep. It never fails that plenty of duds get dropped in the beginning of the year as we anxiously await to hear what the best films coming out of Sundance are, who will win an Oscar and move into Spring. I hope everyone in the cast and crew got paid upfront, because this movie won’t make a return on the back end! Since the writers and producers did little to make this film charming and proper, I suggest you do little to see it as well!
Rating: F
"Doctor Sleep" Review: Don't Overlook This One!
In a world where sequels, reboots, remakes, and a lack of creativity exists, it’s hard to believe that we’re revisiting the Overlook Hotel. There are certain classics we shouldn’t touch. I would have thought The Shining would be one of them, but director Mike Flanagan gives us The Shining meets Inception in an intriguing look at where Danny Torrance (Ewan McGregor) is nearly forty years later in the new movie Doctor Sleep.
After learning how to deal with and master his shine, Danny has decided to dampen it by staying under the influence of the bottle. Drowning his grief to escape being haunted, literally and figuratively, by ghosts of his past, it’s years later that an event causes him to run to a small town and unexpectedly sober up. It’s when he starts to sober up that a connection with a powerful “shiner” named Abra (Kyleigh Curran) is made miles away. Simultaneously, a group of adults who have been living for centuries by finding people who shine and eating off of their life force, feels Abra on their radar and have to have her.
The first act of the film meticulously sets up the foundation for the expansion of its world. Once the film establishes itself, following its lead is a pleasure to watch. Flanagan slowly builds the layers of psychological horror through character development, cinematography, and a controlled camera that knows what to show, for how long, and what not to show.
McGregor brings an everyday man’s sensibility to the role as the reluctant, eventual mentor. Curran has a lot to take on as a child actor. It’s rare that you see a horror film in which the kid involved is not only not afraid of the monster or villain, but has a healthy understanding of the power she possesses and is willing to stand toe to toe with said villain. Curran embodies this balancing act with a rare comprehension of her character that helps make the film work. Which brings us to Rose The Hat (Rebecca Ferguson). Ferguson gives her character a tangible quality that is both attractive and terrifying. With a villain this good, it’s hard not to root for her and her band of thieves at times.
Flanagan makes a smart move in giving us the fan service in the final act of the film, rather than throughout it. In fact, he pays homage to many of the iconic frames Kubrick created by not giving us a shot for shot match, but instead finding his own frame in the same space. It’s a clever tip of the hat, that keeps us from making intense comparisons.
Doctor Sleep reminds us that occasionally a sequel can be done right these days. It’s a rich expansion of a world that shows us that sometimes the only way to face your demons is to go through them. I wouldn’t overlook this one!
Rating: B+
"Abominable" Review: Universal Themes Rise Above Predictability
Dreamworks Animation’s latest film, in collaboration with Pearl, is Abominable. It’s not like you haven’t seen this story before, you have. It’s just that you haven’t seen it from the perspective of this group of characters. So while co-directors Jill Culton and Todd Wilderman don’t have an instant classic, the message and themes that the movie puts forth are always a welcomed remembrance.
Abominable starts out with an escape from a fortified lab in China. It’s from the visual perspective of a Yeti we later learn is named Everest (Joseph Izzo). The first person nature of the escape allows the viewer to feel Everest’s distress and anxiety, as well as a sense of safety and protection when he finally finds a hiding spot on the roof of a housing building. It’s the same roof in which Yi (Chloe Bennet), a young girl living with her mother (Michelle Wong) and Nai Nai (Tsai Chin), reside. Having recently lost her father, Yi goes to the roof to escape and connect with him by playing her violin at night.
After the inevitable meeting of Yi and Everest occurs, it’s not soon after that she finds herself on voyage to return Everest home. She’s joined by her neighborhood friends, Jin (Tenzing Norgay Trainor) and Peng (Albert Tsai), while being trailed by an old explorer named Burnish (Eddie Izzard) who had hired Dr. Zara (Sarah Paulson) to capture the Yeti. The resulting race and chase becomes a voyage for all to find themselves and friendship along the way.
The visuals in the film are a statement as to how far we have come with technology, but also reminder of how beautiful our planet is. The Chinese landscapes are jaw-droppingly beautiful as the main characters move through them. Unfortunately, the plot of the film is not always as stunning. The story is predictable in many ways, but still manages to keep its messages clear, universal, and heartwarming.
t’s great to see an animated film that’s entrenched in China. The scenic views, Chinese characters on posters and ads in the neighborhood, and the culture within the film is authentic. I look forward to the day when the language spoken is Chinese and we have to read subtitles, but as my seven year old daughter pointed out “it may not work for kids”. She’s right. Her little brother wouldn’t have been able to keep up, but it would have been awesome to be truly submersed.
