Movie Review ~ Lady Bird


The Facts
:

Synopsis: The adventures of a young woman living in Northern California for a year.

Stars: Saoirse Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, Timothée Chalamet, Beanie Feldstein, Lois Smith, Stephen McKinley Henderson, Odeya Rush, Jordan Rodrigues, Marielle Scott

Director: Greta Gerwig

Rated: R

Running Length: 93 minutes

TMMM Score: (7/10)

Review: There was a time in the not so distant past when Greta Gerwig and I weren’t on speaking terms.  I know when the rift started: Frances Ha.  While Gerwig’s collaboration with writer/director Noah Baumbach became an indie twee delight, it didn’t bowl me over in the slightest.  Finding Gerwig’s titular character vapid, vain, and selfish, I just couldn’t get into the film and struggled to even finish it.  Gerwig’s popped up here and there in the following years, to better results, in Mistress America, Jackie, and 20th Century Women but it’s Lady Bird where our fences can be considered mended.

A thinly veiled but admittedly autobiographical look at Gerwig’s years as a teen in Sacramento in the late ‘90s, Lady Bird is going to be compared to Juno and with just cause.  Both are female led films that find a truth to their portrayal of adolescence and an authenticity in how teens and adults struggle to find common ground while just trying to make it through the day.  The difference between the two is that looking back at Juno it seems like it arrived from another wacky dimension while Lady Bird is already a period piece so there’s less chance of it becoming rapidly dated.

About to enter her senior year of high school, Christine McPherson (Saoirse Ronan, How I Live Now) demands that her family and friends call her Lady Bird and wants to attend college as far away from her Northern California town as possible.  She dreams of a life surrounded by arts and artists, while her mother (Laurie Metcalf, Uncle Buck) wants her daughter to come down from the clouds and understand that community college may be the best she can do.  With a father (Tracy Letts, The Post) that just lost his job and a brother living at home with his goth girlfriend, there isn’t much space for Lady Bird to breathe.

A small chance at happiness shows up in the drama department’s production of Stephen Sondheim’s Merrily We Roll Along.  Cast in the ensemble, she falls for the leading man (Lucas Hedges, Manchester by the Sea) who is both her first love and first heartbreak.  Feeling like she has to climb higher socially than she can sticking by her best friend (Beanie Feldstein, who was wonderful in Broadway’s Hello Dolly!) she ingratiates herself with the popular girl (Odeya Rush, Goosebumps) and takes up with an alt-emo boy (Timothée Chalamet, Call Me By Your Name).  As the school year draws to a close and the great unknown future awaits, Lady Bird will learn tough lessons about finding one’s place and making a unique path toward happiness.

As she did in Brooklyn, Ronan is able to find a mainline to your heart without making it seem like a huge effort.  That’s surprising because her Brooklyn character was warm and selfless, and Lady Bird is anything but that.  Constantly sucking the air from any room she’s in and preventing others from finding their own orbit, Lady Bird is a force of nature and while it can be easy to get frustrated with her it’s just as easy to feel her pain as dreams she makes for herself vanish just as fast as they take shape.  If you’ve ever heard Gerwig talk it’s instantly clear that her voice comes through loud and clear not only in Ronan’s performance (Ronan channels Gerwig in eerie ways) but in the thoughts and ideas expressed by other characters.

Ronan isn’t the only star of the show here, though.  She gets the movie stolen away from here more than a few times by Metcalf as her steely mother.  Though the movie opens with mother and daughter waking up staring into each other’s eyes, both women soon wind up in an argument that bursts whatever peaceful bubble they had formed.  Scene after we scene we see Metcalf deliberately divert attention away from her daughter if she feels she’s getting too big for her britches or cast a spotlight on her when she makes the wrong move.  It sounds bad, but she’s doing what every parent tries to do but doesn’t always succeed in…help their child see that life is tough with the least amount of outside pain as possible.  It’s easy to see part of oneself in these moments when a child will push their parent’s buttons or the parent cuts their teen down just to prove their point.  I know I winced a few times when I recognized actions I’ve had in my own life.

