When Gary Oldman first appears on screen as Winston Churchill, I couldn’t believe it was him. He embodies the historical figure with the right amount of girth, waddling and cantankerous mutterings of a man with the noisy gears constantly grinding in his head. It is such a flawless performance that director Joe Wright lets his camera get in close to notice every detail; the quivering of his lips as he prepares to deliver a speech, the solace he seeks in every cigar, and the look of doubt buried deep within his eyes. Oldman loses himself so deeply in the role that the audience does as well, making for one of his best performances of his career.
Continue reading ““The Darkest Hour” Review”
Tommy Wiseau is a fascinating director. The Disaster Artist begins with interviews of real celebrities talking about him and his film The Room as if he was a genius that had created a masterpiece. This includes actors such as Adam Scott, wishing he could go back in time to be on that set, and directors J. J. Abrams and Kevin Smith who applaud Wiseau. Were they joking or were they serious? Or both? For the knowing crowd at the screening who had all seen The Room, myself included, we started laughing quite early at these statements. This is a film which presents an intoxication of bad filmmaking that is so potent it’s easy to get lost in the ridiculous haze of the enigma that is Tommy.
Continue reading ““The Disaster Artist” Review”
What an astounding recovery for Adam Sandler. His contract with Netflix has led him from making Sandy Wexler, one of 2017’s worst films, to The Meyerowitz Stories, one of the year’s best. I suppose if director Todd McCarthy can go from directing the worst movie of 2015 (the Adam Sandler starring The Cobbler) to the Academy Award winner of 2015 (Spotlight) anything is possible. Yes, Virginia, there is a brilliant Adam Sandler starring movie.
Continue reading ““The Meyerowitz Stories” Review”
McG’s wild stab at a dark horror comedy continuously misses the mark, struggling to land a laugh like a lousy comedian flopping about a stage slippery with blood. Not only does it fail to garner a giggle, but also becomes embarrassing for how hip this script tries to be, slinging out geeky and topical talk like a grandpa drawing inspiration from a few threads he read online. This is almost like McG’s midlife crisis of a horror film, trying to prove that he’s still the fun director with his fingers on the pulse of today’s youth. His attempt comes off with more cringe than cool, akin to your dad dusting off his bellbottoms and throwing on some Ray Jay Johnson to impress your friends.
Continue reading ““The Babysitter” Review”
Pixar’s best-animated films are the ones that can take you someplace different with visuals you’ve never seen before and storytelling that catches you off guard. In other words, it’s the ones that make the adults weep the most, almost embarrassed that they’d have such feelings for an animated movie with the stigma of being strictly children’s entertainment. Being a big fan of animated films and their limitless potential for filmmaking, there’s no shame in admitting I wept for Coco, an animated movie that is surprisingly mature and honest in its drama of family and death.
Continue reading ““Coco” Review”
Full disclosure: I’m more of a DC Comics man than a Marvel reader. So I was very much anticipating the first big-screen depiction of the Justice League, despite Warner Brothers’ questionable stumbling towards creating a DC movie universe. The bar is pretty low for this film, which is rather disappointing for DC’s first theatrical ensemble picture. Though Snyder’s direction is still spotty and flawed, there are small bursts of hope present, more so than the painfully dark and muddy Batman v. Superman, though not as many as the triumphantly bold Wonder Woman movie.
Continue reading ““Justice League” Review”
Thor always felt like a character of untapped potential. He’s a god of thunder that defends his mystical kingdom of Asgard from the other intergalactic forces of the nine realms. So why does everything have to take place on Earth? Finally ditching his female love interest, Thor finds on a new mission where he gets to fight more monsters, meet more odd characters and travel amid the most lavish of locations. It’s more fun to watch his adventures on a junker planet of gladiator combat than stopping yet another doomsday device from blowing up the planet. There are more than enough heroes on the planet for the hammer-wielding god to have a Work-From-Home-Realms week.
Continue reading ““Thor: Ragnarok” Review”
Kenneth Branagh loves both literature and actors, making him a safe choice to direct the latest theatrical adaptation of Agatha Christie’s classic novel. Almost too perfect. Branagh brings much of what we love and have come to expect from the director/actor. He stages Murder on the Orient Express with plenty beautiful cinematography, A-list actors, brilliant staging and subtle performances. He seems so in love with this mystery that he forgets to give it a boost of character, something that all good mysteries need if they don’t want to get lost in the shuffle of countless entries of the genre. Murder on the Orient Express is less like a modern remake of the classic tale and more of a snoozy stage play on its last week.
Continue reading ““Murder on the Orient Express” Review”
Taki meets a woman at a bar and takes her back to his place. They start having sex and Taki notices something strange going on with the woman’s legs and arms. Her limbs grow longer and pointier as she tries to ensnare Taki into her vagina that has now bore teeth. Luckily for Taki, he’s accustomed to dealing with monsters such as this, grabbing his gun and forcing her out the window. Now in a more spider-like form, she scurries out the window and down the building. Just another dangerous day in Wicked City.
Continue reading ““Wicked City” Review”
Michael Bay’s fifth round of relentless robot carnage is as noisy, incoherent and insulting as this franchise ever was. From its very first shot of fireballs hurling over the Paramount Pictures logo to the final speech of Optimus Prime that contradicts any shred of heroism or morality in the rest of the picture, its a consistent mess of terrible filmmaking. Believe me, I didn’t enter this picture with the intention of hating it. To be fair, this picture didn’t offend me as much as the previous Transformers film, Age of Extinction (2014). There’s no older gentlemen lusting after a teenage girl, keeping a laminated copy of Juliet’s Law in his pocket at all times to excuse his actions. There’s much less product placement, reserving the obligatory Budweiser shot for one bottle taken out of a fridge. I can see a little, but not a lot, of the action going on where I just barely have an idea of who is attacking who. The plot doesn’t seem as overly convoluted this time. There’s even a surprising element of female empowerment for young girls, a rarity of any Bay production. These minor improvements, however, do little to improve a movie where there is very little to care about.
Continue reading ““Transformers: The Last Knight” Review”