In the end, Abominable is a feature in which a young, pure hearted kid wins the affection of a creature. That affection is a connection that transcends predictability and pierces the heart of anyone who knows what it’s like to be an outsider, alone, and/or feeling loss. That’s what makes this film worth a watch!
Rating: B-
"Hustlers": Let's Talk Live Review
Check out my review on Let’s Talk Live:
https://wjla.com/news/lets-talk/weekend-box-office-preview-with-kevin-sampson
"It Chapter Two" Review
It Chapter Two gives us the conclusion to the Losers story. The film goes big and tries to cram 900 pages of material into its nearly three hour run time. The transition from childhood to adulthood can be tough, and certainly showing that in the sequel to 2017’s It was a difficult task for director Andy Muschietti. His efforts have to be commended. However, with length and structure issues, this doesn’t hit the mark of its predecessor and might wind up being forgotten once you’ve left the theaters much like leaving the town of Derry.
Jumping off with a hate crime towards a homosexual couple, the film gives its first foreshadowing of what you’re about to see: intense setups with questionable or predictable payoffs. After a young man is dismembered by Pennywise (Bill Skarsgard), and once Mike Hanlon (Isaiah Mustafa) hears about the latest murder over a police scanner, he quickly calls the gang back to Derry to finish what they set out to do. Mike’s call to Bill (James McAvoy), Beverly (Jessica Chastain), Ben (Jay Ryan), Richie (Bill Hader), Eddie (James Ransone) and Stanley (Andy Bean) sets off a chain reaction of fear reentering their lives before returning home.
Upon arriving back in Derry, the group quickly falls back into the friendships they left behind 27 years prior. The narrative is pretty straightforward from there. They have a job to do, and there’s an inventive way in which the internal clock on the group’s decision to carryout their mission is employed. Each character has their own moment to reconnect with their childhood fears and It, which is part of the reason for the bloating of the film. In fact, the film is light on the scares this time around in exchange for humor and the exploration of what it takes to overcome fear. That’s not necessarily a bad thing, but its execution is fumbled in some stories.
The casting here is well suited. Bill Hader is stand out as Richie! From the moment he enters the frame, he embodies the role with a scene stealing richness that has to be applauded. (I doubt It: Chapter Two would receive any awards, but you could certainly make a case for Hader’s performance.) While we’re used to Jessica Chastain being a leading woman with a presence, she’s able to shrink herself enough to be one of the gang in a way that really works. It’s a shame that Skarsgard doesn’t get to do a lot with Pennywise in regard to screen time, but when he’s on the screen his performance is masterful.
Don’t get me wrong, Chapter Two has nice moments. Cinematographer, Checco Varese, is able to tap into our fears with the way he uses light in scenes. A lightning bug lights up Pennywise’s face in one scene, while the ugly fluorescent and neons in a fun house light another. Certainly the suspense and hair-raising moments of facing your fear is there. With sound being a huge component of creating scares, the sound department deserves their credit as well. It’s the quiet moments followed by the crescendo of a monsters footsteps getting closer and closer that really puts you in the zone.
Ultimately, this sequel doesn’t match the quality of the film before it due to the way the child ensemble masterfully handled the material and the fact that things that go bump in the night is a lot scarier when children are involved. There’s something about the way it feels more believable because we can remember when our imaginations ran wild and the friendly clown at the circus looked more like a threat then a fun time. That said, seeing the story conclude is much more satisfying this time around than the 90s mini-series.
Rating: B-
"Yesterday" Review: Dope Premise Meets A Good Effort
If you woke up and no one remembered The Beatles, what would you do? That’s what director Danny Boyle’s (Slumdog Millionaire) new film analyzes. If you’re a fan of The Beatles, this is likely a must see; if you’re a casual listener, it may not have you clapping along.
Jack Malik (Himesh Patel) wakes up after a car accident. Apparently the world experienced a power outage for twelve seconds, during which he was hit by a bus, and it erased certain things from existence. The Beatles music and everything that goes with it is no longer in the cultural lexicon. As a struggling musician, Jack decides to use this to his advantage by playing and writing down every Beatles song he can remember.
As the world begins to hear his tunes, a star is born. The newfound fame makes his relationship with former manager and best friend, Ellie (Lily James), a bit strained. The train is moving faster than Jack thought it would and it causes him to analyze not only his relationships but himself as well.
