The Silver Bullet ~ 1917



Synopsis
: Two young British soldiers during the First World War, are given an impossible mission: deliver a message, deep in enemy territory, that will stop their own men, and Blake’s own brother, from walking straight into a deadly trap.

Release Date:  December 25, 2019

Thoughts: Every year around this time it becomes pretty clear who the Oscar front runners are and the pundits start to put their ballots together with ballpoint pen.  There’s always those last slots they keep open, though, for the movies that don’t screen until very late in the season and that’s where a movie like 1917 will play a big factor.  Last time I checked, no one had seen this World War I film from Oscar-winning director Sam Mendes (Skyfall) yet and that’s fairly unheard of in mid-November.  That creates a bit of an electric excitement because there’s hope this could be a game changer and knock a few sure things off their paths to Oscar gold.  Paired again with the legendary cinematographer Roger Deakins (who finally won an Academy Award for Blade Runner 2049) and supposedly shot to look like it was filmed in one continuous take, Mendes appears to have something fairly mighty on his hands and history buffs are hoping 1917 can succeed where another anticipated war film like 2017’s Dunkirk couldn’t and snag some top prizes come year end.

Movie Review ~ The Shed


The Facts
:

Synopsis: Stan and his best friend Dommer have put up with bullies their entire lives. All of that changes when Stan discovers he has a murderous vampire living in his shed.

Stars: Jay Jay Warren, Cody Kostro, Sofia Happonen, Timothy Bottoms, Siobhan Fallon Hogan, Frank Whaley

Director: Frank Sabatella

Rated: NR

Running Length: 98 minutes

TMMM Score: (5/10)

Review: We’re in a little bit of a mini Stephen King renaissance in entertainment right now.  The second chapter of the big screen adaptation of IT arrived a few months back after the first installment proved so hugely popular and just last week the excellent Doctor Sleep, a movie sequel to Stanley Kubrick’s The Shining (both based on King’s novels of the same name), was released in theaters to much acclaim.  Then there’s the King-adjacent series Castle Rock on Hulu and an anthology series inspired by Creepshow that debuted on Shudder in October.  So it’s definitely good to be King right now…and it’s also inspiring some copycats.

As the old expression goes, imitation is the sincerest form of flattery and there’s plenty of fans-turned-filmmakers that have called upon King’s blend of fantasy and nostalgic realism in creating their own works.  I’m getting to the point where I don’t mind it too much if small bits and pieces of a particular style are picked up by another filmmaker along the way…but only if it builds upon it and makes it special.  If a writer or director is just going to recycle something King has already introduced in one of his novels or numerous short stories and then not let it have a life of its own, what’s the point of the endeavor?

That’s one of the main issues I had with The Shed, a new indie horror film getting a limited theatrical release this November but will be seen by most on their streaming service of choice.  It’s small-town setting and outsiders against evil premise have all the hallmarks of King’s most famous tomes and there are large stretches of writer/director Frank Sabatella’s screenplay that feel like they could have been stolen straight from King’s discard pile.  What doesn’t feel in line with the author is an abundance of cliché dialogue and obnoxious characters you can’t muster enough interest in to root for, not to mention a strange tendency to telegraph every jump scare five beats before it happens.

Orphaned and living with his alcoholic grandfather in a non-descript town, Stan (Jay Jay Warren) is going nowhere slowly, only pausing long enough to go to school where he fades into the background.  His friend Dommer (Cody Kostro) is in a similar boat, though he’s popular fodder for school bully Marble (Chris Petrovski) and his motley gang of troublemakers.   The bright light for Stan is longtime crush Roxy (Sofia Happonen) who obviously has feelings for him too but is in a complicated place with Marble at present.  Verbally abused by his drunk granddad, picked on at school, without the girl he loves, and with the local police officer (Siobhan Fallon Hogan, The Paper) just waiting for him to screw-up again, Stan doesn’t have much to be positive about.

Things get a bit more interesting for all parties when a vampire takes up residence in the small shed in the back of Stan’s house.  A prologue has shown us how the man (Frank Whaley, Hustlers) came to be in his sorry state and now he’s quarantined away from the sunlight in a tiny prison and getting hungrier by the hour.  Lucky for him that Sabatella’s script finds a myriad of ways to get fresh meat into the shed, from curiosity to deception to outright physically pushing some poor soul in.  All of these attacks come with a substantial amount of wind up…like a balloon being inflated larger and larger.  You know it’s going to pop eventually and you’re just waiting for it to reach the breaking point and explode.  The first few times it works in its own rough and tumble way but soon you’ll be hoping the vampire is full when a person enters the shed so we can be spared another loud music spike when it strikes from the shadows.

Running 98 minutes, the movie is a solid 15 too long and takes more time than needed to get to its finale.  That extra time is spent, unfortunately, on supposedly tender moments between Stan and Roxy and the actors just don’t have the chops or the chemistry to make these scenes work.  Warren reminds me of the late Anton Yelchin in looks only, lacking the actor’s ability to access relatable vulnerability.  He’s not much of a leading man, and Kostro isn’t much better as his foul-mouthed best friend who sees the vampire as an advantageous way to do away with his tormentors.  Sabatella’s dialogue is incredibly juvenile in its generous use of the F-bomb in every sentence without ever earning it.  It gets to be embarrassing after a while, with Warren, Kostro, and Petrovski sharing a scene that has them swearing so much it sounds like a bunch of fourth graders that just learned the word trying to see who can say it the most and the loudest.

It’s almost too bad the performances are so shoddy because the make-up and effects are quite well done.  I’ve seen worse vampire teeth in movies with ten times the budget The Shed had and there’s good use of practical effects that kept further costs down and helps the film from feeling as it if was overproduced.  I’m not sure how much of the vampire was actually performed by Whaley but I found myself more interested in what he was doing during the day than I was in what the humans were up to.  The effects team gets to have some fun near the end and the final twenty minutes or so have some impressive moments, even if some of the characters make some amazingly inept choices.

Overall, The Shed isn’t something I’d totally condemn but it’s not built on surefire solid ground.  The performances and dialogue are what kill this, especially the unrelenting profanity which really took me out of things.  I am absolutely no prude when it comes to swearing like a sailor and I’ve had my mouth washed out with soap on several occasions…but here it’s just putrid overkill.  If only some creativity had been spent on figuring out something different to do with the vampire in the shed, this would have been something King might have been able to take to Twitter in support of.  Instead, I can see this Shed getting boarded up fairly quickly.