If you’re already a fan of Gerwig’s, you’re going to get a lot of satisfaction out of her directorial debut which will likely earn her a place on the shortlist for Best Director and Best Original Screenplay.  Expect Ronan and Metcalf to earn nominations as well for their deeply felt and carefully layered performances. If you’re just coming around to Gerwig like I am you’ll find it easier than ever to use Lady Bird to fly back into the fold.

Movie Review ~ Murder on the Orient Express (2017)

 

The Facts:

Synopsis: A lavish train ride unfolds into a stylish & suspenseful mystery. From the novel by Agatha Christie, Murder on the Orient Express tells of thirteen stranded strangers & one man’s race to solve the puzzle before the murderer strikes again.

Stars: Kenneth Branagh, Johnny Depp, Michelle Pfeiffer, Daisy Ridley, Olivia Coleman, Judi Dench, Leslie Odom Jr., Tom Bateman, Lucy Boynton, Sir Derek Jacobi, Josh Gad, Penelope Cruz, Sergei Polunin, Willem Dafoe

Director: Kenneth Branagh

Rated: PG-13

Running Length: 114 minutes

Trailer Review: Here

TMMM Score: (8/10)

Review: In my limited experience with Amtrak, I’ve come to the conclusion travel by train through the Midwest can be the most exciting way to be bored. There’s a rush of fun and thrill to board, find your seat, and sit back as the chugging engine moves you past the fields of wheat and country roads. Then that first half hour is over and you realize you have seven more to go until you reach your destination. I’ll admit that there were times when I wish there was something more exciting to do aside from looking forward to your time in the dining car. Not saying that murder would be a welcome addition to riding the rails but…it could spice things up a bit.

Maybe that’s why I was always such a fan of Agatha Christie’s sparkling 1934 novel, Murder on the Orient Express and its various incarnations on film and television over the years. I have a particular fondness for Sidney Lumet’s star-studded 1974 film that featured Albert Finney as Christie’s famed moustachioed detective, Hercule Poirot. Though too young for the role and padded enough to make him look like a Belgian Humpty Dumpty, Finney won me over (even if Christie didn’t care for him) and the ensemble cast of A-listers made solving the mystery Christie cooked up that much more fun. Poirot has ridden the Orient Express again in two more adaptations for television but he’s back onscreen under the guidance of director/star Kenneth Branagh (Jack Ryan: Shadow Recruit) and the results are similarly old-fashioned and quite fun.

Many are going to have a problem with the relative cool tone of the film and it’s aloof star player. This is a movie that unspools slowly and with precision, taking care to present grand elegance instead of common luxury and nuanced performances in place of star cameos. I’m not saying it all works but, for me, it was the ride I was hoping for.

On his way back to London to help with a case, Poirot finds himself on the famed Orient Express on a three day journey back from Istanbul. The train is unusually crowded at this late winter date so all compartments are occupied. En route, Poirot’s careful eye sees an unusual familiarity between two supposed strangers (Daisy Ridley, Star Wars: The Force Awakens and Hamilton’s Leslie Odom Jr.) and a sadness in a deeply religious missionary (Penelope Cruz, Zoolander 2).  He spots a divide in the working relationship between an art dealer (Johnny Depp, Tusk) and his two employees (Derek Jacobi, Cinderella, and Josh Gad, Beauty & the Beast) and observes a brusque chill from a Russian Princess (Judi Dench, Skyfall) traveling with her maid (Olivia Colman, Hyde Park on Hudson).  There’s also a strange German doctor (Willem Dafoe, The Florida Project) and a brash man-eater (Michelle Pfeiffer, mother!) keeping him occupied and, at the very least, entertained.

It’s when the train derails in the middle of the night and one of the passengers ends up dead that Poirot’s brief bid for rest gets interrupted. There’s a killer onboard and the longer Poirot interrogates each passenger the more he begins to realize there are multiple suspects with the same motivation.  Can he detect who done the deed before the rescue crews arrive and the train makes its way to its final stop?  The solution to this one is a corker and those who know it won’t be surprised but Branagh and company want you to remember it’s the journey, not the destination, that matters.