Writer Richard Curtis pens a film that has lots of humor and charm. As an audience member, the thought of a world that hasn’t been changed by The Beatles is hard to find not funny. With Ed Sheeran showing up at Jack’s door to bring him on tour with him, there’s a lot of irony and comical gags in the superstar going up against The Beatles music, unbeknownst to him. However, the film’s premise may also be its kryptonite. More of the story focuses on the music than the bigger story it’s trying to tell, which is lying can catch up to you so be your authentic self.
Jack is forced to face his actions, knowing that his songwriting skills aren’t as great as the iconic band’s. It’s a “what would you do?” hypothetical dilemma that we could ask ourselves. It’s in the space of the decision to live a lie for positive reasons like making money to feed your family, or wanting to finally be seen and heard in the world, that the film tries to address but doesn’t quite knock out of the park. If you’re looking to revisit The Beatles music and have a few laughs, this movie is for you. If you’re not knowledgeable of the band’s music past their top hits like I am, this may be a good pick on Netflix later. When you remove the music, the story is like Patel’s character, meandering, unsure of its direction, but loveably charming.
Rating: B-
"Toy Story 4" Review: A Welcomed Finale...Hopefully
The announcement of Toy Story 4 was a shock to the system. Toy Story 3 was the perfect bow for the franchise. Pixar definitely can teach other studios how to keep a franchise going past its seemingly end. While the latest film has all the warm fuzzies, jokes, love, and deep storytelling that we’ve enjoyed in the past, I respectively and lovingly hope this is it.
The film picks up where the last left off but a few years down the line. Bonnie (Madeleine McGraw) is on her way to kindergarten. She still has Woody (Tom Hanks), Buzz (Tim Allen), Jessie (Joan Cusack) and the rest of the gang. While she’s not old enough to stop playing with all of her toys, Bonnie certainly has her favorites, and Woody is not one of them. He gets left in the closet and collects dust bunnies while everyone else gets played with. Since Woody has always been the leader, this change is something he’s grappling with.
After her first day of school, Bonnie comes back with a new toy she created named Forky (Tony Hale). Understanding how much a toy means to the human he serves, Woody makes it his mission to keep Forky from throwing himself in the trash and getting himself lost. This includes making sure he stays safe on the family road trip in the RV, which of course is a task in itself.
What Pixar does better than most is explain life to us with child-like simplicity. They take us back to the basics time and time again. In this film, the big lesson is how we evolve in our relationships with loved ones. Woody has had his time with Andy and got a second chance with Bonnie, but what happens when our metaphorical Bonnie moves on? What do we do with the feeling of no longer being needed? How do you overcome your mentality of finding your self-worth in someone else or the opinion of others? There are all kinds of deep lessons that can be learned when you dig past the surface of what’s presented, and of course it’s laced with gags and humor.
The adventure the gang goes on is a fun and comical ride. There certainly was another story that could be told with Toy Story. The directors have stated that this is a fitting end for Woody and possibly the franchise but they thought it would be over after Toy Story 2. I hope they let this be the end because they have squeezed all the juice out of the lemon to create the delicious pitcher of lemonade that is the franchise. Perhaps Toy Story 3 left us thirsty for more, but Toy Story 4 is the confirmation that we’re good to go.
Rating: B
"Men In Black: International" Review: Neuralyze Me Now Please!
If you’re banking on the chemistry of Tessa Thompson and Chris Hemsworth carrying the Men In Black franchise to new heights, think again. They may have been great together in Thor: Ragnorok, but Men In Black: International focuses more on spectacle than story. With foreshadowing bread crumbs more like muffins, the writing on the wall is easy to read for this movie and let’s hope it’s the same for the franchise’s demise.
Molly (Thompson) witnesses Men In Black agents visit her home as a child. While her parents’ memory was erased, her’s was not. She has spent her life, since that night, trying to find the secret organization. When she finally does, she’s taken in as a probational agent. She’s shipped to London to join Agent H (Hemsworth) on the latest mission to save the planet as a compact weapon that can destroy an entire planet makes its way through various hands.
Rather than focusing on an original story and character development, writers Matt Holloway and Art Marcum focus more on familiar themes that made the franchise successful in the past. Production set pieces, aliens, and tech take the foreground over a plot and creating Agents M and H to be more than stereotypes. The fish out of water and the party boy get swallowed up inside the MIB world as forgettable people.
Director F. Gary Gray is one of the most underrated directors in Hollywood. While he has created notable films in the past, his presence in helming this film is absent. This feels like a studio driven film and a missed opportunity to have a talented director leave a mark.
This film reeks of not believing its audience is smart enough to keep up with its plot. Therefore, Men In Black International instantly becomes a forgettable entry in a franchise that has overstayed its welcome. If they could neuralyze me seeing this film, I’d take it now!