Movie Review ~ Scandalous: The True Story of the National Enquirer


The Facts
:

Synopsis: The sensational true story of The National Enquirer, the infamous tabloid with a prescient grasp of its readers’ darkest curiosities.

Director: Mark Landsman

Rated: NR

Running Length: 97 minutes

TMMM Score: (7/10)

Review: Several times a week, I have something I do called “visiting my sites” and I have to confess they are indeed internet websites that specialize in celebrity/entertainment gossip.  Yes, I understand I’m actively feeding a gross beast that enables a bunch of pervy photographers and annoying average citizens to become pseudo-newsmakers but part of me just enjoys the mindless detox these precious moments give me.  I put little to-no-stock in what is being reported and truth be told I’m much more interested in the behind-the-scenes wheeling and dealing of Hollywood business than actual personalities but still, a juicy tidbit is a juicy tidbit nonetheless.

What I’ve never been that into, though, are the so-called ‘rag mags’ that proliferated in supermarkets throughout the ‘70s and ‘80s, mostly because I was too young to care much about them at that time.  I was a casual consumer of these tawdry tabloids that spoke of the latest celebrity love child or whatever soap star was a critical overeater, not to mention the more far out paps that told of botched plastic surgeries or bat boys born in Borneo.  I never took them too seriously and it struck me odd that anyone would believe something so patently false and I definitely wouldn’t have thought in a million years there was any kind of serious journalism that was involved with these publications.

The granddaddy of all supermarket sensationalist reading, The National Enquirer, was often that last great impulse buy you succumbed to in the checkout lane and tossed in with your groceries.  The new documentary, Scandalous: The True Story of the National Enquirer sheds light onto the inner workings of one of the all-time famous tabloids, and it’s an informative look at its creation, the people that helped sustain it during its rise, and what exacerbated its decline.  Though candid interviews with former staff, director Mark Landsman takes audiences on a step-by-step walk through the history of how a paper that started as a local publication for New York readers became a nationally distributed water-cooler discussion fodder that was read and talked about around the world.

What began in 1926 as The New York Evening Enquirer was bought by Generoso Pope Jr., the son of a famous Italian newspaper magnate in 1952 and originally run as a salacious gross out mag featuring pictures of murders, sex, and death. (A warning.  Though unrated, early in the film is a montage of pictures that are fairly grotesque and disturbing).  Though circulation kept rising, it was when Pope wanted to expand into the growing suburban grocery market that he realized he had to tone down his content and center his magazine more on celebrities to appeal to housewives.  Hiring a staff of ruthless journalists and giving them a healthy spending budget allowed this eager staff to go anywhere in the world to get a good story and pretty soon The National Enquirer gained a well-earned reputation for its lack of scruples.

Looking back on some of their work now, not many of the writers interviewed seem all that phased by the work they did because at the end of the day they were doing their job and often reporting the truth…as ugly as it may have been.  Where celebrities were concerned, they took the stance (as many do) that once you are a celebrity there are certain privacies you give up in exchange for a life of fame and fortune.  Landsman recounts Pope killing a story of Bob Hope’s extramarital affairs in exchange for one on one interviews with the entertainer in future magazines.  There’s also an unpleasant section where the editors were exposed as having actively assisted in protecting the likes of Bill Cosby and Arnold Schwarzenegger when stories of their womanizing were growing while the stars were at the height of their popularity.

Where the film starts to reach an interesting peak/point is when it begins to center on the rise of Donald Trump and how he formed a symbiotic relationship early on with The National Enquirer.  Often calling the magazine to give tips about his own life, the future President seemed to have some kind of special relationship with key executives and to watch evidence of this play out in clips is interesting to say the least.  It’s clear Trump recognized the power of this “fake news” paper and used it to his advantage, whether The National Enquirer was aware of it fully at the time or not.

Fast moving and edited with precision, Scandalous: The True Story of the National Enquirer keeps things interesting by never staying in one place for too long.  I wasn’t aware of just how many stories the paper provided some key bit of information about that went on to assist in a future criminal or civil trial, nor did I know the extent of its reach into the 2016 presidential race.  Like its source subject, it’s not incredibly deep or complex but it’s involving nonetheless.

Movie Review ~ Ford v Ferrari


The Facts
:

Synopsis: American car designer Carroll Shelby and driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary race car for Ford and challenge Ferrari at the 24 Hours of Le Mans in 1966.

Stars: Christian Bale, Matt Damon, Caitriona Balfe, Jon Bernthal, Tracy Letts, Ray McKinnon, Josh Lucas, Noah Jupe

Director: James Mangold

Rated: PG-13

Running Length: 152 minutes

TMMM Score: (9/10)

Review:  With authors, historians, and filmmakers having greater access than ever before to archival materials for events throughout history, it isn’t long before we’ll have an easy way to bring up a certain important milestone that occurred and research it’s significance.  In the meantime, we have to rely on those who seek to preserve these cultural touchstones and explore the work they do to bring that information to the general public.  Maybe it’s an art exhibition of a painter that died before their time and was never known for their technique in their lifetime.  Perhaps it’s a long-lost book of essays from a famous writer that was found in a safety deposit box of their former lover.  Or it could be something as simple as a movie documenting the rivalry between two car companies seeking to win a world famous race and pushing each other to build better vehicles in the process.

That’s how I choose to look at Ford v Ferrari, the dandy new racing drama zooming into theaters this weekend.  Sure, it looks like that late in the year release that feels like a perfect film for your dad to enjoy while you’re shopping for the holidays at the mall but it’s far more than a mere ‘Dad Film’ and you should consider riding shotgun for this one as well.  If you do, you’re going to find a film gassed up and ready to go from the start, with A-list talent in the driver’s seat and a fine supporting cast of venerable characters actors admirably doing stellar work in the pit crew.  Though I know over the years I’ve come across a number of them, the last racing movie I can remember seeing (and liking) in a theater was a whopping 28 years ago with the (still great!) Days of Thunder – so it was high time to get back behind the wheel and try out this model that had some history to go along with it.