This is a handsome looking film and Branagh has captured it nicely in 65mm, preserving the lushness of the setting and maintaining the classic grain of a celluloid experience while keeping things crisp. The landscapes are almost entirely CGI (didn’t think Dench was going to get snowbound in the middle of nowhere did you?) but the period details are all practical and perfect.  Cinematographer Haris Zambarloukos (Thor)works with Branagh to find interesting angles, such as the discovery of the body filmed from above which makes the audience feel like we’re watching rats in a maze.  There are nice long takes as the camera moves throughout the train and everyone is framed to look their absolute best.

Branagh will likely catch some heat for making the thrust of the film rely a bit too much on him. The magic of the previous movie was how well balanced Finney was with the rest of the actors; Ingrid Bergman even won an Oscar for her small role which is played here by Cruz.  The interrogation scenes felt more intimate and personal there whereas under Branagh’s watch the interviews are brief and blunt.  There’s a crime from the past that mysteriously links everyone on board and because it weighs so heavily into the solution there could have been better steps taken by screenwriter Michael Green (Blade Runner 2049) to lay the groundwork throughout the first ¾ of the film.

I didn’t mind Branagh’s screen time, nor did I think twice about his crazy facial hair or thick Belgian accent. I liked his persnickety ways and it plays nicely off the rest of the cast who are allowed to be a bit more broad.  The film ends with a hint that we might get more Poirot (Death on the Nile, from the sound of it) and I’d be up for another adventure with Branagh.  Dench, as always, makes the most out of her role, easily nailing all of her character’s grand snooty comebacks.  Gad and Depp are usually pain points for me but they play a good game here, both actors are restrained without feeling constrained.  Ridely, Odom Jr., and Cruz might be far less memorable than previous actors that have played these roles but they acquit themselves nicely the more we get to know them.  Lovely Pfeiffer is having a grand time playing a loudmouth widow, she looks gorgeous and Branagh even got her to sing a lullaby over the closing credits.  Pfeiffer has a sweet, if thin, voice but it works for the song and the character.

I always enjoyed watching the original film during the winter months on a cold day. It’s good timing this new version is coming out just as the temperature is dropping and snow is on the horizon.  It’s a perfect film for a lazy day or sophisticated night out.  The deliberate pace and overall conservation of energy might bore audiences that just paid to see the brain smashing Thor: Ragnorok last weekend, but I’d encourage you to book passage on Murder on the Orient Express for another type of adventure.

The Silver Bullet ~ I, Tonya

Synopsis: Competitive ice skater Tonya Harding rises amongst the ranks at the U.S. Figure Skating Championships, but her future in the activity is thrown into doubt when her ex-husband intervenes.

Release Date: December 8, 2017

Thoughts: Well this looks like a wild ride. The brouhaha surrounding the infamous conspiracy involving figure skater Tonya Harding’s involvement in the injury of her competitor Nancy Kerrigan was the stuff of tabloid dreams.  Over the years Harding has faded from the public eye but  I, Tonya aims to drudge up events that have been on ice for some time.  Directed by Craig Gillespie (The Finest Hours), while the movie looks like a black comedy at its bleakest and darkest (I get shades of Gus Van Sant’s To Die For, no?), I’ve already heard buzz that it’s one you’re either going to get a huge kick out of or feel like you need a shower after to wash away the mean grime the film leaves on you.  I’m still nowhere near sold on the overall impact of Margot Robie (Exhibit A: Goodbye Christopher Robin) but if the Oscar rumors are true about co-star Allison Janney (Minions) then all shall be forgiven…for now.

The Silver Bullet ~ The Post

 

Synopsis: A cover-up that spanned four U.S. Presidents pushed the country’s first female newspaper publisher and a hard-driving editor to join an unprecedented battle between journalist and government. Inspired by true events.

Release Date: December 22, 2017 (limited) January 12, 2018 (wide)

Thoughts: At the Oscars last year, buzz began to build around a rumored collaboration between Hollywood’s most favorite people. Director Steven Spielberg (Lincoln), Meryl Streep (Florence Foster Jenkins), & Tom Hanks (Saving Mr. Banks) would team up to tell the story of the Pentagon Papers.  Over the next weeks and months, we would get a tidbit here and there but The Post has flown quietly under the radar.  Until now.  I’m sure a number of Oscar hopefuls woke up this morning to see the new trailer for The Post and felt their hearts sink a little bit because it looks like this obvious Oscar bait is going to snag quite a lot of attention.  With an honest-to-goodness all-star cast of A-Listers and well-respected character actors in supporting roles, this looks like a slam-dunk.  If Spielberg can keep this one trucking along (please let it come in under 2.25 hours!) there’s a chance The Post will be headline news during Award Season.