Rating: D
"5B" Review: A Time Capsule of Bravery
When the HIV/AIDS first hit the world in 1981it was a concrete death sentence. If you had the disease many people chose to isolate or abandon people with it. So when a team of medical professionals decided to start caring for and comforting people in ward 5B at San Francisco General Hospital, the world took note. 5B tells the story of the brave men and women who put humanity first, from their own mouths.
The film starts with archival footage of gay men and lesbian women dancing together or holding hands. The voices of youth explaining how they’re “coming out of the closet” more prevalently. Just as quickly as those images are shown, we cut to the images of some of the first men who had the “gay cancer” as it was called. No one knew what was going on in the beginning. They just knew that gay men acquired the disease and died within months after.
Rather than viewing 5B as a place that people die, nurses and administrators, such as Alison Moed Paolercio, Cliff Morrison and David Denmark, created a culture of care. Even though, in the beginning, every case was terminal, they focused on the human being in front of them and their needs. They had Sunday brunches, dance parties, and most importantly, touched their patients with no gloves. They were able to meet the basic needs of human beings when they weren’t being met in the past. Thus, they changed the trajectory of how AIDS patients were treated.
One thing they teach you in film school is that the medium has the ability to travel through time and space. Seeing some of the talking heads, now in their 60’s or 70’s juxtaposed with their 20’s and 30’s selves is powerful and otherworldly. Ultimately, we realize that many of the people that we see them assisting in the documentary are no longer alive and haven’t been for decades. This drives home the impact of what they did on 5B. They took huge risks that could have cost them their lives, family relationships, and more.
While the film does a great job of capturing the stories of those who served on 5B, it stuffs tons of human stories into the main thread of the struggle of giving care, service and love during a time of uncertainty around the AIDS epidemic. The talking heads change so often that it becomes a guessing game of who may appear on the screen, remembering their storyline, and piecing things together. It’s a difficult balance to do in a documentary and while the stories are welcomed, the inescapable feeling of redundancy creeps in occasionally.
Ultimately, 5B is an important story that serves as a necessary time capsule. As stated in the documentary, if we don’t remember what happened in the past we’ll repeat it. Fear of the unknown is a repetitive issue in human existence. It can make people do inhumane and evil things. 5B is the perfect reminder of the power of love and what can happen when we put fear aside and seek to care for others.
Rating: B
"Godzilla:King of The Monsters" Review- Flush Your Money Down The Toilet Instead
I’m a fan of suspending my disbelief for films. If it’s entertaining, I’ll do it. Godzilla: King of The Monsters crosses a line though. It doesn’t give us characters to invest in or believable action in a world that we are already choosing to accept as reality. It’s a slap in the face to its viewers’ intelligence unworthy of your dollars this weekend.
Picking up where 2014’s Godzilla left off, this film plops us back into the classic world where giant monsters exist. The government has learned that there are numerous titans around the globe and the major decision that has to be made is how to stop the impending doom and destruction they will cause. It seems our only hope may be Godzilla.
Explaining or giving an elusion to the human side of this story is asinine because writers Michael Dougherty and Zach Shields didn’t care to develop them. However, in a nutshell, there’s a divorced dad (Kyle Chandler) and mom (Vera Farmiga) who don’t see eye to eye and their daughter (Millie Bobby Brown) has to choose which philosophy to follow. The other humans in the film are government, civilians or military and they either provide exposition, bodies to be killed, or fight monsters.
The reason to go to a Godzilla movie is to see giant monsters. It’s obvious the studio listened to the complaints of fans in the 2014 film because you definitely get that here! Hats off to the visual effects and sound team for creating images that look and sound like giant monsters fighting. (They’re the only reason this didn’t get an F rating.) Buildings being demolished from the wind of Rodan flapping its wings looks authentic. It’s easy to believe in the power, scope and destruction the monsters leave in their wake.
Unfortunately, throughout the fighting scenes of these monsters, the camera work is inconsistent. Sometimes we get clear visuals of what’s happening and which monster is fighting from director Michael Dougherty. Other times, it’s unclear what we’re looking at or what a monster is doing.
With no human story to get behind, you’re left waiting for people to be quiet so we can get to the next monster scene. The audacity of human beings thinking that they can tame, control or even be the pets of giant monsters befuddles my small mind. I’m all for escapist, popcorn blockbusters, but not at the expense of leaving the theater frustrated with seeing a bad film and feeling like I wasted my money. You may as well flush your money down the toilet. At least the plot of wondering if it will get stuck or not will be more entertaining, suspenseful, and plausible.
Rating: D