As a barely casual Formula 1 viewer, the only races I had any familiarity with were the Daytona 500 and the Indy 500 so learning about the 24 Hours of Le Mans that plays such a major role in this movie was a real eye opening experience.  According to Wikipedia, it is “the world’s oldest active sports car race in endurance racing, held annually since 1923 near the town of Le Mans, France. It is considered one of the most prestigious automobile races in the world and has been called the “Grand Prix of Endurance and Efficiency.”  I had always thought cars went around the track for a while and eventually whoever had the best time after a certain amount of laps won.  It totally blew by me that there was a strategy and skill involved in endurance racing, especially when you consider the length of time of Le Mans and how specifically the car has to be made to survive those conditions.

By 1963, the Ford Motor Company was in trouble.  Business wasn’t great and their production line wasn’t appealing to a younger culture that were becoming more enamored with the European cars they were seeing in films.  These foreign cars, driven by the likes of James Bond, were sleek and sexy, not boxy and chaste like the types Ford was churning out.  Inspired by his Vice President Lee Iacocca (Jon Bernthal, The Accountant), Henry Ford II (Tracy Letts, Lady Bird) makes an offer to buy the cash-strapped Ferrari who had steadily been losing business after investing so much money into their countless efforts to win Le Mans.  Hoping to claim a Le Mans victory for his company, Ford II or “The Deuce” as he was called behind his back, thought that by buying Ferrari he was guaranteeing himself a win.  When Ferrari balked, The Deuce made it his mission to destroy Ferrari by gathering a team of his own and winning Le Mans as a way to get a kind of revenge against Ferrari.

At the time, the best man to go to about cars was designer Carroll Shelby (Matt Damon, The Martian) who had previously driven a car to a Le Mans victory in 1959.  The brusque Texan knew the right people to gather together to get the job done but also knew the corporate red tape that would ultimately get in the way – yet he soldiered on, eventually bringing in unpredictable British driver Ken Miles (Christian Bale, American Hustle) to test the car and steer it to victory.  Miles was known for his brilliant knowledge of cars and his talent behind the wheel, but also for his hotshot attitude and aversion to authority, a problem that comes into play when a ego-centric Ford company man (Josh Lucas, Thinner) gets promoted to oversee the racing team.  Under his penny pinching corporate eye, Shelby and Miles collaborate on a revolutionary automobile though and field test it endlessly to prepare for the legendary race.  The road to Le Mans is filled with potholes, though, and over the next years Shelby and Miles would have their professional relationship and friendship tested on multiple occasions as they navigated a company that wanted to win but with compromise and a leader who valued personal victory over loyalty.

Based on the 2009 book “Go Like Hell: Ford, Ferrari and Their Battle for Speed and Glory at Le Mans” by A.J. Baime was adapted by Jez Butterworth (Edge of Tomorrow), John-Henry Butterworth (Get on Up) and Jason Keller (Mirror, Mirror) into a well-oiled screenplay that, while heavy on car talk, doesn’t leave us non-car people in the dust.  In doing my research I’ve found that by and large Ford v Ferrari sticks fairly close to the events as they happened, taking few liberties with the real people that lived it.  As always, a movie can’t concentrate on every member of the larger team that led to success and I think focusing on Shelby and Miles was a good idea, mostly because the roles are so different yet complement each other so nicely.  Most agree that Shelby and Miles were key figures in Ford’s development of a racing car for the Le Mans race, though it’s well known it was a large team effort that wasn’t just accomplished by grease monkeys and the non-corporate type.

Director James Mangold (Logan) and cinematographer Phedon Papamichael (Nebraska) make the non-racing scenes look absolutely stunning, whether it be a conversation Miles is having with his son (Noah Jupe, Suburbicon, in another winning performance) or when The Deuce is throwing a tantrum in front of his executive staff.  It’s the racing footage that’s truly, incredibly, awesome.  Putting you right into the drivers seat without the shaking camera that often accompanies these views, whether we are looking in, out, or around the car Papamichael makes sure we know where we are and who we are following at all times.  With several races to go through before Le Mans, it allows audiences time to get a rhythm for the racing before the big one that takes up a large part of the last hour of the movie.  Having no knowledge of this event beforehand, I didn’t know the ultimate outcome of the Ford/Ferrari match-up and I’m so glad – it helped make the movie that much more enjoyable to be in some suspense as we near the finish line.

There’s already been a lot of talk about Ford v Ferrari around the performances of Damon and Bale, questioning if one actor should put himself in the running for Best Actor and one for Best Supporting Actor.  If we’re being fair, both are leading actors of the movie but I’d argue that Bale has the larger and more pivotal role…which is of course why many are saying he should campaign as Supporting Actor (??).  Even so, it appears both actors are going for the leading category now and I worry that it will either leave both out of the nominations or allow Damon to get in instead of Bale.  Nothing against Damon because he’s very good in this, I just responded more to what Bale was putting out onto the screen.  I also greatly enjoyed the Pulitzer Prize winning playwright Letts as the obnoxiously pompous son of Henry Ford.  Wait for the scene where Damon’s character takes him on his first ride in a true racing car…it’s worth the price of admission.  As the lone female in the film with any kind of significance (the film’s one true drawback), Caitriona Balfe (Now You See Me) is stuck with the Wife That Is Supportive Above All Else but makes it less saccharine than it could have been.  If only the script had allowed her a few more dimensions, Balfe would surely have been up to the challenge.

Some movies are easy to skip in theaters and wait until they arrive for rent at home.  This is not one of those movies.  I’d advise to see this on the biggest screen possible with the best sound system available.  It can only enhance what is already a thrilling film experience, a history lesson brought to considerable life by a crackerjack team of professionals at the top of their game.  I’ve had this one on my mind quite a lot over the past week and feel as if it’s one I’ll revisit sooner rather than later.  Definitely worth your time to see it in theater.

Movie Review ~ The Good Liar


The Facts
:

Synopsis: Career con artist Roy Courtnay can hardly believe his luck when he meets well-to-do widow Betty McLeish online. As Betty opens her home and life to him, Roy is surprised to find himself caring about her, turning what should be a cut-and-dry swindle into the most treacherous tightrope walk of his life.