Movie Review ~ Breathe

The Facts:

Synopsis: The inspiring true love story of Robin and Diana Cavendish, an adventurous couple who refuse to give up in the face of a devastating disease.

Stars: Andrew Garfield, Claire Foy, Diana Rigg, Miranda Raison, Dean-Charles Chapman, Hugh Bonneville

Director: Andy Serkis

Rated: PG-13

Running Length: 117 minutes

TMMM Score: (8/10)

Review: If Breathe seems a bit familiar to you, it’s probably because you’ve also seen The Theory of Everything.  That film, about the life of Stephen Hawking, has similar themes and won star Eddie Redmayne an Oscar for his miraculous portrayal of a man whose body is failing him with a mind still sharp as a tack.  I found that movie to be filled with good performances (co-star Felicty Jones was also Oscar-nominated for Hawking’s strong-willed wife) but lacking in overall emotional heft.  While Breathe was always bound to draw comparisons, the surprising news is that it has the same memorable performances and the resonance The Theory of Everything lacked.

Robin Cavendish (Andrew Garfield, The Amazing Spider-Man) is a newlywed living with his pregnant wife Diana (Claire Foy) who contracts polio before he has turned 30.  Paralyzed from the neck down and given mere months to live, Robin is resigned to his fate and unable to even look at his infant son.  Not content with letting her husband fade away without a fight, Diana becomes his advocate and helps him leave the hospital ward and into their house in the English countryside.

Over the next several decades Robin will defy all expectations for those with his same affliction and become a rare voice for patients with conditions that left them unable to move or enjoy the world like everyone else.  With advancements in technology that Robin played a part in helping to design, he is able to live a full life as a husband and a father.  There are setbacks along the way and painful realties that have to be dealt with, instances that the film doesn’t totally gloss over but does treat them as speed bumps instead of potholes.

The first film directed by actor and famed motion-capture performer Andy Serkis (Star Wars: The Force Awakens), Breathe looks wonderful and has grand performances as well.  Garfield is charming throughout, even when he’s at his depressive worst, and he’s balanced nicely by Foy’s stalwart acting that maintains the dignity in both her character and Garfield’s.

It would be easy to let Breathe slip through your grasp and if you happen to miss it in theaters keep your eyes, ears, and heat open for it to pop up for home consumption.

 

Movie Review ~ Jigsaw

1


The Facts
:

Synopsis: Bodies are turning up around the city, each having met a uniquely gruesome demise. As the investigation proceeds, evidence points to one suspect: John Kramer, the man known as Jigsaw, who has been dead for ten years.

Stars: Matt Passmore, Callum Keith Rennie, Clé Bennett, Hannah Emily Anderson, Laura Vandervoort, Mandela Van Peebles, Paul Braunstein, Brittany Allen, Josiah Black

Director: Peter Spierig & Michael Spierig

Rated: R

Running Length: 91 minutes

Trailer Review: Here

TMMM Score: (3/10)

Review: The biggest question left by this turgid attempt to reboot the Saw series is “Why”?  Why wait all this time?  The last entry, the now-incorrectly titled Saw 3D: The Final Chapter came out in 2010 and put a rather decent pin in the whole shebang.  Why go back to the well that has long since dried up,  providing no nutritional substance in plot, character, or creativity?  Isn’t it obvious? This is a product from a studio (Lionsgate) desperate to find another dependable franchise to ciphon out money from the pockets of easily enticed moviegoers.  Keeping their tradition of not screening these films for crictics, I was one of those audience members curious enough to venture out the week before Halloween to see how this series would get revived.

I should have stayed home.

The film offers nothing new to add to the mythology of John Kramer (Tobin Bell), the madman that offered a sick kind of redemption to troubled souls.  Placing them in increasingly serpentine traps that were designed to have them inflict pain on themselves or others, Kramer sought to help these people that strayed back to the path of good.  Too bad so many of them wound up literally in pieces along the way.