Stars: Helen Mirren, Ian McKellen, Russell Tovey, Jim Carter, Mark Lewis Jones, Jóhannes Haukur Jóhannesson

Director: Bill Condon

Rated: R

Running Length: 109 minutes

TMMM Score: (8/10)

Review:  When you know you’re in good hands, it’s easy to settle back in your seat at a movie theater.  That’s why looking over the cast and crew of The Good Liar the other day I was able to get comfortable early on because I just had an inkling this would be one I didn’t have to fret much over.  Two iconic actors starring in a movie for a Oscar-winning director based on an international bestselling thriller adapted by a MN-connected screenwriter I quite like – you are speaking my cinematic language with perfect pronunciation.  Add in my general craving for something sophisticated and, y’know, adult and I was primed for a sly con movie that would have the usual twists and turns that came with the genre.

Now I’ve seen the trailer for The Good Liar several times over the past few months and more than a few key moments have been shown already so I’d advise you not to take another look before seeing this or avert your eyes if it comes on the telly before you get to the theater.  What’s nice to report is that, for once, the marketing team has elected to omit a key piece of the puzzle and that’s what makes The Good Liar such a fine treat to receive in the middle of a shaky November at the movies.  Instead of telegraphing what audiences should expect to see, they’ve left it for you to find out if you choose to venture into this adaptation of Nicholas Searle’s acclaimed debut novel from 2016.  If you do, you’ll be in for a fine ride featuring excellent performances in a movie that comes with crisp edges and is cool to the touch.

After meeting on a dating website for seniors, Ray (Ian McKellen, All Is True) and Betty (Helen Mirren, Woman in Gold) hit it off right away at their first dinner and strike up a friendship.  She’s looking for companionship after losing her husband the year before and he’s looking for…something different.  Well, not at first.  At first he seems genuinely a little interested in her as a potential love interest, but once he finds out Betty is sitting on a hefty nest egg, he moves in for the con and brings along his partner (Jim Carter, Downton Abbey) with plans to swindle his new friend.  As Ray and Betty’s friendship deepens, so does his ability to charm her and it’s to the script’s great credit that it doesn’t immediately turn Ray into an obvious money-hungry sociopath that Betty should be able to see right through.

That’s not the extent of Ray’s criminal dealings though, as he’s also involved with another scheme involving businessmen investing in a fake real estate corporation.  Opting to lay low until that blows over, he moves in with Betty, under the disapproving eye of her increasingly suspicious grandson (Russell Tovey, Muppets Most Wanted) who knows something is off about Ray but can’t put his finger on exactly what.  Driving a sly wedge between grandmother and grandson, Ray starts to separate Betty from her resources of safety until he’s practically all she has to rely on.  As Ray grows closer to Betty and gains her trust, his plan starts to come together…but when the time comes will he be able to go through with it and wipe her bank account clean?   Will his feelings get the best of him?  Or is there another player in the game that no one is yet aware of?

The answers to all these questions and more are laid out cleanly in the graceful screenplay by Jeffrey Hatcher (Mr. Holmes) which is generous to both Mirren and McKellen in the way it allows them to play each scene without rushing.  The same goes for director Bill Condon (Beauty and the Beast) who takes his time setting the film up in its first hour as we are introduced to Ray’s duality as a slick (and surprisingly nasty) crook one moment and a fragile aged elder leaning on Betty’s compassion in another.  There’s a tendency to let the victim of these stories look like a of fool for not seeing through this ruse but you get the sense in Mirren’s performance she knows Ray’s not always telling the whole truth but also that she has maybe emerged from a marriage where certain things went unsaid as well.

The final act of The Good Liar contains a few satisfyingly head-turning game changers and I didn’t see all of them coming…at least not the exact direction they were coming from.  You may have an inkling what corner the movie is about to go around but with Hatcher keeping Searle’s secrets so well he easily throws you off the scent, and that’s where the movie becomes less of a thriller and more of a cat and mouse drama that Mirren and McKellen revel in.  Both are playing against their perceived type here, he less as the warm-hearted gentlemen he appears to be and she far removed from the ballsy dame we know she is.  That’s fun to watch and seems like it was fun for them to perform.

If there’s one thing I’d change about The Good Liar is that it didn’t need to be quite so hard of a film.  Certain elements I’d agree have to play out against a backdrop of vicious crimes for specific plot tricks to work but there are parts of the movie that take place in strip clubs for no real purpose and key scenes of brutality that feel out of place.  While it contributes some element of surprise, it didn’t feel like an overall value add to the story Condon and company set out to tell.  Thankfully, any inclination to turn a pivotal moment into a bloody mess was avoided and the film as a whole retained its level of maturity when it very well could have sold its soul for cheap shock value.

There are certain actors some people would pay to hear read the telephone book and I honestly don’t think I’d be happy just watching Mirren or McKellen be stationary going through the alphabet.  What they’ve shown in The Good Liar is that they’re keen on taking on roles that require them to take action and get their hands dirty, not remain sedentary and stodgy.  Using their bodies as well as their trained voices, they’re actors that are fascinating to watch teamed in a project that holds your attention with ease.  If only more movies were made with this amount of class, patience, and trust in the audience.

Movie Review ~ Charlie’s Angels (2019)


The Facts
:

Synopsis: When a young systems engineer blows the whistle on a dangerous technology, Charlie’s Angels are called into action, putting their lives on the line to protect us all.

Stars: Kristen Stewart, Naomi Scott, Ella Balinska, Elizabeth Banks, Patrick Stewart, Djimon Hounsou

Director: Elizabeth Banks

Rated: PG-13

Running Length: 118 minutes

TMMM Score: (7/10)

Review: Leading up to the screening of the brand-new 2019 reboot of Charlie’s Angels, all signs were pointing to something less than impressive.  Early trailers were considerably lackluster and the marketing of the film was…well, look up a few inches and check out the poster I selected to headline this review.  It’s the best one I could find and that should be saying something because it’s pretty bad on its own.  It’s like a major studio (Sony) had decided to revamp a key piece of IP and then opted to spend no creative energy or cash on seeing to its success.  If they didn’t have some faith or interest in the movie, why should I?

I had also come off a recent double-feature rewatch of the previous 2000 McG directed reboot starring Drew Barrymore, Cameron Diaz, and Lucy Liu and it’s 2003 sequel and was kind of ashamed of myself for having a poster of both films on my wall at one point. (In my defense, the first poster was a fairly sweet high quality shiny foil material.) Both movies are still cornball pieces of bubblegum entertainment but they now come off as pre-packaged raunch fests, pushing the limits of the PG-13 rating and filtered through a male gaze so much that you can almost feel your chin stubble growing as the film progresses.  And the butt shots.  Oh my goodness.  You could do a drinking game (there has to be one, right) at the amount of gratuitous gluteus shots that occupy a rump-shaking amount of the film’s running length.

So yes, I was feeling conflicted about yet another new take on Charlie’s Angels, adapted from the popular television series that ran from 1976 to 1981.  I also had some questions.  Written and directed by Elizabeth Banks (Brightburn) tackling her sophomore feature after 2015’s Pitch Perfect 2, would the star actress be able to switch from a frothy musical to a spy-adventure?  What about the involvement of Kristen Stewart? The hard to pin down indie darling isn’t wholly picky with her roles but even this seemed like an out of left field choice for her.  Overall, the movie was lacking in mega-star wattage, a big selling point of the previous revitalization.  The two other women starring with Stewart were Naomi Scott (Aladdin) and Ella Balinska, not exactly household names.  With the less than boffo box office of Ocean’s 8, would audiences line up for another female-led caper action film?

I would never advocate for arriving late at a movie because it’s rude to others around you and you might miss some important info that could come in handy down the road but in the case of Charlie’s Angels, it wouldn’t be an outright terrible idea.   That’s because the first 10 minutes of this are pretty bad.  So bad I feared all my apprehensions about the movie were being made manifest and I’d be sitting there for another 105 minutes watching the time tick by in agony.  Fear not, because after that rocky road of an opening the movie rights itself almost immediately and a rather solid film materializes right before your eyes.  One that feels of the moment and also one that’s in on the overall joke from the jump.

Acting as a semi-continuation of the two previous films (with a few poorly photoshopped tweaks), Charlie’s “Angels” have gone international and now have branches all around the world.  {Stick around for the post-credits to see just how star-studded the recruits have become.} Bosley is now an official rank within the organization, which is why Banks, Patrick Stewart (Green Room), and Djimon Hounsou (Serenity) are all credited by some version of the moniker in the cast list.  They are each responsible for specific areas and keep tabs on their Angels that are close by, in addition to recruiting and training new candidates. Angels come from all walks of life and are called in when their special talents are required, so it’s less like they work as a group but more as a team of experts based on the need.

The need that exists currently is to keep an eye on an engineer in Germany (Scott) who has discovered a flaw in a handheld electrical system she helped create.  Without spending more time and resources to mend the error, the tool could go to market and be used as a weapon by someone with advanced knowledge and kill anyone in close proximity.  With her company intent on moving forward with mass-producing the item and not fixing the issue she’s found, she reaches out to the Townsend Agency/Charlie to help her find a way to stop her invention from falling into the wrong hands.  Before she can pass her info off, an attempt is made on her life – which is when the Angels fly in.  Tomboy Sabina (Stewart, Personal Shopper) is an heiress that likes to live on the edge and Jane (Balinksa) is a former MI:6 agent who left the agency for mysterious reasons we’ll learn about later on.

The movie plays like an extended episode of a television show with little in the way of complex plot development, save for a couple of well-timed twists that would have coincided nicely with a commercial break.  It’s not aiming to be that deep, however, and I appreciated that it favored forward momentum instead of digging too deep under the surface.  That’s not to say Banks doesn’t ask anything of her three leads because she elicits fine performances out of all, it’s just clear that they all had a mission to create a movie that was entertaining and I think they accomplished that.  The elaborate wig and costume changes are fun but grounded and the most madcap Banks lets things get is a giggly little bit of choreographed disco led by Stewart and Balinska. (Speaking of Balinska, she’s a real find and manages to steal the movie away from her fellow Angels quite often).  Whereas the Barrymore/Diaz/Lu movie felt like it was amusing them more than anything by the end, Banks and company allow us into that fun arena on a more regular basis.

If the new Charlie’s Angels spreads its wings at the box office, Banks has set things up to be an intriguing franchise.  With the globalization of the Townsend Agency, the Angels can come from anywhere so even if, say, Stewart wasn’t available for the next film you can easily swap her out for another super spy from the opposite side of the world.  It leaves the playing field (and cast list) open for a myriad of interesting possibilities for future installments.  Just make sure to give these new Angels a chance past those first ten minutes – we’re in the culture of snap judgments now and if you stick it out I think you’ll like where this one lands.

The Silver Bullet ~ The Invisible Man (2020)



Synopsis
: When Cecilia’s abusive ex commits suicide and leaves her fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia’s works to prove she is being hunted by someone nobody can see.

Release Date:  February 20, 2020

Thoughts: In 2017, Universal Studios had big plans to create their own tentpole franchise by resurrecting their classic monsters in a new Dark Universe where stories/characters could crossover.  Announcements were made with A-list stars signed on and release dates staked out – this sounded like it could be something to get excited about and a nice alternative to the superhero series that had been dominating the box office.  Then, The Mummy starring Tom Cruise came out and completely tanked…uh oh.  As expected in this risk-averse era, everyone got cold feet and all the grandiose plans for the Dark Universe were scrapped.

It’s interesting, then, to see this first trailer for The Invisible Man make its debut.  Written and directed by Leigh Whannell (Insidious: Chapter 3) and starring Elisabeth Moss (Us), it appears this was made by Universal Studios without any restriction on future sequels or how it might fit into larger plans for existing projects.  That means it could be a nice little mystery building off of the name of the novel by H.G. Wells, though it doesn’t seem to share many similarities to 1933’s The Invisible Man.  I worry the trailer is a tad too long and wish it left a little more to the imagination…but there’s something intriguing about this concept and it makes me think of those slick ‘90s thrillers we don’t seem to get on the big screen anymore.

Movie Review ~ Midway (2019)


The Facts
:

Synopsis:  US soldiers and pilots change the course of World War II during the Battle of Midway in June 1942 when US and Imperial Japanese naval forces fought for four days.

Stars: Ed Skrein, Patrick Wilson, Luke Evans, Aaron Eckhart, Nick Jonas, Mandy Moore, Darren Criss, Woody Harrelson, Keean Johnson, Luke Kleintank, Dennis Quaid,  Tadanobu Asano, Alexander Ludwig

Director: Roland Emmerich

Rated: PG-13

Running Length: 138 minutes

TMMM Score: (8/10)

Review: With the rise of the franchise action film, I’d forgotten what going to a Roland Emmerich movie was like.  The one-time master of the big event film made an impressive debut with Universal Solider in 1992 before going bigger with Stargate in 1994 and fully graduating to epic size with Independence Day in 1994.  In the years that followed, Emmerich struggled with maintaining the scale of his films and had trouble balancing the rising budgets with finding a strong narrative.  By 2013 he was directing White House Down which was similar in plot to Olympus Has Fallen and then he proceeded to go back for seconds on the critically reviled Independence Day: Resurgence.