As Jigsaw opens, Kramer has been gone for ten years but a new game has started that bear his calling card.  The clues left behind all point to Kramer but how can a man dead and buried for a decade be running this new horror show?  The red herrings abound with little logic, most of the time the cops on the case (led by Callum Keith Rennie, Fifty Shades of Grey) point to a suspect that may have looked at them sideways or on some undisclosed second-sight instinct.

Medical examiner Logan Nelson (Matt Passmore) is brought in to help the police figure out the clues but it’s really his plucky assistant Eleanor Bonneville (Hannah Emily Anderson, whose character name is more memorable than her performance) that lasers in on who is responsible for the killing but not necessarily why.  At the same time the experts are tracking the killer and examining mutilated bodies, we bounce back and forth to a deadly game playing out in real-time that is supposed to be feeding us clues but might just be another fake-out that this franchise has been so dastardly in introducing.

The acting by all is terrible (which is pretty par for the course) but the bad performances might be easier to take if anyone (at all) was the least bit invested in what they were doing.  Directed by The Spierig Brothers with little fanfare, I can only hope their next film, Winchester: The House that Ghosts Built, is a more promising endeavor.  This is a puzzle that you don’t need any kind of brainpower to solve, just the willingness to turn it off as you enter the theater.

Movie Review ~ The Florida Project


The Facts
:

Synopsis: Set over one summer, the film follows precocious 6-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Disney World.

Stars: Willem Dafoe, Brooklynn Prince, Bria Vinaite, Caleb Landry Jones, Macon Blair, Karren Karagulian, Jim R. Coleman

Director: Sean Baker

Rated: R

Running Length: 115 minutes

TMMM Score: (7/10)

Review: In 2015 director Sean Baker made quite a splash on the indie circuit with Tangerine, a film about a trans woman working the streets to survive in California on Christmas Eve.  The film was notable not only in the urgency of its performances but for it being filmed entirely on an iPhone.  I’ve regrettably not seen Tangerine yet but I did catch Baker’s follow-up which switches coasts to Florida for a rough, raw look at children and adults that reside in a Disney-adjacent motel.  It’s title, The Florida Project, has a triple meaning but its message is crystal clear.

Taking place over the summer months when children roam free around the The Magic Castle Motel, The Florida Project plays like a series of vignettes that don’t have the clearest through line.  There are several stories fighting for the spotlight here and while some characters overlap or disappear completely, our main focus is on six year old Moonee (Brooklyn Prince), her mom Halley (Bria Vinaite), and Bobby (Willem Dafoe, The Fault in Our Stars) the manager of the motel.  Moonee runs around with several other children while Halley only makes the most basic attempt to keep their heads above water.  Halley is feisty and averse to authority and it looks like Moonee is heading down that same path.  Bobby has to watch out not only for the up-keep of the motel but for it’s denizens that run afoul of each other and the law at regular intervals (Bobby’s argument with a washed-up stripper intent on tanning topless is a riot).

As the months go by we never learn too much about Moonee and Halley’s backstory because the film wants to stay in the moment like its main characters.  Bobby has some sort of paternal fondness for both girls, perhaps to make up for some suggested failings with his own child (Caleb Landry Jones, Contraband) that are only hinted at.  When Halley’s income dries up she embarks in increasingly dangerous behavior that leads the film to its emotional, impactful conclusion.

I’m going to be honest, The Florida Project isn’t for everyone and right up until the end I wasn’t even sure it was for me either.  The acting (I use that term very lightly) is amateur at best, with Baker plucking most of the cast out of obscurity (leading lady Vinaite was recruited from Instagram) and the pacing grows repetitive at nearly two hours in length.  Yet there is so much life on display here, so much devil-may-care attitude from those on screen and that helps to keep these characters alive long after the credits roll.

Dafoe’s performance is pretty remarkable too, largely because as the only truly experienced actor in the main mix he never makes it feel like he’s working with first-timers.  Often in these situations you can easily pick out the newbies but Dafoe keeps those dividers down, instilling even more realism to an already authentic-feeling movie-going experience.  Everyone else on screen is going on pure instinct and Dafoe meets them where they are to blend right in.