It was a bit of a surprise for me, then, to see Emmerich’s name attached to Midway because I hadn’t thought the director would want to go for a historical film that would require him to stay within the lines a bit more than he was used to.  Turns out this was exactly the project he needed because aside from a handful of iffy performances and a walloping heap of bad dialogue, Midway emerges as the best effort from the director in years.  Yes, it has your standard roster of rousing speeches and that one impassioned pep talk that comes right before a character is unceremoniously killed off, but it also makes good use of its visual effects budget which helps to snare you into each high-flying fight scene that gets bigger with each battle.  I went in expecting a loud and obnoxious war movie along the lines of the loud and obnoxious Pearl Harbor from 2001, but I wasn’t anticipating coming out the other side having been fully engaged for the majority of Midway’s healthy running length.

Following the military action that took place between the bombing of Pearl Harbor in December of 1941 and the Battle of Midway in June of 1942, first time feature screenwriter Wes Tooke mixes historical figures with composites of the men that participated in these battles on the ground and in the air.  From a history lesson perspective, Tooke’s script is fast moving and filled with the kind of military jargon war junkies will find enticing, yet it isn’t such a deep dive that others will be lost.  Most of the time it’s clear where we are and what’s happening, though when the movie goes into it’s hyper-kinetic final hour it does help to keep mental notes of what is transpiring.  Not being a huge history stickler, I can’t tell you how well-researched Tooke’s script is or if it’s aligns perfectly with the timeline of events but certain accomplishments that seems too coincidental to be true seem to be backed up by historical fact as evidenced in post-credit character wrap-ups.

Where Tooke’s screenplay is lacking is when the characters have to, you know, talk about normal everyday stuff.  It’s here that his newbie-ness shows and it didn’t surprise me to learn he got started writing for a serialized podcast – much of the dialogue is expository that, while directed toward someone on screen, could just as easily be spoken directly into the camera for all the weight it’s given in relation to the combat-zone speak.  Characters that come off as phony baloney talking about their lives outside of the service suddenly take on a tone of authority when discussing the plans for their next air strike.  With only one actress in the main cast, it isn’t surprising the female characters are barely there and what we do see of them are as supportive wives that just want their husbands to come home safely or are standing by ready to cook a late night sandwich.  It’s a bit embarrassing that Tooke couldn’t have given any female something to do in the film other than play a sturdy rock to their more verbose spouse.

It also could be that Emmerich hasn’t cast the strongest actors either, with British Ed Skrein (Maleficent: Mistress of Evil) struggling to maintain his East Coast drawl as hotshot pilot Dick Best.  Try as he might, Skrein never can quite convincingly get through one of his anthemic speeches to his fellow brothers in arms, to say nothing of the complete lack of chemistry he has with his wife, played by an equally vacant Mandy Moore (47 Meters Down).  Yet when Skrein is flying his dive bomber and pushing the limits to victory, he totally had me cheering him on.  In similar boats, or planes, are Luke Evans (Ma), Nick Jonas (Jumanji: Welcome to the Jungle), Darren Criss (Girl Most Likely), Aaron Eckhart (Sully), Luke Kleintank (The Goldfinch), and Keean Johnson (Alita: Battle Angel).  While I’d argue that few of these chiseled actors looks like they would have passed basic training (especially Criss…as a fighter pilot? I think not.) as a unit there is something that gels as the movie progresses.

If there’s one bit of non-action sequences work the best in spite of the thin dialogue, it’s the scenes between Admiral Chester Nimitz (Woody Harrelson, Venom) and Lieutenant Commander Edwin T. Layton (Patrick Wilson, Annabelle Comes Home).  After the attack on Pearl Harbor, Nimitz was assigned to take over command of the post and turned to Layton to use his expertise to help predict where the Japanese would attack next.  Layton then sought assistance from a codebreaker who had intercepted Japanese communications, helping them plan for the Battle of Midway.  While there are some hokey bits here and there, by and large these are the moments that land the best and it’s thanks to Harrelson and Wilson’s assured screen presence.  Coincidentally, these are also the passages of the film that are easy to get a bit turned around in — so best to stay alert when Wilson is laying out the game plan.

Where the movie really earns its stripes are the well-staged and skillfully rendered battle scenes featuring air strikes between the US and Japanese forces.  While I normally go a bit cross-eyed with excessive amount of green screen and CGI usage, it didn’t bother me as much in Midway as it wound up enhancing the experience, having the effect of putting the audience right into the middle of the action with alarming intensity.  Far from feeling like an overblown cartoon like previous Emmerich efforts, the visuals are nearly all expertly designed and beautifully executed, culminating in a deluxe finale that actually had me biting my nails.  Sure, it may be a bit chintzy at times but it’s the best kind of gobble-down-your-popcorn kind of fare.  Perhaps the editing could be tightened up a tiny smidge to assist in our tracking of the pilots and to avoid a few repetitive bits but there’s not a lot of the action that I’d want to see trimmed down.

Feeling like it was made with a great sense of honor and respect, I appreciated the gestures Tooke’s script made to Japanese customs as well.  Though dealing us a terrible blow and also being responsible for the deaths of thousands of Chinese that assisted American forces, the Japanese had a sense of nobility in their strategy as well.  It would have been easy (especially in the time we currently live in) to make this an All-American Apple Pie movie but taking a brief moment to acknowledge the losses on both sides doesn’t make any excuses, it simply recognizes the fallen.  If anything, Emmerich could have spent a little more time with the Japanese in the first half of the movie and I imagine he did but felt he could sacrifice those scenes when the movie was running long in his original cut.

Releasing just in time for Veterans Day, I’ll be interested to see how Midway plays with audiences during this quieter time before the busy Thanksgiving holiday draws near.  Though the Battle of Midway has been filmed before (check out 1976’s Midway starring Charlton Heston and Peter Fonda for a less visual effects heavy telling) and there’s more to the story than can be told in 138 minutes (again, there’s absolutely no stories involving women which was disappointing) I appreciated that Emmerich was restrained enough to save his big guns for when he needed it most and let the quieter moments play out.  Even if the quieter moments were clumsy, at least they were there.  For that, I give the movie a lot of credit for exceeding my expectations and providing more entertainment than I could have predicted at the outset.  Very much worth seeing on the big screen.

Movie Review ~ Frankie


The Facts
:

Synopsis: Three generations grappling with a life-changing experience during one day of a vacation in Sintra, Portugal, a historic town known for its dense gardens and fairy-tale villas and palaces.

Stars: Isabelle Huppert, Marisa Tomei, Brendan Gleeson, Greg Kinnear, Ariyon Bakare, Vinette Robinson, Pascal Greggory, Jérémie Renier

Director: Ira Sachs

Rated: PG-13

Running Length: 98 minutes

TMMM Score: (4/10)

Review:  Maybe it’s an only child thing.  Movies that revolve around family conflict tend to just zoom on by me with little effect, rarely landing with any kind of weight.  I’ve discussed this with those that come from large families with siblings and been told that it’s because as an only child I haven’t had that experience dealing with the kind of dynamics that exist when there are other personalities to take into account.  In my family, it was just the three of us so there was little room for gambit when you wanted something or were frustrated – everything was always out in the open.  So it’s tough for me to watch “family drama” films whether they’re good (August: Osage County) or bad (This is Where I Leave You) and find a thread to grab onto. That could be why I found it almost impossible to engage with Frankie, even though I’m a fan of the director and the majority of the cast.

At this point, I’m interested in anything Isabelle Huppert (Greta) shows up in, with the actress finding her ways to intriguing roles if not fully satisfying films.  Her Oscar-nomination for Elle was a deserved turning point in recognition of a long career of bold choices and she’s continuing to show up in curious places.  Then there’s Marisa Tomei (Love the Coopers), Brendan Gleeson (Paddington 2), and Greg Kinnear (I Don’t Know How She Does It), three more actors who have amassed an impressive list of credits on IMDb with both mainstream films and indie flicks.  With writer/director Ira Sachs guiding them all, this seemed like a pleasant gathering of talents; however like the titular character it’s a movie that keeps you at arm’s length and rarely allows you to see underneath its hard shell.

Set over the course of one day, Frankie centers around the family and close friends of celebrated actress Françoise “Frankie” Crémont (Huppert) who are gathered in a picturesque town in Portugal.  Even though they are in paradise, emotional baggage is being unpacked as the movie opens.  Frankie’s daughter (Vinette Robinson) is grappling with a marriage that may have run its course and her son (Jérémie Renier) has once again fallen in love with the wrong woman and is despondent.  Her ex-husband (Pascal Greggory) has stayed in the picture, though he hasn’t quite given up wanting to care for his former spouse.  That extra attention doesn’t seem to bother her current husband (Gleeson) because nothing seems to truly turn him askew.  Things get more complicated with the arrival of Frankie’s former make-up artist Ilene (Tomei) who has invited her friend Gary (Kinnear) along which throws a wrench (delicately) into a grand scheme Frankie has been working on.

Frankie is really just a series of conversations between characters, rarely more than two people at a time.  While this allows for some freely interesting insight at first (and blessedly Huppert is allowed to speak in French to those that communicate likewise), by the time the movie is half over you find yourself longing for something of import to happen or be revealed out of these exchanges.  Many of these dialogues are inward musings spoken aloud that another person just happens to be there for, they rarely are as revealing or revelatory as they may have been intended to be and, honestly, it often comes across as shallow whining from the privileged upper class.  That would be fine, if only there was a balance to show the movie understood it was commenting on that position of opportunity.  It becomes obvious early on why Frankie has gathered these people together so there’s not some big awful secret waiting to be revealed, but the slow turning of the wheels feels overly laborious for the usually smooth sailing writing of Sachs and his co-writer Mauricio Zacharias.

As a writer and director, Sachs has shown in his previous work to have a finely tuned ear for how real people speak and, flawed though they may be, has presented them with some wholeness to them.  When I interviewed him in 2014 for the release of his wonderful movie Love is Strange, he spoke of wanting to present characters with a certain humility about them that reflects their class and age and I can see some of that intention present in the outlines of the characters in Frankie.  What I didn’t find was anything more than those outlines underneath it all.  It’s a curious circumstance, to be in this beautiful setting with such an appealing cast but not be able to generate any kind of emotional resonance from anything you’re hearing.  It doesn’t help the actors don’t seem to know quite how to sell it either, with Huppert appearing distant and not in the way I think Sachs intends her to be.  Only Tomei feels like she’s at peace and she brings a noted warmth to all of her scenes.  It’s a mixed bag from everyone else, especially out of sync with everything else are scenes with Frankie’s granddaughter and a local boy that catches her eye.

There’s a shot in Frankie where all the characters trek to look out on the edge of a cliff into the vast openeness of the sea.  With so much to admire, so much to think about, and so much to take in, they barely stay for a moment before turning back and walking back from where they came and where they are comfortable.  That’s a lot like Frankie the film.  A lot of effort is spent getting to a place that should be a thing of beauty, only to turn around and head back without taking time to think about what we’re looking at.

Movie Review ~ Doctor Sleep


The Facts
:

Synopsis: Dan Torrance meets a young girl with similar powers as his and tries to protect her from a cult known as The True Knot who prey on children with powers to remain immortal.

Stars: Ewan McGregor, Rebecca Ferguson, Cliff Curtis, Kyliegh Curran, Zahn McClarnon, Carl Lumbly, Alex Essoe, Bruce Greenwood, Emily Alyn Lind, Jacob Tremblay

Director: Mike Flanagan

Rated: R

Running Length: 151 minutes

TMMM Score: (9/10)

Review:  It’s time to own up to the dark truth that I’ve seen every Stephen King movie but never read a Stephen King book.  I know, it’s a horrible thing to admit and I don’t offer it up with any amount of pride, only to say that I’ve appreciated that King is a writer with work that has provided so many wonderful adaptations.  Way back in 1980 when The Shining first premiered, it’s well known it wasn’t King’s favorite interpretation of his work.  Legendary director Stanley Kubrick took quite a lot of liberties with the source novel, eliminating characters or changing their make-up all together, to say nothing of the reworked ending.  While a TV adaptation hewed closer to King’s original vision, it paled in comparison to what Kubrick had created.   Over the years, King came to some finality with the movie, for better or for worse, and it was generally accepted by all in thinking of King’s novel and Kubrick’s film as two separate entities that shared similarities.