While overall I would suggest that you get The Florida Project on your list, I caution again that it’s not an easy film to take.  The ending especially is hard to sit through yet the final minutes are a surprisingly effective gut-punch I just wasn’t expecting in the slightest.  Baker already had good credit as an independent filmmaker and he’s captured lightening in a bottle again with The Florida Project.

 

 

Movie Review ~ The Killing of a Sacred Deer


The Facts
:

Synopsis: A teenager’s attempts to bring a brilliant surgeon into his dysfunctional family takes an unexpected turn.

Stars: Colin Farrell, Nicole Kidman, Barry Keoghan, Alicia Silverstone, Raffey Cassidy, Bill Camp

Director: Yorgos Lanthimos

Rated: R

Running Length: 121 minutes

TMMM Score: (8/10)

Review:  We’re moving into a busy time for movies and that means a packed screening schedule. On these plum-full days this part-time critic has to get creative with his multi-tasking if doesn’t want to go hungry between movies. That’s how I found myself unwrapping and justa bout to sink my teeth into a sandwich when Yorgos Lanthimos’s The Killing of a Sacred Deer began. Lanthimos opens the film with a graphic (and real) shot of open heart surgery, his camera lovingly lingering on the organ coming back to life and pulsing with blood. It’s an arresting image and one that pretty much demands your attention, as does the rest of the movie. Clearly, my sandwich was going to have to wait.

Surgeon Steven Murphy (Colin Farrell, Saving Mr. Banks) has it all.  A successful career, a beautiful house, a loving wife (Nicole Kidman, Stoker), and two children that haven’t yet met their trouble-making days.  He’s also taken a young boy named Martin (Barry Keoghan, Dunkirk) under his wing for reasons not entirely clear as the movie begins.  All we can tell is that Murphy obviously feels paternal toward the boy, a boy that has a strange way about him.  Actually, everyone in Lanthimos’s parable on suburbia and privilege has a strange way about them.  Murphy and his wife play out some kinky fantasy with her lying prone on the bed as if under general anesthesia, their daughter (Raffey Cassidy, Tomorrowland) is on the cusp of womanhood and awkwardly makes her first steps into her femininity with Martin as her fellow traveler, and Murphy and his wife speak about family matters in public with little regard for privacy.  There’s a staid, robotic-like quality to the line delivery and it’s not unintentional in the slightest.

For the first half of the movie we’re just getting our feet wet with these people and trying to figure out why Martin’s actions feel so odd and what his game plan could be.  When it’s revealed why he’s getting so close to Murphy and his family the movie almost instantly gets a bit less interesting in plot but not necessarily in character.  Martin makes a proposition, an impossible request, to Murphy and the rest of the movie is about how Murphy chooses to respond.  One by one Murphy’s family members start to come down with a mysterious, near-supernatural illness that Martin seems to have control over…or is the other way around?  Lanthimos and his co-writer Efthymis Filippou leave audiences with little concrete answers and we’re never quite sure who the man (or woman) behind the curtain is.

While the plot tends towards the formulaic in its skeleton, it’s the sinews of muscle and tissue that the cast brings to this that make it one that has nagged at me almost daily since I saw it.  The movie can be seen as a twisted take on suburban perfection and personal responsibility or as an outright Fatal Attraction-like potboiler where no one is a winner by the time the credits roll.  Having worked with Lanthimos on his previous film (the equally mind-bending The Lobster), Farrell is aces as a flawed man asked to take action no father or husband should ever be tasked with and Kidman continues her streak of finding the deepest complexities in a seemingly straight-forward role.  Keoghan is a bundle of nerves and energy, presenting a character obviously on some sort of spectrum that feels just in his actions so has no fear of judgement.  That frees him to express himself openly and unfiltered, a refreshing presentation to be sure but unsettling all the same in our current climate of niceties above all else.  Alicia Silverstone (Clueless) has a brief but memorable scene as Martin’s mother, grieving the loss of her husband (whom Murphy operated on) and following her son’s lead on a plan to unite the two families in his twisted imagination.

As you’ve probably guessed, The Killing of a Sacred Deer isn’t easy viewing and the ending is sure to prove problematic.  Lanthimos doesn’t let anyone off easy and that includes the viewer.  Still, it’s a handsomely made, eerie film and even when you know where it’s headed it still has one or two twists to keep you alert.  Darker than The Lobster but just as interested in social norms and providing commentary on justice, The Killing of a Sacred Deer might not be the hunt you thought you’d be going on but it’s worth the journey.

Movie Review ~ Thor: Ragnarok


The Facts
:

Synopsis: Imprisoned, the mighty Thor finds himself in a lethal gladiatorial contest against the Hulk, his former ally. Thor must fight for survival and race against time to prevent the all-powerful Hela from destroying his home and the Asgardian civilization.

Stars: Chris Hemsworth, Tom Hiddleston, Mark Ruffalo, Anthony Hopkins, Cate Blanchett, Jeff Goldblum, Tessa Thompson, Karl Urban, Sam Neill, Benedict Cumberbatch

Director: Taika Waititi

Rated: PG-13

Running Length: 130 minutes

Trailer Review: Here

TMMM Score: (9/10)

Review: Let’s be real here…you didn’t like those first two Thor movies either, did you? I knew it. Seemingly out of place in the Marvel Cinematic Universe, likely because they were the only films that took place largely in literally their own universe, Thor and it’s sequel Thor: The Dark World were what comic book movies should never, ever be: boring. It was only when Thor joined up with his friends in The Avengers and Avengers: The Age of Ultron that the Norse god felt energized and alive. Well after Thor: Ragnarok there is enough electricity generated by director Taika Waititi to power several more sequels. It puts the other two films to shame and bests several other Marvel outings at the same time.

As the film opens, Thor (Chris Hemsworth, Rush) is in a bit of a bind as he finds himself in the clutches of the fire demon Surtur. Surthur lets Thor know that a great battle known as Ragnarok is about to unfold, a battle that will see Surtur lay waste to Thor’s Asgardian home and all its peoples. Since this is the prologue and we have a couple of hours left, I don’t think it’s a spoiler to say that Thor makes it out of his prison and finds his way back to Asgard. Arriving unannounced only to run into his mischief making adopted brother Loki (Tom Hiddleston, Kong: Skull Island) masquerading as their father Odin (Anthony Hopkins, The Silence of the Lambs). Unaware that Loki imprisoned his father on Earth, Thor meets up with Doctor Strange (Benedict Cumberbatch, August: Osage County) who points him in the right direction of where his father may be.

Thor does find his pops but the reunion is short-lived as his long-lost sister Hela (Cate Blanchett, Blue Jasmine, having the absolute best time ever) arrives with her eyes on Odin’s throne. Sending her siblings into another galaxy to get them out of her villainous way, she starts to wreak havoc in her homeland and Thor and Loki make their way through a new world ruled by the Grandmaster (Jeff Goldblum, Jurassic Park). With Loki avoiding a life of servitude on the junk planet, that leaves Thor fighting for his freedom, gladiator-style, against his old friend the Hulk (Mark Ruffalo, Foxcatcher). Assisted by fellow Asgardian in exile Valkyrie (Tessa Thompson, Creed) and loyal Heimdall (Idris Elba, Prometheus), all make their way back to Asgard to face off with Hela to save their world.

There’s a lot that happens in Thor: Ragnarok and it’s almost universally entertaining. Waititi (who also plays a dryly-hilarious alien made up of rocks) brings such interesting ideas to the table along with a sense of humor and fun that has been missing from not only Thor’s previous outings but from Marvel at large. With its fun cameos (not only from Marvel characters), it’s wacky and colorful and I enjoyed every minute of it. Mark Mothersbaugh’s (The LEGO Movie) score is a real tip and while they curiously use Immigrant Song twice, it makes sense and gives key battle sequences a rock concert vibe. I normally recoil at movies that are so CGI heavy but the visuals are gorgeously rendered here, making for truly exciting viewing.

While it does help to have a working knowledge of the other entries in the Marvel Cinematic Universe, this one may be a good entry point for newbies…but then someone will have to explain to them why the other two movies are so dull. Here’s hoping Marvel retains Waititi because he’s the reason why this works so very well.

Movie Review ~ A Bad Moms Christmas


The Facts
:

Synopsis: A Bad Moms Christmas follows our three under-appreciated and over-burdened women as they rebel against the challenges and expectations of the Super Bowl for moms: Christmas. And if creating a more perfect holidays for their families wasn’t hard enough, they have to do all of that while hosting and entertaining their own mothers.