Re-watching The Shining again (released in a spectacular 4K BluRay) for my 31 Days to Scare, I was struck by how little actually happens (in terms of on-screen action at least) in Kubrick’s film up until the final third.  Over the years I’d always remembered the movie to be this non-stop cabin fever scare-fest that was a journey into madness from the start but that’s what a young imagination falsely remembered will do to you.  Seeing it through a more adult eye with a critical angle, I was taken by how well Kubrick turned up the heat on the Torrance family as they came to the Overlook Hotel in Colorado and the horrible fate that befell them.  Jack Nicholson’s performance is legendary to say nothing of Shelley Duvall’s unfairly maligned and unjustly ignored heroic work as his wife who comes apart at the seams on account of her husband’s own mental breakdown.

Kubrick’s The Shining ended (spoiler-alert) with Jack Torrance frozen to death in the Overlook’s hedge maze and his wife Wendy and son Danny high-tailing it down the mountain to safety.  So when King went to write a sequel to the novel years later, he obviously was writing a sequel to his story that ended with the Overlook destroyed.  King’s follow-up, Doctor Sleep, was a well-received best-seller and soon it was time to consider making that into a movie as well.  Yet, how to merge this book with the previous movie?  Enter Mike Flanagan, riding high off of his success with a series of successful genre films Oculus, Hush, Gerald’s Game, and the series The Haunting of Hill House on Netflix. Hired to adapt and direct Doctor Sleep (he also edited the movie), Flanagan worked with King to adjust the novel to fit with Kubrick’s original film and the result is a seamless continuation that’s supremely satisfying and frequently frightening.

Picking up in 1980 where Kubrick left off, Doctor Sleep starts not with the Torrance family but with Rose the Hat (Rebecca Ferguson, The Greatest Showman) and other members of The True Knot.  Surviving on the essence, or “steam”, of those with special powers like Danny has, they move throughout the country hunting children because that is when their “steam” is at its most potent.  The more they feed, the longer they live and the stronger they become.  At the same time, Danny and his mother (Alex Essoe, Starry Eyes) have relocated to Florida where Danny sees visions of a familiar friend from the Overlook.  Jumping ahead 31 years, Danny (Ewan McGregor, Christopher Robin) has dulled the memories of his past and stifled his “shining” with alcohol and drugs and is barely standing when he meets Billy Freeman (Cliff Curtis, The Meg) in a small New Hampshire town.

Finding a new life and sobriety, Danny spends the next eight years working at a hospice and often using his gifts to help patients transition to the other side with peace.  He’s also been communicating telepathically with Abra (Kyliegh Curran) another child possessing the power of the shining equal to Danny who has caught the attention of The True Knot.  When she begins to see visions of Rose the Hat and The True Knot in action, eventually finding a link into Rose’s consciousness, Abra knows she can’t take them on alone.  Asking for Danny’s help, he has to decide if he can open up the door to let his dark past back in he’s worked so hard to keep boarded up for these many years.  With so many ghosts from the Overlook locked away inside their individual Pandoras boxes, if that portal opens Danny isn’t sure what else might return with them.  But does he have a choice when a hungry cult will stop at nothing to get to Abra and now for the first time has also sensed his power and presence?

At 151 minutes, Doctor Sleep outpaces The Shining by 5 minutes but offers more movement and thrills at the outset than Kubrick did in his film.  Now, some may see that as a good thing or it could be a sign of Flanagan not totally trusting the audience to wait for two hours to get to the main event – but I don’t agree with that.  This is a movie that has measured out it’s shocks in just the right places, aiming squarely for maximum impact and not just to goose audiences with short attention spans.  No, Flanagan has previously demonstrated in his projects that he knows just when to push the button on the scare machine and here again he proves his timing is spot-on.  He doesn’t even have to push hard, simple things like music cues or familiar images can get those tingles started in your tailbone and send them upwards fairly quickly.

The references to The Shining are both obvious and sneaky and you’ll have to keep your eyes peeled for some fun ways Flanagan and his production team have tipped their hat to Kubrick’s original design.  While some scenes from the original are recreated in part, I was so glad to see it wasn’t with old footage made to look new or digitally altered to appear as if Nicholson and Duvall had come back for reshoots.  Casting new actors in these roles that aren’t exactly lookalikes but aren’t doing a pronounced impression was a wise choice too – you get the general idea of the previous actors but it’s more the character that’s important above all else.  Someone at my screening whined at the end they wished Nicholson had returned…but that would have been a huge distraction.

As is typical, Flanagan has assembled an interesting array of actors and it’s not just those at the top.  While McGregor is in fine form as the tortured Danny and nicely conveys the sense of loss and ongoing struggle he’s going through, he often takes a backseat when someone like Ferguson is onscreen because she’s such a commanding presence.  Stalking around the movie (and other actors), Ferguson’s character is wicked scary and doesn’t oversell why she’s the leader of this bloodthirsty pack.  There’s no campy acting going on with Ferguson.  Rose the Hat has survived for a number of years doing what she does and she has little qualms about taking the lives of the young — it’s a really evil role and Ferguson is impressively menacing in it.  I also quite liked Curran’s Abra, delighting in her burgeoning powers but also realizing the reality of the terrifying visions she’s seeing.  She ably holds her own against more seasoned performers and does so in the face of some disturbing material.

That’s another thing about Doctor Sleep that got under my skin and I couldn’t shake, it’s a very unsettling film.  Horror movies are meant to jostle you a bit and then let you go on your merry way into the night but Flanagan’s film digs in and sticks with you for a while after the movie is over.  While the imagery might not be all that gruesome, there are some suggestions of terrible acts that are hard to brush off and it adds to the growing sense of dread leading to the climax of the film.  While I won’t say how or where the film ends, speaking for myself I left the movie feeling satiated with where Flanagan (and King) led these characters.

Bound to keep a new generation of viewers up at night by pairing this with the original, Doctor Sleep is another win for Mike Flanagan and well as fans of Stephen King.  It’s a handsome production that provides the requisite shivers and shudders but takes it’s time to find an emotional core beneath it all.  Adding in the strong performances from the leads and supporting players and you have a solid effort worthy of sitting on the shelf next to its predecessor.