Stars: Mila Kunis, Kristen Bell, Kathryn Hahn, Jay Hernandez, Christine Baranski, Susan Sarandon, Cheryl Hines, Peter Gallagher, Justin Hartley

Director: Jon Lucas, Scott Moore

Rated: R

Running Length: 104 minutes

TMMM Score: (2/10)

Review: It’s a good thing for the filmmakers of A Bad Moms Christmas that I’m not in charge of the naughty or nice list because it would be coal for all if I had my way. What a stupid piece of trash this one is, so lame-brained and barely breathing that I’m amazed it was produced and released at all. It exists for no one other than the tax write-off seeking producers and holiday cash starved actors willing to lower themselves to the level of writer/directors Jon Lucas and Scott Moore (Office Christmas Party).  I didn’t care much for 2016’s Bad Moms (actually, I didn’t care for it at all) so when it became a sleeper summer hit and this holiday-themed sequel was fast-tracked I must admit I was curious to see what new shenanigans the ladies would get up to. Turns out it’s just more of the same inane antics that are really just barely-there ideas for vignettes weakly strung together to create a 104-minute film. A very long 104-minute film.

As in the original film, the lives of these women are scripted entirely by the male writer and directors and I’d love to hear what their moms and wives think about their take on the mother’s role in the Christmas season. Lucas and Moore seem to believe that all mothers hate the holidays because it’s nothing but endless amounts of work for them with no thanks and certainly no fun. They are forced to put up a tree, decorate the house, buy presents, wrap presents, cook, clean, host parties, and do it all with a fake smile plastered on their face. At least that’s how Mila Kunis’ Amy tells us it is as she narrates the opening of the film that shows the aftermath of the holidays.  As a camel saunters by, she promises to tell us how she wound up with her house destroyed.  Sigh…if we must.

Flashing back through the six days leading to Christmas, we meet up again with Amy, her children, and her new boyfriend (Jay Hernandez, Suicide Squad) as they prepare for the arrival of Amy’s shrill mother (Christine Baranski, Into the Woods) and milquetoast dad (Peter Gallagher, Hello, My Name is Doris). Across town, Kiki (Kristen Bell, Frozen) is surprised that her smother-mother (Cheryl Hines, Wilson) has showed up three days early while Carla (Kathryn Hahn, We’re the Millers) is shocked her free-wheelin’ mama (Susan Sarandon, Tammy) has showed up at all. Kunis (Ted), Bell, and Hahn share precious few scenes together with Lucas and Moore opening up their world a bit more now that they have more characters to juggle. That means kids and males are left in the dust as the moms and daughters work out their issues as the holidays get closer.

There’s so much to dislike about this movie. From the extremely long leash the filmmakers give the usually funny foul-mouthed Hahn to ham it up while waxing the testicles of a ‘sexy’ Santa (Justin Hartley, who we’re forced to watch poorly strip-tease THREE times during the course of the film), to the uncomfortably ugly way that Baranski and Kunis spar over everything from décor to holiday spirit, to Bell blindly ignoring the fact that her mom is maybe so clingy because she’s completely alone and has no friends of her own.

Straining to see some good, I will say that though Baranski has fashioned her entire career on playing these types of frigid shrews, she gets some of the best moments in the movie with her deadpan reactions and sharp comebacks. They even let her sing a bit during a too-long caroling scene that at least serves as an opportunity to bring back the sorely missed Christina Applegate (Vacation) for a brief cameo. I also enjoyed Sarandon’s crass take on an aging biker chick that barely realizes she’s a grandma and the best passage of the entire film is when all three moms gather together to work out their woes.

At the end of the first film there was an excellent scene during the credits where the actresses and their real moms were interviewed. It was by far the best part of that whole movie and I was halfway looking forward to something similar here. Unfortunately, all that’s available during the credits is an exhaustive dance sequence clumsily filmed against a green screen. It’s just another example of the hap-hazard filmmaking that brought A Bad Moms Christmas to our cinematic mantle. My advice would be to throw this one into the fire and ask Santa to bring you a real comedy for the holidays instead.